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Toward a History of the Institutionalization of the Classical Guitar: Vahdah Olcott Bickford (1885–1980) and the Shaping of Cl

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Toward a History of the Institutionalization of the Classical Guitar: Vahdah Olcott Bickford (1885–1980) and the Shaping of Cl TOWARD A HISTORY OF THE INSTITUTIONALIZATION OF THE CLASSICAL GUITAR: VAHDAH OLCOTT BICKFORD (1885–1980) AND THE SHAPING OF CLASSICAL GUITAR CULTURE IN TWENTIETH-CENTURY AMERICA by Kathy Acosta Zavala __________________________ Copyright © Kathy Acosta Zavala 2020 A Dissertation Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by: Kathy Acosta Zavala titled: and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _________________________________________________________________ Date: ____________Jan 5, 2021 Matthew S Mugmon Jennifer C Post _________________________________________________________________ Date: ____________Jan 5, 2021 Jennifer C Post _________________________________________________________________ Date: ____________Jan 5, 2021 Jay M Rosenblatt Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. _________________________________________________________________ Date: ____________Jan 5, 2021 Matthew S Mugmon D issertation Committee Chair Fred Fox School of Music Acknowledgments I would like to acknowledge my dissertation committee for their help and guidance throughout this process. Dr. Mugmon, thank you for agreeing to become my dissertation chair and for embarking on this journey with me, for providing advice at every turn, and for looking at countless drafts with such speed and accuracy. Thank you for creating an open and safe enviroment for my research and for always fostering a humane environment in which each student can thrive regardless of their social or economic background. Dr. Rosenblatt, thank you for providing formatting advice and always being so meticulous. Dr. Post, I remember taking my first graduate class with you as if it was yesterday. Thank you for introducing me to the field of feminist musicology, for always pushing me to think critically, and for always having a hug for me when it was most needed. My academic journey would not be possible without the immense economic support I have receieved throughout the years. I want to thank the Fred Fox School of Music and all its faculty and administrators, Les and Suzanne Hayt, Chancey Pelletier, André and Julia Pernet, and the Dooling family for believing and investing in me. Julia, thank you for being my mentor throughout the years and for always inspiring me with your constant activism and labor on behalf of the classical guitar’s development in Tucson. Les and Suzanne, thank you for your counsel and countless warm meals (especially the desserts!). Chancey, thank you for always listening to me and helping me to stay focus and determined. Mom Cindy and Dad John, thank you for taking in an international student from Peru all those years ago and loving me like your own child. 3 I also want to extend my deepest appreciation to Julieta Garcia and all the employees who work at CSUN’s Special Collections. Every one of my trips to California was facilitated by their efficient communication and their willingness to answer many questions about Olcott Bickford’s records and other resources that were available. Furthermore, I would like to acknowlege the institution’s determination and resiliency throughout the pandemic and thank them for continuing to offer duplication services throughout this crisis. This dissertation would not have been possible without the support of the guitar community, its scholars, and members of the American Guitar Society. Throughout the past four and a half years, guitar scholars around the world took the time to answer my emails and provided me with invaluable resources. Robert Coldwell allowed me access to his private collection of BMG periodicals, which he collected and digitized over the years. His help was truly invaluable when the world went on lockdown on March of 2020 and libraries around the country closed their doors. Jeffrey J. Noonan was another scholar who positively impacted my ability to conduct further research. During the summer of 2020, he was extremely kind and sent me boxes containing the runs of two periodicals that I was unable to access after the Library of Congress closed its doors and paused its duplication services due to the pandemic. I also want to thank Andreas Stevens for the many resources he sent me when I inquired about the history of German guitar societies. To Angie Hougen, thank you for hosting me during one of my trips to Los Angeles and allowing me to look at the misterious boxes that were given to you by a member of the Yerkes family. To Gregory Morton, Wilbur Cotton, and John F. Steiner, thank you for sharing your memories of your teacher with me and helping me tell her story. 4 Finally, I would like to thank my family. Papá y Mamá gracias por tanto y más. Lala y Pedrito, thank you for you love and tolerating my absences throughout these past four years. To my husband, thank you for everything. You have been my rock, my private chef, and my daily motivator. I truly would not be crossing the finish line without you. Thank you for supporting me throughout this unpredictable journey and allowing me to pursue my dreams. Thank you for listening to me while I read paragraphs of my dissertation out loud from our living room while you cooked our meals and thank you for the enourmous patience you have shown me throughout this past year of utter madness. And to Cherry, thank you for bringing much joy to my life when the world was so dark. 5 To my family, my love, V.O.B., and women like her 6 TABLE OF CONTENTS List of Figures 10 List of Tables 12 Abstract 14 Introduction: FILLING IN THE BLANK: FROM THE BMG MOVEMENT TO SEGOVIA 16 Musical Institutions, Women Philanthropists, and Vahdah Olcott Bickford 32 Literature Review 36 The Sources 45 Chapter Summary 48 Chapter 1: WOMEN IN A MAN’S WORLD: A HISTORY 51 Women’s Road to Professional Careers in Music 52 Philanthropy as a Means to Effect Change 55 Women Composers 60 Women as Music Teachers 61 Women On Stage 64 Women of the BMG Movement 66 Early Women Pioneers in the BMG Movement 68 Olcott Bickford’s Contemporaries 75 The Ladies’ Pages 85 The Ladies Mandolin and Guitar Orchestras in America 90 Conclusion 99 7 California: A State Full of Opportunity for Women Guitarists 99 Fighting for the Vote 100 The Classical Guitar Community in California 102 Young Woman Guitarists Enter the Workforce in California 110 Conclusion 116 Chapter 2: THE ROAD TO THE INSTITUTIONALIZATION OF THE CLASSICAL GUITAR 119 American Institutional Precursors: Early Champions of Plucked and Plectral Instruments 122 An Idea is Planted: Organizing and Unifying the BMG Community 123 The BMG Guild and Its Competitors 127 International Institutional Precursors: The German Guitar Societies 154 Conclusion 170 Chapter 3: OLCOTT BICKFORD AND THE AMERICAN GUITAR SOCIETY 173 Gertrude Miller’s American Guitar Society 174 A Gathering at the Los Angeles Stock Exchange Building: AGS is Born 182 AGS’s Mission and Constitution 192 AGS’s Guitar Orchestra and Ensembles 200 AGS’s Concert Programming 207 Historical Programs 212 National Identity Programs 224 Composer Portrait Programs 239 Thematic Concerts and AGS Special Programs 248 8 AGS’s Publication Fund 254 Conclusion 258 Conclusion: ISOLATIONISM AND ENDURANCE 262 Depending on Philanthropy and Voluntarism 264 Cultivating Isolationism 270 Guiding the Next Generation 277 Conclusion 280 Appendix A: List of Vahdah Olcott Bickford’s Compositions 284 Appendix B: List of Vahdah Olcott Bickford's Performances 294 Appendix C: Minutes of AGS’s Inaugural Meeting 316 Appendix D: Transcript of Olcott Bickford’s Unpublished Article “Guitarists’ Society of America” 317 Appendix E: AGS Constitution and By-Laws 319 Appendix F: List of Surviving AGS Concert Programs from 1923 to 1974 324 Appendix G: List of Concerts presented by the Woman’s Chamber Music Society of Local 47, American Federation of Musicians 346 Bibliography 350 9 List of Figures 1.1 Meta Bischoff-Henning. Portrait published in S.S. Stewart’s Banjo 69 and Guitar Journal 3, no. 9 (April–May 1886), p. 12. 1.2 Dominga I. Lynch. Portrait published in S.S. Stewart’s Banjo and 71 Guitar Journal 11, no. 5 (December 1894– January 1895), p. 2. 1.3 Dominga I. Lynch, The Enterprise Waltz, mm. 1–12. Published in 73 The Enterprise Waltz, S.S. Stewart’s Banjo and Guitar Journal 12, no. 4 (October– November 1895), p. 17. 1.4 Elsie Tooker. Portrait published in Cadenza 5, no. 6 (July– August 76 1899), p. 1. 1.5 Gertrude Miller. Portrait published in Cadenza 6, no. 2 79 (November–December 1899), p. 2. 1.6 Jennie M. Durkee with her Terz guitar and a ukulele. Portrait 82 found in series V, box 158, Item 3, Vahdah Olcott-Bickford Collection, International Guitar Research Archives, Special Collections, CSUN University Library, Northridge, CA. 1.7 Edna May Sayers. Portrait published in S.S. Stewart’s Banjo and 86 Guitar Journal 18, no. 2 (January 1901), p. 4. 1.8 Mrs. Hanmer. Portrait published in The School Record 6, no. 1 97 (September 1897), p. 10. 1.9 St. John’s Ladies’ Mandolin, Banjo and Guitar Orchestra. Portrait 98 published in S.S. Stewart’s Banjo and Guitar Journal 18, no. 1 (December 1900), p. 4. 1.10 Angelus Quartet. Portrait published in the Los Angeles Express, 116 July 28, 1906; newspaper clipping found in series V, box 157, Vahdah Olcott-Bickford Collection.
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