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Composer Gender Diversity in Instrumental

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Composer Gender Diversity in Instrumental Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Trevor Marcho Graduate Program in Music The Ohio State University 2020 Dissertation Committee Professor Eugenia Costa-Giomi, Advisor Professor Daryl W. Kinney Professor David M. Hedgecoth 1 Copyrighted by Trevor Marcho 2020 2 Abstract Music composed by women is underrepresented in the repertoire of professional orchestras and in school instrumental music ensembles. The purpose of the present investigation was to explore this disparity. Five studies were conducted to explore different facets of the complex landscape comprising issues of gender in music composition and their impact on musical culture and society. Study 1 focused on statistics from multiple sources, including the League of American Orchestras, WOSU Classical 101 Public Radio and the Pulitzer Prize in Music showing that although a growing number of women composers are gaining repute and acclaim, women are still grossly under-represented among composers of music for professional music ensembles. Study 2 examined the thoughts, beliefs and experiences of experts in the field of professional classical music and in post-secondary schools of music. Results suggest that educational institutions and professional orchestras tend to program familiar music which inhibits programming innovation; however, participants acknowledge their responsibility for enacting social change through progressive programming practices with the help of advocates for women composers. Study 3 aimed to examine the thoughts, ideas and beliefs held by audiences of live professional orchestras about why the gender disparity in music composition exists. Patriarchal traditions were perceived to be the most important reason for the disparity particularly for those with graduate degrees. Study 4 sought to examine the thoughts and beliefs held by ii instrumental school music educators about gender-balance in their curricula. Findings show that barriers exist in identifying and acquiring music composed by women. Additionally, demanding performance schedules obligate teachers to maintain the status quo regarding the composers they choose and leave little time and energy for teachers to explore new and progressive programming practices. Study 5 explored school music directors’ beliefs about their roles as leaders for transformative social change and their current and past curricular practices, as well as the value of professional training specifically designed to transform such practices. Findings suggest that teachers perceive themselves as transformative leaders, that they value opportunities to learn about progressive programming, and adopt changes in programming if provided with support and resources. The results of the investigation showed that the programming practices by professional orchestra administrators and by music educators favored well-known male composers over female composers. Furthermore, descriptions of their experiences and beliefs regarding the lack of representation of music composed by women in both professional and educational musical settings revealed that they acknowledge their roles as leaders for social change. Barriers including market forces, demanding teaching schedules and sheet music purchasing practices inhibit their effectiveness in enacting change. More resources may be needed, especially by beginning band directors, that would enable discovery and acquisition of ability-level appropriate music composed by women. iii Dedication Dedicated to my loving wife, partner and companion, Lynn, for her unshaking support and faith in me. iv Acknowledgments I owe a great debt of gratitude to my family for their love and support, and particularly to my wife, Lynn, for encouraging me to reach higher than I ever thought I could. You have all shaped me into who I am and I cannot repay you for that. To my advisor and mentor Eugenia Costa-Giomi, thank you for your guidance, and for being kind, honest and encouraging throughout my journey. I have grown in ways that I never thought possible, and I cannot possibly thank you enough for the opportunities you have provided me. To Daryl Kinney, thank you for your advice and guidance throughout my coursework. I have always valued your insight and thoughtfulness. To David Hedgecoth, thank you for being a sounding board and for always saying “yes” when I asked for your time and energy. To the friends and colleagues I have made while at OSU, thank you for our talks, coffee runs, lunches and dinners, and chats around the office. To Brent Fisher, I have enjoyed going through this journey with you from the time we first met at our interview. Best of luck, and I know we will remain close. Finally, thank you to all the people who participated in this research, by granting interviews and allowing me access to your worlds. This work is not possible without you all. v Vita 1979…………………………………………Born – Bangor, Maine 2008…………………………………………B.M.E. Music Education University of Maine, Orono 2013…………………………………………M.M. Music Conducting University of Maine, Orono 2017-2019…………………………………...Graduate Research Associate Music Education, The Ohio State University 2019-2020…………………………………...Fellow, Global Arts and Humanities Discovery Theme, The Ohio State University Fields of Study Major Field: Music vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita ..................................................................................................................................... vi List of Tables ..................................................................................................................... xi List of Figures ................................................................................................................... xii Chapter 1. Introduction ....................................................................................................... 1 The Investigation ............................................................................................................ 4 The Five Studies ......................................................................................................... 6 The Researcher: Positionality and Managing Subjectivity ....................................... 11 Context of the Investigation: General Literature Review ............................................. 12 Gender disparities and sexism in classical music ..................................................... 12 Historical considerations ........................................................................................... 15 Gender Roles in Music Classrooms .......................................................................... 21 Social Responsibility and Teachers .......................................................................... 23 Chapter 2. Women Composers in the World of Music Performance .............................. 27 Abstract ......................................................................................................................... 27 Introduction and Literature Review .............................................................................. 27 Method .......................................................................................................................... 33 League of American Orchestras................................................................................ 33 WOSU Classical 101 Radio ...................................................................................... 34 The Pulitzer Prize ...................................................................................................... 36 Results ........................................................................................................................... 37 vii League of American Orchestras................................................................................ 37 WOSU Classical 101 Radio ...................................................................................... 41 The Pulitzer Prize in Music....................................................................................... 45 Summary and Conclusions ........................................................................................... 46 Chapter 3: Gender Inequity in Classical Music: Interviews with Experts in the Field..... 50 Abstract ......................................................................................................................... 50 Introduction ................................................................................................................... 50 Method .......................................................................................................................... 53 Participants ................................................................................................................ 54 Trustworthiness ......................................................................................................... 56 Data Collection and Analysis...................................................................................
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