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©Copyright 2015 Anna Edwards ©Copyright 2015 Anna Edwards Gender and the Symphonic Conductor Anna Edwards A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2015 Reading Committee: Tim Salzman, co-chair David Alexander Rahbee, co-chair Judy Tsou Program Authorized to Offer Degree Music University of Washington Abstract Gender and the Symphonic Conductor Anna Edwards Co-Chairs of the Supervisory Committee: Professor Timothy Salzman Professor David Alexander Rahbee School of Music Current statistics from American Symphony Orchestra League and College Music Society show the continued vast disparity of professional orchestra music director positions held by men versus women. The purpose of this study is to understand why so few women occupy leadership positions in the conducting arena and to identify traits that emerging female conductors and conducting teachers should consider to support female growth and success. Methods used include: ethnographic research involving current conducting students at the Pierre Monteux School of Music (2012), critical ethnography of current male and female professional conductors and conducting teachers, a quantitative questionnaire survey developing new data concerning professional symphony musicians, and finally, analysis of emergent themes from the above research. Methods are preceded with a general history of women in music and in conducting in the United States. Interview transcription analysis illuminated four emergent themes concerning women in the conducting profession: physical presentation, gesture, i leadership, and the desire for more women. General subjects covered: advantages of female conductors, current changes in the conducting field involving gender, dress expectations, gendered gesture, double standards, conducting pedagogy issues, and personal observations of current gender norms and practices in conducting. ii List of Figures Figure 2.1 Atlantic Garden Sacred Concert Program, 1877 16 Figure 2.2 Caroline B. Nichols and the Fadettes Woman’s Orchestra of 21 Boston, publicity flyer 1 Figure 2.3 Caroline B. Nichols and the Fadettes Woman’s Orchestra of 22 Boston, publicity flyer 2 Figure 2.4 Leginska, “Next Bowl Feature” 28 iii List of Tables Table 1.1 League of American Orchestras 2012-2013 Orchestra 2 Ensemble Thresholds Table 2.1 Women’s Orchestras in the U.S. 1925-1945 34-36 Table 3.1 Selected Orchestras for Professional Musician Survey 59 Table 4.1 Professional Musician Survey - Male/Female Conductor Attire 69 Affects Musicians’ Perception of Leadership Table 4.2 Does male (masculine) or female (feminine) conductor gestures 85 affect musicians’ perception of leadership? Table 4.3 Gestures and Gender Identification 86 Table 4.4 Females are capable of conveying strength of musical 91 character and fortissimo gesture in music as much as males. Table 4.5 Conductor impression 106 Table 4.6 Leadership qualities/characteristics that you want in your 107 conductor Table 4.7 Leadership characteristics 121 Table 4.8 Mark the statement(s) you feel are the leading reasons why 122 there are not more female in the professional conducting arena. Table 4.9 Gallup Poll (2013) - Americans’ Preference for Gender of Boss, 123 1953-2013 Table 4.10 Statistics of women conductors in orchestras listed in the League 125 of American Orchestras (group 1 – group 8) Table 4.11 Professional Musician Survey - Conductor preference 126 Table 4.12 Professional Musician Survey - Conductor Preference (with 127 divided current music directors) Table 4.13 Gallup Poll (2013) - Americans’ Preference for Gender of Boss, 128 by Select Groups iv Appendices Appendix A: Institutional Review Board Approval Pierre Monteux Study 156 Appendix A1 - Information Statement to Pierre Monteux Students 157 Appendix A.2 - Semi-Structured Interview Protocols 158 Appendix A.3 - Interview Consent Form 159 Appendix A.4 - Verbal Script 162 Appendix A.5 - Pierre Monteux Letter of Cooperation 163 Appendix A.6: Pierre Monteux School Conducting Interview Transcriptions Curt 164 Larry 172 Julia 178 Martha 188 Marie 194 Kim 199 Kate 204 Mark 211 Julian 216 Steve 230 Russ 236 Appendix B: Institutional Review Board Approval Professional Conductor 246 Interview Appendix B.1 - Professional Conductor Questions 247 Appendix B.2 - Interview Consent Email 249 Appendix B.3 - Project Abstract 250 Appendix C: Institutional Review Board Approval Professional Musician 251 Survey Appendix C.1 - Letter to Symphony Managers 252 Appendix C.2 - Symphonic Musician Survey 253 Appendix C.3 - Project Abstract 259 Appendix C.4- Letter to Orchestra Musicians 260 Appendix D: Survey Orchestras 261 Appendix E: Professional Musician Survey Results 263 Appendix F: 2014 Conductor Statistics according to gender listed in the 284 League of American Orchestras (group 1 – group 8) v Acknowledgements I would like to dedicate this work to the men in my life. To my dad, Larry Edwards, who passed away during the second year of my DMA program, you allowed me the gift of music and provided a fascinating family life to develop the fortitude and strength of my character. I miss you every day. To my husband, Russ Browne, who made this musical journey possible, your absolute love and support has grounded me and provided a path for me to follow my dreams and my passions. To my son, Julian Garvue, you fill my heart with love and joy. You are the reason I believe anything is possible. And finally, to Michael Jinbo, you inspired me to love conducting. I have appreciated your mentorship and am thankful that you helped me learn how to watch, question, and teach myself. I would like to thank and extend my love and appreciation to my family, friends, and students for their unending confidence that I could actually complete this project. I would like to thank my mom, Jan Edwards, and two sisters, Evan Smith and Amy Edwards, who truly understand and share my strong-mindedness and determination. I would like to thank my stepson Curt Johnson-Browne and stepdaughter Drea Garvue for their support and love. I would like to thank my wonderful friends Kate Labiak, Martha Buldain, and Scott Brown for their friendship and many drinks to get me through this project. I would like to thank my fabulous Roosevelt High School students who have watched, endured, and encouraged me through my ups and downs. And finally, I would like to thank my good friend Rachel Swerdlow for her encouragement and editorial help and Louisa Peck who helped me finish. vi This project would not have been possible without the help and support of the students and staff at the Pierre Monteux School. It was such a pleasure to have the opportunity to talk and get to know so many wonderful musicians. I also would like to thank the professional conductors for their interviews: JoAnn Falletta, Victoria Bond, Diane Wittry, Susan Deaver, Kate Tamarkin, Gustav Meier, Nicholas Caoile, and Michael Jinbo. I have absolute respect for the work that each of you performs. Thank you for your openness, your input, and your thoughts concerning this subject. Finally, I would like to thank the members of my committee, Professor Tim Salzman, Dr. David Rahbee, Dr. Judy Tsou, Dr. Marjorie Olmstead, and Professor Ronald Patterson. vii TABLE OF CONTENTS ABSTRACT…………………………………………………………………………………………………………..i LIST OF FIGURES……………………………………………………………………………………………….iii LIST OF TABLES……………………………………………………………………………………………………..……..iv APPENDICES………………………………………………………………………………………………………………....v ACKNOWLEDGEMENTS………………………………………………………………….………………………........vi 1. INTRODUCTION ............................................................................................................................. 1 1.1 PURPOSE..........................................................................................................................................................3 1.2 ASSUMPTIONS AND LIMITATIONS ..............................................................................................................4 1.3 DEFINITION OF TERMS.................................................................................................................................5 2. HISTORICAL OVERVIEW.............................................................................................................. 7 2.1 MUSIC IN THE LIFE OF A LADY PRE - 1871.............................................................................................7 2.2 WOMEN AS THE PROMOTERS OF CULTURE ............................................................................................9 2.3 WOMEN’S CLUB MOVEMENT (1869 – 1924 ROSSINI – FADETTE) ...................................................9 2.4 VIENNA LADIES ORCHESTRA – PREDECESSOR OF CAREER MODEL ORCHESTRAS – 1871......... 11 2.5 CAREER AND CLUB MODEL ORCHESTRAS – (1871 – 1924) ........................................................... 13 2.5.1 Ladies Elite Orchestra – Career Model (New York, 1880 – 1916).................................14 2.5.2 Club Model.............................................................................................................................................17 2.5.3 Los Angeles Women’s Orchestra (1893 – 1945) – Club Model .......................................18 2.6 FADETTE LADIES’ ORCHESTRA (1888 – 1920; 1924) – THE HYBRID ORCHESTRA LEADING TO THE FIRST PROFESSIONAL FEMALE CONDUCTOR ............................................................................................ 19 2.7 AMERICAN WOMEN CONDUCTORS – THE RISE OF THE FIRST PROFESSIONAL FEMALE CAREER MODEL
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