[5][6] Her work has received many honors, including a National Endowment for the Arts Composer's Fellowship, an American Academy of Arts and Letters Award in composition, and the National Flute Association's Lifetime Achievement Award, where she is remembered by as an "artist, flutist, teacher, entrepreneur, poet, and, most notably, a distinguished composer.

Her father, driven by a sense of duty, asked to be reassigned to the Department of Agriculture's Eastern Regional Research Center in Wyndmoor, Pennsylvania, a suburb of Philadelphia.

This unique ear training, Katherine believes, contributed significantly to her development of perfect pitch, a rare and invaluable gift.

Additionally, she was a member of the "Quintones" singers for five years, which led to her numerous appearances on radio and early television programs.

Hoover's parents didn't see music as a viable career option, probably due to their experiences during the Great Depression.

She accomplished a double major and was awarded the prestigious Performer's Certificate in Flute, a testament to her musical prowess.

Her studies at Eastman acquainted her with the American Flute School movement through Joseph Mariano, a distinguished student of William Kincaid, and was highly regarded by eminent conductors such as Toscanini, Fritz Reiner, and Eugene Ormandy throughout his career.

Jambor taught and performed at Bryn Mawr College, and Katherine worked as a residential advisor at an undergraduate dormitory there.

During this time, she analyzed a wide range of music scores and learned a great deal about compositional techniques.

In 1978, Hoover's growth as a composer was recognized when she became a finalist for the Kennedy Center Friedheim Award's Outstanding New American Chamber Work.

Beginning in 1984, Hoover taught theory and composition to graduate students as a faculty member at Teachers College, Columbia University (1984-1989).

Two examples being: "Stitch-te Naku" for Cello and Orchestra, which was written for cellist Sharon Robinson and the "Clarinet Concerto," which was performed by jazz clarinetist Eddie Daniels.

Kokopeli (1990), a solo flute composition inspired by Kokopelli, the Hopi tribe and the American Southwest was the first piece to be published.

[26] Hoover's unique compositional style bears the unmistakable imprint of her mentors Joseph Mariano and William Kincaid.

Hoover's desire for long, unimpeded musical phrases led her to break free from the restrictive walls they imposed.

Her compositions are liberated from such constraints and invite musicians to respond not only to the written notes but also to the sounds of the piece and the acoustics of the performance space.

Hoover's formal training under her mentors is evident, but she humbly admits that her journey as a composer also involved a significant degree of self-discovery.

Her tenure as a theory teacher at the Manhattan School enabled her to deeply delve into the intricacies of compositional techniques, further enriching her musical arsenal.

[others] are notable for rhythmically dynamic passages laced with incisive dissonance but often mingled with elements of jazz and well-timed humor.

[33][34] The following three elements define Hoover's work are references to non-musical sources, quotations and manipulations, and the use of abstract techniques.

[13] Hoover's compositions draw inspiration from a diverse range of sources - Native American music in flute pieces, such as "Kokopeli," "Winter Spirits," and "To Greet the Sun," Nicholas Gage's "Eleni" in an orchestral tone poem, Barbara Tuchman's "A Distant Mirror: The Calamitous Fourteenth Century" in "Medieval Suite," and a painting of the starry night sky in "Night Skies."

For example, in "Celebration," she blends her thematic material with direct quotations from well-known flute works, retaining their original form and showcasing her ability to create captivating hybrids.

Notably, her use of musical quotation is not always overt, as seen in the innovative ways she quotes Guillaume de Machaut's "Virelai No.

Bartok also influenced Hoover's music, particularly in the harmonies she utilizes… related to the “split-root” or “major-diminished” chord… [as heard in the] final movement of Medieval Suite.

Throughout the composition, listeners encounter additional musical quotations, including references to the iconic "Dies Irae" in the final movement, titled "Demon's Dance.

She believed that being proficient in an instrument gave one a unique advantage in understanding the intricacies of creating music at a high level.

[34] Katherine Hoover's music thrives on the interplay of extra-musical references, skillful adaptation of other composers' melodies, and the harmonious fusion of these elements with her original compositions.

She balances musical expression with performer considerations, ensuring that even challenging passages maintain their lyrical elegance.