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Home , All Woman, Clair Omar Musser, Dottie Dodgion, For Ladies Only, George Lawrence Stone, Jerry Dodgion

Women Pioneers Of Percussion in the United States By Dr. Meghan Aube

The following article by Meghan Aube was challenging for women who played tradition- ist, Hyams explained the difficulty of being a extracted from her dissertation, “Women in per- ally male instruments such as percussion, vibra- in the profession: “In a sense, cussion: the emergence of women as professional phone, or drumset. This section will highlight you weren’t really looked upon as a , percussionists in the United States, 1930–present” the careers of the women who broke those bar- especially in clubs. There was more of an inter- (University of Iowa, 2011). Additionally, Aube riers. est in what you were going to wear or how presented her research findings regarding women your hair was fixed—they just wanted you to in the field of percussion as part of the scholarly pa- Marjorie Hyams— look attractive, ultra-feminine, largely because per presentations at PASIC 2012 in Austin, Texas. East Coast vibraphonist Marjorie Hyams you were doing something they didn’t consider was very active in the 1940s but enjoyed a ca- feminine.”4 merican women have historically ac- reer of only ten years. Aside from vibraphone The dichotomy of needing to present femi- complished great feats in percussion, performance, she was also a talented pianist ninity while playing in a male domain was an but some of their contributions have and arranger. Hyams was discovered by issue that many women faced in the mid-20th Abeen ill reported or, in several cases, clarinetist Woody Herman when he heard century and still experience today. The “look” of completely neglected. These pioneers certainly her perform in Atlantic City. Herman tried to a performer was deemed equally important as provide historical insights into the gradual ac- convince Hyams to start her own , but she musical ability. As one of the first women vi- ceptance of females working in the percussion joined his group instead and played with him braphonists, Marjorie Hyams was a percussion field. Many of the American women percus- from 1944–45. pioneer, but unfortunately the career of this tal- sionists discussed in this article were previously In 1945, Hyams left the band to form an ented woman did not last long enough for her unknown to the author, just as they may also all-woman trio that performed for three years. to fully impact the percussion and jazz worlds. be unfamiliar to the readers. Connecting with With Mary Lou Williams on and June predecessors in a specific field is vital for un- Rotenberg on bass, the trio garnered many Pauline Braddy—drumset derstanding one’s own placement in that art accolades including a featured concert at Carn- Born in 1922, Pauline Braddy was one of the form. As the history of women has proven, it egie Hall in 1947.3 Hyams was thrust into the original members of the International Sweet- is not hyperbole to claim that the struggle for national spotlight when she joined George hearts of Rhythm, an all-female band formed women to gain acceptance and success in many Shearing’s combo in 1949. While perform- in 1937 at the Piney Woods Country Life fields including percussion has been somewhat ing in this group, she had many opportunities School.5 The school, founded in in difficult. It is crucial that continued examina- including the recording of a major record. Yet 1909, was one of the first all African-American tion of these women’s lives be conducted before again her tenure with this group ended after boarding schools in the United States. The they, and the people who know them, are no only after a year when she quit the jazz world Sweethearts, a popular outlet for creative longer present. Women pioneer percussion- completely to become a housewife. expression at the school, became nationally re- ists in idioms of jazz, performance, While pursuing her career as a vibraphon- nowned as they performed all over the country, orchestral playing, and academe are discussed including New York City, , and Wash- in this article. ington D.C. As a woman drumset player, Braddy admit- ted encountering prejudice. She regularly faced Women have always fought for their voice to skeptical audiences that exclaimed: “Oh no, not be heard in the male-dominated field of jazz, a !”6 In the 1940s and 1950s, Braddy found but the struggle was even more challenging in it difficult to discover other women - the 1940s when it was rare to find any women mers and instead turned to male role models in a jazz band. Jazz historian James Dickerson for guidance, including Ed Thigpen and Gene wrote, “Throughout jazz history there has Krupa. been a sexist bias against women.”1 Men have Braddy finally left the Sweethearts of been active longer in the field of jazz, thus the Rhythm in 1955 at the age of thirty-three. majority of scholarship has been completed on She performed with numerous jazz ensembles male while females remain relatively until the late 1960s when she stopped drum- ignored. ming completely. Her next performance was as Today, women are more present in the jazz a guest at the 1980 Women’s Jazz Festival in world; although in 2007, women comprised Kansas City, Missouri, a superb honor that was only 15.6 percent of union jazz members.2 very meaningful to her. Braddy died in 1996. Numerous difficulties arose for women enter- Breaking ground for future women , ing the jazz profession, yet there were several Pauline Braddy had a very accomplished career, important pioneers that paved the way. Ac- yet regrettably she has remained relatively un- ceptance into the jazz world was even more Marjorie Hyams known in the percussion and jazz fields. percussive notes 38 JANUARY 2013 ion, nor did respect from her colleagues. Upon —drumset moving to New York in 1959, the realities of Beginning a career just as maintaining success in a career heavily domi- was ending one, Terri Lyne Carrington was nated by men began to arise. Dodgion remem- proclaimed a child drumset prodigy. Born in bered the frustration of losing gigs based solely 1965 in Medford, Massachusetts, Carrington on . “I was at least accepted by the guys, began playing the at the age of five. She even though they didn’t hire me for those jobs; explained that Sonny Carrington, her father many a time a who couldn’t swing and a jazz musician, was delighted when he half as well as I could would be hired. Those found “I had a natural talent. I could keep time kinds of things used to hurt.”11 immediately, so my father thought I had tal- Fortunately, the disappointment of gender- ent. He showed me a few things. I progressed stereotyping did not hinder her career. The in- and he sent me to a teacher.”18 Her drumset, Pauline Braddy justice of judgment based on gender made her the only instrument in a house full of musi- work even harder to achieve success: “You had cal instruments that could hold her attention, Dottie Dodgion—drumset to be better than better,” she said. “All instru- originally belonged to her grandfather, who One of the most successful, although un- ments are male-dominated. The way it’s looked had been a jazz drummer. Carrington’s father known, drummers, Dottie Dodgion was born at, the drums are—pardon the expression—the was the main motivation for her desired career in Brea, California, in 1929. Dodgion originally balls of the band. When a guy turns and sees in jazz. “I couldn’t help but be inspired to play began her musical career as a vocalist. While a lady sitting there, it threatens his manhood jazz, because my father was always playing it.”19 her drummer father was not opposed to her some way.”12 Success came rapidly for Carrington. At the becoming a drummer, he never taught her a To combat this feeling of , Dodgion age of ten, she played for Buddy Rich. At lesson. Her drumming career began by play- would often wear clothing that was not femi- eleven, she was the youngest student to get a ing rhythms on magazine covers during her nine and keep her hair short in order to blend scholarship at the husband’s recording studio sessions. Due to in with men. Dodgion became accustomed to in Boston. At twelve, Carrington was the the tardiness of some drummers, she found holding the position as the sole female in the youngest musician to ever endorse Slingerland an opportunity to play. Dodgion remembered, band. She preferred performing with men due Drums and Zildjian . Achievement “They’d say, ‘Come on Dottie, play some “time” to her belief that many women who entered has followed Carrington her entire career thus till the drummer gets here.’ Male drummers the music business were not serious. Often far. Her Real Life Story was nominated were always late!”7 gender was used by promoters as a device to for a Grammy in the category of best fusion Her first husband, bassist Marty Budwig, sell records and gain audiences, and she found jazz. While she is still principally a drumset did not support her as a drummer; he felt that that as she aged gigs became even scarcer: artist, Carrington also writes and arranges. drumming was “unladylike.”8 In contrast, her “There is no gimmick for selling an old lady. If Jack DeJohnette is the drummer she emu- second husband, , encouraged you’re a young woman and have a decent figure, lates and considers a mentor. As was the case her to stop singing and focus solely on drums. they can sell you like mad.”13 for many female drummers, there were very She remembered, “He said I should either Regardless of her negative conceptions of few women to look to as role models. In an sing or play. Otherwise I was going to end all-female bands, Dodgion joined an all-female article she wrote on the life of a woman drum- up known as a singer who sometimes played group with colleague in the mer, Carrington recalled, “I got very excited drums or a drummer who also sang.”9 Begin- late 1970s. This was a career choice common when I saw people like Karen Carpenter on ning in the early 1960s, Dodgion performed for many women musicians, but Dodgion television. At least I was seeing someone who with many well-known jazz musicians includ- had resisted for many years because “nobody was in some ways like me, which made it feel ing , Billy Mitchell, , likes to be sold because of their gender.”14 She not quite so strange.”20 Unfortunately, women Wild Bill Davison, Ruby Braff, , Zoot believed that musical instruments were not such as Dottie Dodgion and Pauline Braddy Sims, and Richie Cole. Jerry Dodgion did not gender-specific and that performers were doing were relatively unknown and they did not have advocate traditional gender roles and preferred themselves a disservice by basing their choice an impact on younger female drummers such that Dottie meet her potential as a musician of performers on gender. as Carrington. rather than be a housewife. “Jerry really wanted Dodgion found all her role models in male me to play. He didn’t want me around the drummers and did not have women to follow. house doing wifely duties. I practiced with the Her favorite drummers included Billy Higgins, pros. I played with them.”10 Al (Tootie) Heath, and Mickey Roker. She Gigs did not always come easily for Dodg- credited Kenny Clarke as the most influential on her drumming. When asked about Buddy Rich she responded, “He plays good for a man.”15 As described by jazz historian Linda Dahl, Dottie Dodgion was a “pioneer drummer among women jazz players.”16 She challenged the gender stereotyping of drums as a male instrument and struggled with misconceptions as a female drummer throughout her entire career. “As far as acceptance, I don’t think it just opened up all of a sudden. I think it’s been a long, slow process; I think it’s still going on in a lot of cases.”17 Dottie Dodgion Terri Lyne Carrington

percussive notes 39 JANUARY 2013 Even within her own demographic, Car- one of the first all-women marimba ensembles cago-area native, she began her career on the rington felt that female drummers were out- in 1929. His first group included twenty-five marimba studying with Clair Omar Musser numbered and under-represented. “For many women who performed their only show at the in 1933. During the same year she performed years I felt like I was in a club by myself. If opening of the Paramount Pictures Oriental in the World’s Fair as part of the Century of I met other young that played drums, Theater in Chicago.28 Progress Marimba . Stuber Jeanne chances are they lived in other cities, making Perhaps the most popular marimba ensem- explained the importance of her teacher in her it difficult to develop camaraderie.”21 She be- ble was Reg Kehoe and His Marimba life stating, “It is with Musser that I learned lieved the extreme minority of women in the Queens, organized in 1930. Reg Kehoe of real artistry.”32 drumming profession was due to the norms Reading, Pennsylvania, started the group and In the late 1930s, Stuber Jeanne moved to established by American society. The drums are taught each of the female members how to New York City and became an active free- considered a very aggressive and dominant in- play. The ensemble performed approxmately lancer, performing in clubs as a member of a strument, and “women have been socialized not 4,000 concerts in thirty-two years. Concert marimba trio and as a marimba soloist. She to do things that seem aggressive or male.”22 venues ranged from state fairs throughout also started taking lessons with George Ham- In a 2004 interview with jazz historians the country to Broadway performances, radio ilton Green. While in New York, she had the Wayne Enstice and Janis Stockhouse, Car- appearances, and even short films shown to opportunity of performing in one of John rington admitted that problems women in the American troops overseas in World War II. The Cage’s first percussion concerts.33 As a member drumming profession encountered in the past style of music performed was of Orchestrette Classique, conductor Federique still persist today. “There are a lot of women arranged for a marimba ensemble. However, Petrides proclaimed that Stuber Jeanne was the playing drums right now, and some of them marimba music was not all that a show would “foremost woman tympani artist in America.”34 are definitely meeting that type of resistance.”23 entail. It “combined singing, dancing, acrobat- Petrides wished to feature Stuber Jeanne, and While admitting to the gender stereotyped ics, skits, and performances on the accordion.”29 because of her strong background on marimba nature of the drumset that still remains, Car- This ensemble was one of the most successful he contacted Paul Creston and requested he rington explained that she does not find it nec- of its kind. Kehoe credited their success to write a marimba concerto. essary for women to adopt a masculine persona. “smart, good-looking girls, who can play real “Concertino for Marimba and Orchestra,” “Many women, in the attempt to be viewed as good music and, at the same time, display good the only piece Paul Creston wrote for the equals, have taken on the personas and devel- figures and bare legs.”30 The physical attributes marimba, was also the first in his series of oped the attitudes of their male counterparts, of the women were deemed more relevant than compositions for neglected instruments such which defeats the purpose.”24 She further ex- their ability as marimbists. as , saxophone, and accordion. Pre- plained, “It is precisely the feminine aesthetic Another female marimba ensemble that miered on April 29, 1940, at Carnegie Hall, it that will make our contributions different and performed during the same era was Arlene was the first appearance of both the marimba bring another perspective to the industry—a Stouder and Her Marimba Band from Bremen, and Ruth Stuber Jeanne at this venue. The perspective needed for balance.”25 . This ensemble had limited success and compositional process was very collaborative, With her success, Carrington has made con- was only popular in the late 1930s. They did, with Creston sending copies of the score to siderable headway for women in the drumset however, maintain numerous engagements in- Stuber Jeanne for her input. field. She continues to be a very inspirational cluding radio, dance, and club gigs.31 The premiere performance was a success, and role model for young female drummers today. many reviews contributed only positive com- Ruth Stuber Jeanne ments. Some, however, still brought to light the WOMEN IN MARIMBA PERFORMANCE Ruth Stuber Jeanne established her career importance of physical appearance as a female In American percussion, the marimba was as timpanist in the all-woman Orchestrette performer. Howard Taubman from the New historically the most readily acceptable instru- Classique, but she is probably best known for York Times flattered her, saying “Miss Stuber, ment for a woman to pursue. The approval of premiering the first marimba concerto. A Chi- looking trim and chic in a fluffy yellow gown, women as marimbists came earlier than that was agreeable to behold as well as to hear.”35 of women as performers on other percussion A description of her ability as a performer was instruments. George Lawrence Stone pub- seamlessly merged with a review of her couture. lished an article in 1923 in which he encour- Stuber Jeanne married in 1942, and she aged women to pursue percussion, but only in later admitted, “I didn’t play much marimba certain genres. “To be sure it is rather hard for after that.”36 She moved to Ohio and started members of the tender sex to play jazz music… an amateur marimba ensemble. It was difficult but this should not discourage them by any to find music for the group, requiring her to means from the profession of drumming, for arrange works for the ensemble. With a career there are many other engagements open which as a marimbist spanning almost ten years, Stu- are a good deal easier from a physical stand- ber Jeanne found success as both a soloist and point.”26 One of these other engagements that chamber musician. he discussed was marimba performance. In her book on women in American bands and or- Doris Stockton chestras, D. Antionette Handy makes a similar Like Ruth Stuber Jeanne, Doris Stockton observation of early 20th-century American was born in Chicago and studied with Clair instrumental performance: “Percussion playing Omar Musser. Stockton was an important stu- for women was considered as ‘unladylike’ as dent for Musser, as he dedicated his “Etude in wind playing, with the exception of keyboard A flat, Op. 6, No. 2” to her. She became nation- percussion.”27 ally known as a marimba soloist in the 1940s The first and most common outlet for and managed to sustain a career into the 1960s. women as marimbists was through marimba Her national career allowed her the oppor- ensembles that began to emerge throughout tunity to perform as a soloist with the country. Clair Omar Musser organized Ruth Stuber Jeanne throughout the country. In the 1940s she also percussive notes 40 JANUARY 2013 Her father was the proprietor of a , and only heard the “Concerto” as Chenoweth where she discovered her first marimba. Her was learning it. This concerto was the first of initial marimba education was with local music many pieces composed for Vida Chenoweth teacher and organist Sydney David in 1941.42 by such as Bernard Rogers, Eugene Prior to college, Chenoweth took lessons from Ulrich, Hal Mommsen, Harry Hewitt, and Musser at . She was Jorge Sarmientos. also a member of Musser’s marimba orchestra, Chenoweth did not intentionally seek com- which included 200 marimbists and performed posers for commissions, but they were in the Chicago area in 1948. drawn to her due to her expressive ability, and After studying at William Woods Col- the care she took in preparing the music. lege in Missouri for the first two years of her Percussionist Kathleen Kastner explained undergraduate degree, Chenoweth eventually this level of thoroughness: “Vida Chenoweth’s received her bachelor’s degree from North- influence was extremely significant, in that her western. In 1951, she earned a dual degree in diligent pursuit of every detail of the score in marimba performance and . spite of its expressive difficulty contributed to Chenoweth then attended the American a final result, which pushed marimba reper- Conservatory in Chicago where she studied toire and performance technique into a new 45 marimba with James Dutton and earned a dual realm.” master’s degree in percussion and Later in life, Chenoweth shifted her focus Doris Stockton in 1953. from marimba to . “My initial In an interview with marimbist Leigh How- interest in ethnomusicology stemmed from formed a marimba duo that traveled through- ard Stevens, Chenoweth stated, “The peak of an interest in the history of the marimba— out the country. my performing career was from 1957, when I where did it originate—where is it played—by 46 In 1948, Stockton successfully completed a was accepted by the concert audiences of Gua- whom—and what music do they play?” The 37 four-record set titled Marimba Classics that temala, through about 1963, during which time answers to these questions were sought and included transcriptions of for success came in NewYork and Europe.”43 This eventually culminated in her book, the marimba. An important early performance success included Chenoweth’s 1959 premiere of Guatemala, published in 1974. She decided that aided in launching her career as a ma- of Robert Kurka’s “Concerto for Marimba and to officially pursue a career in ethnomusicology rimba soloist was her appearance at Town Hall Orchestra,” a work written specifically for her and received a Ph.D. from the University of in New York City in 1945. The recital consisted in 1956. The premiere was with the Orchestra Auckland. entirely of transcriptions of classical music for of America at Carnegie Hall. The connection Since its inception, Chenoweth has been the marimba that Stockton performed with between and performer was estab- involved with the and a chamber orchestra of musicians from the lished through the mutual friendship of Che- was honored to the highest degree with induc- . In a 1952 recording noweth’s manager, who suggested that Kurka tion into the Hall of Fame in 1994—the sec- produced by Life Records, Doris Stockton was write a concerto for her. She remembered that, ond woman privileged to receive such an honor. promoted as the “First Lady of the Marimba.” “Neither of us had any money, but both of us According to Chenoweth, a very humble wanted a marimba concerto.”44 Unfortunately, woman, “the news of my being nominated took Vida Chenoweth 47 Kurka died of leukemia before the premiere me by surprise.” She said of her influence in Born in Enid, Oklahoma, in 1928, Vida breaking ground for women in percussion and Chenoweth is possibly the most well-known marimba performers as a whole, “I didn’t know American female name among marimbists. I was pioneering.”48 She was one of the most influential perform- ers responsible for elevating the marimba to its Karen Ervin Pershing current status as a serious concert instrument. Heralded at the peak of her career as “one Percussionist Nancy Zeltsman stressed the im- of the best-known solo percussionists in the portance of Chenoweth in the evolution of the United States,”49 Karen Ervin Pershing was marimba: “Chenoweth’s artistry, musicianship, very active and influential as a performer in and care with her repertoire resulted in her the 1970s. Born in California in 1943, she transcendence of public skepticism about the began her musical experience on piano in the marimba as a serious medium for expression.”38 third grade. Pershing continued to study piano In an article written for Percussive Notes, James through elementary school and into junior Strain also explained the significance of Che- high school. Percussion slowly entered her life noweth’s career: “Chenoweth, perhaps more as she occasionally played percussion parts in than any other artist, is responsible for raising orchestra when not playing piano. the solo marimba to a level of respect equal in It was not until her senior year of high stature to , piano, or guitar.”39 school that she started to focus on percussion. Chenoweth was fortunate to grow up in a She admitted, “I really enjoyed playing it and town visited by one of Clair Omar Musser’s wanted to study percussion seriously; but my marimba orchestras, which appeared during the parents objected very strongly to the idea of a Tri-State Music Festival in 1941. While she girl playing percussion. They talked me out of did not see the ensemble perform, her parents it.”50 When she finally decided to pursue per- watched the performance and later described cussion, she chose the marimba as her principal it to her.40 The first instrument she attempted instrument and doubled violin parts in the was piano, but was forced to stop playing due high school orchestra. While percussion was to a broken index finger at the age of eleven.41 Vida Chenoweth deemed unacceptable in the eyes of her parents,

percussive notes 41 JANUARY 2013 the marimba was considered to be an instru- publishing percussion music. She purchased generally of news value human interest stories, ment that still allowed an acceptable level of the company in 1996. After her death in 2004, having babies, giving cooking advice, modeling . Studio 4 Music was sold to Marimba Produc- in style shows, and so on.”58 She received her bachelor’s degree in percus- tions, Inc. Even as late as 1962, an article by John sion from University of Southern California, Although she did not continue performing Sherman in the American String Teacher jour- where she studied with William Kraft, her past the early 1980s, Pershing continued to nal claimed that and harp were the most greatest influence in music. “His influence teach and inspire her students until her death. appropriate instruments for women to play on me was primarily as my instruc- Ervin Pershing was an excellent role model for because the curves of the instrument match the tor. However, our lessons were much more young percussionists through her roles as a per- curves of a woman’s body. As for percussion, he involved and dealt with life and the arts and former, educator, and leader in the Percussive asserted, “women drummers and tympanists what music means.”51 She gave up pursuing Arts Society. scare me. These seem to be the Amazon type… a master’s degree in to follow her It’s just their striking power, and accuracy, to husband to Virginia. There she made a name WOMEN IN ORCHESTRAS say nothing of their well developed arm mus- for herself internationally as a marimba soloist, The 1920s saw the expansion of opportuni- cles, don’t go with moonlight and roses.”59 placing second in the Concours Internationale ties for women in the American music scene. A momentous breakthrough for women was d’Execution Musicale in Geneva, Switzerland. Starting in the mid-1920s, all-female orches- the introduction of screens in the pro- After following her husband back to Cali- tras emerged throughout the country. At the cess. Beginning in the early 1970s, most major fornia, then to Arizona, where she pursued a high point, there were approximately thirty. orchestras held blind . The number of master’s degree in composition, they divorced Although they lacked proper financial backing, women in orchestras rose dramati- in 1976. In the same year she began her teach- resulting in lower pay than major symphony cally, including in the percussion and timpani ing career as a part-time instructor of percus- orchestras, they provided performance op- positions. Nonetheless, certain gender stereo- sion at California State University, Northridge. portunities for many women. The all-women types continued. According to Beth Abelson From 1976–80, Karen Ervin was very active orchestras were quite popular with the general Macleod, in the 1980s 15 percent of brass and as a soloist and clinician, performing roughly public, yet were seen as “the novelty.”53 Musi- percussion orchestra musicians were women. In thirty concerts and clinics throughout the cologist Beth Abelson Macleod explained that contrast, 61 percent of flutists were female.60 United States each year.52 She was also very the popularity of these orchestras was “their active in PAS in the 1970s as a member of the oddity, an oddity derived from the perceived Elayne Jones Board of Directors and as Vice President. incongruity of women playing instruments Elayne Jones, born in New York City in In 1980, she married her second husband, usually reserved for men.”54 At the time, it was 1928, began her musical training at the age of taking his name, Pershing; he died of a heart considered odd for women to play any instru- six with piano lessons taught by her . attack within the year. After this staggering ment in the symphony orchestra, especially Jones was fortunate to attend Music and Art event, she turned to writing and published wind and percussion instruments. High School in New York from 1942 to 1945 seven romance novels under a pseudonym, Prior to the emergence of women’s orches- and was immediately accepted to Juilliard on and she contributed articles to Modern Percus- tras, there were no opportunities for women to a scholarship sponsored by . sionist and Modern Drummer magazines. She perform, since they were not permitted to join While at Juilliard, her percussion teachers were also published several solos and method books the all-male symphony orchestras. World War Morris Goldenberg and Saul Goodman. for marimba including Contemporary Solos II allowed openings for women in these all- During her time in New York, Jones per- for 4 Mallets, Mallet Duets for the Student and male orchestras due to the members’ deploy- formed with numerous ensembles such as the Teacher, and Contemporary Mallet Duets. Persh- ment. During the war, the number of women CBS Symphony, the Brooklyn Philharmonic, ing also began running Studio 4 Music, which in orchestras increased from 2 percent to 8 per- the Caramoor Festival Orchestra, the Sympho- was owned by Joel Leach and specialized in cent.55 These new positions that women gained ny of the Air, the Boston Women’s Symphony, were not maintained when the men returned. the New Jersey Symphony, the Westchester The first woman to hold a principal position in Symphony, and the Long Island Philharmonic, a wind or was flutist Doriot and she was one of the nine founding members Anthony Dwyer with the Boston Symphony in of the Symphony of the New World.61 Jones 1952.56 broke ground in percussion when she became The timpani were widely considered mascu- the first woman to perform with the New York line by the majority of audiences and critics. In City Orchestra, where she remained for an article written by Raymond Paige for Etude twenty-two years.62 She was also the timpanist magazine in 1952, he supposed that women for the American Symphony from its inception should not choose to play any instrument. He further clarified, “instruments requiring physi- cal force are a dubious choice, partly because women lack strength for them, partly because the spectacle of a girl engaging in such physi- cal exertions is not attractive.”57 In saying this, he completely disregarded the possibility of women percussionists. In the 1950s, women were not valued for their abilities as musicians, but were considered a valuable commodity for the public face of the orchestra. Quaintance Eaton, in an article for Musical America, pins the importance of women in orchestras on their capacity for Karen Ervin Pershing “participating in committee activities and being Elayne Jones percussive notes 42 JANUARY 2013 in 1962 until 1972. Founder of the American alive for those who have a mistaken perception more often filled the areas of voice, piano, Symphony, distinguished conductor Leopold of what classical music is and who plays it.”67 introductory courses, and music appreciation, Stokowski asserted: “Elayne Jones…is a very while men have historically been found in areas great artist. I know the timpani players in other Paula Culp such as orchestral , composition, countries and some of them are very great; but Born in Fort Smith, Arkansas in 1941, Paula music theory, percussion, trombone, and trum- she is equally great. She is one of the greatest Culp was one of the most successful pioneer pet.69 Incongruously, women have remained the in the world for her instrument, for technique, women percussionists in the orchestral field, minority in these fields even though the num- but particularly for imagination, because tim- yet very little is known about her professional ber of women earning advanced degrees has pani parts on the paper sometimes look very life. She studied percussion and timpani at grown. In 1970, 47.6 percent of M.A. degrees dry… She has to make it sound; she has to the Mozarteum in Salzburg and earned her in music were awarded to women; 16.3 percent make it suggest certain mysterious things or bachelor’s degree in 1963 from Oberlin, where of PhDs and DMAs were earned by women. very powerful things and she does that won- she studied with Cloyd Duff, and her master’s In a 1985 report, a rise in the completion of derfully.”63 degree from Indiana University in 1965 under advanced degrees can be noted where 50 per- Besides her many orchestral performances, the guidance of George Gaber. cent of M.A.s and 35.9 percent of the PhDs Jones maintained several teaching positions. Her career as an orchestral percussionist and DMAs were awarded to women.70 While in New York City, she taught at the began directly after graduate school when she Curiously, there is a large gap between Metropolitan , the Bronx Com- won the timpani position with the Metro- the degrees being earned by women and the munity College, and the Westchester Conser- politan Opera National Company. After two number of women holding university-level vatory of Music. Throughout her career she years with the Opera Company, in 1967 she percussion teaching positions. In a review of was also very active as a clinician and presented became principal percussionist with the India- tenure-track percussion positions from 1972 to more than 300 solo lecture demonstrations napolis Symphony Orchestra. Remaining with 1974, 6 percent of applied percussion positions of percussion instruments in schools and col- the ISO for only one season, Culp began her were held by women. This number increased leges.64 All this was accomplished as a single long-standing association with the Minnesota insignificantly in the 1986 report, which mother of three children. Symphony Orchestra in 1968. She was associ- showed that 6.5 percent of women in percus- In 1972, Jones earned the most prestigious ate principal timpanist and assistant principal sion tenure track positions were women.71 The position of her career as timpanist of the San percussionist with the symphony until retire- report also found that there were more women Francisco Symphony. Through the difficult ment in 1992. in string and wind areas and fewer in brass and audition process, Jones beat forty other people In addition to performing, Culp was very percussion. “This suggests that the sex-stereo- vying for the position. A pioneer for both active as a teacher. She taught percussion at typing of instruments continues, a process that women and African Americans, she was the DePauw University as a part-time professor often begins in grade school.”72 first African American to hold a principal spot from 1964 to 1966, as well as at the Univer- in a major symphony orchestra. sity of Minnesota for an unknown period of “It’s been a long struggle against two preju- time due to lack of employment records. Joni dices and it isn’t over yet,” she said. “I had to Sutton, a retired middle school band director prove that music could be played by anyone from Minnesota and student of Culp’s from who loves it… It’s been a terrible burden be- 1971 to 1976 at the , cause I always felt I had to do better, that I shared the impression of her teacher: “Paula wouldn’t be allowed the lapses other musicians Culp was a percussionist’s percussionist. She have.”65 worked hard, she played with meticulous atten- Jones served as principal timpanist until tion to detail, and she seemed to have no ego in 1974 when she was not granted tenure by the spite of her great talent and accomplishment. orchestra’s seven-member players committee. As a teacher, she demanded the best from her Furious with the decision, Jones sued the or- students and worked hard at her instruction. chestra for $50,000 and demanded tenure “for Lessons were all business, with no time wasted reasons of racism, sexism and jealousy.”66 She on socializing. As a young woman, I found her was granted employment for the 1975 season inspiring, but a bit intimidating. I respected her but was again denied tenure by the commit- so much that I had to get beyond my own self- tee the following season. The conductor, Seiji consciousness of playing in front of her. When Ozawa, originally argued that she deserved to I studied with men, they seemed to think I receive tenure, but in the 1976 season sided was ‘really good for a girl.’ With Paula, she with the committee. The case was dismissed in recognized that there was nothing odd about a court in 1977. woman wanting to be a percussionist, and the Remaining in San Francsisco, she played goal was to be ‘really good’ whatever one’s gen- with the San Francisco Opera and taught at der.”68 the San Francisco Conservatory. Jones was ac- It is very regrettable that more is not known tive in the Percussive Arts Society and present- of this historically significant woman in per- ed a clinic on opera percussion at PASIC ’80 in cussion. Unfortunately it is no longer possible San Jose, California. With a career that made to learn about Paula Culp’s life directly from inroads for women in percussion, it is regretta- her; she died at the age of 66 in St. Paul, Min- ble that she is most known for her controversy nesota. with the San Francisco Symphony. Jones was very passionate about her role as a classical mu- WOMEN IN ACADEME sician, and as D. Antoinette Handy explained, Success for women as college music profes- her “object was to bring people into the world sors has been challenging to achieve, particu- of symphonic music and to make music come larly in the field of percussion. Women have

percussive notes 43 JANUARY 2013 Charmaine Asher-Wiley drawn to the rhythm in music and reminisced, was one of the first women college percussion Charmaine Asher-Wiley grew up in the “I was so crazy about rhythm, I marched chick- professors in the United States. Louisville, Kentucky area and became one ens around the chicken house beating on a pie Mathesen admitted that she had not always of the first female percussion professors. She plate with a stick.”79 Mathesen’s first instru- wanted to be a teacher, and at the beginning received her bachelor’s and master’s degrees in ment was the violin. When girls were finally of her career, “I wanted to play, but I got mar- percussion from the Eastman School of Music, admitted into her school’s band program in ried.”83 When her children were small she studying with professor William Street. Ac- 1952, she immediately jumped at the chance to would attempt to return to school to practice in cording to one of her students, percussionist play percussion. the evening; however, with the responsibilities Rebecca Kite, before beginning her career as a Her first introduction to percussion was not of marriage and children, she was not able to professor, “She toured as a marimba soloist and a traditional one. She explained, “I didn’t even pursue her interest in performance. She con- was the timpanist of the New Orleans Sym- get to practice with the band. He [the band sidered timpani to be her primary instrument, phony.”73 Kite also stated that Asher-Wiley director] put me in the uniform storage closet on which she gained most of her performance was a member of the Kansas City Symphony, with a music stand, a practice pad, a pair of 2B experience in symphonic settings. but the author was unable to obtain her dates sticks, and my Haskell Harr book, and he said, Through her dedication as a teacher, the of tenure for these orchestras. ‘Do what it says.’”80 This was the only formal percussion studio grew and flourished. One of As a marimba soloist, Asher-Wiley per- instruction in percussion she would receive un- her goals as a teacher was to expose students to formed throughout the country at many til college. what was occurring in the rest of the percus- universities and appeared with symphony or- Even though Mathesen’s early years in sion world. She would regularly take students chestras under the direction of such conductors percussion were not ideal, she managed to to PASICs so they would encounter new expe- as Leopold Stokowski, Howard Hanson, Percy teach herself enough to pursue music in col- riences not available to them at UTM. One of Grainger, Isler Solomon, Harry John Brown, lege. She graduated from Lamar University in her past students and her successor at UTM, Victor Benjamin Swallin, Skitch Hender- Beaumont, Texas. Upon graduation she mar- Dr. Julie Hill, explained the influence Nancy son, Jose Iturbi, Federick Fennell, and Victor ried, began teaching primary school music, and had on her life: “The thing I’m most proud of is Borge.74 Stokowski exclaimed, “In my opinion eventually earned her master’s degree in music that she always said she never taught anybody she is first-class as a marimbist. I can recom- from the University of North Texas. After the like her, but she said teaching me was like mend her from a musical standpoint without completion of her second degree, she learned looking in a mirror. That was one of my proud- reservation.”75Asher-Wiley was an active edu- that she was pregnant. est moments.”84 cator and the first professor of percussion at the Shortly after the birth of their first child, Kevin Lambert, who served as a director of University of Missouri, Kansas City (UMKC), Mathesen’s husband took a job at the Univer- the music department while Mathesen where she taught from 1959 to 1992. Early in sity of , Martin (UTM). When they was a professor, said, “Students left her studio the program there were very few percussion arrived, there was not a professor of percussion with excellent technique, a high level of mu- majors, yet she was very creative in involving position, and the only instruments available sicianship, a tremendous work ethic, and true students from outside the Conservatory of were an “old Jenco , chimes, and a regard for their art and their vocation. And Music. Kite explained that while the percussion very old set of Slingerland timpani.”81 After Nancy was somehow able to get these results studio typically included eight to ten students, the director of the music department at UTM while still maintaining a caring, even loving re- the included over twenty- heard a community performance by Mathesen, lationship with her students, who reciprocated five students. “There were people from dental she asked her to begin teaching percussion. In the feeling. In my thirty-five years in education, school or going to med school that played in 1966, she started with only one student and Nancy is among the finest teachers I have ever the ensemble, and some of them were great “the longest title on campus: Professor of Mu- worked with. Her heart, her skill, and her care players.”76 During her time at UMKC, Asher- sic on a Temporary and Part-Time basis.”82 She were limitless and unparalleled.”85 Wiley established one of the first marimba Professor Mathesen was a very influential chamber ensembles and the first dance drum role model to many of her students and, as one quintet in the country.77 In addition to her of the first female percussion professors, ad- roles as educator and performer, Asher-Wiley vanced the progress of women in the field. was a composer. Her compositions include CONCLUSION “ for Percussion,” “Rudimental Cavalcade,” “Caprice for Five,” “Improvisations The author hopes that this article has dem- for Dance Drum Quintet,” and “Artistry for onstrated how several American women have Five.” been historically significant to the field of In a time when there were very few women percussion. While many gaps in the research in the percussion field, performance image remain, common challenges these women faced and femininity were carefully scrutinized. The include the selection of percussion against director of the Kansas City Philharmonic Or- established gender-biases, the lack of women chestra, Hans Schweiger, touted Asher-Wiley’s as models, discrimination in a male-dominated ability as a musician but also placed importance career, and the difficult choice between profes- on her appearance. “Charmaine Asher is an sionalism and domesticity. extraordinary musician who combines a fine ENDNOTES talent with a charming personality. Her attrac- tive appearance and unfailing musicianship win 1. Dickerson, James L. Just for a Thrill: Lil Hardin her friends the moment she steps on stage.”78 Armstrong, First Lady of Jazz. New York: Cooper Square Press, 2002. Nancy Mathesen 2. Stewart, Alex. Making the Scene: Contemporary Raised in Beaumont, Texas, Nancy Mathe- New York City Jazz. Berkeley: University sen grew up listening to her mother teach of California Press, 2007. private piano lessons. She was immediately Nancy Mathesen 3. Dahl, Linda. Stormy Weather: The Music and Lives percussive notes 44 JANUARY 2013 of a Century of Jazzwomen. New York: Pantheon Creston’s Concertino for Marimba Opus 21: An Women in American Music: Performers and Books, 1984. Interview with Ruth Stuber Jeanne.” Percussive Teachers.” Music Educators Journal 70 (April 4. Ibid. Notes 14 (1975): 22–23. 1984): 31–35. 5. Handy, D. Antoinette. The International Sweet- 35. Ibid. 54. Macleod, Beth Abelson. “Whence Come the hearts of Rhythm: The Ladies Jazz Band from Piney 36. Smith, “The Birth of the Creston Marimba Con- Lady Tympanist? Gender and Instrumental Mu- Woods Country Life School. Lanham, MD: Scare- certo: An Interview with Ruth Jeanne.” sicians in America, 1853-1990.” Journal of Social crow Press, 1998. 37. Kite, Rebecca. “The Marimba in Carnegie Hall History 27 (Winter 1993): 291–308. 6. Ibid. and Town Hall from 1935–62.” Percussive Notes 43 55. ______. Women Performing Mu- 7. Placksin, Sally. American Women in Jazz: 1900 to (August 2005): 50–54. sic; The Emergence of American Women as Classical the Present, Their Words, Lives and Music. New 38. Zeltsman, Nancy. “Musings on the Marimba and Instrumentalists and Conductors. Jefferson, NC: York: Seaview Books, 1982. Its Study, 1997/Part 1.” Percussive Notes 35 (Octo- McFarland, 2001. 8. Dahl, Stormy Weather: The Music and Lives of a ber 1997): 51–59. 56. Gilbert, Ann Curtis. “Women in the Big Five Century of Jazzwomen. 39. Strain, James A. “Vida Chenoweth.” Percussive Orchestras: An Exploratory Study of the Factors 9. West, Hollie I. “A Different Drummer: The Crisp Notes 31 (December 1994): 8–9. Affecting Career Development.” PhD diss., The Jazz Beat of Dottie Dodgion.” Washington Post, 40. Kite, Rebecca. Keiko Abe: A Virtuosic Life. Lees- University of Akron, 1994. May 18, 1979, B1 and B13. burg: GP Percussion, 2007. 57. Paige, Raymond. “Why Not Women in Orches- 10. Ibid. 41. Phillips, Laura LeAnn. “Vida Chenoweth and tras?” Etude 70 ( January 1952): 14–15. 11. Placksin, American Women in Jazz: 1900 to the Her Contributions to Marimba Performance, 58. Eaton, Quaintance. “Women Come Into Their Present, Their Words, Lives and Music. Linguistics, and Ethnomusicology.” DMA diss., Own in Our Orchestras.” Musical America 75, 12. Dahl, Stormy Weather: The Music and Lives of a University of North Carolina at Greensboro, (1955): 30, 179, 183. Century of Jazzwomen. 2000. 59. Sherman, John K. “Women Harpist or Cellist is 13. Enstince, Wayne and Janis Stockhouse. Jazz- 42. Ibid. Top Sight at Concerts.” American String Teacher women: Conversations with Twenty-one Musicians. 43. Stevens, Leigh Howard. “An Interview with Vida 12 (March–April 1962): 102. Bloomington: Indiana University Press, 2004. Chenoweth.” Percussive Notes 15 (Spring/Summer 60. Macleod, “Whence Come the Lady Tympanist? 14. Ibid. 1977): 22–25. Gender and Instrumental Musicians in America, 15. Ibid. 44. Ibid. 1853–1990.” 16. Dahl, Stormy Weather: The Music and Lives of a 45. Kastner, “The Emergence and Evolution of a 61. Larrick, Geary. Biographical Essays on Twentieth- Century of Jazzwomen. Generalized Marimba Technique.” Century Percussionists. Lewiston, NY: Edwin Mel- 17. Enstice and Stockhouse, Jazzwomen: Conversa- 46. Stevens, “An Interview with Vida Chenoweth.” lin Press, 1992. tions with Twenty-one Musicians. 47. Strain, “Vida Chenoweth.” 62. Harvey, Duston. “People in Percussion; Elayne 18. Gourse, Leslie. Madame Jazz: Contemporary 48. Ibid. Jones—Timpanist.” Percussive Notes 12 (Fall Women Instrumentalists. New York: Oxford Uni- 49. Petercsak, Jim. “I Love to Play… PAS Interview 1973): 17. versity Press, 1995. with Karen Ervin, Solo Percussionist.” Percussive 63. Stokowski, Leopold. “They Are Always Ner- 19. Brown, Richard. “Terri Lynne Carrington,” Notes 15 (Winter 1977): 23–24. vous.” Music and Artists 4 ( January 1972): 11–12. Down Beat 46 (March 22, 1979): 32–34. 50. Ibid. 64. Larrick, Biographical Essays on Twentieth-Century 20. Carrington, Terri Lynne. “A View From My 51. Ibid. Percussionists. Side of the Drumset.” Percussive Notes 41 (August 52. Lyman, Kristin. “In Memoriam: Karen Ervin 65. Reed, Teresa L. “Black Women in .” 2003): 19-20. Pershing.” Percussive Arts Society. http://pas.org/ Black Women and Music: More than the , 21. Ibid. News/memoriam/pershing.cfm. Accessed Sep- 179–196. Edited by Eileen M. Hayes and Linda 22. Ibid. tember 25, 2010. (No longer available.) F. Williams. Urbana: University of Illinois Press, 23. Enstice and Stockhouse, Jazzwomen: Conversa- 53. Hinley, Mary Brown. “The Uphill Climb of 2007. tions with Twenty-one Musicians. 24. Carrington, “A View From My Side of the Drumset.” 25. Ibid. 26. Stone, George Lawrence. “For Ladies Only.” Ja- cobs’ Orchestra Monthly 8 (February 1923): 91–92. 27. Handy, D. Antoinette. Black Women in American Bands and Orchestras. 2nd ed. Lanham, MD: Scarecrow Press, 1998. 28. Eyler, David P. “The History and Development of the Marimba Ensemble in the United States.” DMA diss., Louisiana State University, 1986. 29. Eyler, David P. “Development of the Marimba Ensemble in North American During the 1930s.” Percussive Notes 34 (February 1996): 66–70. 30. Ibid. 31. Kastner, Kathleen Sherry. “The Emergence and Evolution of a Generalized Marimba Technique.” DMA diss., University of Illinois, 1989. 32. Smith, Sarah. “The Birth of the Creston Ma- rimba Concerto: An Interview with Ruth Jeanne.” Percussive Notes 34 (April 1996): 62–65. 33. Ibid. 34. Hixson, Shirley. “From Whence Came Paul

percussive notes 45 JANUARY 2013 66. Handy, Black Women in American Bands and Or- chestras. 67. Ibid. 68. Joni Sutton, email message to author, February 13, 2010. 69. Jezer, Rhea. “Women in Academe: A Qualitative Percussive Arts Society Study of Departments.” PhD. diss., Syracuse University, 1995. 70. Ibid. Announces 71. Block, Adrienne Fried. “The Status of Women in College Music, 1986–87: A Statistical Report.” In Women’s Studies/Women’s Status, 81–158. Boulder CO: The College Music Society, 1988. 72. Ibid. 73. Rebecca Kite, interview with Meghan Aube, No- 2013 vember 10, 2010, Indianapolis, Indiana. 74. Sheri Baker, “Charmaine Asher-Wiley,” Univer- sity of Missouri Kansas City Archives, 1. 75. Kite, Interview. 76. Baker, “Charmaine Asher-Wiley.” Marching 77. Ibid. 78. Ibid. 79. Nancy Mathesen, interview by Meghan Aube, August 10, 2010, Hernando, Mississippi. 80. Ibid. Percussion 81. Ibid. 82. Ibid. 83. Ibid. 84. Julie Hill, telephone interview with Meghan Aube, September 24, 2010. Composition 85. Kevin Lambert, email message to author, Sep- tember 30, 2010.

Meghan Aube received her B.M. degree from the University of Alaska, Anchorage. She con- Contest tinued her education at the University of Iowa under the instruction of Professor Dan Moore, where she earned her DMA in percussion performance and pedagogy in 2011. Aube has taught at the Amman National Conservatory in Jordan and the Lutheran Summer Music Established to promote and Academy and Festival. In June of 2013 she will be a featured performer at the College Music recognize the highest level Society International Conference in Buenos Aires, Argentina. Aube resides in Palmer, Alas- of composition. ka, where she works as a percussion educator, freelance performer, choral director, and profes- sor at Matanuska-Susitna College. PN Rotating categories to include Drumline, Battery and Winning Compositions will be published

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percussive notes 46 JANUARY 2013 percussive notes 47 JANUARY 2013