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The Music of Miriam Gideon during the McCarthy Era, Including a Complete Catalogue of her Works Mary Robb Doctor of Philosophy in Musicology The University of Edinburgh 2012 DECLARATION I hereby declare that this thesis, submitted in candidature for the degree of Doctor of Philosophy at the University of Edinburgh, and the research contained herein is of my own composition, except where explicitly stated in the text, and was not previously submitted for the award of any other degree or professional qualification at this or any other university. Mary Robb, 3rd May, 2012 ii ABSTRACT This thesis considers the musical response of the American composer, Miriam Gideon to political events during the McCarthy era. It examines the interrelationships between politics, society and culture and considers how these are reflected in two works, Epitaphs from Robert Burns (1952) and Altered Steps to Altered States (1953) that Gideon composed during this period. Specifically, this thesis focuses on Gideon’s transition from teaching and composing music within an academic setting to preparing for life in a musical world, without support from mainstream academic institutions. Following the Introduction, Chapter 2 documents the rise of anti-communist practices on campus at Brooklyn College and City College, New York City where Miriam Gideon held music teaching posts. It reconstructs the personal events that led to the loss of both of these appointments and examines how and why this occurred. It is argued that Gideon entered a period of ‘inner exile,’ and this concept and its consequences for Gideon are explored in Chapter 3. An examination of her private diaries demonstrates that the effects of the McCarthy era were not only physical, but also psychological and social. Chapters 4-6 consider Gideon’s music through the perspective of inner exile and aim to show that the music that she wrote was a reflection of her experiences. Gideon’s return to academia in 1955 and her rehabilitation back into the academy are discussed in Chapter 7. A complete list of Gideon’s compositional output is included and is organised chronologically, alphabetically and by genre. This thesis examines new documents not previously available to scholars, and includes interviews conducted by the author with Gideon’s former students and colleagues. iii ACKNOWLEDGEMENTS I am deeply indebted to my academic advisers Professor Peter Nelson and Dr. Elaine Kelly in the music department at the University of Edinburgh who supervised and oversaw the direction of this thesis. They have generously given their time, expertise and commitment to this project and their meticulous, thoughtful advice and brilliance in scholarship has been an inspiration to me. I would also like to thank my examiners, Professor Robert Adlington at the University of Nottingham and Dr. Annette Davison at the University of Edinburgh for their excellent comments. Together they have improved the quality of this thesis. Thanks also to Professor Simon Frith, the non-examining chair, for his presence during the viva voce. Many individuals have helped me source information for this project and I would particularly like to thank Professor Stephanie Jensen-Moulton who sent me her unpublished transcription of Miriam Gideon’s private diaries. This thesis has also benefited hugely from the opportunity to speak directly to individuals who knew Gideon. I thank all the interviewees who kindly gave their time to be interviewed. I am especially grateful to Professor Ellie M. Hisama whose work first directed me to a study of Gideon. I also very much appreciate the help from staff at the following libraries: the New York Public Library for the Performing Arts Music Division (NYPL); The Tamiment Library at New York University; and the City College of New York archives. Particular thanks go to Jonathan Hiam, Head of the American Music iv Collection at the NYPL who pointed me to un-catalogued clippings pertaining to Miriam Gideon. In addition, I am extremely grateful to Alexander Ewen, the grandson of Frederic Ewen, for sharing with me his private collection of Gideon’s materials in his personal possession. I would like to gratefully acknowledge the generous financial support that I received from the Arts and Humanities Research Council’s three year Doctoral Award, and in my final year, The Wingate Foundation and the British Federation of Women Graduates. Without these grants I would not have been able to complete my doctoral studies. Dr. Karen Ludke I thank for technical assistance and Shira Klein, my study partner in New York City, I thank for her companionship. Special acknowledgement is given to the immense support of my family, particularly my father James Robb who read this thesis, offered advice, and who was always there, encouraging me throughout this entire process. The final word of thanks goes to Aidan O’Donnell who lived and breathed this thesis every day and who patiently, calmly and kindly helped me fulfil a dream. v LIST OF ABBREVIATIONS The complete citation, where relevant, for the following collections listed below can be found in Works Cited at the end of the dissertation. AEC-MG Alexander Ewen Collection of Miriam Gideon Materials in his private possession. BGGPP-CCNY President Buell G. Gallagher’s Presidential Papers at City College of New York FEAVC-TLNYU Frederic Ewen Audiotape and Videotape Collection in the Tamiment Library at New York University. Miriam Gideon Interviewed by Alexander Ewen. 12 January, 1990. FE-FBI Frederic Ewen, Federal Bureau of Investigation File FEP-TLNYU Frederic Ewen Papers in the Tamiment Library at New York University MG-FBI Miriam Gideon, Federal Bureau of Investigation File MGP-NYPL Miriam Gideon Papers in the New York Public Library for Performing Arts MGUC-NYPL Miriam Gideon Un-Catalogued Clippings in the New York Public Library for Performing Arts vi CONTENTS DECLARATION ........................................................................................................ ii ABSTRACT ............................................................................................................... iii ACKNOWLEDGEMENTS ..................................................................................... iiv LIST OF ABBREVIATIONS .................................................................................. vi CONTENTS .............................................................................................................. vii LIST OF MUSICAL EXAMPLES ........................................................................... x LIST OF FIGURES ............................................................................................... xiiii CHAPTER 1: INTRODUCTION ............................................................................. 1 1.1 Biographical Overview ................................................................................... 2 1.2 Reasons for Undertaking This Study .............................................................. 6 1.3 Original Contribution of New Material ........................................................ 11 1.4 Chapter Overview of Thesis ......................................................................... 14 CHAPTER 2: MCCARTHYISM ON CAMPUS .................................................. 18 2.1 Entering the Academy ................................................................................... 21 2.2 Adjunct Professor at Brooklyn College and City College ............................ 33 2.3 Rapp-Coudert Committee Investigation ....................................................... 40 2.4 Brooklyn College and the Karl Marx Society ............................................... 47 2.5 The McCarran Committee Investigation....................................................... 58 2.6 Gideon and the FBI ....................................................................................... 67 2.7 Conclusion .................................................................................................... 73 CHAPTER 3: GIDEON AND INNER EXILE ...................................................... 77 3.1 Inner Exile ..................................................................................................... 79 3.2 Psychological Warfare .................................................................................. 83 3.3 Practical Restrictions .................................................................................... 87 3.4 Anxiety in the Academy Reflected Through Gideon’s Diaries .................... 94 3.5 Guilt by Association ................................................................................... 103 3.6 Forming Friendship