Unsung heroines: contributions of selected early twentieth-century women to American piano pedagogy

American Music Teacher, Dec, 2002 by Debra Brubaker Burns, Anita Jackson, Connie Arrau Sturm

Despite their accomplishments in various musical fields, women were discouraged from entering some music occupations, such as performing for the movies. In addition, prejudice affected assessments of their capabilities. A female editor for The Etude noted that piano tuning requires a "quietness of nerve [which] is not the natural endowment of woman." (15) Nevertheless, advertisements for a piano tuning school pictured a woman tuning an upright piano. While women did good work in a variety of piano-related occupations, some of their most important contributions to music performance and pedagogy stemmed from their involvement in women's musical clubs. In 1918, the president of the National Federation of Music Clubs (NFMC), Mrs. A. J. Ochesner, estimated that about 1,425 musical clubs existed across America and included a combined membership of approximately 300,000 members. (16) Ochesner stated that "the sole object of our existence is to advance the cause of music in America." This was done through audience development; sponsorship of young performers; support of public school and community music programs; development of plans of study and examinations for music teachers; and support of American music, composers and teachers. Specifically, women's musical clubs can be credited with the following accomplishments:

* Increasing attendance at musical events all across the country. ("Let but one well-organized club persist in its work for a few years and the concert artist and the orchestra will find ample patronage in its vicinity.") (17)

* Promoting young artists. NFMC published a list of members who were willing to give recitals for a nominal fee. A young artist could build a reputation and gain valuable performing experience by performing for music clubs across the country.

* Encouraging the introduction of music into the public schools. Clubs offered financial help, encouraged the hiring of a music supervisor and supported the development of quality music curricula.

* Promoting musical activity in their communities. Music clubs established music schools within settlement houses, sponsored after-school musical activities and donated records and sheet music to public libraries. (18)

* Organizing a system of continued musical education. Music club libraries and courses of study encouraged the professional development of their members.

* Supporting American composers and American music. Music clubs published lists of American composers and compositions; they also sponsored competitions for American composers and performances of American music.

* Supporting American teachers and their students. NFMC sponsored an annual Young Artist Contest that was open only to contestants who were "entirely American trained." At a time when many Americans thought the best musical training was offered abroad, music clubs created this contest to demonstrate the high quality of American music instruction.

Over and above the accomplishments outlined thus far, women's most important contributions to twentieth-century musical life came from their teaching of music to young children from all classes of American society. In homes, independent music studios and public school classrooms, women bore the primary responsibility for spreading musical culture and functioned as the main conservators of music in America. As one author observed in 1918,