Changing Tensions: The Use of Percussion in the Modern Pedagogy of

Franziska Boas

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A Thesis Presented to The Honors Tutorial College, Ohio University

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In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of

Bachelor of Arts in Music

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Morgan Sieg

April, 2020

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This thesis has been approved by The Honors Tutorial College and the School of

Music

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Roger Braun

Professor, School of Music, Thesis Adviser

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Dr. Christopher Fisher

Director of Studies, Music

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Dr. Donal Skinner

Dean, Honors Tutorial College

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Table of Contents

Who Was Franziska Boas? 4

Boas & Percussion 17

Boas’ Percussion Compositions 29

Writings About Percussion 34

Boas’ Impact 37

Appendix 39

Works Cited 55

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Who Was Franziska Boas?

When researching music for in the middle of the twentieth century, it is nearly impossible to take an in-depth look without stumbling across the name

Franziska Boas. She is mentioned briefly in many oral histories, memoirs, and historical reports. Despite the reputation she gained in her time as a brilliant percussionist, progressive dance teacher and choreographer, and social activist, and despite the number of her contemporaries who studied with her, worked with her, and learned from her ideologies, very little information is widely accessible about her life and work.

Franziska Boas was born in 1902. She was the youngest daughter of , the famous anthropologist. In 1919, she enrolled at Barnard, where she pursued and completed degrees in chemistry and zoology. It was at Barnard where Boas was first exposed to modern dance through the university dance club, a student organization that was led by Bird Larson. She joined the club as a person who could “do cartwheels in a rhythm,”1 and she took dance classes to fulfill her physical education requirement. But, she quickly became more and more involved with the dance club.

She and the other students worked with Bird Larson to develop their technique by ​ ​ increasing their knowledge of human anatomy. Larson, like many other modern dance choreographers and teachers at that time, was constantly updating, changing and experimenting with new techniques and ideas, and at the end of Larsons’ life, she had begun incorporating percussion into her classes, following in the footsteps of Mary ​ Wigman, one of the first modern dance teachers and choreographers.

1 Franziska Boas, Interview with Franziska Boas, 1969, Jerome Roberts Dance Division, The Public Library. 4

In 1923, Boas spent a year in Europe studying visual art, but she also saw a great deal of dance, and noted the use of percussion by the Wigman school. After she finished at Barnard, Boas taught dance at Larson’s school following Larson’s death until 1931.

Then, she went to study at the New York Wigman School run by and played percussion in the school’s demonstration group.

Boas went on to write and play percussion in many important pieces of early modern dance repertoire through the Bennington School of Dance, while also working as the percussionist at Holm’s school. Simultaneously, Boas opened her own dance school in New York in 1933. She taught at her school and a myriad of others until 1949 when she left New York to run the physical education department at Shorter College in Rome,

Georgia, where she started the dance department and continued teaching percussion classes.

She taught dance and percussion technique through improvisation, teaching students to use creative dance to communicate their own ideas, develop their own ​ technique, and to use their own vocabularies and organic movement to make art. ​ Following Larson’s teaching, she made sure her students studied anatomy, and understood the way that their bodies moved and worked, and then to be creative and artistic while developing flexibility and strength. This teaching philosophy contrasts her contemporaries like and because of the emphasis Boas placed on her students’ individuality and creativity, rather than teaching her students to emulate the movement of the master.

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Boas’ upbringing left her with a strong set of humanitarian ideals. She founded one of the earliest interracial dance companies and dance schools. She brought instruments and music from all over the world into her classes and ensured that her students knew their countries of origin and how she acquired them. She also spent most of her life in open lesbian relationships, and she fought for womens rights while studying at Barnard. She worked with Dr. Lauretta Bender at Bellevue Hospital, studying the impact of movement education on children in the psychiatric wards. This study helped lay the framework for using dance and creative movement in therapeutic settings. When she left New York and went to Rome, Georgia, she worked against segregation.2

A key part of Boas’ curriculum, and her personal income was her work as a percussionist in dance. She taught percussion at the Bennington Summer School of

Dance, Hanya Holm’s school, the Boas School, and gave countless workshops and lecture demonstrations. Throughout the 1940s, she maintained a touring percussion demonstration group, giving classes and performances around the country. She composed music and helped teach generations of dance teachers to accompany their own classes with percussion. Her roster of students include , , Alwin Nikolai, and many others.

In this thesis, I will explore her work with percussion, her use of percussion music with her and teaching, and her work as a percussionist while she

2 Allana C. Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965” ​ (Dissertation, Canada, University of Toronto, 2005), https://proxy.library.ohio.edu/login?url=https://search-proquest-com.proxy.library.ohio.edu/docview/30537 3978?accountid=12954. 6

lived and worked in New York, teaching at Shorter College in Rome, Georgia in lecture demonstrations across the country, and at the Bennington Summer School of Dance.

For this project, I traveled to Washington DC and to conduct archival research for this study. My travels included research at the Library of Congress,

The New York Public Library of the Performing Arts, and the

Library. I used the materials in the Franziska Boas collection at the Library of Congress, the Hanya Holm Papers, Eleanor King Papers, the John Cage Papers, and the

Audio/Visual Digital Collections at the New York Public Library for the Performing

Arts’ Special Collections Reading Room, as well as interviews from the Bennington

School of Dance Oral History Project, and publications by Boas, Dr. Lauretta Bender, and other contemporaries. I received help and advice from Dr. Allana Lindgrin, Dr.

Joseph VanHassel, Professor Alan Otte, and Professor Roger Braun, my thesis advisor.

My findings were extensive, and will likely yield additional post thesis writing and research. My goal is to explore Boas’ use of percussion in her teaching by providing more specific examples of what she taught, played, and wrote than has previously been written about.

To that end, I will contextualize Boas’ work by exploring the work of her contemporaries, and explore the facets of her career that closely involved percussion, including her percussion publications, her percussion classes, her percussion compositions, how percussion influenced her work in dance therapy, and how she used percussion to promote the themes in social justice that she strongly advocated for throughout her career.

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Boas and Modern Dance

Franziska Boas is a unique person to study because of her influence and work in so many different fields, all of which were extremely new at the time of her professional practice. She wrote several formative articles about using percussion in collaboration or ​ ​ as accompaniment for modern dance. Franziska Boas was a , accompanist, choreographer, dance therapist, and dance ethnographer working in modern dance from the 1930s until the 1980s. Modern dance is defined as a style of western art dance that began as a rejection of , and eventually developed a distinct style that was multi-faceted, using concepts of body, space, and sound in ways that had not been used in musical or dance settings before.

Modern dance began in Germany and the at the end of the 19th ​ century, with Isadora Duncan’s rejection of ballet shoes, corsets, and fixed vocabulary, as well as Ruth St. Denis and others’ adaptation of movements from folkloric dance traditions from around the world into their choreography. The more natural movements, use of solo dancers, and the adaptation of music that wasn’t written specifically as music for a ballet contrasted classical ballet traditions. Much like the avant-garde in music and visual art employed different ideologies dependent on geographical location, European,

American West Coast, and American East Coast dance developed different qualities and theoretical frameworks. However, as travel and communication improved, these differences became less distinct and a unified concept of modern dance became more ubiquitous throughout the western world.

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The second period took place in the 1930s, when choreographers like Martha

Graham and Doris Humphrey adopted pedestrian movement, or movement used in everyday life, like walking, into their movement vocabulary, further altering the modern aesthetic. Choreographers at this time began commissioning to write for their set choreography, or did not use music at all, arguing that dance could stand on its own as an art form. The third period began after World War II and continues today.

Choreographers including Merce Cunningham, Alvin Ailey, and Twyla Tharp fused social, ballet, and existing modern dance forms into a new aesthetic that is still developing today.3

Literature on Music for Modern Dance

Scholarship about music for modern dance is limited for a few reasons, especially because the field is relatively new, and the lack of faculty positions for dance musicians in scholarly institutions. What does exist is mostly primary source data or short articles for various dance journals. Other resources include guides for the collaboration between musicians and dancers, as guides for accompanists, or as secondary synthesis of primary source material pertaining to specific choreographers or composers and their work with the other discipline. None of the literature available is exhaustive, and there is not enough content to draw conclusions or to create any stable theoretical framework that is specific to the field.

3 “Modern Dance,” in Funk & Wagnalls New World Encyclopedia 2018 (Chicago: World Book, Inc., ​ ​ 2018), https://eds-b-ebscohost-com.proxy.library.ohio.edu/eds/detail/detail?vid=0&sid=841d635e-43ed-4084-ac63 -00572aa2fc14%40sessionmgr120&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN =mo125100&db=funk. 9

This body of work can be divided into four categories. The first is historical primary source information written by composers and choreographers in the early 20th ​ century that discusses the formative period of modern dance repertoire, the 1920’s through the 1960’s.4,5,6,7 These sources all contain great insights into the interpersonal and professional relationships between artists working in the American Avant Garde, as well as the ideologies employed by these artists creating innovations in their developing field.

The second category includes sources written about music and collaboration, primarily for dancers.8,9,10 Paul Hodgens’ concept of choreomusical analysis is a method of analyzing music and dance together to explain how music can be used to work with dance effectively without diminishing the importance of either component.11 This is one of the few pieces of purely theoretical scholarship on music for modern dance. The third category involves scholarly inquiry about classroom accompaniment in modern dance class settings.12,13 These writings are few, and are often very short and contradictory.

4 Katherine Teck, ed., Making Music for Modern Dance: Collaboration in the Formative Years of a New ​ ​ American Art (New York, New York: Oxford University Press, 2011). ​ 5 and Carroll Russell, Modern Dance Forms in Relation to the Other Modern Arts, 2nd Edition ​ ​ ​ (Brooklyn, New York: Dance Horizons, Incorporated, 1963). 6 Baird Hastings, Choreographer and Composer (Boston, Massachusetts: Twayne Publishers, 1983). ​ ​ 7 , “Aaron Copland on Music for the Dance,” Dance Observer Vol. 9, no. 2 (February ​ ​ 1942): 27. 8 Eva Magdalene Gholson, Image of the Singing Air (Lanham, Maryland: University Press of America, ​ ​ 2004). 9 Larry Attaway, “A Collaborative Process,” International Guild of Musicians in Dance Journal Vol. 1 ​ ​ (1991): 17–23. 10 David Karagianis, “An Approach Towards the Effective Use of Music for Choreography,” International ​ ​ Guild of Musicians in Dance Journal Vol. 3 (1993): 12–16. ​ 11 Paul Hodgins, Relationships between Score and Choreography in Twentieth Century Dance: Music, ​ ​ Movement, and Metaphor (Lampeter, Dyfed, Wales: The Edwin Mellen Press, 1992). ​ 12 John Toenjes, “Musical Improvisation in the Modern Dance Class,” in Musical Improvisation: Art, ​ Education, and Society, ed. Gabriel Solis and Bruno Nettl (Chicago, Illinois: University of Illinois Press, ​ 2009), 221–36. 13 Robert Benford, “Improving Music in Modern Dance Technique Classes,” International Guild of ​ Musicians in Dance Journal Vol. 1 (1991): 42–43. ​ 10

The fourth category uses primary source data to synthesize information about the formation of modern dance through analysis of the primary source writing and the repertoire created by the artists.14,15,16 The literature in this category is extremely limited.

Composers and choreographers, like , John Cage, Merce Cunningham, and

Martha Graham have literature written about them that pertains to their music or choreography separately, but there is very little written about their work with the other discipline respectively. This is despite the fact that many of the innovations they made in their fields were often achieved as direct results of their interdisciplinary work.

Examples of this type of work include Miller’s article Henry Cowell and Modern ​ Dance: The Genesis of Elastic Form, which discusses Henry Cowell’s development of ​ elastic form as a direct result of his work accompanying dance classes.17 Janet

Mansfield-Soares’ biography of Louis Horst traces his career and compositions through the lens of Dance History, especially his work with Martha Graham.18 This is the kind of research, connecting the music to the choreography and pedagogy that it was made for or inspired by, that I would like to conduct with Franziska Boas’ work.

At this point, there are glaring holes in scholarship regarding the music for modern dance. Any in-depth research inquiry would be additive and not repetitive. Boas’ unique position as both a choreographer and a musician, and her prolific development of

14 Leta Miller, “Henry Cowell and Modern Dance: The Genesis of Elastic Form,” American Music Vol. 20, ​ ​ no. No. 1 (Spring 2002): 1–24. 15 Nancy MacLachlan, “Apollon Musagete: Gradus Ad Parnassum,” International Guild of Musicians in ​ Dance Journal Vol. 3 (1993): 2–10. ​ 16 Unattributed, “The Denishawn Aesthetic: America and the Dance; Music Visualization,” in Making ​ Music for Modern Dance: Collaboration in the Formative Years of a New American Art, ed. Katherine ​ Teck (New York, New York: Oxford University Press, 2011), 23–27. 17 Miller, “Henry Cowell and Modern Dance: The Genesis of Elastic Form.” 18 Janet Mansfield-Soares, Louis Horst: Musician in a Dancer’s World (Durham, N.C.: Duke University ​ ​ Press, 1992). 11

many different aspects of the dance field sets her apart as an interesting point of departure for study. Despite her many innovations, there has been little writing about her life and work. However, Dr. Allana Lindgrin has several publications about Boas’ work.

Lindgrin’s dissertation provides an overview of Boas’ career, discussing how Boas used concepts like improvisation in her teaching to promote social justice issues, to challenge existing concepts of what dance could be, how dance is used in other cultures, and to explore dance as a form of therapy.19 Lindgren’s monograph, From Automatism to ​ Modern Dance: Francois Sullivan with Franziska Boas in New York 20 discusses the impact Boas had on choreographer Francois Sullivan when Sullivan was studying at her studio in New York. Lindgrin also has several articles about Boas’ work in Dance

Therapy,21 her progressive teaching philosophies,22 and other facets of her career.23

The Development of Percussion in Dance Before Boas

Like dance, western music, especially percussion music, changed function, sound, and venue at the turn of the 20th century. Throughout the nineteenth century percussion

19 Allana C. Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965” (Dissertation, Canada, University of Toronto, 2005), https://proxy.library.ohio.edu/login?url=https://search-proquest-com.proxy.library.ohio.edu/docview/30537 3978?accountid=12954. 20 Allana C. Lindgren, From Automatism to Modern Dance: Françoise Sullivan with Franziska Boas in ​ New York (Toronto, Canada: Dance Collection Danse Press, 2003). ​ 21 Allana C. Lindgren, “The Pioneering Work of Franziska Boas at Bellevue Hospital in New York, 1939–1943,” American Journal of Dance Therapy 28, no. 2 (2006): 86. ​ ​ 22 Allana C. Lindgren, “Holistic Pedagogy in Practice: The Curriculum and Ideology of Embodied Self-Discovery in Franziska Boas’s Dance Classes, 1933–1965,” Journal of Dance & Somatic Practices 4, ​ ​ no. 2 (2012): 161–77. 23 Allana C. Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965” (Dissertation, Canada, University of Toronto, 2005), https://proxy.library.ohio.edu/login?url=https://search-proquest-com.proxy.library.ohio.edu/docview/30537 3978?accountid=12954; Allana C. Lindgren, “New York & the Boas School of Dance,” Biography Text, Dance Collection Danse, 2006, http://www.dcd.ca/exhibitions/sullivan/newyork.html. 12

sections in military bands and orchestras expanded to include more non-traditional instruments including woodblocks, thunder-sheets, anvils, chains, bell plates, flexatones, alarm bells, church bells, ratchets, and others.24 As these instruments became commonplace in orchestral writing and practice, the difficulty and nuance of being a percussionist also increased.

At the turn of the twentieth century, percussion began to appear prominently in chamber ensembles through the work of composers like Bela Bartok and .

Music for ensembles, consisting of only percussionists, became more prominent as the century continued, and composers including Edgard Varese (, 1931) began to ​ ​ examine concepts like timbre and rhythmic structure as the building blocks of music, instead of pitch and harmony.25

As composers explored timbre, they began to rethink what musical sound was, and unconventional instrumentation began to develop, making sound exploration an important part of contemporary composition. The use of found instruments, or everyday household or vocational objects that were re-purposed to make music, became m increasingly more common. While using objects had been a convention of folk musics for a long time, composers like Lou Harrison, John Cage, Harry Partch, and Karlheinz

Stockhausen brought found instruments into the avant garde quickly, making a lasting impression on western music that is still being used today.

24 James Blades, “Techniques of Contemporary Percussion,” in Percussion Instruments and Their History, ​ ​ Revised Edition (Westport, Connecticut: The Bold Strummer, LTD, 1992), 348–410. 25 James Blades, “Composers’ Use of Modern Percussion,” in Percussion Instruments and Their History, ​ ​ Revised Edition, 1992 (Westport, Connecticut: The Bold Strummer, LTD, 1992), 412–42. 13

At the end of the nineteenth century, Swiss composer and educator Emile

Jaques-Dalcroze began developing his theories on Eurhythmics, a method of studying rhythm through movement. Dalcroze founded a school near Dresden, Germany, where dancers, musicians, and anyone else interested in his work could receive musical and rhythmic gymnastics training. The goal of this training was to expand their expressive abilities to include phrasing and greater rhythmic nuance.26

Mary Wigman, one of the founding mothers of modern dance who had a direct influence on Boas, enrolled at the Dalcroze school to begin her dance training. Prior to seeing one of Dalcroze’s performances, Wigman studied music.27 Wigman’s training as a musician and her work at the Dalcroze school, and later the Laban school, as well as her prolific career as a solo dancer, choreographer, led her to open a school in Dresden with a unique curriculum. The Wigman school taught Wigman’s method of choreographing, with improvisation, Laban technique and notation, and rhythmic emphasis that required all students to learn to accompany dance with percussion. Boas’ primary dance teachers,

Bird Larson and Hanya Holm were both students of at some point in their careers. Boas worked with Bird Larson at Barnard and moved to the Hanya Holm/New

York Wigman School after Larsons’ death in 1927.28

26 Emile Jaques-Dalcroze, “Music and the Dancer,” in Rhythm, Music, & Education, trans. Harold F. ​ ​ Rubenstein, Revised Edition (Aylesbury, Bucks, UK: The Dalcroze Society, Inc., 1973), 169–80. 27 Rachel Rizzuto, “Mary Wigman: Choosing Expression Over Technique,” Dance Teacher 36, no. 6 (June ​ ​ 2014): 62. 28 Boas, Interview with Franziska Boas. New York Public Library for the Performing Arts Digital Archive. 14

Boas & Music at the Bennington Summer School of Dance

The Bennington Summer School of Dance was founded in 1934 at Bennington

College in Massachusetts, as a summer institute where students from around the country could study dance intensively. The dance teachers included Martha Graham, Hanya

Holm, Doris Humphrey, and . From the first session, the Bennington

School brought forth many new modern dance works, brought more students to study dance professionally, provided a venue to workshop and perform new dance works, and called for musicians to come and create new work for a new art form.29

Musicians like Ruth and Norman Lloyd, Louis Horst, Aaron Copland,

Wallingford Riegger, and all found work and compositional inspiration at the Bennington School. By 1936, they needed compositions and accompanists so badly that Louis Horst and Norman Lloyd started a training course for musicians who were interested in working with dance. Unfortunately, the music written and performed, for the most part, has not survived.30

The Music for Dance program involved pre-Classic and modern forms classes, music composition courses, percussion classes, dance accompaniment courses. These classes were taught by teachers including Louis Horst, Franziska Boas, Nancy McNight,

Greg Tucker, and Ruth and Norman Lloyd. Workshops required students to write music, sometimes overnight, for student choreography, using new compositional techniques.

29 Sali Ann Kriegsman, Modern Dance in America: The Bennington Years (Boston, Massachusetts: G. K. ​ ​ Hall & Co., 1981). 30 Kriegsman. 15

Students also frequently performed in the ensembles that accompanied new works on the school’s dance concerts.31

Franziska Boas participated in the Bennington School from 1936 through 1939. In

1938 and 1939, she co-ran the music for dance training program with Louis Horst, and

(in 1939) John Cage. At the school, she taught beginning, intermediate, and advanced percussion classes, and percussion composition for dance.32 She composed percussion pieces for her classes to play on student concerts, and she collaborated on and performed the percussion music for pieces choreographed by Hanya Holm, Louise Kloepper,

Eleanor King, and other important choreographers teaching or studying at the school.

31 Elizabeth McPhearson, The Bennington School of the Dance: A History in Writings and Interviews ​ (Jefferson, North Carolina: McFarland & Company Inc. Publishers, 2013). 32 Franziska Boas, “Bennington Summer 1937,” Summer 1937, Franziska Boas Collection, Library of Congress Special Collections. 16

Boas and Percussion

Early in her career, Boas was known largely as a percussionist and music for dance teacher. In 1931, she began touring as the percussion accompaniment for Hanya

Holm’s lecture demonstration group.33 was featured as an “especially talented percussionist” in a 1932 article of the New York Evening Post,34 began teaching ​ ​ percussion at the Holm School, spent the summer teaching percussion in Greenly,

Colorado,35 and began offering percussion classes at her own school in 1933.36 In 1935, she became the lead percussionist at the Hanya Holm School, accompanying and teaching percussion classes to the students enrolled there.37

As a part of the curriculum at the Boas School, the Holm School, and later at

Shorter College, Boas taught beginning and advanced percussion classes, as well as percussion composition for dance.38 In addition to her work in the studio setting, Boas toured prolifically with a lecture demonstration group that performed and taught percussion and improvisation. Boas first studied percussion with Bird Larson and continued with Hanya Holm. She opened her own pre-professional modern dance training studio in 1933.

She performed “In A Quiet Space” with Hanya Holm for the first time in 1936 at the Bennington Summer School of Dance.39 Holm toured this piece with Boas’ music for

33 Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965.” 34 “Modern Girls Learn Primitive Rhythms,” New York Evening Post, 1932, January 5, 1932 edition. ​ ​ 35 Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965.” 36 Mary E. Edsall, “Boas, Franziska Marie,” in American National Biography (Oxford University Press, ​ ​ 1999). 37 Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965.” 38 Franziska Boas, Franziska Boas School of Dance Flyer, 1937, School Flyer, 1937, Music Division, ​ ​ Library of Congress Special Collections. 39 McPhearson, The Bennington School of the Dance: A History in Writings and Interviews. ​ ​ 17

several years after the premiere performance, even when Boas no longer regularly toured with the Holm Schools’ demonstration group.40 For much of the late 1930s, Boas taught the percussion accompaniment classes at the Bennington Summer School of Dance and worked with Louis Horst to curate the Music for Dance programs at the Bennington

Summer School of Dance.

In 1939, when the Bennington School moved to in California, Boas worked with Louis Horst and John Cage to curate a large Music for Dance program, involving a concert of all percussion ensemble music.41 While also working with Lauretta

Bender at Bellevue Hospital, Boas used percussion as a central part of their work. She also published several articles about using percussion to accompany modern dance in the journal Dance Observer. ​ ​

Boas’ Percussion Classes

Boas’ percussion classes taught students percussion technique, improvisation, orchestration, and dance accompaniment. Her class outlines, class notes, scores for exercises, and transcripts of some of her workshops are all in the Library of Congress.

These sources provide a fairly clear picture of her content, progression, and teaching philosophies.

She often began classes by teaching students to tune their drums, then showed students how to hold sticks. Boas taught students to use a grip that involved having the

40 “Hanya Holm Papers, (S) *MGZMD 136, Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.,” n.d. 41 “A Concert of Modern American Percussion Music Under the Direction of Franziska Boas, John Cage, and William Russell” (Concert Program, July 27, 1939), Music Division, Library of Congress Special Collections. 18

palm at a right angle to the instrument and using the fingers to control the rebound of the stick.42 This is similar to the “French” grip that some percussionists use and teach in contemporary timpani playing. She encouraged students to use the whole arm, from the shoulder to the fingers in an exaggerated stroke to produce a good sound. She used exercises that involved “passing the tone around” in different meters, emphasizing alternating the hands, slow to fast, and in different meters. She taught tremolos, or rolls, as alternating double-bounce strokes. From early on in her percussion classes, she applied the music lessons to accompanying movement, like running and leaping.

Boas’ percussion classes combined rhythm, movement, , and improvisation. She used exercises that related directly to movement that students could use to accompany dance in the context of their own classes. These exercises play with texture, timbre, and rhythm to mark, or reflect the movement they might be applied to in a complementary way. For example, her etude “Slow Elasticity” (see figure 1) combined a stopped gong melody and a triple meter ostinato involving a gong, cymbal, and bass drum.

42 Franziska Boas, “Six Classes in Percussion and Movement. Instructor F. Boas. For Bank Street College of Education, 1960” (1960), Music Division, Library of Congress Special Collections. 19

(Figure 1: “Slow Elasticity)

Boas used terminology to refer to different movement qualities, and often named her exercises after these qualities. She defines elasticity as a continuous up and down movement on a vertical plane. She defines as a slow, pendulum like motion in any direction, and vibration as quick movement. Her percussion exercises with the same names explore how percussion can be used to mirror these qualities, and to explore textures that might be used to accompany them.43

Based on a recording of some of Boas’ written exercises, as well as her class outlines, I believe that Boas taught these exercises largely by rote, or a combination of rote teaching and using notation as a memory aid. The “orchestrations'' referenced in her class notes were often drawn from or variations on these exercises. Boas’ percussion teaching included a great deal of improvising from the start of her beginning classes.

What I learned studying Boas’ notes, scores and the recordings in the Library of

43 Franziska Boas, “Notes on Percussion Accompaniment for Modern Dance,” Dance Observer 5, no. 5 ​ ​ (1938): 71–72. 20

Congress suggests that these exercises, written in small phrases were not meant to be played verbatim.44 Instead, they were meant to serve as a reference for the instrumentation, texture, meter, and feel of the exercise.

Boas would assign students to play different parts and instruments. She would lead, or have an advanced student lead by telling other students when to start and stop playing while improvising a melody or playing in response to movement. For example, using “Slow Elasticity” an example, the gong, cymbal, and bass drum parts would be played by ensemble members, and the leader would play the top part, using that vocabulary, meter, and texture as a point of departure for their stopped gong melody.45

Boas’ percussion classes taught students to compose, orchestrate, and improvise as solo players, or as members of small ensembles, in order to accompany dance classes that they would eventually teach, or simply accompany professionally.

Her classes always explored rhythmic complexity, displayed in the class outline in the appendix of this thesis (especially her advanced class, November 3-24.) Students learned to play, move and improvise comfortably in odd meters, mixed meters, , odd phrase lengths. However, Boas also emphasized melodic content and . This aspect of her work was novel in her time, because at this point, unpitched percussion was not considered a particularly melodic instrument. However, we can see from her class outlines, and her writings that she structured her exercises

44 Franziska Boas, Sound Recordings: Tapes, Percussion Class 1960-61, Tape Recording, n.d., Music ​ ​ Division, Library of Congress Special Collections. 45 Franziska Boas, Sound Recordings: Tapes Percussion Class- Fletcher, Larry, n.d., Music Division, ​ ​ Library of Congress Special Collections. 21

around concepts of melody and accompaniment46 by assigning students to play or create melodies while others were assigned to play or create “orchestrations” that accompanied these melodies.

While ensemble and group work was extremely important to her classes, she also emphasized solo playing by having students practice polyrhythms between the hands, and improvising gong, drum, or found instrument melodies while maintaining a “basso” or accompanimental ostinato to support their melody.

Boas’ percussion classes followed a similar structure for much of her career, whether she was teaching at summer programs, the Holm School, her school, Shorter

College, or anywhere else she gave percussion classes. As a warm up exercise, she occasionally asked students to sit on the floor with their legs stretched out long in front of them. In this position, they played the drums, sometimes real, sometimes imaginary on all sides of the body. Students then played the drums, in rhythm, in a pattern she gave them by rote. The purpose of this exercise was to develop core strength, flexibility, internal rhythm, and warm up the body (see figure 2). ​ ​

46 Franziska Boas, “Percussion Music and Its Relation to Modern Dance,” Dance Observer, no. January ​ ​ 1940 (1940). 22

(Figure 2) Boas also often used hand held gongs and “Wigman Drums,” or round frame drums (similar to a bodhran) held in one hand and played with a mallet or stick for movement based exercises. Students would be spread out in the space, and would swing the drums, playing them at the top or bottom of their arc, and having students start moving or playing when others were in the middle of a swing to create melodies. This demonstrated how playing in a more literal swinging or triple meter was supposed to feel. She also would demonstrate duple meters in this way, having students step on the beat and lift the drum up and down while playing, outlining the meter (see figures 3 and

4).

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Improvisation was one of the most important parts of Boas’ pedagogy, both in dance and in the percussion classes. From as early as the third day of beginning percussion class, she would have students improvise rhythmic patterns and melodies in class. She valued individual expression, and believed that in giving students technical tools to use, but ultimately her goal was to teach students to express themselves. Alwin

Nikolai, who took her percussion classes at the Bennington Summer School, said that

Boas would provide verbal feedback as a student played, but that the feedback would be vague and left open for the student to interpret.47

Boas’ Instrument Collection as a Source of Innovation and Social Justice

Boas had a large collection of instruments that she used in her percussion classes throughout her career. The exercises she used in class were often orchestrated for five or six players, using gongs, cymbals, wooden temple blocks, bowls, timpani, toms, “found” instruments, and drums from all over the world. She collected these instruments for most of her career. She purchased them from colleagues, received them as gifts from friends, and acquired them while traveling.48

47 Teck, Making Music for Modern Dance: Collaboration in the Formative Years of a New American Art. ​ ​ 48 Margaret Lloyd, “Poetry in a Percussion Corner,” Christian Science Monitor, November 8, 1938. ​ ​ 24

In her percussion classes, she had a large, three-sided rack that she hung gongs and cymbals on that players could stand around and play. In between the sides of the gong rack, she often placed toms, timpani, and other drums. (See figure 5) She and her students moved around the set up as they played, experimenting with sounds and rhythms.

(Figure 5)

Boas frequently experimented with musical sounds. According to Valerie Bettis, one of Boas’ students at the Holm School, Boas and John Cage often experimented with different sounds, using instruments in creative ways, and using everyday objects to make sounds. According to Bettis:

25

I can remember John with Franziska and myself playing around with the instruments and putting the gong in buckets of water. Of course, not too long thereafter, he did a score for me, but it all came from her [Boas].49

Cage worked closely with Boas while he was living in New York. He taught at the Boas

School from 1942-1944. Working in Boas’ studio during this important time in Cage’s career most likely had a great deal of influence on his work in the 1940s, and Cage’s most famous and innovative work for percussion was written during this time.

Boas’ father, Franz Boas was a very influential anthropologist who researched many different cultures. His influence gave Franziska a deep appreciation for other cultures, as well as access to instruments from around the world. Boas was deeply committed to desegregating dance, with her interracial summer school, her interacial dance company, and her work against segregation at Shorter College. Boas talked openly about the origins of her instruments, even instruments purchased “illegally” from New

York’s Chinatown. During percussion classes later in her career, she asked students to improvise to music from around the world. According to Allana Lindgren,

While it would have been impossible for Boas to invite an African-American into any of her classes at Shorter College, her percussion instruments from around the world went with her. The presence of percussion at the Boas studio emphasized and facilitated cross-cultural, interracial interaction; musical dialogues were also cultural dialogues.50

This was the same philosophy that inspired her publication The Function of Dance in ​ Human Society, as well as the series of seminars she facilitated to increase awareness ​

49 Interview with Valerie Bettis, 1979, 1979, The New York Public Library Digital Collections, Jerome Roberts Dance Division. The New York Public Library, http://digitalcollections.nypl.org/items/cb438f70-c324-0133-eca8-6081dd2b63c. 50 Lindgren, “Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933–1965.” 82-83 26

about the way dance was used in global arts.51 She worked to carry on her father’s legacy and worked to bring more global awareness to the dance community with her “Function of Dance in Human Society'' seminars, where attendees taught and discussed the importance of global dance.

Using Percussion in Dance Therapy

In 1939-1940, Boas volunteered at Bellevue Hospital in New York City, where she and Dr. Lauretta Bender conducted a study that examined the influence creative dance had on children in the psychiatric unit. They used improvised movement prompts, existing knowledge of somatics and the way that certain movement qualities impact their clients’ moods, and the way using percussion and movement helped the children express themselves. The study resulted in several presentations and a publication Creative Dance ​ In Therapy.52 The success and findings of their study helped lay the foundation for dance ​ therapy as a field.

For their study, Boas and Bender worked with children under the age of twelve, divided into groups of boys aged six to twelve, girls ages six to twelve, and a co-ed group who were younger than six. The children were encouraged to move organically, however they wanted to move. Boas and Bender found that using percussion instruments like drums and cymbals impacted the way that the children moved, especially when a rhythmic pattern was repeated. They reference using drum ostinatos, suspended cymbal

51 Franziska Boas, The Function of Dance in Human Society; a Seminar Directed by Franziska Boas. (Brooklyn, New York: Dance Horizons, Incorporated, 1972). 52 Lauretta Bender and Franziska Boas, “CREATIVE DANCE IN THERAPY,” American Journal of ​ Orthopsychiatry 11, no. 2 (1941): 235–44. ​ 27

and gong rolls, crescendos, and impacted how the children behaved. Boas and Bender remarked that ostinatos helped keep the students calm and focused, encouraged them to move in rhythm, and resulted in intentional deviations or variations on the rhythm.

The study concluded that music and dance had significant value as diagnostic tools, opportunities for the children to express their feelings and fantasies, and to voice their goals, needs, and internal conflicts in a safe way. This study was one of the first of its kind, and helped lead to the development of music therapy and dance therapy as fields with academic and scientific support that continue to help people today.

28

Boas’ Percussion Compositions

As I discussed earlier in this thesis, Franziska Boas was heavily involved in the Bennington Summer School of Dance from 1936-1939, prior to starting her own summer school of dance at Bolton Landing in 1944.53 While there, she composed and performed numerous pieces using percussion. At Bennington, she worked with choreographers in several pieces, including In a Quiet Space, choreographed by Hanya ​ ​ Holm.54

She played percussion on many other pieces, and likely had a lot of creative liberty as a performer and leader of the percussion sections on these pieces, including

Trend (choreographed by Holm, music score by Norman Lloyd and Edgard Varese), ​ Dance of Work and Play (choreographed by Holm, music score by Norman Lloyd,) ​ Dance Sonata (choreographed by Holm, music score by Harrison Kerr,) Variations and ​ ​ Conclusions (choreographed by Doris Humphrey, music score by Wallingford Riegger), ​ and Statement of Dissent (choreographed by Louise Kloepper, music score by Greg ​ ​ Tucker). She also worked with David Diamond on the large scale work Icaro,55 ​ choreographed by Eleanor King and premiered by the Brooklyn Museum in 1937.56 For the majority of these pieces, there is no sound recording or full, usable music score available to determine exactly what Boas was playing or writing. This is a common problem for early modern dance music.

53 Lindgren, From Automatism to Modern Dance: Françoise Sullivan with Franziska Boas in New York. ​ ​ 54 McPhearson, The Bennington School of the Dance: A History in Writings and Interviews. ​ ​ 55 Franziska Boas, “Icarus” (Music Score Manuscript, n.d.), Music Division, Library of Congress Special Collections. 56 Eleanor King, “History and Development of Modern Dance” (Oakland, California, December 30, 1945), Eleanor King Papers, New York Public Library for the Performing Arts. 29

Nearly all of Franziska Boas’ music remains unpublished. Much of the music we know she wrote and performed accompanied dance. During the late thirties, her music was being played largely by dance students at the Bennington Summer School of Dance, her students at the Boas School of Dance, and in her touring percussion demonstration group. She toured prolifically for most of her career, both with her performing group, and on her own as a solo workshop leader and educator. The majority of her music is hard to locate, but much of the available music scores are in the Franziska Boas Collection at the

Library of Congress. The music scores in the library archives are not complete scores, they often are very short, and after some scrutiny appear to be made to serve as memory aids for people who already know the piece, rather than complete scores to be used to recreate the piece.

An example of this is Boas’ composition for In a Quiet Space. In the Library of ​ ​ Congress archive, there is roughly a half sheet of staff paper with five lines of notation on it, and is the only written notation for the piece that I was able to locate. The score, written for two percussionists, has movement cues marked, specific meter changes, melodic content, and texture content written out clearly for pitched gongs. However, it also features sections of the score that are either left blank, with no indication of what to play or do. Even with the specific notation involved in the score, so much of it is unclear and too vague to interpret.

However, after Boas performed during the piece’s premiere at Bennington in

1936,57 Hanya Holm’s company performed the piece for several more years while

57 McPhearson, The Bennington School of the Dance: A History in Writings and Interviews. ​ ​ 30

touring, according to numerous programs in the Hanya Holm Papers at the New York

Public Library for the Performing Arts.58 I believe that Boas taught the music score to the percussionists in the Holm Company, and the piece was performed from memory, and if the performers had scores, they would have served as memory aids for the movement cues and melodies, as opposed to being a tool that a performer could learn the piece from without the aid of rote teaching.

Most of the music performed at Bennington probably was composed, performed, and taught in this way. However, there is an important exception that has recently been uncovered and is now available for publication. In 1939, the Bennington Summer School of Dance was moved to Mills College in Oakland, California. Franziska Boas, Louis

Horst and John Cage all collaborated to manage a large class of students attending the program to study music composition for modern dance. The program included percussion classes taught by Boas, music for dance analysis classes taught by Louis Horst, and a massive amount of composition experience for the students by collaborating with other students who were studying choreography and technique.

Through this program, John Cage curated a concert of new percussion ensemble music, an extremely novel concept in 1939. The concert featured music by Johanna

Beyer, Lou Harrison, William Russell, John Cage, and Franziska Boas’ piece Changing ​ Tensions (See figure 659). The full score for Changing Tensions exists in the Franziska ​ ​ ​ ​ ​

58 Hanya Holm, “Hanya Holm Concert Programs” (Concert Programs, 1936-1938), Hanya Holm Papers, New York Public Library for the Performing Arts. 59 “A Concert of Modern American Percussion Music Under the Direction of Franziska Boas, John Cage, and William Russell.” 31

Boas Collection, and the piece is published

by Media Press Music and is available for

purchase.

Throughout the 1940s, Boas led an

ensemble of students and colleges on

lecture-demonstration tours, taking

percussion music, etudes, and techniques

around the country to teach and perform.

Sometimes, this group performed as an

extension of the Boas School of Dance, the

Boas Dance Group, or as a demonstration of

Boas’ work. The groups’ personnel changed

frequently, but was always made up of Boas and her students, who were sometimes featured as dancers and percussionists in the same concerts.

The group played Changing Tensions and other pieces composed by Boas and her ​ ​ students, including March for Percussion and Accordion, Percussion Study, and others.60 ​ ​ They demonstrated Boas’ exercises, like the Elasticity and Vibration exercises she used in her classes, some of which are shown in the appendix of this thesis. Unfortunately, like most of her work (with the exception of Changing Tensions and March for Percussion ​ ​ ​

60 Franziska Boas, “Programs” (Concert Programs, n.d.), Music Division, Library of Congress Special Collections. 32

and Accordion), the scores for her large scale pieces are brief and missing sections, parts, ​ or are abbreviated in such a way that recreating them today would be quite difficult.

Boas’ group played all over the United States and gave lecture demonstrations at schools, conferences, and universities all over the country. At this time, music written for percussion ensemble was becoming more common, especially prior to World War II.

However, few ensembles toured or performed percussion-only repertoire outside of new music concerts. The percussion ensemble did not enter academia until the 1950s.61 This means that not only was Boas working and teaching at the front lines of the development of the percussion ensemble, but she was traveling, sharing her work, and contributing to the field at a critical time. However, until recently, her work has been overlooked by the percussion community.

61 Wesley Brant Parker, “The History and Development of the Percussion Orchestra” (Florida State University, 2010). 33

Writings About Percussion

Boas, on top of all of her other work, wrote and published many articles about the use of percussion music with modern dance. One of these articles was a six part collaboration between Boas (pt 5), Lou Harrison (pt 6), Henry Cowell (pt 3),

William Russell (pt 2), and John Cage (pts 1 and 4.) The series of articles was published in the Dance Observer from October 1939 through January 1940. Harrison, Russell,

Cage, Cowell and Boas were all working as accompanists and had met and worked together at the 1939 Bennington Summer School of Dance. With the exception of John

Cage, who also wrote a brief introduction to the project, each composer wrote an article about their area expertise.

Boas’ component, “5. Fundamental Concepts” was published in the January 1940 edition.62 In this article, she argued that percussion music should be melodic, regardless of the instrumentation. She says that “Melody can be evoked from any objects surrounding us in ordinary life, even from a radiator or a wooden bench.” She advocates for the use of non-western classical instruments, citing the variety of percussion instruments developed around the world in other cultures. She speculates on the future of the percussion orchestra, and discusses how she applies her vast collection of instruments in a dance class setting. Finally, she discusses how she applies percussion to modern dance, using improvisation, mimicking or juxtaposing the texture and qualities of the movement, and helping the audience interpret what they are seeing.

62 Boas, “Percussion Music and Its Relation to Modern Dance.” 34

Another article Boas published in the Dance Observer, Notes on Percussion ​ Accompaniment for Modern Dance discusses the relationship she feels percussion has ​ with modern dance.63 She explains the ways that she used percussion to mirror not only the rhythmic accents in dance, but the melody and dynamics of movement as well. She also uses this article to define several terms she frequently uses in her percussion and dance pedagogy, and explains how she draws a parallel between them to help students develop creatively and technically. Lastly, she uses this article to explain how she orchestrates her instruments to achieve these qualities, and emphasizes that it is important to study how the instruments work to be able to accompany dance well.

There are several unpublished manuscripts in the Franziska Boas collection at the

Library of Congress, as well as several other publications in Dance Observer and other journals that Boas published in her lifetime. One of the unpublished articles in the

Franziska Boas collection, Percussion Composition for the Dance, she advocates for the ​ ​ use of percussion in dance, and then describes her process for accompanying and composing percussion music for dance. Similar to her other articles, she emphasizes that the percussionist should understand the feelings and qualities associated with the movement. She asserts that composers should be as present as possible during the choreographic process, and references other pieces, describing how the composer wrote for percussion or other instruments.

Through her writing, Boas advocates for close collaboration between percussionists and dancers. She developed a terminology and set of parameters for

63 Franziska Boas, “Notes on Percussion Accompaniment for Modern Dance,” Dance Observer 5, no. 5 ​ ​ (1938): 71–72. 35

improvisation that applies to both musicians and dancers, and could be used in all phases of the compositional process. The divide in disciplinary vocabulary is one of the challenges facing choreographers and composers today. Boas’ system merits further study, and could be very valuable to artists today.

36

Boas’ Impact

Franziska Boas had a long, eccentric, and fascinating career in dance and music as a teacher, musician, therapist, and choreographer. In every aspect of her work, she was creative, innovative, and worked to promote justice and peace. She taught many important modern and postmodern choreographers and dance musicians, including

Valerie Bettis, Alwin Nikolai, John Cage, and countless other students who learned from her at the Bennington Summer School of Dance, at the Boas School, the Holm School,

Shorter College, and many other programs where she had residencies or gave lecture demonstrations. Her compositions and written work represent some of the very earliest percussion ensemble music and writing about music in modern dance. There is so much more to learn from her and her work, from both a musician’s and a dancer’s perspective, as well as a humanitarian perspective.

Her work as a musician, especially, is under recognized. I believe that there are numerous points of departure for further inquiry, based on what I learned from my research, a broad overview of Boas’ work with percussion. These topics include finding more information regarding her application of the exercises in the appendix, interviewing surviving students about their experiences with her in percussion classes, exploring her influence in dance therapy, dance ethnography and ethnomusicology given her use and knowledge of global traditions and instruments, and many other unique and important discussions.

It is also important to note that many of Boas’ students were women. Today, percussion is predominantly male field. Her work resulted in a large number of women

37

playing percussion for dance in the very early stages of the communities’ development. I feel that the percussion community has ignored this part of its history, with the exceptions of the men who worked as dance musicians.

Franziska Boas devoted her life to her art and her teaching. Her impact and influence remains largely unknown, but the innovation she fostered in her lifetime is obvious. She truly was an interdisciplinary artist with a strong social consciousness.

While living in New York City, she worked to foster more equality and to help her world and her community by creating work that explored racial justice and equality with her short-lived dance company, and by helping study new treatments for psychological disorders through her work with children at Bellevue Hospital. After she moved to

Shorter College, she fought against segregation in Rome, Georgia. She carried on her father’s legacy and worked to bring more global awareness to the dance community with her “Function of Dance in Human Society'' seminars.64 Looking to the future, as her work and impact on percussion and dance becomes more known, she should be remembered as a composer, interdisciplinary teacher, and humanitarian.

64 Franziska Boas, The Function of Dance in Human Society; a Seminar Directed by Franziska Boas. ​ (Brooklyn, New York: Dance Horizons, Incorporated, 1972). 38

Appendix

This appendix contains an abbreviated timeline of Boas’ work from her birth until she moved to Shorter College in Rome, Georgia, a transcription of some of her class notes from 1933, and music scores for some of her exercises for reference.

Date Timeline of Boas’ Activities 1902-1950

1902 Born in New Jersey

1923 Graduated with zoology and Chemistry Degrees from , studied dance with Bird Larson

1923-24 Studied drawing and sculpture in New York

1927 Studied visual art in Breslau, Germany

1931 Boas joined the NY Wigman School as a student, and performed the percussion accompaniment for the schools demo group

1932 “Modern Girls Learn Primitive Rhythms” Article ft. Boas in Holm’s ​ ​ Studio65 (Then New York Wigman School)

Boas played percussion accompaniment for the NY Wingman Schools Demonstration Group

1933 Danced with Holm’s group, continues playing Percussion for the demonstration group

Spent the summer teaching Percussion In Greeley, CO

Left Holm School as a student

1933 Started the Boas School of Dance

1935 Became a percussionist at Holm’s School

65 “Modern Girls Learn Primitive Rhythms.” 39

Sum 1936 Boas attended the Bennington Summer School of Dance (Bennington) Boas composed the score In A Quiet Space for Hanya Holm ​ ​

Sum 1937 Percussion Accompaniment course + workshop was taught by Boas (Bennington) Boas accompanied Holm’s Technique & Choreography (for Trend) class ​ ​

Boas played percussion in Trend, choreographed by Hanya Holm ​ ​

Sum 1938 The Percussion Accompaniment class was taught by Boas (Bennington) Boas played percussion in the premiers of Dance of Work and Play, ​ ​ Dance Sonata , Variations. and Conclusions, Statement of Dissent ​ ​

A series of percussion studies arranged by Boas were performed by the advanced percussion class

1938 Percussion Accompaniment for Modern Dance was published in the ​ Dance Observer

Sumer 1939 Boas co-directed Major Course for Music for Dance with Louis Horst and (Bennington Norman Lloyd moves to Mills Boas taught the percussion accompaniment classes College.) Percussion Concert directed By John Cage featuring Changing Tensions ​

1939 Boas began giving lots of Percussion Lecture-demonstrations for the Holm School and at other universities

Started Working at Bellevue Hospital

40

1940 Stopped being Percussionist at the Hanya Holm School

All Percussion Orchestra was organized

Paper “The Use of Ward Dance Techniques with Spontaneous Percussion Music in the Study and Therapy of Behavior Problems in Children” was presented with Lauretta Bender

Boas’ component of Percussion Music in Relation to Modern Dance was ​ ​ published

Early 1940s Boas toured with a percussion orchestra, giving lecture demonstrations and performing.

1942-44 Valarie Bettis, William Roessler, and John Cage taught at Boas’ Studio

1944 Started Boas Summer School of Dance at Bolton Landing

August, 1945 Boas Launched her Company, the “Boas Dance Group”

1946 The Boas Dance Group’s single production took place

1947 Boas Dance Group was dissolved

1950 Boas moved to Shorter College in Rome, GA

41

Boas’ Week to Week Notes of Two Classes She Taught in 1933:

This section contains a week to week breakdown of two classes Boas taught in

New York in 1933. They are a beginning percussion class66 from October 1933- January

1934 and an intermediate class taught at the same time. These notes help provide an idea of how she taught, the progression of things she taught, and even some insights into how effective she thought each day was. This breakdown is a verbatim transcription of Boas’ notes from a notebook in the Library of Congress, with the exception of bracketed text, which replaces student’s names or provides clarification.

Beginning Percussion Class:

October 13: Tightening of instruments

Holding sticks

Beating around in a circle

Passing tone around (in a circle)

October 20: Passing tone around (one stick)

Concentration; Doubling beat when needed….

Beating with two sticks

8 single [strokes], 8 double [strokes] with right stick

8 single 8 double with left stick

Emphasis on the swing and changes in the body- when the beating changes and

when the left hand takes on the 1.

66 Franziska Boas, “‘Beginning Percussion Class Outline ca. 1933’ Miscellaneous Notebook 2” (1933-34.), Music Division, Library of Congress Special Collections. 42

October 27: Technique of holding sticks- single rebound individually

Beating using full arm- shoulder. Elbow, wrist, fingers

Alternate beating right hand and left, slow to fast individually.

November 3: Technique of holding sticks

Beat 10 in circle to get length of meter

Beat 5 in circle to get length of meter

Beat 3 then 2 alternately in the same meter

November 10: Tremolo; roll

Accompanying run and leap, run-run-leap, etc

November 17: Technique of beating single to double time,

Sitting and squatting

November 24: Beating in a circle to get regularity of beat! (took ¾ of hour to get

smoothness)

December 8: Rebound beat

Orchestra; one improvising in movement

December 15: 4 times with 2 gongs

Different accents beating at the same time.

Listening from a distance

Orchestra, with one improvising in movement

December 22: Revising holding sticks and staccato beat

Single student improvising on drum, trying to follow a rhythmic theme

Dance theme improvised by one

43

December 29: Even beat in soft and ….

January 5: Beating, one stick- swinging drum from one hand to other

-Throwing sticks from one hand... to other, changing sticks and beating-

Walking through the room... -Carrying drums and beating

January 12: Beating in semi circle, changing directions

-Swinging drums in a semicircle

-pass beat around in semicircle

-Walking, passing beat in semi circle

January 24: Gongs held, same as January 12

January 26: Gongs held and swung, same as January 12

February 2: Gong playing melodies as a group

-Building up a melody over one deep gong beat one, group improvising

meloy on gongs

February 9: Improvising over gongs ...other instruments and improvising with

movements

February 16: Orchestration:

-Stopped gongs, continuous melody

-Other Instruments Built Around it: Swinging gongs, Drums.

February 23, March 2 and March 9: [Boas’ Notes for these days are written in German and discuss adding other instruments into the framework of what students already know, including tambonines and timpani]

March 16: Review of Drum Beat

44

-Tremolo over two full counts, one after the other.

-Tremolo on cymbals

March 21 Tremolo on gongs

April 6: No Notes

April 11: Gong melodies for tone and swing

-Orchestrations built on gongs, drums, (rattles, rock...)

April 20: Orchestrations to bring out different tones of instruments

June 2 & 7: Orchestrations: Gongs, drums, and cymbals.

Intermediate Percussion Class (Fridays from 4-5)

October 13: Holding of sticks

Emphasising lift of stick after a beat

Beating on two, four, and six drums

October 20: Beating with three drums:

With swinging drums- 4 drums beating on up-swing and down-swing, passing

tone around

One person improvises with the above rhythm

Criticism of the rhythm by the one who improvised.

October 27: Using 3 toms, drums,...tambourine. Four people play, one improvises.

Double rhythms, but the tremolo is taken by a different person.

November 3: 2 against 3, 3 against 4, 4 against five all in two groups

November 10: 4 against 5 again, without counting and listening kit

45

November 17: Orchestrating rhythms against each other as one whole

November 24: One man orchestra- 2 against 3, two with one hand, three with the other

with different instruments

December 8: One man orchestra- with a constant single basso

December 15: One playing a basso and a melody -bringing in other instruments by

giving directions and continuing beating

December 22: One playing Basso and melody… other instruments directing

-Improvising gng melodies, reusing gong beat

December 29: Gongs-Tremolo with two sticks, one stick.

Two Gongs tremolo

Crescendo & decrescendo on 1-4 gongs

Tremolo with 1 stick going from one gong to other...5 gongs

January 5: Gong melodies + adding dynamics

Two gong melodies together

[Students names]

January 12: Gong melodies against each other

Stopped gongs improvising together [students names]

January 26: [Student name]- Technique on drums

Fine point of view... of intensity

February 2: [Students Names]....Tuning of drums, Use of percussion…attitude and composing

February 9: No Class

46

February 12: [Students names]

Gong melody

Stopped gongs beneath

Needed a light melody on gongs or tremolo above it

February 16: No notes

February 23: Orchestration

1. Melody on Gongs by [student’s name}, Orchestration by [student’s name]

2. Melody on drums by [student’s name], Orchestration by [student’s name]

March 2: Melody on drums

Melody piano

Melody on drums

Piano Melody

Gongs

March 9: Drum melody theme, enlarged by [student.]

Three measures on drums- gongs (..3 measures..)

-both together- (A-B-A)

(no freedom in use of instruments)

March 16: Worked on the marking of changes

[Student] Marking phrases of 12

[Student] Marking measures

[student] steady beat

lLearning to anticipate change in movement

47

March 23: Stopped gongs, chinese toms, bells and bowls

Music Scores

The following scores are examples of Boas’ Exercises that were played and performed by her classes. They are here to serve as a reference to what was discussed in the “Percussion Class” section of this thesis.

48

Score Miscellaneous Exercises Franziska Boas Collection: Box 95 Folder 8 Franziska Boas Normal Elasticity Cymbals Œ œ Ó Œ œ Ó Gong 5 . œ Œ œ œ œ . œ Œ 3 ã 4 Œ ‰ Ó Œ 4 J 5x

Timpani Ÿ Ÿ 5 j 3 ã 4 . w œ œ œ œ . ˙ Ó Œ 4

3 Vibration 1 Rattle œ. œ ‰ ˙ œ œ. œ ‰ œ. œ ‰ Toms 3 ã 4 œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ Continue accents 2X > > > > 5x Toms œ œ œ œ œ œ œ œ œ Timpani 3 j j ã 4 ‰ œ œ œ œ œ ‰ J . œ œ . ‰ œ œ œ œ œ

7 ˙ œ œ œ ‰ œ œ ‰ ˙ œ . . 4 ã œ œ œ œ œ œ . . œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ œ œ œ œ . 4 2X 4X 2X œ œ œ œ œ œ œ œ œ œ œ œ . j j 4 ã ‰ J . . œ œ . . ‰ œ œ œ œ œ ‰ J . 4

11 Vibration 2 Blocks œ œ œœœ œ œ œœœ œ œ Œ œœœ 4 œ œ œœœ œ œ œœœ œ œ œœœ 3 Toms ã 4 Œ Œ . œ œ œœ œœœ œ œ œœœ œœœœ &. 4 A G C B D B C D B A B B 9X Bowls w w 4 ˙ œœœœœœœœ ˙ œœœœœœœœ . ˙ œ œœœ œœœœ . 3 Timpani ã 4 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ . œ œ œœ œœœ œ œ œœœ œœœœ . 4

© 14 Slow Pendulum (for pitched gongs) Gongs 3 œ ˙. œ & 4 ˙. ˙. œ œ œ ˙. ˙. œ œ œ

3 ã 4

21 œ œ ˙ ˙ ˙. œ & œ œ œ œ œ

ã

25 œ ˙ œ ˙ ˙. œ & œ ˙ œ ˙. œ œ œ

ã

29 œ œ œ. œ œ nœ œ œ œ œ œ œ œ œ œ œ œ & J œ œ œ œ œ

ã

33 œ . œ. œ œ nœ œ œ œ œ ˙ ˙. ã & J œ ˙. ˙.

ã Bowls 37 Swing Cymbal Gong ã ∑ œ Œ Œ ∑ œ Œ Œ . œ Œ Œ

Toms œj œ œ ˙ œj œ œ ˙ Timpani ã œ œ œ œ œ œÓ œ œ œ œ‰ œ œ œ œ œ œÓ œ œ œ œ‰ . œ œ œ œ œ

42 œ œ œ œ œ œ œ ã œ Œ Œ Œ Œ œ Œ Œ œj œ œ ˙ œj œ œ ˙ œj ã œÓ œ œ œ œ‰ œ œ œ œ œ œÓ œ œ œ œ‰ œ œ œ œ œ œÓ œ œ œ œ‰

47 4 ã ∑ . œ Œ Œ œ Œ Œ 4 œ œ ˙ 4 ã œ œ œ œ œ . 4

Lifting Swing 50 Bowls Burma Gongs 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 . . œ œ œ œ œ œ 5x œ œ

Gongs 4 . œ Œ œ. œ œ Œ œ. œ . ã 4 . J J . Waltz Swing

° j j Temple Blocks 6 œ ‰ j ‰ ‰ œ ‰ œ j Œ j Œ / 8 œ œ œ œ œ œ œ œ œ J œ œ

Rat. S1 6 ∑ ∑ ∑ ∑ S2 / 8

Burma 1 Gong 2 6 ∑ ∑ ∑ ∑ 3 / 8 ˙™ ˙™ Gong 6 ™ ™ / 8 œ™ œ œ™ œ 6 Xylophone & 8 ≈ r j ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Drums/Toms 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Timp. 1 / 8 œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ 2 ¢ œ œ R œ œ R œ œ R œ œ R œ œ R œ œ R œ œ R œ œ R

5 ° j j 3 T. Bl. œ ‰ j œ ‰ ‰ ‰ œ ‰ œ / œ œ œ œ J œ œ œ œ J 4 ∑ ∑ ∑ 3 Rat. / 4 ∑ ∑ ∑ 3 B. Gong / 4 ˙™ Gong ™ ™ 3 / œ™ œ œ™ œ 4 3 Xyl. & ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R 4

8 ° 3 6 T. Bl. / 4 œ Ó ∑ 8 ∑ ∑

3 œ œ œ œ 6 ∑ ∑ Rat. / 4 œ ‰ œ œ ‰ œ 8 3 3 3 œ œ 6 œ œ œ œ œ œ œ œ B. Gong Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ / 4 8 œ œ œ œ ˙™ ˙™ Gong 3 ™ 6 ™ / 4 œ™ œ 8 œ™ œ 3 6 Xyl. ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ & 4 r œ j r œ j 8 r œ j r œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 6 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / 4 œ œ œ R œ œ œ R œ œ œ R œ œ œ R 8 œ œ œ R œ œ œ R œ œ œ R œ œ œ R 2 12 ° 3 T. Bl. / ∑ ∑ 4 ∑ ∑ 3 Rat. / 4 œ œ œ œ œ œ œ œ 3 B. Gong / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ˙™ Gong ™ 3 / œ™ œ 4 3 Xyl. & ≈ r j ‰ ‰ ≈ r j ‰ ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ 3 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R 4

14 ° 3 6 T. Bl. / 4 œ Ó ∑ œ Ó ∑ 8 3 œ œ œ œ œ œ œ œ 6 Rat. / 4 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ 8 3 œ 3 œ 3 œ 3 œ 3 6 B. Gong / 4 Œ Œ Œ Œ Œ Œ Œ Œ 8 ˙™ ˙™ Gong 3 ™ ™ 6 / 4 œ™ œ œ™ œ 8 3 6 Xyl. & 4 ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 6 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / 4 œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R 8

18 ° 6 T. Bl. / 8 ∑ ∑ ∑ ∑ 6 ∑ ∑ ∑ ∑ Rat. / 8 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B. Gong œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / 8 œ œ œ œ œ œ œ œ 6 ˙™ ˙™ Gong œ™ œ™ / 8 œ™ œ™ 6 Xyl. ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ & 8 r œ j r œ j r œ j r œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / 8 œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R 3 22 ° 3 T. Bl. / ∑ ∑ œ Ó 4 ∑ ∑ œ œ 3 Rat. / œ ‰ œ 4 3 œ œ œ œ œ œ œ œ œ 3 B. Gong / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ 4 ˙™ ˙™ Gong ™ 3 / œ™ œ 4 3 Xyl. & ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R 4

25 ° 3 T. Bl. / 4 ∑ œ Ó ∑ 3 œ œ œ œ œ œ Rat. / 4 œ ‰ œ œ ‰ œ œ ‰ œ 3 œ 3 œ 3 œ 3 B. Gong / 4 Œ Œ Œ Œ Œ Œ ˙™ Gong 3 ™ ™ / 4 œ™ œ œ™ œ 3 Xyl. & 4 ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / 4 œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R

28 ° T. Bl. œ ‰ j œ ‰ ‰ œ ‰ œ Ó / œ œ œ œ œ œ œ œ J œ ∑ ∑ ∑ œ œ Rat. / œ ‰ œ 3 ∑ ∑ ∑ œ B. Gong / Œ Œ ˙™ ˙™ Gong œ™ œ™ / œ™ œ™

Xyl. ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ ≈ ‰ ‰ & r œ j r œ j r œ j r œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R 4 32 ° T. Bl. / ∑ œ Ó ∑ œ œ œ œ œ œ Rat. / œ ‰ œ œ ‰ œ œ ‰ œ œ 3 œ 3 œ 3 B. Gong / Œ Œ Œ Œ Œ Œ ˙™ ˙™ Gong ™ / œ™ œ

Xyl. & ≈ r j ‰ ‰ ≈ r j ‰ ‰ ≈ r j ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R œ œ œ R

35 ° T. Bl. / ∑ ∑ ∑ ∑ Rat. /

B. Gong / œ ‰ œ ‰ œ Œ Œ ˙™ Gong ™ / œ™ œ

Xyl. & ≈ ‰ ‰ ≈ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ

Perc. œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ ¢ / œ œ œ R œ œ œ R œ œ œ R œ œ œ R

Works Cited

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“Modern Girls Learn Primitive Rhythms.” New York Evening Post. 1932, January 5, 1932 ​ ​ edition. Rizzuto, Rachel. “Mary Wigman: Choosing Expression Over Technique.” Dance Teacher 36, no. ​ ​ 6 (June 2014): 62. Teck, Katherine, ed. Making Music for Modern Dance: Collaboration in the Formative Years of a ​ New American Art. New York, New York: Oxford University Press, 2011. ​ Unattributed. “The Denishawn Aesthetic: America and the Dance; Music Visualization.” In Making Music for Modern Dance: Collaboration in the Formative Years of a New American Art, edited by Katherine Teck, 23–27. New York, New York: Oxford ​ University Press, 2011.

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