Women in the Orchestra

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?

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

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

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

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!

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

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?