African-American Bassoonists and Their Representation within the Classical Music Environment D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra). These five bassoonists vary in age and geographic location. ii Acknowledgments I would like to thank the members of my committee including: Doctor Arved Ashby, Professor Kathrine Borst Jones, and Doctor Russel Mikkelson and acknowledge the time and mentorship each provided. I would not have been able to complete this document without your patience and guidance. I would also like to acknowledge and thank Andrew Brady, Monica Ellis, Rufus Oliver Jr., Joshua Hood, and Alexander Davis. Each of you took time from your busy schedules to participate, and talked openly during the interview process. Finally, I would like to acknowledge my advisor, and bassoon professor at The Ohio State University, Professor Karen Pierson. It is because of you that I decided to write this document. Furthermore, I would not be the musician that I am today, if not for your mentorship, and kindness. For that, I am truly grateful. iii Vita 2019-Present……………………….…Faculty Woodwind Quintet, Heidelberg University 2018-Present……………...…...Part-Time instructor of Music, Ohio Wesleyan University 2018-Present…………………………….……..Second Bassoon, New Albany Symphony 2018-Present…………………..Second Bassoon, Newark-Granville Symphony Orchestra 2016-Present………………………….….Contrabassoon, Mansfield Symphony Orchestra 2017-2019…………Graduate Assistant, Department of Music, The Ohio State University 2016-2019………………………….....Doctor of Musical Arts, The Ohio State University 2016-2017…………... Graduate Fellowship, Graduate School, The Ohio State University 2014-2017…………………………Second Bassoon, Tuscarawas Philharmonic Orchestra 2015-2016…………………….Bassoon Graduate Assistantship, The University of Akron 2014-2016……………………………………..Master of Music, The University of Akron 2014-2016………………………….Lunaris Woodwind Quintet, The University of Akron 2014-2015….....……Band and Bassoon Graduate Assistantship, The University of Akron 2010-2014……………..…Bachelor of Music Education, The University of Mount Union Fields of Study Major Field: Music iv Table of Contents Abstract .......................................................................................................................... ii Acknowledgments ......................................................................................................... iii Vita ............................................................................................................................... iv Table of Contents…………………………………………………………………………. v Introduction .....................................................................................................................1 Background and Description of Study ..........................................................................2 Chapter 1. Methodology and Procedures ..........................................................................4 Research Methodology ................................................................................................4 Limitations of Research ...............................................................................................5 The Interview Process ..................................................................................................6 About the Interview Transcripts ...................................................................................7 Chapter 2. The Representation of African-American Bassoonists ....................................8 Overview .....................................................................................................................8 Representation of African-American Bassoonists in Symphony Orchestras ..................8 Representation of African-American Bassoonists in Opera Orchestras .........................9 Results .........................................................................................................................9 Biographies of African-American Bassoonists ........................................................... 10 Chapter 3. Interviews ..................................................................................................... 19 Overview ................................................................................................................... 19 Participant Interview No. 1 – Rufus Olivier Jr. ........................................................... 20 Participant Interview No. 2 – Joshua Hood ................................................................ 30 Participant Interview No. 3 – Monica Ellis ................................................................. 42 Participant Interview No. 4 – Alexander Davis .......................................................... 54 v Chapter 4. Personal Story .............................................................................................. 63 Personal Background ................................................................................................. 63 Musical Background .................................................................................................. 64 Introduction to the Bassoon ....................................................................................... 64 The University of Mount Union ................................................................................. 65 The University of Akron ............................................................................................ 65 The Ohio State University to Present ......................................................................... 67 Chapter 5. Summarization and Continuation of Research ............................................... 68 Summary ................................................................................................................... 68 Commonalities ........................................................................................................... 68 Fellowships ............................................................................................................... 69 Continuation of Research ........................................................................................... 70 Bibliography .................................................................................................................. 74 Appendix A. Institutional Review Board Approval ....................................................... 78 Appendix B. Preliminary Documents ............................................................................. 79 Appendix C. List of Orchestral and Opera Companies ................................................... 83 Appendix D. Abridged Interview Transcripts ................................................................. 93 vi Introduction This document addresses two main questions. First, are African-American bassoonists adequately represented in the field of classical music? Second, who are the prominent African-American bassoon players in the United States? Representation and commonalities within this community were explored through four completed interviews and five completed questionnaires by five prominent bassoonists within sub-genres of classical music: orchestra, chamber, opera and fellowship recipients. These detailed interviews and questionnaires consisted of questions regarding their personal experiences, employment, interactions within the field of classical music, and role models. The objective was to uncover commonalities amongst the participants which may have contributed to their success. This document contains biographical information of the twelve African- American bassoonists identified within the parameters of the study. These musicians perform in professional symphony and opera orchestras. Additional research is recommended to study the African-American