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Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists

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Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists Please do not remove this page Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists Gutierrez, Sheena https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12379289290002976?l#13379289280002976 Gutierrez, S. (2021). Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031572783502976/01UOML_INST:ResearchR epository Open Downloaded On 2021/09/27 08:36:18 -0400 Please do not remove this page UNIVERSITY OF MIAMI GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN INSTRUMENTALISTS By Sheena Gutierrez A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2021 ©2021 Sheena Gutierrez All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN STRING PLAYERS Sheena Gutierrez Approved: ________________ ________________ Charles Castleman Jennifer Grim Professor of Instrumental Performance Associate Professor of Instrumental Performance ________________ _________________ Gerard Schwarz Guillermo Prado, Ph.D. Professor of Music, Conducting and Dean of the Graduate School Orchestral Studies ________________ Valerie Coleman Assistant Professor of Performance, Chamber Music and Entrepreneurship GUTIERREZ, SHEENA (D.M.A., Instrumental Performance) (May 2021) Gender Bias Among the Big Five Orchestras – As Illustrated in Hiring Practices of Women Instrumentalists. Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Charles Castleman. No. of pages in text. (109) To a great extent, women's dismissal from becoming professional classical musicians as orchestral instrumentalists, as college or conservatory students, or as composers and conductors has always been evident. Women have been subject to limitations and prescriptions as they have been encouraged as amateurs but not as professionals. As instrumentalists, women faced restrictions because of the sexual stereotyping of instruments. Women were required to select feminine instruments, which would not require any alteration, facial expression, or physical demeanor. Hence, keyboard instruments such as a harpsichord and the piano were especially desirable because they could be played at home. Other feminine instruments include the viol and the lute in the Renaissance and the Baroque eras, and the harp and the guitar in the Classical and Romantic periods. Admittedly, before the rise of conservatories in Europe and the United States in the late eighteenth and nineteenth centuries, women musicians typically came from a limited number of backgrounds: the convent, the aristocracy, or musicians' families nurtured their daughter's talents as well as their sons. As concert artists, women keyboard performers, and violinists found acceptance beginning in the eighteenth century, thereby recognizing women of their subtle interpretive powers as instrumentalists. As solidified groups, orchestras and other ensembles remain close to all-male affairs, resisting diversity and evolution. Subsequently, the all-female orchestra and chamber ensembles of the late 19th and 20th centuries proved positive ways in which women players and conductors reacted to the exclusion and found experience and employment by advancing their institutions. In the years after World War II, women gradually gained access to professional symphony orchestras. However, women continue to experience gender bias and discrimination as professional musicians. Data was obtained for this study using findings from Goldin and Rouse's methodology, which consisted of an individual fixed-effect framework. In addition, to see the change, if any, data was collected from orchestra rosters surveyed online. All rosters consulted included photos eliminating any possible concern of a player's gender. This study aimed to create awareness about women's struggles as they shape their classical music performance careers. It does not intend to trace women's entire history but does outline parts in history essentially to showcase the progress of women's acceptance in the professional orchestral field. It explores the change of hired orchestral women throughout the twentieth and twenty-first centuries. DEDICATION To my parents – Mother, Mercedes Gutierrez, Father Juan Carlos Gutierrez Their constant love and support move me beyond words. iii ACKNOWLEDGEMENTS There are many people to thank for bringing this research to fruition. I want to thank anyone and everyone who lent me support and encouragement along this project's very long road to completion. Firstly, I would like to acknowledge a huge debt of gratitude to my supervisor, Professor Charles Castleman, who, without his constant support, encouragement, and thoughtful feedback throughout the research and writing process, would not be possible to complete this project. I want to thank my committee, Jennifer Grim, Valerie Coleman, and Gerard Schwarz, for their thoughtful and in-depth feedback on this research. It has helped make it a more decadent analysis and a substantial writing piece. To my parents for helping me get where I am today through love and support of many kinds; and my brother's everlasting encouragement and love - I would not be a strong woman without both of you. I owe a massive amount of appreciation to my husband, Stepan Rudenko, who patiently supported me during this journey. Thank you for those early mornings and long nights, calmly listening to me think out loud, read through endless drafts, and spurring me on through difficult moments in life. iv TABLE OF CONTENTS Page LIST OF FIGURES ..................................................................................................... vii LIST OF TABLES ....................................................................................................... viii INTRODUCTION ....................................................................................................... 1 Chapter 1 OUT OF OBSCURITY: REPRESENTATION OF WOMEN IN MUSIC…… 8 Historical and Liturgical Origins……………………………………………… 8 The Venetian Conservatories…………………………………………………. 13 The Eighteenth Century: the Domestic Spirit...………………………………. 17 The Nineteenth Century: the Unseen Rise of Women………………………… 22 Gender Stereotyping of Instruments.…………………………………………. 24 Education………………………………...…………………………………… 25 The Emergence of Lady Violinists...…………………………………………. 27 2 A TIME OF CHANGE: WOMEN IN ORCHESTRA….……………………. 33 Women’s Orchestras…………….....…………………………………………. 35 Should Women Perform in the Same Orchestra with Men?.…………………. 41 Blind Auditions……………………………………………….………………. 44 Discrimination in the Orchestral World...…...…..……………………………. 46 3 FORMULATING THE METHOD: HOW TO ILLUSTRATE WOMEN’S REPRESENTATION IN ORCHESTRAS ...................................................... 52 Plan of Inquiry ................................................................................................. 52 Study Research Design .................................................................................... 53 Subjects ............................................................................................................ 53 Sampling Design .............................................................................................. 54 Measure ............................................................................................................ 54 Procedure ......................................................................................................... 55 Limitations ....................................................................................................... 58 Delimitations .................................................................................................... 58 Definitions for the Study .................................................................................. 59 4 CURRENT REPRESENTATION OF WOMEN IN THE BIG FIVE ORCHESTRAS………………………………………………………………. 61 v The New York Philharmonic………………………………………………... 61 The Boston Symphony Orchestra…………………………………………… 64 The Chicago Orchestra………………………. ............................................... 68 The Philadelphia Orchestra………………………………………………….. 72 The Cleveland Orchestra…………………………………………………….. 76 The Big Five: Combined Data…………………………………………….…. 81 5 UNLEARNING IMPLICIT BIAS ................................................................... 85 Recommendation for Further Study................................................................. 92 Can you “Debias”? ........................................................................................... 93 BIBLIOGRAPHY…………………………………………………….……………... 96 APPENDIX…………………………………………………….……………............. 102 vi LIST OF FIGURES Page Figure 1: Odysseus and the Sirens…………………………………………………… 9 Figure 2: Claudin de Sermsy – Chanson (Flutes)……………………………………. 11 Figure 3: Ladies’ Concert at the Philharmonic Hall…………………………………. 15 Figure 4: Silhouette of Regina Strinasaachi Schlick…………………………………. 17 Figure 5: Courtship by the Piano……………………………………………………... 19 Figure 6: Portrait of Maria Anna “Nannerl” Mozart…………………………………. 20 Figure 7: Farmer Giles and his wife showing off their daughter Bettey……………… 22 Figure
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