tag:blogger.com,1999:blog-83925000599052660122024-03-13T08:24:32.545-07:00Lady in BrassJessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-8392500059905266012.post-12678484790780010442011-11-04T13:59:00.000-07:002011-11-04T13:59:10.771-07:00My New Website!Hello, Readers! Please visit my new site <a href="http://jessicaducharme.com/">http://jessicaducharme.com/</a> to view my new blog/website setting. I'm new to Wordpress, so I will be making updates gradually. Thanks for your patience and thanks for reading!<br />
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-JessyJessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-37050081287852086472011-10-17T12:27:00.000-07:002011-10-17T12:27:13.749-07:00Dr. Jill Sullivan's New Book!I have found Dr. Sullivan's research on the contributions of women's military bands during WWII to be extremely insightful and helpful in bringing to light a subject that has remained untouched for quite some time. <br />
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Dr. Sullivan left a comment on this blog recommended her new book, released September of this year, to you, faithful readers. It is entitled <i>Bands of Sisters,</i> and it would be a great resource and read for anyone interested in American wind band history. More than that, as female brass musicians, learning about our history is an important step towards achieving empowerment and confidence in our fields.<br />
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Follow this link to order Dr. Sullivan's book: <a href="http://www.scarecrowpress.com/Catalog/Reviews.shtml?command=Search&db=^DB/CATALOG.db&eqSKUdata=0810881624">Bands of Sisters</a><br />
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So far, it has received rave reviews-- I can't wait to order my copy!<br />
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<span class="Apple-style-span" style="background-color: white; font-size: x-small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">"<em>Bands of Sisters</em> presents a wonderfully informative look at the long-overlooked contributions of women's military bands during World War II. Jill Sullivan's careful and exhaustive research provides both a great read and an invaluable addition to our wind band legacy. I thoroughly enjoyed reading this book and recommend it to all who are interested in the history of bands and band music in America."<b>—Paula A. Crider, Professor Emeritus, The University of Texas</b></span></span></blockquote>
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<span class="Apple-style-span" style="background-color: white; font-size: x-small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">"Jill Sullivan's diligent research brings to light a previously undocumented and unique contribution to the war effort. Her <em>Bands of Sisters</em> is a fascinating read which finally credits the efforts of thousands of women military musicians during World War II."<b>—Colonel John R. Bourgeois, Director Emeritus, The United States Marine Band, "The President's Own"</b></span></span></blockquote>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: white; font-size: x-small;">"Dr. Jill Sullivan gives voice to a significant part of history that has up to this point remained untold. Not only is this an important completion of the historical picture of the American wind band, but, and perhaps more importantly, these stories empower young female musicians who will now know they are part of a strong lineage of accomplished women musicians. As a woman band conductor myself, I plan to recommend this book to any young woman who wishes to pursue a career as a conductor, performer, or teacher, and anyone interested in a more complete knowledge of the history of the wind band."<b>—Dr. Diana M. Hollinger, Project Coordinator, California Music Project, San Jose</b></span> </span></blockquote>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: white; font-size: x-small;">"Dr. Sullivan has written an intriguing, thoroughly documented account of the largely neglected role of women in military bands during World War II. Using numerous oral interviews, primary and secondary written accounts, and photographs, this meticulously prepared narrative reinforces the important role that these all-female groups played in boosting morale, raising money through bond drives and even performing for injured soldiers returning home for recuperation. This is a must read for anyone interested in the history of bands in America."<b>—William Davis, Ph.D., Professor, Music Therapy, Colorado State University</b></span> </span></blockquote>
<br />Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com1tag:blogger.com,1999:blog-8392500059905266012.post-4633945160070752452011-09-28T11:05:00.000-07:002011-09-28T11:05:34.459-07:00iHearIC<div class="separator" style="clear: both; text-align: center;">
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The fall concert series for iHearIC has already begun. I am excited to say that Low Trio will be performing at the next concert!<br />
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Low Trio consists of me on trombone, Dan Spencer on horn, and Kate Wohlman on tuba. We will be performing John Stevens' <i>Triangles. </i>The concert will be on October 3, 2011 beginning at 9:00 at the Englert Theater in Iowa City. Bring your friends-- it's free!<br />
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To learn more about iHearIC, visit Zach Zubow's <a href="http://ihearic.blogspot.com/">blog</a>. Thanks, Zach for organizing this great event! <br />
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I have really enjoyed playing in this group-- not only are Dan and Kate close colleagues and friends, but they are wonderful musicians. We have encountered some challenges as far as transitioning from the typical brass quintet mentality, but these challenges have opened new doors and have been quite refreshing.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com1tag:blogger.com,1999:blog-8392500059905266012.post-65394048954995665302011-09-28T10:48:00.000-07:002011-09-28T10:48:26.585-07:00International Women's Brass Conference 2012<div class="separator" style="clear: both; text-align: center;">
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Greetings, all! Take a look and browse through the new website for the <a href="http://www.iwbc2012.org/">International Women's Brass Conference 2012</a>-- to be held at Western Michigan University in Kalamazoo, Michigan. It's a great site with lots of info and resources. I am crossing my fingers that I can go this year-- my low brass trio is going to apply for a performance spot.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-37278785128740633172011-05-24T22:38:00.000-07:002011-05-24T22:38:16.923-07:00Women in the Orchestra<link href="file://localhost/Users/jessicaducharme/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml" rel="File-List"></link> <link href="file://localhost/Users/jessicaducharme/Library/Caches/TemporaryItems/msoclip/0/clip_themedata.xml" rel="themeData"></link> <style>
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<div class="MsoNormal"><span style="font-family: 'Times New Roman';">In the jazz world, much of the discrimination against women was discrete—much went unsaid, and many women, even those with great talent, were simply ignored. The orchestral scene was a bit more overt about discrimination towards women. Perhaps it was America’s long-standing traditions with European orchestral models that prolonged this discrimination, but it wasn’t until the 21<sup>st</sup> century that real progress was made with women joining professional orchestras. Antiquated Victorian ideals as well deluded ideas of a woman’s physical limitations to playing musical instruments professionally fueled this discrimination. As quoted from Gustave Kerker in the <i style="mso-bidi-font-style: normal;">Musical Standard</i> journal in 1904:<o:p></o:p></span></div><blockquote><span style="font-family: 'Times New Roman';"> Nature never intended the fair sex to become cornetists, trombonists, and players of wind instruments. In the first place they are not strong enough to play them as well as men; they lack the lip and lung power to hold notes which deficiency makes them always play out of tune…Another point against them is that women cannot possibly play brass instruments and look pretty, an why should they spoil their good looks? </span></blockquote><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: 'Times New Roman';">Sexual discrimination is still a major issue in the orchestral scene as well as the music conservatories that train musicians. While this news may be disheartening, the fact that awareness has been raised, research is being conducted, and women are taking advantage of musical opportunities now more than ever are all signs that progress is being made. <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"> </span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';">In conclusion, it was a matter of American traditions and culture that shaped women’s roles in music. The fact that women were excluded from mainstream musical scenes forced women to unite and form new, all-women groups. The United States military was rooted in service and duty—women’s involvement in military bands mirrored these ideas and helped to shape the band tradition in America as well as music education. Popular music like the Blues sparked the formation of America’s true art form: jazz. Singers like Gertrude “Ma” Rainey and Bessie Smith sang of the hardships that African American females faced and gave the American public a needed dose of stark reality. All-women jazz groups like the Ingenues and the Harlem Playgirls, though perceived as “novelty” acts, allowed women to engage in professional music careers in jazz—careers that would become more prominent in the future. While sexual discrimination in the orchestral music scene has been the most prevalent and is still at a state today that requires attention, changes are being made in the right direction for female musicians. American conductor Leopold Stokowski said, “What a poof economy it is to take it for granted that women are not ready to enter the world of art, are not capable of becoming fluent channels for the expression of genius…We are sacrificing accomplishment to tradition.” </span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"><br />
</span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';">So, let us form new traditions for women in the American music scene! I have really enjoyed this research and have realized that there is so much out there on this subject. I plan on researching these topics more this summer-- after I finish Tina Fey's new book <i><a href="http://www.google.com/products/catalog?q=tina+fey+bossypants&hl=en&prmd=ivnsuo&bav=on.2,or.r_gc.r_pw.&um=1&ie=UTF-8&tbm=shop&cid=17697677956774752527&sa=X&ei=6JTcTYkx0JS3B7nY1ccP&ved=0CF4Q8wIwAA&biw=1277&bih=679#">Bossypants</a>, </i>of course.<i> </i>Ladies and gents, read this-- it is hilarious. (and may supply me with a few blog posts!) Oh, and also check out this <a href="http://www.linfoulk.org/quotes_resources.pdf">handout</a> from Lin Foulk's site-- the quotations will surely enrage you :) <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"><br />
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<span class="Apple-style-span" style="font-family: 'Times New Roman';">Gustave Kerker, “Opinions of Some New York Leaders on Women as Orchestral Players,” <i style="mso-bidi-font-style: normal;">Musical Standard, </i>Vol. 21 (April 2, 1904).</span></div><div style="mso-element: footnote-list;"><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText"><o:p></o:p></div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText"><br />
Leopold Stokowski, “Women in the Orchestra,” <i style="mso-bidi-font-style: normal;">The Literary Digest, </i>Vol. 52 (Feb. 26, 1916) p. 504.<o:p></o:p></div></div></div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com2tag:blogger.com,1999:blog-8392500059905266012.post-54191151196404462522011-05-24T22:13:00.000-07:002011-05-24T22:13:08.075-07:00All-women Jazz Groups: novelty or necessity?<link href="file://localhost/Users/jessicaducharme/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml" rel="File-List"></link> <link href="file://localhost/Users/jessicaducharme/Library/Caches/TemporaryItems/msoclip/0/clip_themedata.xml" rel="themeData"></link> <style>
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<div class="MsoNormal"><span style="font-family: 'Times New Roman';">Just as all-women groups were popular in the military band tradition, so were all-women vaudeville and jazz groups. Both black and white all-women groups formed as a result of the difficulties women had joining well-established male ensembles. These all-women “girl bands” were actually quite popular in the 1920s and 1930s, but unfortunately much of their popularity stemmed from the fact that such groups were seen as novelty acts without much musical integrity in the jazz world. According to scholar Linda Dahl in her book <i style="mso-bidi-font-style: normal;">Stormy Weather</i>:<o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"> </span></div><blockquote><span style="font-family: 'Times New Roman';">Given the popularity of female-as-sex-object as a promotional device in entertainment, the many serious and capable women musicians who formed all-women groups were all too likely to be lumped together with the “all-girl” bands of the “Look, Ma, no hands variety.</span></blockquote><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: 'Times New Roman';">The women in these groups were portrayed in a way that played up the visual aspects of their femininity and blended them into one generic woman. Two groups of note are the all-white girl group, The Ingenues, and the all-black girl group, The Harlem Playgirls. The women in these groups were truly talented, but the novelty aspect of their performances is undeniable. While these women surly wanted to be treated as <i style="mso-bidi-font-style: normal;">musicians</i>, setting gender aside, that was unfortunately not an option at the time. With regard to the sex, Linda Dahl states:<o:p></o:p></span></div><blockquote><span style="font-family: 'Times New Roman';"> </span><span style="font-family: 'Times New Roman';">But whether they [women] liked it or not, it [sex] <i style="mso-bidi-font-style: normal;">was</i> an issue, and an important reason for the scarcity of women in established bands. The women players who eschewed the all-women groups had few options; if their music remained “respectable,” their careers quite often remained marginal.</span></blockquote><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: 'Times New Roman';">It wouldn’t be until the 1970s that women could partake in more professional jazz roles, and the 1990s was when women became more integrated and accepted into the jazz world. Groups like The Ingenues and the Harlem Playgirls lost their popularity during the Depression, and many women became disheartened by the “novelty acts” and decided to foster their solo careers or start their own bands. </span></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/8ACtACBX0gM?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal"><span style="font-family: 'Times New Roman';"> <o:p></o:p></span></div><div style="mso-element: footnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText"> Linda Dahl. <i style="mso-bidi-font-style: normal;">Stormy Weather: the music and lives of a century of jazzwomen. </i>Hal Leonard Corporation (New York: 1996) p. 47.<o:p></o:p></div><div class="MsoFootnoteText"><br />
</div><div class="MsoFootnoteText"><o:p></o:p> Kristin A. McGee. <i style="mso-bidi-font-style: normal;">Some liked it hot: jazz women in film and television, 1928-1959. </i>Wesleyan University Press (New York: 2009) pp. 34-35.</div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText"><o:p></o:p></div><div class="MsoFootnoteText"><br />
</div></div><div id="ftn3" style="mso-element: footnote;"><div class="MsoFootnoteText"> Linda Dahl, 48.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div></div></div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-89047827554216374692011-05-24T22:03:00.000-07:002011-05-24T22:03:30.625-07:00American Heroines: Ma Rainey and Bessie SmithI've devoted quite a few posts on military bands, so I decided to research something a little different. I recently took a seminar at the University of Iowa regarding American Music, so the next few posts will come from some of my research in that class. While this post doesn't deal with brass playing, one of the first performance opportunities that women had in jazz were as vocalists. On a cool side note, I did my undergrad in Columbus, GA, and the Schwob School of Music had in its possession 'Ma' Rainey's piano.<br />
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While all-female military bands and their related municipal descendants were rooted in service and education, another American idiom addressed both social and political injustices as well as entertaining the masses. This is perhaps the most American form of music: jazz and the blues. Richard Crawford suggests in <i>America’s Musical Life: A History</i> that 1920s and 1930s blues artists Gertrude “Ma” Rainey and Bessie Smith paved the way for the women’s liberation movement of the 1970s. Their blues lyrics addressed the “experiences of the black working-class women in ways far removed from the songs aimed at the white middle class.” Also, the love that was sung about in the blues was not an “idealized realm where dreams for future happiness were stored,” but rather, “were often linked with possibilities for greater social freedom.” In addressing the unromantic realities of life’s hardships, singers like Rainey and Smith brought to light many of the issues that African American women were dealing with—issues like death, disease, homosexuality, poverty, infidelity, depression, prison, alcohol, and abandonment. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBWfeLPeMNao-e820NgTgvNW-Fo1bCzkZqqQSsSIQFO8Acm5z674BJMT8YaoEbhiwjt_Vr030sgXagrEY2ftYM_Wg6mWj2_6cfD7Jf2okigo34TsjbxRdSq7g-gWdPNZn0eMHO4ObdkZ8/s1600/marainey.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBWfeLPeMNao-e820NgTgvNW-Fo1bCzkZqqQSsSIQFO8Acm5z674BJMT8YaoEbhiwjt_Vr030sgXagrEY2ftYM_Wg6mWj2_6cfD7Jf2okigo34TsjbxRdSq7g-gWdPNZn0eMHO4ObdkZ8/s1600/marainey.jpeg" /></a></div> Born 1886 to a musical family in Columbus, Georgia, Rainey made a name for herself at a young age singing in a talent show in the Springer Opera House. She soon began traveling and performing with vaudeville and minstrel shows. Often called the “mother of the blues,” Rainey was known for her raw, raspy voice, her “moaning” style of singing, and her exceptional phrasing. She often sang of the pains of jealousy, poverty, sexual abuse, and the tribulations of black sharecroppers in the South. Rainey is also known for mentoring the young blues singer Bessie Smith. In 1912, Smith joined Rainey on tour in Chattanooga, Tennessee. Dubbed the “Empress of the Blues,” Smith soon became one of the most popular Blues singers of the 1920s. In fact, her rendition of “St. Louis Blues” with Louis Armstrong is considered by many critics to be one of the best recordings of the 1920s.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com2tag:blogger.com,1999:blog-8392500059905266012.post-12349747772541472742011-05-23T09:18:00.000-07:002011-05-23T09:18:35.259-07:00Moving ForwardThere isn't a day that goes by that I don't think about the subject of my last post. I have spent an inordinate amount of time and energy thinking and worrying about this issue and how it directly relates to myself. And what do I think and worry about?<br />
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Mostly, I feel sad. While I think of myself as a strong person (and I think others would agree), I have spent a lot of time crying. It is hard for me to feel happy-- in fact, I am sort of numb. I guess you could say that I just don't really feel like myself, like part of me is gone. <br />
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I also feel incredibly angry. It angers me to see him praised everywhere he goes. It angers me that what should have been a great experience was ruined for me. It angers me that things would have been completely different if I were a guy. It angers me that I have lost all respect for someone that I really looked up to and admired. It angers me that I am reminded of what happened every time I pick up my trombone. <br />
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I am not just a sad and angry person now, though. I have handled myself in an extremely honest and upfront manner. I have become more assertive. I have learned that I can handle anything with the love and support of my family and friends (thank you). I know that I will be a more understanding and empathetic trombone professor one day. As much as it hurts, I have discovered a deeper passion for what it means to be a female brass musician and an appreciation for all of the women that have paved the way for me.<br />
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I am not writing this to expose anyone or reveal anything. I write this because I want anyone who might be going through the same thing to know that they aren't alone. I have shared these things with my advocate, and she always says the same things:<br />
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1. It wasn't your fault.<br />
2. What you are feeling is completely normal.<br />
3. You reacted in a way that you felt would best protect you.<br />
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All of the sadness and anger has taken a toll on me. I am emotionally and physically exhausted from this semester. I don't know what will truly make me feel better. I think it is a matter of time. What I do know is that more than anything, I want to truly be able to forgive.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-77605233970170349332011-03-27T14:04:00.000-07:002011-05-08T14:00:15.160-07:00Break the SilenceIn my last post, I said that I had learned so much this year. It's true, and I feel that I now have something to offer my fellow musicians, colleagues, and professors. <br />
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When I began this blog, it was a class project (thanks Professor Manning!). I had not really given much thought to how I felt about being a female trombonist. Honestly, there was a time when I felt that being a female trombonist was more of a burden, but now I feel that I have found my niche. I have learned that being a female brass musician makes me special and can even set me apart from the rest. I am reminded of my interview with Lin Foulk when I asked her of what advice she would give to an aspiring female brass musician:<br />
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<blockquote><span class="Apple-style-span" style="font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 13px; line-height: 18px;">Have an awareness of, but don’t dwell on being a female brass musician. As Susan Slaughter once said in a 1991 article in the Boston Globe, “I tell my female students they can’t be ‘as good as’ anybody else; they have to be better.” Practice more than anyone in your circle. Also, don’t be a victim. Any time you hear crud from colleagues, the problem is with them, not you, so leave it there. Develop a thick skin to slip on when you have to deal with particularly difficult colleagues. They can’t get at your core unless you let them. Finally, playing a brass instrument is highly demanding physically. You have to be assertive in your approach, even if you’re not a particularly assertive person. When you perform, you are an actress who must express a full palette of characters and emotions, which includes aggressive, loud, and angry. Many girls are trained to suppress those emotions, so it might be uncomfortable to play music like that. But you have to get over that if you play a brass instrument—it’s not who you are, it’s the character you play.</span></blockquote><br />
She is completely right, and I now see my role in the brass field as an exciting challenge. That said, I feel that I must not develop too thick of skin (which I know, Lin, you are not advocating). Sure, I can put up with the fowl language that inevitably erupts from the back row of the orchestra. I can translate what it means to play "balls to the wall." This is minor stuff-- no big deal. What I am not okay with is the all too frequent male musician abuse of power. <br />
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It is not my intention to bash male musicians and teachers-- I have been fortunate enough to have had two of the most respectful and kind professors in the business (thank you Dr. Palmer and Dr. Gier). It <i>is</i> my intention, though to bring to light that there are certain individuals who abuse their power and assume that they can get away with it. And how do they get away with it? Many women say nothing for fear of the consequences, and some women even think that that type of behavior is to be expected in this field.<br />
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For all of you men and women who might be reading this-- <i>that type of behavior is not to be expected or condoned.</i> Ladies, please have the courage to stand up for yourselves and speak up if you experience unwanted behavior. I don't mean to sound sexist-- I suppose this behavior can go both ways, but let's face it-- this is a male dominated field.<br />
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My advice to women who are silently suffering: <i>say something</i>. My advice to good, respectful professors: know who you invite into your studios to teach your students. A simple window on a door or extra person in the room is all it takes to prevent something horrible from happening. My advice to anyone arrogant enough to think that they can get away with taking advantage of trusting students: you can't. Keep your hands to yourself and be professional.<br />
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Women who have experienced discrimination or sexual harassment or assault within the music field (or anywhere)-- you are not alone. It is not your fault. It is not to be accepted. That said, it is also not to be <i>expected</i>. Most of the men you will deal with in the music world are both kind and respectful-- it is my hope that you will never encounter the inevitable jerks.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-29009420512424434392011-03-27T12:45:00.000-07:002011-03-27T12:47:27.526-07:00Finally, an update!Well it appears that I have been quite silent these past few (ok, more than a few) months. My only excuse is my crazy schedule. I have been so busy teaching, attending class, practicing, rehearsing-- the list goes on. This year has been great, and I've learned so much from my students, my own professor Dr. Gier, and the many guest artists that we've had at the University of Iowa this year. I truly feel blessed to be in the situation that I am here-- I have true role models that encourage and support me in everything that I do. To all of you Iowa folk out there, thank you.<br />
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</div><div>Ok, so here are two exciting bits of news:</div><div><br />
</div><div>The Southeast Trombone Symposium had a huge article in the most recent ITA Journal. Thanks to Stephen Hoy for writing such an in depth article! Here's a link <a href="http://www.ita-web.org/journal/">http://www.ita-web.org/journal/</a></div><div><br />
</div><div>Also, I have been asked to write a guest post for BrassMusician.com, a new online magazine for all things brass! I have been thinking a lot about what I want to write, and I think I may be onto something now. More updates to come!</div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-72169690695345313172010-10-14T07:51:00.000-07:002011-03-27T16:56:47.777-07:00A Brief Guide to Smarter Practicing<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">After learning about Colin's experience, I decided that the most effective way to practice is to be:</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span><b>mindful</b></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>organized </span></b></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>efficient</span></b></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>healthy</span></b></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><b><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></b></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Mindful </b>practice means always having a goal or point to your practice sessions. Always think musically, even in your warmup. Mindful practicing also involves keeping an active and focused mind that stays present for the task at hand, i.e. don't wonder what you are going to eat for dinner as you are working on a Bordogni etude.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>1. Remove distractions from your practice area, i.e. turn off your computer, phone, </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>TV, etc.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>2. Focus on <i>your own</i> playing, not the person who is in the next practice room.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Organized</b> practice techniques can help you become more <b>efficient </b>during your practice sessions.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>1. Make time to practice. Sit down with your calendar and <span class="Apple-tab-span" style="white-space: pre;"> </span>schedule when you will practice each day (and stick to it!). </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>2. Keep a practice log that shows what you are working on for <span class="Apple-tab-span" style="white-space: pre;"> </span>your weekly lessons.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>3. During your scheduled practice sessions, plan what you will work on and for how long. You may want to use a</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> notebook or small dry erase board.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>4. Record your practice sessions or lessons and <i>listen to them</i> afterwards. Take notes and evaluate yourself-- you can</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> be your own teacher!</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>5. Keep all of the materials that you are working on in one space. You may want to have a binder or folder with tabs</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> that <span class="Apple-tab-span" style="white-space: pre;"> </span>keeps your music organized.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Healthy</b> practicing can help you avoid injuries. </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>1. Three to four 45-50 minute practice sessions are better and more effective than a 3 hour long practice session.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>2. Take breaks during your practice session. You can still be <span class="Apple-tab-span" style="white-space: pre;"> </span>productive during these breaks-- if you recorded</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> yourself, then this is a good time to listen and evaluate your recording, mentally practice, conduct and sing, study a </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> score, listen to a professional recording, etc. </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>3. Maintain a relaxed posture, and note any tension that may <span class="Apple-tab-span" style="white-space: pre;"> </span>be causing you to use more pressure. If this tension</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> creeps in, then try to pinpoint where/why it is occurring, take a quick rest, and then resume in a more relaxed state.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>4. Remember that muscle repairs itself roughly on a 48 hour basis. Plan intense </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>practice sessions with this in mind.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Healthy</b> living habits can help benefit you in all areas of your life--even in your trombone playing! </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>1. Engage in regular exercise (at least 30 minutes 3-4 days a <span class="Apple-tab-span" style="white-space: pre;"> </span>week). Try practicing right after you exercise-- you will</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> be surprised at how much air you are able to take in!</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>2. Get a good night's sleep. Even though you are college <span class="Apple-tab-span" style="white-space: pre;"> </span>students, you still need rest. </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>3. Start your morning by eating a healthy breakfast. Beware of eating overly salty/sugary foods before a practice</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> session or performance.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>4. Drink lots of water, especially if you are practicing and exercising a lot. Also, be mindful of the types of food that you </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> consume before you play.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span> <span class="Apple-tab-span" style="white-space: pre;"> </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>5. Brush your teeth before you practice and wash your mouthpiece and horn regularly, especially during flu season.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; white-space: pre;"> </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">College can be a stressful time for music majors. The most successful music students are well organized and self-motivated. Take one (or all!) of the suggestions above and try it for one week as an experiment. What works for you? What areas are you weak in? Do you notice improvements in your trombone playing? </span></div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-53062201452860521902010-08-23T13:59:00.000-07:002010-08-23T13:59:41.725-07:00STS Master Class: Colin Williams, 06/22/2010<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCoWrVvqgvNzQ8HXTrgl7X8uaRgSV7bB-CrmqiJhFKF_pOmoHBwK0WzaOXfEOpCXbfvDGf_PdJA0awONKPbPRo4xYA7duP_rcf6AjvI8tNMLWNtiP-yA3wjdHVHMDCuGSgpRptngyvTk/s1600/ColinWilliams.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCoWrVvqgvNzQ8HXTrgl7X8uaRgSV7bB-CrmqiJhFKF_pOmoHBwK0WzaOXfEOpCXbfvDGf_PdJA0awONKPbPRo4xYA7duP_rcf6AjvI8tNMLWNtiP-yA3wjdHVHMDCuGSgpRptngyvTk/s320/ColinWilliams.jpg" /></a></div><br />
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I played selections from the first movement of the Tomasi trombone concerto for Colin during his class. The main point that he tried to make to me is not to get too caught up in the small elements of rubato-- think about the <i>big picture</i>. I had/have trouble with this aspect in my playing, especially in the Tomasi with the vast number of markings. I'm trying to work on not, for lack of a better word, romanticizing every small gesture, but rather striving to achieve long, sweeping musical lines.<br />
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The rest of my notes from this class were directed to the other participants. In every brass pedagogy course I've ever taken, we always had to list "teaching points." Think of the next statements that way; these points can be used for any brass or wind instrument. <br />
<ul><li> Even though it's a waltz, play more fluidly.</li>
<li>Make slurs much more like the human voice. Think of <i>Bordogni No. 6</i> and play in all clefs.</li>
<li>Sound more vocal or song-like. Sing a phrase to get a more natural and musical sense of phrasing.</li>
<li>Always go back to the basics.</li>
<li>Drive wide and awkward intervals with your airstream.</li>
<li>Work on <i>Arban's </i>Articulation Styles.</li>
<li>Think of the tongue as a traffic cop for your airstream.</li>
<li>If you blow faster air, then the tongue can almost bounce or spring off of the airstream like a lawn sprinkler.</li>
</ul>As you may or may not know, Colin injured his lip and had to take a few months off of the horn to heal. The second half of his class developed into a Q&A about what happened to him and how we as trombonists can avoid/prevent the same thing happening to us. I do not want to necessarily hash out all of the details of Colin's injury (I'm sure you could email him with any questions), but what he basically said was that he did too much playing without rest for about 5 years straight. On top of a very demanding workload with the Atlanta Symphony, he would push himself too hard in his individual practice sessions. Though it is good and healthy to push yourself in your practice, you must find time to rest and rebuild muscle. Colin suggested that we as brass players should find a few weeks a year not to play. Apparently even Joe Alessi takes the month of August off from his horn, according to Colin. Colin said that some warning signs might be difficulty producing a clear sound, leading to using more pressure, which can cause partial muscle tears and muscle thinning. On this same note, we must remember that being out of shape is different than not having the muscle.<br />
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After the class, everyone was pretty horrified after his descriptions of feeling a white-hot needle sort of pain in his lip when the muscle tore. Honestly, most players don't have to worry about this sort of thing. Practice smartly and efficiently, take breaks, etc. Since then, Colin is back to playing in the ASO. He is such a beast at the trombone and a really nice person. I can't wait to hear him again!Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-72148073971847346022010-08-23T13:22:00.000-07:002010-08-23T13:22:07.087-07:00A Brief BreakTo those of you nice people out there in blog land who follow this blog, I apologize for being so lax! I had the best intentions in June while at the STS to update Ladies in Brass, but that whole week was much busier than I could have imagined, and the rest of my summer went much the same way. Better to be busy than bored, I suppose. Luckily, I kept a journal of notes during the masterclasses, so now I can finally turn them into L&B entries.<br />
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Another quick note-- I won the solo competition at the STS!!! Here's a link to another blog of mine detailing that experience, along with some books that I read over the summer. <a href="http://amidwesterntale.blogspot.com/2010/07/new-horn-new-books.html">http://amidwesterntale.blogspot.com/2010/07/new-horn-new-books.html</a>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com1tag:blogger.com,1999:blog-8392500059905266012.post-89706786577396434332010-06-24T09:48:00.000-07:002010-06-24T09:48:22.174-07:00Southeast Trombone SymposiumGreetings from Columbus, Georgia! I am participating in the Southeast Trombone Symposium at Columbus State University, hosted by my former professor Dr. Brad Palmer. It's been a great week so far--I have met some really great trombonists, played in quartets and octets, attended masterclasses, and heard outstanding faculty recitals. Tomorrow is the solo competition, which I am a finalist for. I had intended to update this blog throughout the week, but as it is Thursday, you can see that I did not accomplish my goal. I have been so busy and dead tired that I am just now getting to the updates. Luckily I have been taking notes, so I will break it down by day and activity.<br />
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Visit this link for more information: <a href="http://music.colstate.edu/trombone/STS_2010.php">http://music.colstate.edu/trombone/STS_2010.php</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8LbiKQLMrPSgKrUNo5_oihXPFBy-q59-Tr4R0ZpZ8bwbJz5vCP4m9xt1B-_Ncg1nxZ-iISLSy95K2U8JNcwpyDE5JXPaD0K1wF5EScM9ZrXW-TtQ7O690AV4QWIVKQCM_lN9NyPXxsE/s1600/atl" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8LbiKQLMrPSgKrUNo5_oihXPFBy-q59-Tr4R0ZpZ8bwbJz5vCP4m9xt1B-_Ncg1nxZ-iISLSy95K2U8JNcwpyDE5JXPaD0K1wF5EScM9ZrXW-TtQ7O690AV4QWIVKQCM_lN9NyPXxsE/s320/atl" /></a></div><div style="text-align: center;">Atlanta Symphony Trombone Section: Colin Williams, George Curran, and Bill Thomas</div><div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpYgKmyu0NhydESYNU9Ln6j_BZ4xc2RE1k1IirzxgpnPSE7sa1Wf3_o8dsUTFlJR0P17lSZgawmJO-rgEtbSyQlAXaLgZIRgSq8MLyGnEJvdlAYR5WGssZlHc8RnT7gYb1BktlFbGAPk/s1600/top_choir_photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpYgKmyu0NhydESYNU9Ln6j_BZ4xc2RE1k1IirzxgpnPSE7sa1Wf3_o8dsUTFlJR0P17lSZgawmJO-rgEtbSyQlAXaLgZIRgSq8MLyGnEJvdlAYR5WGssZlHc8RnT7gYb1BktlFbGAPk/s320/top_choir_photo.jpg" /></a></div><div style="text-align: center;">Dr. Palmer conducting the CSU Trombone Choir.</div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com1tag:blogger.com,1999:blog-8392500059905266012.post-58411830628995828062010-04-20T20:40:00.000-07:002010-04-20T20:40:10.350-07:0024 Posts and Counting (not a TLC production)Well, I made it-- I now have 24 blog posts to my name. If there is anyone else out in the blogging interwebs that happen to be reading this, Ladies in Brass began as a class assignment for Advanced Brass Ensemble Literature. What started out as a pesky assignment actually turned into something that has captured my interest. Before Ladies in Brass, I had not really given much thought to women in music- except for the fact that I am a female trombonist. Since then, I have discovered that this subject is important to me. Why does society place gender roles on the arts? What does it really mean to play with masculinity? Does an all-female ensemble really sound different from an all-male ensemble? What does it mean to be a strong female brass player today? These questions are bouncing around my brain as I type. I think I have scratched the surface on a few of them, but I will continue to dig deeper. So, Professor Manning, feel free to continue to subscribe to Ladies in Brass, for this blog has just begun. Thank you for helping me discover an interest that I didn't know I had.<br />
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<div class="separator" style="clear: both; text-align: center;"></div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-79461815458498684662010-04-12T11:19:00.000-07:002010-04-12T11:19:42.411-07:00TubaCor Interview: Female Composers, Word of AdviceJD: Which new female composers would you recommend for brass ensembles of all shapes and sizes?<br />
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LF: There are a lot of composers listed on my website (<a href="http://www.linfoulk.org/">www.linfoulk.org</a>). Those who are writing quite a bit for most brass instruments include (these are in no particular order): Elizabeth Raum, Barbara York, Libby Larsen, Joan Tower (she wrote a new piece for B5 called “Copperwave,” which I think is very strong), Lauren Bernofsky, Gwyneth Walker. Monique Buzzarte (trombonist in NYC) also has a great site for locating brass works by female composers: <a href="http://www.buzzarte.org/database.html">http://www.buzzarte.org/database.html</a>.<br />
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JD: What advice would you give to an aspiring female brass musician?<br />
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LF: Have an awareness of, but don’t dwell on being a female brass musician. As Susan Slaughter once said in a 1991 article in the Boston Globe, “I tell my female students they can’t be ‘as good as’ anybody else; they have to be better.” Practice more than anyone in your circle. Also, don’t be a victim. Any time you hear crud from colleagues, the problem is with them, not you, so leave it there. Develop a thick skin to slip on when you have to deal with particularly difficult colleagues. They can’t get at your core unless you let them. Finally, playing a brass instrument is highly demanding physically. You have to be assertive in your approach, even if you’re not a particularly assertive person. When you perform, you are an actress who must express a full palette of characters and emotions, which includes aggressive, loud, and angry. Many girls are trained to suppress those emotions, so it might be uncomfortable to play music like that. But you have to get over that if you play a brass instrument—it’s not who you are, it’s the character you play.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-51019390782403057102010-04-12T10:54:00.000-07:002010-04-12T10:54:08.096-07:00TubaCor Interview: Choosing RepertoireJD: What are your thoughts on performing “audience pleasing” repertoire and more serious works? Are there any composers in particular that you feel are capable of pleasing a general audience and that satisfy your expectations as a serious brass musician?<br />
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LF: The Vivaldi Two Trumpet Concerto and the Brahms Duets that we performed is the first time (outside of church and wedding gigs) that I have performed a solo transcription for a “serious” concert! Unlike the tuba, the horn has great solo repertoire all the way back to the eighteenth century. So my teachers always discouraged me from playing transcriptions. It has been so fun to play the Vivaldi and Brahms, however, and we plan to do more transcribing for TubaCor, as that fits in with our mission (see item #1 above).<br />
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My brass quintet talks about this a lot—we only perform “entertainment” music at Christmas time (that’s when our Kalamazoo audience is the biggest) and otherwise our mission is to perform serious art music. Some argue that performing entertainment music is good for building classical music audiences, but I don’t buy that. You’re training that audience to want/demand more entertainment music. It’s not likely that that same audience will come to hear you perform the Etler or Husa quintet and truly appreciate the performance, unless there is a lot of pre-concert talk and educating audiences about that kind of music. My quintet tries to program music that is both serious and pleasing and I guess that’s trying to reach everybody.<br />
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I like much of Eric Ewazen’s music and TubaCor plays a trio by David Gillingham that is well-written and challenging, while also being “audience pleasing.” There are a lot of others, but these two come to mind immediately.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-11581926711329264812010-04-12T10:48:00.000-07:002010-04-12T10:48:23.192-07:00TubaCor Interview: Promotion, Obstacles, A Female ConnectionJD: What do you find to be most effective for promoting your ensemble?<br />
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LF: A hook, a niche. We are two women who perform traditionally male instruments (especially tuba), so I think that makes people curious. We also have niches outside of performing—I like to give lectures on women in music and Dr. Swoboda has presented thousands of educational programs to public schools all over the U.S. So we capitalize on all of those niches in our proposals to present concerts.<br />
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JD: What obstacles have you had to overcome as an ensemble?<br />
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LF: Understanding how horn and tuba function together as a chamber ensemble. It took me about a year to realize that it’s much more of a solo role for me (horn)—I approached it more accommodating and chamber-like before. I have to consciously lead like a soloist for it to sound good. We’ve also worked a lot with bell position to solve some of the inherent balance issues that you get when the instruments are aiming all over the place. We record most all of our rehearsals and performances and listen together to discuss what we hear.<br />
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JD: What connection do you feel to female composers, and is this connection heightened by the fact that you are working with another female musician?<br />
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LF: I’ve cherished the relationships that I’ve developed with the female composers whose music I’ve been advocating since the start of my professional career. It does matter that they’re women, but it’s also just great to work with composer whose music you’re performing. It’s great to get that feedback. I try to perform music by female composers every opportunity that I can—it’s a real focus and mission for me. Working with Dr. Swoboda, who is such a terrific and fun musician, has been a great female-bonding experience too. We support each other (while also challenging each other) and that helps us do our jobs and perform better.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-68459805758252329312010-04-12T10:43:00.000-07:002010-04-12T10:43:09.979-07:00TubaCor Interview: Vision, Commissioning New Works, IWBCJD: What is your vision for TubaCor?<br />
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LF: The ensemble is dedicated to expanding the repertoire for tuba and horn by performing and recording newly commissioned as well as existing works. TubaCor is particularly interested in commissioning works by female composers and is proud to serve as a role model for younger female brass musicians.<br />
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JD: How do you go about commissioning new works for horn and tuba?<br />
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LF: At this point we are asking colleagues and composers we have met in conferences to write for us. We ask people whose music we like and who write well for horn and tuba. An example is that we both recorded a solo by Canadian composer Elizabeth Raum on our respective solo CDs, so we both knew her. So when we connected with the host of the Int’l Women’s Brass Conference, which will be in Toronto next June, a fortunate turn of events allowed Raum to create a new piece for us that we will premiere in Toronto.<br />
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JD: Describe your involvement in the International Women’s Brass Conference. Do you have any thoughts on this year’s conference in Toronto?<br />
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LF: I’m a board member for IWBC and the Board meets through conference call every couple of months. We’ve been mostly discussing details of the Toronto Conference this past year. I’m excited about the Conference being in Toronto—it’s the first time it’s been out of the U.S., so this is important for IWBC. Joan Watson, the host of the Toronto Conference, is a very highly respected horn player and I’m sure it will be a great event.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-90469664751689958192010-04-12T10:31:00.000-07:002010-04-12T10:31:41.894-07:00Interview with Lin FoulkIn a previous post, I wrote about my experience hearing Lin Foulk's lecture on women in music. What I did not mention then was that she and her colleague Deanna Swoboda presented a concert as well. They each played solo works for horn and tuba as well as duets as TubaCor. After the concert there was a lovely reception, and I was able to speak with Lin Foulk. Though she is extremely busy, Dr. Foulk agreed to engage in an interview with me on behalf of TubaCor. Our dialogue took place via email, and she said that I could post her responses on my blog. Dr. Foulk gave really in depth responses that inspired me and gave me insight into the inner workings of a professional brass ensemble. I'm sure even male readers will be able to relate to Foulk's feminine perspective.Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-58998512946296748652010-04-05T14:45:00.000-07:002010-04-05T14:45:30.205-07:00Carol Jantsch<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hIv9sYeKUrrAQFvlREN0jTgYTPLtZgMDq4VUcoSYqUau_t3Ez1hMHdc_yvkICKS3jF4YdvA59XudMu_u0Qs5LUtjgx7rY7WLrWVia5EP4tu4Gb4mSb1W0n0fhyZBZxLEjxKGtl0i0DM/s1600/Carol" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hIv9sYeKUrrAQFvlREN0jTgYTPLtZgMDq4VUcoSYqUau_t3Ez1hMHdc_yvkICKS3jF4YdvA59XudMu_u0Qs5LUtjgx7rY7WLrWVia5EP4tu4Gb4mSb1W0n0fhyZBZxLEjxKGtl0i0DM/s320/Carol" /></a></div><br />
I had the pleasure of hearing Carol Jantsch (principal tuba of the Philadelphia Orchestra) perform last semester at the University of Iowa. Carol definitely breaks the mold of society's image of the typical tuba player. She won her position in the Philadelphia orchestra in 2006 when she was a senior at the University of Michigan, and she was the first female tuba player of a major symphony orchestra. While attending her recital, I was blown away by her amazingly clear tone, ability to play long, musical phrases, phenomenal technique, and efficient use of air. Carol, you are an inspiration to all women brass players- keep doing what you're doing!<br />
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This video is hilarious. Watch, then buy Carol's CD. Your mama wants a CD.<br />
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<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/gYHAWSlvR-U&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gYHAWSlvR-U&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-51208490818680574772010-04-05T14:22:00.000-07:002010-04-05T14:22:24.850-07:00Trombone QuartetAs I was thinking of ladies in brass, I almost forgot that I am in a trombone quartet at the University of Iowa that consists of three women and one man. We formed our quartet at the beginning of this semester, and I have really enjoyed it so far. Group members are me, Jessica Ducharme, Bonnie Varga, Laura Westfall, and Matt Driscoll. It is a pleasure playing with these folks because they are great musicians and really nice people. We will be performing at the University of Iowa Hospital on April 28, 2010 from 12:00-1:00. We will perform works by Busch, Haydn, Culver, Berlioz, Morley, and more. Feel free to come check out our group!Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-71598178968424913512010-04-05T14:00:00.000-07:002010-04-05T14:00:46.542-07:00ABEL Contest: LoudestI decided to rethink my choice for loudest ensemble. A few weeks ago I went to an Abraham Inc. concert at the Iowa Memorial Union. <a href="http://www.abrahamincmusic.com/about/the-band.php">Abraham Inc.</a> is a giant melting pot of klezmer, jazz, funk, and hip hop music. Some of the featured musicians are Fred Wesley on trombone, David Krakauer on clarinet, and Socalled on piano, accordian, vocals, and beats. I instantly fell in love with this band, and even though my ears were ringing when I left, it was probably the best concert that I've seen in a long time. Here's a video of Abraham Inc. to give you a taste of what they are about. They played all of these songs on their concert in Iowa City.<br />
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<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/vmOSIbagWYw&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/vmOSIbagWYw&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com1tag:blogger.com,1999:blog-8392500059905266012.post-80410961337395033282010-04-05T13:40:00.000-07:002010-04-05T13:40:00.845-07:00ABEL Contest: Worst AND WeirdestThis video of is horrible and hilarious on so many levels:<br />
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1. Her outfit<br />
2. Lack of intonation<br />
3. Dancing interlude<br />
4. Trumpet as weapon<br />
5. Laser noises<br />
6. Heel clicks<br />
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Thanks, Stacy for making me smile.<br />
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<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/Xh9Mko23JeA&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Xh9Mko23JeA&hl=en_US&fs=1&color1=0x006699&color2=0x54abd6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0tag:blogger.com,1999:blog-8392500059905266012.post-80650139034489492532010-04-05T13:08:00.000-07:002010-04-05T13:08:09.673-07:00Music With the Hormel GirlsIn a previous post I alluded to the Hormel Girls-- an all-female orchestra established after WWII to give female veterans work and advertise Hormel meat products. This method of advertisement appeared on the radio, and the group also toured. After visiting the Hormel website, I found this great Christmas <a href="http://www.hormel.com/about/OurAdvertising/radio/default.aspx#lightbox2">radio broadcast</a> c.1950. Enjoy, bon appetite!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguiP687jFbVkxIyHkQGvBR9Z9BCYuakDS-3-BNZUO2jJpRLnY0CK5JB9BYi91WENyIhK7AVzhFx8wL0NnpfTBwTDjrwS1apM09gN5kBWA7X0a3lA0COBIrdEmvqv5tS9W_FMHLnzR_12Q/s1600/hormelgirls" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguiP687jFbVkxIyHkQGvBR9Z9BCYuakDS-3-BNZUO2jJpRLnY0CK5JB9BYi91WENyIhK7AVzhFx8wL0NnpfTBwTDjrwS1apM09gN5kBWA7X0a3lA0COBIrdEmvqv5tS9W_FMHLnzR_12Q/s320/hormelgirls" /></a></div>Jessica Ducharmehttp://www.blogger.com/profile/06960250459783358810noreply@blogger.com0