Lady in Brass

My New Website!

2011-11-04T13:59:00.000-07:00

Hello, Readers! Please visit my new site http://jessicaducharme.com/ 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!

-Jessy

Dr. Jill Sullivan's New Book!

2011-10-17T12:27:00.000-07:00

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.

Dr. Sullivan left a comment on this blog recommended her new book, released September of this year, to you, faithful readers. It is entitled Bands of Sisters, 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.

Follow this link to order Dr. Sullivan's book: Bands of Sisters

So far, it has received rave reviews-- I can't wait to order my copy!

"Bands of Sisters 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."—Paula A. Crider, Professor Emeritus, The University of Texas

"Jill Sullivan's diligent research brings to light a previously undocumented and unique contribution to the war effort. Her Bands of Sisters is a fascinating read which finally credits the efforts of thousands of women military musicians during World War II."—Colonel John R. Bourgeois, Director Emeritus, The United States Marine Band, "The President's Own"

"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."—Dr. Diana M. Hollinger, Project Coordinator, California Music Project, San Jose

"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."—William Davis, Ph.D., Professor, Music Therapy, Colorado State University

iHearIC

2011-09-28T11:05:00.000-07:00

The fall concert series for iHearIC has already begun. I am excited to say that Low Trio will be performing at the next concert!

Low Trio consists of me on trombone, Dan Spencer on horn, and Kate Wohlman on tuba. We will be performing John Stevens' Triangles. 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!

To learn more about iHearIC, visit Zach Zubow's blog. Thanks, Zach for organizing this great event!

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.

International Women's Brass Conference 2012

2011-09-28T10:48:00.000-07:00

Greetings, all! Take a look and browse through the new website for the International Women's Brass Conference 2012-- 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.

Women in the Orchestra

2011-05-24T22:38:00.000-07:00

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^st 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 Musical Standard journal in 1904:

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?

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.

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.”

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 Bossypants, of course. Ladies and gents, read this-- it is hilarious. (and may supply me with a few blog posts!) Oh, and also check out this handout from Lin Foulk's site-- the quotations will surely enrage you :)

----------------------
Gustave Kerker, “Opinions of Some New York Leaders on Women as Orchestral Players,” Musical Standard, Vol. 21 (April 2, 1904).

Leopold Stokowski, “Women in the Orchestra,” The Literary Digest, Vol. 52 (Feb. 26, 1916) p. 504.

All-women Jazz Groups: novelty or necessity?

2011-05-24T22:13:00.000-07:00

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 Stormy Weather:

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.

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 musicians, setting gender aside, that was unfortunately not an option at the time. With regard to the sex, Linda Dahl states:

But whether they [women] liked it or not, it [sex] was 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.

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.

Linda Dahl. Stormy Weather: the music and lives of a century of jazzwomen. Hal Leonard Corporation (New York: 1996) p. 47.

Kristin A. McGee. Some liked it hot: jazz women in film and television, 1928-1959. Wesleyan University Press (New York: 2009) pp. 34-35.

Linda Dahl, 48.

American Heroines: Ma Rainey and Bessie Smith

2011-05-24T22:03:00.000-07:00

I'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.

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 America’s Musical Life: A History 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.

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.

Moving Forward

2011-05-23T09:18:00.000-07:00

There 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?

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.

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.

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.

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:

1. It wasn't your fault.
2. What you are feeling is completely normal.
3. You reacted in a way that you felt would best protect you.

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.

Break the Silence

2011-03-27T14:04:00.000-07:00

In 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.

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:

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.

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.

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 is 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.

For all of you men and women who might be reading this-- that type of behavior is not to be expected or condoned. 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.

My advice to women who are silently suffering: say something. 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.

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 expected. 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.

Finally, an update!

2011-03-27T12:45:00.000-07:00

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.

Ok, so here are two exciting bits of news:

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 http://www.ita-web.org/journal/

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!

A Brief Guide to Smarter Practicing

2010-10-14T07:51:00.000-07:00

After learning about Colin's experience, I decided that the most effective way to practice is to be:

mindful

organized

efficient

healthy

Mindful 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.

1. Remove distractions from your practice area, i.e. turn off your computer, phone,

TV, etc.

2. Focus on your own playing, not the person who is in the next practice room.

Organized practice techniques can help you become more efficient during your practice sessions.

1. Make time to practice. Sit down with your calendar and schedule when you will practice each day (and stick to it!).

2. Keep a practice log that shows what you are working on for your weekly lessons.

3. During your scheduled practice sessions, plan what you will work on and for how long. You may want to use a

notebook or small dry erase board.

4. Record your practice sessions or lessons and listen to them afterwards. Take notes and evaluate yourself-- you can

be your own teacher!

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

that keeps your music organized.

Healthy practicing can help you avoid injuries.

1. Three to four 45-50 minute practice sessions are better and more effective than a 3 hour long practice session.

2. Take breaks during your practice session. You can still be productive during these breaks-- if you recorded

yourself, then this is a good time to listen and evaluate your recording, mentally practice, conduct and sing, study a

score, listen to a professional recording, etc.

3. Maintain a relaxed posture, and note any tension that may be causing you to use more pressure. If this tension

creeps in, then try to pinpoint where/why it is occurring, take a quick rest, and then resume in a more relaxed state.

4. Remember that muscle repairs itself roughly on a 48 hour basis. Plan intense

practice sessions with this in mind.

Healthy living habits can help benefit you in all areas of your life--even in your trombone playing!

1. Engage in regular exercise (at least 30 minutes 3-4 days a week). Try practicing right after you exercise-- you will

be surprised at how much air you are able to take in!

2. Get a good night's sleep. Even though you are college students, you still need rest.

3. Start your morning by eating a healthy breakfast. Beware of eating overly salty/sugary foods before a practice

session or performance.

4. Drink lots of water, especially if you are practicing and exercising a lot. Also, be mindful of the types of food that you

consume before you play.

5. Brush your teeth before you practice and wash your mouthpiece and horn regularly, especially during flu season.

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?

STS Master Class: Colin Williams, 06/22/2010

2010-08-23T13:59:00.000-07:00

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 big picture. 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.

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.

Even though it's a waltz, play more fluidly.
Make slurs much more like the human voice. Think of Bordogni No. 6 and play in all clefs.
Sound more vocal or song-like. Sing a phrase to get a more natural and musical sense of phrasing.
Always go back to the basics.
Drive wide and awkward intervals with your airstream.
Work on Arban's Articulation Styles.
Think of the tongue as a traffic cop for your airstream.
If you blow faster air, then the tongue can almost bounce or spring off of the airstream like a lawn sprinkler.

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.

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!

A Brief Break

2010-08-23T13:22:00.000-07:00

To 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.

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. http://amidwesterntale.blogspot.com/2010/07/new-horn-new-books.html

Southeast Trombone Symposium

2010-06-24T09:48:00.000-07:00

Greetings 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.

Visit this link for more information: http://music.colstate.edu/trombone/STS_2010.php

Atlanta Symphony Trombone Section: Colin Williams, George Curran, and Bill Thomas

Dr. Palmer conducting the CSU Trombone Choir.

24 Posts and Counting (not a TLC production)

2010-04-20T20:40:00.000-07:00

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.

TubaCor Interview: Female Composers, Word of Advice

2010-04-12T11:19:00.000-07:00

JD: Which new female composers would you recommend for brass ensembles of all shapes and sizes?

LF: There are a lot of composers listed on my website (www.linfoulk.org). 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: http://www.buzzarte.org/database.html.

JD: What advice would you give to an aspiring female brass musician?

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.

TubaCor Interview: Choosing Repertoire

2010-04-12T10:54:00.000-07:00

JD: 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?

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).

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.

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.

TubaCor Interview: Promotion, Obstacles, A Female Connection

2010-04-12T10:48:00.000-07:00

JD: What do you find to be most effective for promoting your ensemble?

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.

JD: What obstacles have you had to overcome as an ensemble?

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.

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?

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.

TubaCor Interview: Vision, Commissioning New Works, IWBC

2010-04-12T10:43:00.000-07:00

JD: What is your vision for TubaCor?

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.

JD: How do you go about commissioning new works for horn and tuba?

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.

JD: Describe your involvement in the International Women’s Brass Conference. Do you have any thoughts on this year’s conference in Toronto?

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.

Interview with Lin Foulk

2010-04-12T10:31:00.000-07:00

In 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.

Carol Jantsch

2010-04-05T14:45:00.000-07:00

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!

This video is hilarious. Watch, then buy Carol's CD. Your mama wants a CD.

Trombone Quartet

2010-04-05T14:22:00.000-07:00

As 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!

ABEL Contest: Loudest

2010-04-05T14:00:00.000-07:00

I decided to rethink my choice for loudest ensemble. A few weeks ago I went to an Abraham Inc. concert at the Iowa Memorial Union. Abraham Inc. 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.

ABEL Contest: Worst AND Weirdest

2010-04-05T13:40:00.000-07:00

This video of is horrible and hilarious on so many levels:

1. Her outfit
2. Lack of intonation
3. Dancing interlude
4. Trumpet as weapon
5. Laser noises
6. Heel clicks

Thanks, Stacy for making me smile.

Music With the Hormel Girls

2010-04-05T13:08:00.000-07:00

In 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 radio broadcast c.1950. Enjoy, bon appetite!

Helen May Butler's Ladies Brass Band

2010-04-05T12:30:00.000-07:00

As I was doing the reading for my music history class, I came across something that made me look up, point my finger and say, "blog topic!" This is what I read in Grout (7th edition) p. 767:

The tradition of military and amateur wind bands remained strong across Europe and North America. In the United States and Canada, bands increasingly found a home in colleges and schools as well, playing at sporting events and in concerts. Sousa's band continued to tour and became a pioneer in making phonograph recordings. Among the many other professional bands was Helen May Butler's Ladies Brass Band, one of several all-female ensembles formed in response to the exclusion of women from most bands.

This was all that was mentioned, so I did a little research and came across a website that features American Music Collections. The AMC happens to have quite a bit of information on Helen May Butler, including newspaper clippings, photographs, programs, sheet music, hand noted music, posters, post cards, advertising fliers, letters, telegram, biographical article announcing candidacy for U.S. Senate seat in 1936, and "The Flood of 1937" section of the Cincinnati Post, February 13, 1937.

Helen May Butler was a bandmaster for a traveling all-women military band from 1898-1913. One of the band's mottoes was "Music for the American people, by American composers, played by American girls." Not only was Helen May Bulter a bandmaster, but she was also an accomplished violinist and cornet player. Another surprising fact is that she announced her candidacy for a U.S. Senate seat in 1936.

Lin Foulk lectures on women in music

2010-03-29T11:01:00.000-07:00

On March 24, 2010 I attended a lecture presented by hornist Lin Foulk entitled New Standards: Women in Orchestras in the 21st Century. Lin Foulk is the horn instructor at Western Michigan University, and she has done extensive research on women in music. As you can imagine, I was thrilled to learn that she would be giving this lecture. Lin Foulk is a great role model for any woman brass musician-- she is an exceptional musician, articulate speaker, and genuinely nice person.

I took notes on her lecture, which I will share (if I can read my handwriting!), but you can also find many of Foulk's quotes and sources on her website under PDF Downloads.

------------------
Women have experienced open discrimination in the music world, which was rooted in the Victorian woman concept. In this era, women mainly played the piano and sung-- the reason being that they could engage in this activity while staying at home as a "woman of leisure."

By WWII, women began filling the empty spots in the orchestras/bands of the men who had left for war. While this was a big step, the men regained their positions after returning from the war.

By the 1960s-70s, a second wave of feminism occurred, which resulted in more inclusion of women in orchestras. This was achieved by publically announcing vacancies in orchestras and holding blind auditions.

Foulk presented many graphs and statistics that described the relationship of women in the orchestra to the well being of the ensemble.

In an orchestra with 10% or less women, the women generally keep a low profile and behave accordingly to the orchestra norm.

An orchestra in transition (10-40% women) will develop gender boundaries and cross-group stereotyping, which results in conflict.

In a balanced orchestra (40-60% women) will form inter-group relationships and allow both gender goups to feel legitimate.

An analysis of these results would indicate that since women do have orchestral careers, it would be in the orchestra's best interest to generally be gender balanced. This is complicated, though. I don't think that an unfair advantage should go to women as oppposed to men. I think the underlying issue has to do with society's view of women and their roles. Perhaps women aren't audtioning as much as men for orchestral jobs. If this is the case, then it would be hard to achieve this balanced proportion. As Foulk said, "Changes in society change the fabric of music."

Foulk discussed many other topics such as women conductors and composers. She also engaged in a question and answer session with the audience.

Current Topics Paper

2010-03-24T05:45:00.000-07:00

The International Women’s Brass Conference: Educate, Develop, Support, Inspire

    Pursuing a career in music is not an easy task for anyone. Doing so takes an enormous amount of dedication, hard work, and talent. In a field historically dominated by men, women brass players pursuing careers in music have an even more arduous task before them. Today, more women are entering the professional music world than ever as both performers and educators. In a society preoccupied with gender roles, the International Women’s Brass Conference seeks to educate, develop, support, and inspire those brave women who do pursue professional careers in music.

    The International Women’s Brass Conference is a relatively young organization of just seventeen years. The first conference was held in 1993 in St. Louis, Missouri. The first pioneers of this organization were Betty Glover, Melba Liston, and Leona May Smith. The IWBC occurs every three to four years, so the second conference was held in 1997 in St. Louis Missouri and was hosted by Susan Slaughter. In 2000, the conference was held in Cincinnati, Ohio and was hosted by Marie Speziale. In 2003, the conference was held in Normal, Illinois and was hosted by both Dr. Sharon Huff and Dr. Amy Gilreath. The last conference was held in 2006 in Normal, Illinois and was hosted by Gail Robertson, Dr. Sharon Huff, and Dr. Amy Gilreath.

    The IWBC’s mission is fairly simple: to provide opportunities that will educate, develop, support, and inspire all women brass musicians who desire to pursue professional careers in music. Another goal of the IWBC is to promote the composition of new music by women composers. Many new works for brass ensembles are commissioned at each conference. The latest works, which premiered in 2006, were Stella Sung’s Towards Light for Brass Ensemble, Kim Archer’s Fiddlydee for Euphonium and Piano, Joelle Wallach’s In a Dark Time for Horn and Piano, and Gail Robertson’s A Eupher’s Dream for Euphonium Ensemble.

    The IWBC produces a biannual newsletter, which highlights the important news in the women’s brass playing world. Many issues feature interviews of women musicians and composers, recent job winners, and reviews of new recordings and music. These newsletters are mailed to members, but non-members may access all issues predating 2008 through the IWBC website. This is a great resource for all brass players and educators.

    The next IWBC will be held this year in Toronto, Ontario, Canada from June 16-20 at Humber College. More than 300 brass musicians, educators, and adult amateurs are expected to attend this year’s conference. Commissioned works will feature the compositions of Elizabeth Raum, Augusta Read Thomas, and Alice Gomez. There are more than forty guest artists who are scheduled to perform and host master classes. A brief overview of artists includes trumpet: Bella Tromba, Kelley Watkins, and Lina Allemano; horn: Lin Foulk, Lisa Bontrager, and Allene Hackleman; trombone: Abbie Conant, Bones Apart, and Natalie Mannix; euphonium: Gail Robertson, Bonnie Denton, and Sharie Huff; tuba: Carolyn Johns, Deanna Swoboda, and Joanna Hersey. The 2010 Susan Slaughter International Solo Brass Competition is open to all women and men brass players and offers significant prize money. This year’s IWBC conference is scheduled to the brim with endless choices of master classes featuring topics such as Orchestral Excerpt Auditions, The New Reality of Music, Injury Prevention and Recovery, Women in Vaudeville, Improv Boot Camp, and The 21st Century Orchestra. The conference will end with a grand finale concert in downtown Toronto by the Hannaford Street Silver Band, featuring soloists Bonnie Denton, Susan Rider, Joan Watson, and Gail Robertson.

    This year’s IWBC conference will surely be a success, for a lot of work went into planning this event. The numbers of guest artists and vendors are vast, and the topics of the clinics and master classes are extremely diverse and applicable. With a mission rooted in education, development, support, and inspiration, the International Women’s Brass Conference is definitely a resource to all brass players, men and women alike.

Sources
International Women’s Brass Conference, 2009. IWBC, http://myiwbc.org/ (accessed     March 20, 2010).

International Women’s Brass Conference Toronto 2010. IWBC,     http://www.iwbctoronto2010.com/Default.aspx (accessed March 20, 2010).

A look back at the IWBC

2010-03-18T21:26:00.000-07:00

I've been doing a little research on the International Women's Brass Conference. This relatively young organization began in 1993, and the first conference was held in St. Louis, Missouri. The 2010 conference will be held in Toronto, Canada. According to the IWBC's mission statement, it is their goal to provide opportunities that will educate, develop, support and inspire all women brass musicians who desire to pursue professional careers in music.

Meet the IWBC's first pioneers. The following photos and information are from the IWBC website http://myiwbc.org/

Betty Glover retired in 1992 after 40 years as a faculty member of the College-Conservatory of Music at the University of Cincinnati. She had been Conductor of the Brass Choir from 1969-1992. Ms. Glover was Bass Trombone and Tenor Tuba player with the Cincinnati Symphony Orchestra and Opera (1952-1985). She was Conductor of the Brighton Brass Band, a group of professional musicians sponsored by Local #11, A.F. of M (1987-1992), and Instructor of Brass and Conductor of the Band and the Brass Choir at Otterbein College in Westerville, Ohio (1950-1952). Previously, Ms. Glover served for five years as Principal Trombone with both the Kansas City Philharmonic and the Columbus (Ohio) Philharmonic orchestras.

Melba Liston, a pioneering jazz trombonist, composer and arranger, died April 23, 1999. She was universally known as the first female brass player to make an impact in jazz, playing in the bands of Dizzy Gillespie and Quincy Jones. A stroke in 1985 partially paralyzed her, ending her performing career. But she continued to arrange and compose for musician Randy Weston, with the help of a computer.

Born in Kansas City, Mo., Liston met the trombone at age seven. By age eight, she was playing on a local radio station. In 1937, Liston’s family moved to Los Angeles. At 16, she joined the musicians’ local and was writing and playing in the pit orchestra of the Lincoln Theater and later joining the band of trumpeter Gerald Wilson.

In 1949, she went on tour with Billie Holiday in the Southern United States. But it disillusioned Liston. She quit music, working for the Los Angeles Board of Education for three years, and was a movie extra plucking a harp in ‘The Prodigal’ and ‘The Ten Commandments.’

In 1955, Gillespie asked her to join his big band touring the Middle East and Asia for the State Department. A few years later, Quincy Jones formed a band to tour Europe with ‘Free and Easy’ and asked Liston to be his musical director and trombonist.

In the ’60s Liston freelanced as a player, but gigs were few. She began arranging music for MoTown performers, the Buffalo Symphony and was encouraged by Weston to compose.

In the ’70s she taught at the University of West Indies and the Jamaica Institute of Music, and in 1987, two years after her first stroke, she was awarded a Jazz Masters Fellowship from the National Endowment for the Arts.

In 1993, she shared billing and the cover photo with Weston on their CD, ‘Volcano Blues.’

Leona May Smith made her first public trumpet performance at the age of nine on WNAC radio in Boston. At 11 she appeared as a soloist with Goldman’s Band, and at 14 played First Trumpet with the Boston Women’s Symphony. Ms. Smith went on to perform with numerous bands, including Fred Waring’s, and was the first woman trumpet soloist ever to play at Radio City Music Hall. Her frequent performances as a soloist throughout the northeastern US and Canada included appearances with the National Orchestral society and the Chautauqua Festival Symphony.

In the late 1940’s, Ms. Smith and her husband, composer and conductor George w. Seuffert, founded a summer ‘Music for Youth’ program in Newport, Vermont. Known for its teaching excellence, the music center drew talented young performers from all parts of the US and abroad. Reflecting her lifelong interest in providing musical opportunities for children, Ms. Smith has taught trumpet privately and in the Schenectady, New York, public schools. With her husband, she founded, funded, managed and promoted the Seuffert Band in New York City, which offered free concerts to the public, and she performed as its soloist and assistant conductor. Ms. Smith has played First Trumpet with the Brooklyn Symphony under Sir Thomas Beecham, and for 17 years was Extra Trumpet for the Metropolitan Opera. She was also featured in an NBC music education series narrated by Olin Downes.

Bones Apart Celebrates 10 Years

2010-03-18T20:50:00.000-07:00

The all-female trombone quartet Bones Apart is celebrating their tenth anniversary. By performing commissioned works and new arrangements, this multifaceted group aims to widen the scope of the trombone as a serious chamber instrument. The ladies that make up this group are Becky Smith, Jayne Murrill, Helen Vollam, and Lorna McDonald.

Check out this clip of Stars and Stripes Forever from their new album entitled ten http://bonesapart.webs.com/Music/Stars%20and%20Stripes.mp3

Congrats, ladies- you sound fantastic!

Brazen Brass!

2010-03-18T15:54:00.000-07:00

Brazen Brass is Columbus, Ohio's premier all-female brass quintet. Formed in 2006, this group includes recent graduates of Ohio State University, Capital University, and Miami University. Members of the group include:

Melissa Bontempo, trumpet
Melissa Patridge, trumpet
Holly Bowman, horn
Annalisa Ventola, trombone
Carrie Frederick, tuba

After reading the bios of these ladies, I can say that this is quite an eclectic group! Many of the members teach and perform professionally, play many instruments, and are employed in various professions other than music. What a refreshing realization: you can be in a professional music group while simultaneously pursuing other goals!

Check out their website at http://brazenbrass.com/

Historical Perspective: Joan A. Lamb’s Contribution as a World War II Musician and Educator

2010-02-14T15:25:00.000-08:00

History is only as accurate as it is portrayed. What historical knowledge scholars, educators, and the general public acquire is essentially based on a reservoir of facts and interpretations that have been arranged in chronological order by past historians. Unfortunately, this string of events that we call “history” has some major gaps that have not been filled until recently. Specifically, these gaps relate to women’s roles in music history and music education. To fill these gaps is an arduous task, but to allow them to remain present is an inaccurate representation of history itself. In efforts to bridge the gaps in musical history, a closer look will be given to Joan A. Lamb and her contributions to women’s military bands, which developed as the United States became more deeply involved in World War II.

After Japan’s attack on Pearl Harbor in December 1941, the United States declared war on Japan; likewise, Hitler declared was on the United States. With President Franklin Delano Roosevelt’s issuance of a military draft in 1942 men left their homes and jobs to fight. The draft sparked the change in women’s roles in society, for six million women entered the work force during WWII. In 1943, President Roosevelt signed legislation that established a Women’s Army Auxiliary Corps (WAAC), which was later changed to Women’s Army Corps. Soon after, other military branches established similar women’s branches such as the Navy WAVES, Coast Guard SPARS, and the Marines MCWR. By the end of the war, nearly 400,000 women had enlisted. After completing boot camp, these women would choose from a variety of different jobs available to them; one of these jobs was to play in an all-female-military-band.

One such female military musician was Joan A. Lamb. Born in 1918 to musical parents in Ohio, Lamb began her musical training early. She first played the trumpet and later took on the cello and oboe. Lamb attended Baldwin Wallace College in Berea, Ohio where she majored in music education as an instrumentalist. In 1940, Lamb began teaching music in a rural school in Cooperdale, Ohio. She held two other teaching positions, but found them disappointing due to the lack of instruments. After her fiancée was drafted into the war, Lamb decided to research military opportunities for women. In 1942, Lamb joined the WAAC (later called the WAC) as a band member. The role of the WAC band was to boost the morale of the troops and to perform martial duties. In 1943, Lamb was ordered to attend the Army Music School in Fort Myer, Virginia where she would be trained to lead a band. In 1943, Lamb was ordered to Fort Des Moines in Iowa to direct the 400th WAC all-women’s band. She also took on the assignment to start an all-women’s African American band—the first of its kind.

Lamb’s band went on a tour through the U.S. and Canada to raise money to support the war. This was exciting for Lamb and her band, for they often collaborated with famous musicians, movie stars, civic leaders, sports figures, and war heroes. They performed largely at bond rallies, which encouraged people to buy bonds. Lamb’s band also performed at hospitals for wounded soldiers. Lamb recalls in her interviews with Jill Sullivan:

    When it was time for the concert to begin, they started bringing in people not only in wheel chairs, but also on litters….It was a grisly sight and of course all of uswere terribly shocked. And some of the girls didn’t react well, so first thing you know, here were a bunch of girls crying. I managed to get them all together to play our concert. When we finished a number there was practically no applause.They were all bandaged, but the nurses and doctors applauded. We managed to do a fairly decent concert. (Lamb interview, 2003)

Other band members recollect playing on the Seattle Port of Embarkation pier all evening as the troops departed on their ship. Lamb’s band was serenaded by a few thousand male voices singing “Goodnight Ladies” as they left. When Lamb’s position with the 400th WAC band ended, she was one of two women who joined the Armed Forces Radio Orchestra in Hollywood, California. The AFRO performed with stars such as Bing Crosby and Frank Sinatra. These performances, which occurred twice a week, were recorded and sent abroad for the troops to enjoy.

After the war, Lamb was recruited to join the Hormel Girls, which was a band for women who had played in WWII bands. In 1948, she toured the country, performing in what would become a drum and bugle corps. After touring with the Hormel Girls, Lamb returned to Los Angles, where she would begin a thirty-year career as a music educator and administrator. Lamb was known for her work in including children with disabilities in her bands and orchestras; she later went back to school and wrote a thesis, which was inspired by these children. Her work in music education would later be the driving force behind the field of music therapy.

Joan A. Lamb’s contributions as a female musician and educator are countless. Though her military and musical career are perhaps the most varied of any woman, she is just one of many women who made a difference in women’s roles in society. The altered role of women in the military during WWII was part of a larger event that led to long-term changes in society for women such as military integration, passage of Title IX, and the first appointment of a woman as conductor of the U.S. Marine Band.

Bibliography

Lamb, Joan A. Interview with Jill M. Sullivan, 19 August 2003, Pahrump, Nevada. Tape     recording and transcript. Gilbert, Arizona.

Sullivan, Jill M. “A History of the Marine Corps Women’s Reserve Band.” Journal of     Band Research 42 (Fall 2006): 1-45.

_____________. “One Ohio Music Educator’s Contribution to World War Ii: Joan A. Lamb.” Contributions to Music Education 33/2 (2006): 27-51.

_____________. “Women’s Military Bands in a Segregated Army: The 400th and 404th     WAC Bands.” Journal of Band Research 41 (Spring 2006): 1-35.

Gladys Kirksmith, rediscovered

2010-02-10T10:08:00.000-08:00

There is a certain sense of hopefulness that I bring with me every time I check my mailbox. Maybe it's because I'm far from home and living by myself that I hope for that connection. I find myself wondering, "Will that care package my mom mentioned arrive today? What's next on my Netflix list? Will my sister send me the pictures she promised?" Needless to say, I get pretty excited about mail (excluding the monthly electricity bill). I was pleasantly surprised yesterday when the January issue of the ITA Journal, which was paired with a bank statement and credit card application, was waiting for me in the mail. I must say that I was instantly intrigued by the cover.

One of the feature articles in January's issue was "Discovering Miss Gladys" by Marta Jean Hofacre. Former trombonist, Hofacre currently works at the Virginia Historical Society (VHS). She haphazardly discovered this glass plate image, who she later learned was a Miss Gladys Kirksmith (c. 1895-1979). With further research, Hofacre discovered that Gladys had many musical sisters.

Known as the "Dainty Half Dozen", these sisters played in a family orchestra. The parents of these women were origianlly from Ohio, but later moved the family to Iowa. The musical family later became active in vaudeville and circuit chatauqua.

Circuit chatauqua stemmed from 19th century lyceum series (started in NY), which strove to provide educational and cultural outreach services for adults, usually in remote Midwestern towns where such opportunities were rare. According to John Tapia, who has done research on circuit chatauquas, the Kirksmith sisters created "...masterful music rendered without the aid of a man."

I won't spoil the article for those of you who want to check it out for yourselves, but I really enjoyed discovering this Miss Gladys and her musical sisters. The photographs of these ladies are quite stunning. The particular photos I posted are courtesy of the VHS and were taken by Walter Washington Foster in 1915. The fact that a woman had a professional career as a trombonist in 1915 is quite remarkable to me. I would definitely like to delve further into this topic in the future!

Listening to Brass

2010-02-07T16:26:00.000-08:00

I am going to take a quick break from focusing on the ladies in brass to provide an outline for today's listening class. Visit the links for more information. Enjoy!

1. Osteoblast, Derek Bourgeois

•    For 8 trombones
•    From New Trombone Collective’s CD New
•    Commissioned by New Trombone Collective
•    NTC website

2. Brass Quintet No. 3 in D-flat Major, Viktor Ewald

            I. Allegro Moderato
            II. Intermezzo
            III. Andante
            IV. Vivo

•    From Center City Brass Quintet’s CD Romantic Music for Brass
•    Members of CCBQ: Anthony DiLorenzo, Geoffrey Hardcastle, Richard King, Steve Witser (recently deceased), and Craig Knox
•    CCBQ website
•    Ewald was born in St. Petersburg in 1860 (died in Leningrad in 1935)
•    Ewald was thought to be the first person to have written for brass quintet, but later research shows that that is not true.
•    Ewald’s compositions stress virtuosity, which was made possible by the progress made in brass instrument construction.

3. Jesus Is Coming, Jacob ter Velduis

•    For trombone quartet and boombox (a.k.a. “ghettoblaster”)
•    From New Trombone Collective’s CD New
•    Jacob TV is a Dutch ‘avant pop’ composer who studied composition and electronic music at he Groningen Conservatory.
•    TV uses sound bytes from everyday life as well as other recordings in his music
•    Jesus Is Coming uses recorded bits from street evangelists in NYC
•    Jacbo TV's website

4. I’ll Fly Away, gospel hymn

•    From the Dirty Dozen Brass band’s CD Funeral For A Friend
•    The DDB is a New Orleans, Louisiana style brass band with a hint of funk and bebop
•    Ensemble was established in 1977 by Benny Jones- they are still touring and recording today
•    Funeral for a Friend seeks to preserve the New Orleans style jazz funeral
•    The Davell Crawford Singers are featured on this track and album
•    DDB's website

5. Canzona for 8 Trombones, Walter Hartley

•    Video features Colin Williams, Bill Thomas, Mark McConnell, Bradley Palmer, Jim Cumisky, Tom Gibson, Jeff Koonce and George Curran
•    Recorded live in Legacy Hall in Columbus, GA.
•    video link

Abbie Conant: Behind the Screen

2010-02-06T21:21:00.000-08:00

In 1980, Abbie Conant auditioned for the Munich Philharmonic behind a screen. The orchestra voted for her appointment to the principal solo position, though the conductor, Celibidache, was opposed. Celibidache ordered that she play a "probationary year", in which any complaints to her playing could be recorded. No complaints were recorded, but he did not award her any solos.

In 1982, Abbie was demoted to second trombone, which required a greater work load for less pay. Celibidache provided no written criticism but simply stated, "You know the problem: we need a man for solo trombone."

Abbie spent the next six years playing second trombone, but she did file a lawsuit to hopefully regain her solo position. Her opposition stated that she did not have the necessary strength to lead the trombone section, and since the court would need actual proof of this, Abbie elected to take extensive medical, physical, and musical tests to prove her strength.

In 1984, the court ruled in her favor, but the city of Munich appealed. The court then ordered that both sides must find a reputable source to evaluate Abbie's physical strength, endurance, and durability to play the most difficult passages according to the conductor's instructions for length, intensity, and loudness. It took about three years to find a conductor to evaluate her (no one wanted this task for fear of being denied the opportunity to conduct the Munich Philharmonic)- Heinz Fadle. In 1987, Fadle gave her this review:

"She is a wind player with an outstandingly well-trained embouchure, i.e., lip musculature, that enables her to produce controlled tone production in connection with a controlled breath flow, and which gives her the optimal use of her breath volume. Her breathing technique is very good and makes her playing, even in the most difficult passages, superior and easy. In this audition she showed sufficient physical strength, endurance, and breath volume, and above and beyond that, she has enormously solid nerves. This, paired with the above mentioned wind-playing qualities, puts her completely in the position to play the most difficult phrases in a top orchestra, holding them out according to the conductor's directions for adequate length and intensity, as well as strength."

Abbie was then re-awarded her solo trombone position in 1988; however, she did not receive the salary of a solo trombonist or the back pay that she was entitled to throughout the court battles. In 1990 the Munich Philharmonic placed her is a lower salary position than all 15 of her male brass and wind colleagues. Abbie took them to court and won in 1991, but of course, Munich appealed. Abbie won the appeal in 1993-- thirteen years after winning the solo trombone position with the Munich Philharmonic, she was re-awarded the solo position and received the same pay as her male counterparts.

After thirteen horrendous years with the Munich Philharmonic, Abbie left the orchestra to accept a tenured position at the State Conservatory of Music in Trossingen. The Munich Philharmonic then hired a seventeen year old male trombonist with no orchestral experience.

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I am in complete admiration of Abbie Conant for what she endured with the Munich Philharmonic. She could have easily given up from the start, but instead she stood up for what was right.

My rendition does not do Abbie's story justice, so for a more detailed account, visit http://www.osborne-conant.org/ladies.htm#sixteen.

Also, check out http://www.osborne-conant.org/Miriam.htm to see information on Miriam, a musical theater work composed for Abbie Conant by William Osborne.

Ladies Brass Band with a Mission!

2010-02-01T21:43:00.000-08:00

Boobs and Brass is an all womens brass band from Northamptonshire, England. They formed in 2006 to help raise money for breast cancer charities. They had a great success for their first concert raising 5,000 pounds. Since then, they have raised over 53,600 pounds for breast cancer charities! They are hard to miss since they all sport bright pink blazers. Many of the women in the group have experienced breast cancer or have relatives and friends who are fighting breast cancer. Boobs and Brass has a CD for sale that features flugel hornist John Lee- all proceeds go to charity. Another CD Boobs and Brass is promoting is Judith Hayes' arrangement for brass band of the Mongolian folk tune Durvun Tsagiin Tal (Four Seasons of the Steppe). Check out their website, and see all the wonderful work these ladies are doing: Boobs and Brass.

Dr. Jill M. Sullivan from ASU provides new research

2010-01-31T13:02:00.000-08:00

While trying to learn more about women's roles in brass ensembles, I stumbled across the research of Dr. Jill M. Sullivan from Arizona State University. She began her research about ten years ago, and she has definitely brought to light the importance and prominance of all women bands. The popularity of such bands spanned from 1870-1970, many of which were military bands formed during WWII as a result of the formation of women's military organizations. Other popular all women bands were family bands, town bands, professional touring bands, suffrage bands, high school bands, normal school bands, university bands, and immigrant bands.

I was really surprised that Iowa seemed to be the home of many of these bands. All branches of the military had women’s bands. The first activated was in 1942 at the WAAC Training Center in Fort Des Moines, Iowa. Also, the WAC had the only female black band in the history of the United States military, the 404th, located at Fort Des Moines.

For additional information about Dr. Jill M. Sullivan's research, visit Women's Bands

Welcome!

2010-01-27T12:34:00.000-08:00

Thanks for visiting my blog. The following posts will be dedicated to inportant women in brass ensembles. As a female trombonist, I understand what it is like sometimes being the only woman in the section. This project will serve as a tribute as well as an update to what women are doing today in the brass world. Enjoy!