Women's Philharmonic Advocacy

Classical Music and Children

by sarah - June 7th, 2011

NPR’s Classical Music blog, Deceptive Cadence, has been running a series on how to introduce and include children in classical music making and appreciating. The series has included many thoughtful comments by readers as well as guest-posts from some big names – including conductor Marin Alsop.

Not surprisingly, while the comments list a range of examples of composers or specific pieces, women’s work in music is not mentioned at all. (You can read some selected reader’s comments here).

It would seem to me that one simple way to invite children to participate with and become interested and invested in music making is to demonstrate that everybody has a right to become a music-maker, whether it is a composer, conductor, or performer. Part of appreciating music is learning how it was created, and by whom. Children are certainly getting enough of Bach, Beethoven and the other boys in the cursory music education provided in their school programs (at least the ones that haven’t been cut, or will be cut in the near future). It’s easy to forget that a mother’s lullaby is more likely than not the first music a child is exposed to.

Beyond Prokofiev’s Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra, why not also discuss how Anna Magdalena worked with J.S. Bach to give a music education to all 20 children in their home? Or play Amy Beach’s Hermit Thrush at Morn and describe how she could listen to a bird’s song and transcribe it perfectly? Or give Ruth Crawford Seeger the credit that too-often is directly transferred to her husband for recording and sharing countless folk songs and rural music traditions, many of which are still sung routinely as part of early music education?

Children lead by example and are highly intuitive. If a young girl is never introduced to the idea that there are countless women who work, or have worked, as composers, what’s to say that she will ever entertain the notion for herself? The same can be said for children who are never exposed to women conducting orchestras.

I recently referred to an interview with Rachael Worby that ran in the New York Times. Worby, who has spoken openly about the resistances she has faced in pursuing a career in music due to her gender, spoke directly about the importance of such exposure:

Ms. Worby says she is thrilled that the children who see her on the podium know otherwise. “A teacher once came backstage at Carnegie Hall with a fifth-grade girl who spent the first 10 minutes of the concert asking, ‘When is the conductor coming out?’ ” Ms. Worby says. “Then the teacher realized that the girl was waiting for a man to appear, and she said, ‘That woman is the conductor.’ “

Introducing children to classical music, or any music, should also mean being vigilant about sharing and describing the diversity that exists but is all-too-easily ignored. Making sure that classical music traditions not only continue but thrive in future years depends on the excitement and eagerness of today’s young musicians. Is it not then vital to provide as complete a picture of what “classical music” looks and sounds like?

Rachael Worby Returns!

by sarah - May 26th, 2011

Last year conductor Rachael Worby left her position at the Pasadena Pops after 11 seasons with the ensemble. The announcement was in the LA Times last August. Though she never completely receded into the background, fans have been waiting for word of a new project for the conductor. Lucky for us, she just announced a new concert series called Muse/ique, which will have a debut concert in July before a full concert season that will begin in early 2012.

More information about the ensemble and future programming can be found through the Muse/ique website.

Worby’s diverse background, which includes being a former First Lady of West Virginia (1990-1997), has always promoted the Arts and a diverse approach to programming, and I have no doubt that this will continue in her future endeavors. You can read a New York Times interview with Worby from 1994 here. Also available via Worby’s FaceBook page is a conversation that Worby had with Christina Hamlett about music and conducting. The below quote is taken from the article when Worby was asked whether there is a proverbial glass ceiling in conducting:

“Let me tell you something about that ceiling,” she reveals. “It’s actually ferro-cement and I’ve hit it a couple of times.” In a recent op-ed piece she penned following the Baltimore Symphony’s appointment of Marin Alsop, Worby commented, “One would think that in the business of conducting music, a female would be one of the least offensive intrusions into the perceived order of society. But no. The world of classical music is steeped in tradition and, like so many Tevyes, we cling to it with faces reddened and knuckles white. In Baltimore, the selection of Marin Alsop represents opportunity and a willingness to change, but fear not. Those of us in the microscopic world of ‘chicks with sticks’ didn’t get this far without having to be better and better and still better.

She prophecies that time—and lots of it—is what it will take for more of her gender to be handed the baton of world class orchestras. “Twenty-five years ago, there weren’t any women as music directors. Today there are about 10. Maybe in the next 25 years that number will multiply, then multiply again in the following quarter century as more females step into traditionally male venues. In our lifetime,” she muses, “a woman will be president of the United States. Maybe in my daughter’s lifetime, the entire Supreme Court will be all female. One can only hope.”

Slow progress is still progress. But we can do more than hope. We all must be diligent in working towards change. And Worby is doing this though her strong advocacy for diverse programming. Here Worby tells viewers about what to expect from this new project: