The compositional style of three chamber works for flute by Lowell Liebermann is explored through harmonic and formal analyses, an interview with the composer, Lowell Liebermann, and interviews with the flutists who commissioned the works, Paula Robison and Katherine Kemler. Liebermann's musical style, as represented in three chamber works, is explained as a continuation of Classical and Romantic traditions. Variants of the classic Sonata Allegro and Rondo forms are employed. Traditional techniques such as augmentation, diminution, retrograde and sequence are utilized. Contrast is provided by the composition of dramatically contrasting thematic material and frequent changes in texture. Works are tightly organized with cyclic material as well as thematic overlapping, fusion, and transformation. Tonally, Liebermann has combined functional harmony with polytonality. Although the tonal areas employed in these works are almost always closely related, each is usually combined with a second tonal region. For example, in the Sonata for Flute and Guitar, E major is usually superimposed on E minor. In the case of the Soliloquy, tonalities are combined to stress the important intervallic relationship of the tritone. The expressive abilities of the flute are drawn upon in Liebermann's approach to melody. The long, sustained lines of the lyrical sections are colored with a wide range of dynamics and therefore demand a high level of musical maturity from the performers. This is contrasted with fast, intensely rhythmical sections or movements which showcase technical virtuosity. All three works are well-constructed, sophisticated works of art, yet they are accessible to any audience. The Sonata for Flute and Piano and the Soliloquy for Flute Solo have already made their way into the standard flute repertoire. Liebermann has made a major contribution to the contemporary flute repertory.