Discovered: Music by Canadian Women

While doing errands on Monday, I noticed I was walking past Granata Music. With my goal in mind of expanding the number of underrepresented composers in my collection, I decided to stop by.

Jackpot!

Not only did I discover two piano music collections heavily featuring Canadian composers Jean Coulthard, Joan Hansen, and Barbara Pentland, but both collections were on sale! I do so love a good sale.

New Works:

Music of Our Time I, by Jean Coulthard, David Gordon Duke, and Joan Hansen. Published by Waterlook Music. [Easy-Early Intermediate Piano]
Studies in Line, by Barbara Pentland. Published by Berandol Music Ltd. [Intermediate Piano]

Previous posts in this series discovering music by underrepresented composers: (1)

Music meets mathematical matrix!

Music, Math, and Art

People often talk about the connections between music and math, and I occasionally give my older students an unpleasant surprise by suddenly diving into fractions to show how the beat in their pieces ought to be divided. But Marshall Lefferts of Cosmometry is taking a slightly different tack, by exploring the mathematical connections of such musical fundamentals as the scale, the Circle of Fifths, and tritones.

circle-of-fifths-tritones-cosmometry-net

A visual representation of tritones in relation to the twelve tones of the most common Western scale.

Even if you aren’t mathematically minded, the matrices are certainly pretty to look at! Lefferts’ diagrams become even more artistic in his followup piece, Tri-Tone Duality of Music.

music-triads-dualtorus-cosmometry-net

Triads and how they relate to one another.

Music is beautiful even when represented with mathematical diagrams! Is anyone surprised?

Back to School, Back to Blogging

Well, now, here we are again. Most students in my area started their first day of school on Tuesday, the leaves on the maple tree outside my window are starting to turn red, and fall will soon be here (even if the current 33C feels-like temperature doesn’t suggest as much). And so now is a good time to get back to this blog, and hopefully make updates a regular feature once again.

Over the summer, I was able to go on a music-buying spree for my studio. It was a lot of fun, but it also brought to mind one of the difficulties of making sure the music my students are exposed to comes from a variety of sources.

Finding music by non-male composers and minority composers is a constant struggle. In my side work as a music reviewer for the Canadian Music Teacher, on more than one occasion I’ve been sent collections of music where the composers featured were exclusively men. And for all its benefits, the Royal Conservatory of Music itself does little better in its pre-20th century music.

However, I was lucky enough in my most recent spree to find two flute works by female composers to add to my collection: Canadian Nancy Telfer’s Star-Gazing, and American Amy Beach’s Sonata in a minor, Op. 34, which was transcribed for flute. (Amy Beach was previously featured on this blog’s History Hunt series, as one of the most famous and popular composers in the late 19th and early 20th centuries.) I was also able to find an intermediate piano collection of Chinese folk songs, which I’m looking forward to incorporating into my students’ repertoire–once I do some research, of course–and Fiona Wilkinson’s book of technique, The Physical Flute.

Frustratingly, Telfer and Beach’s works together cost more than a typical collection of multiple works by all-male composers. This isn’t unusual. When it comes to teaching with representation, music teachers have to be willing to shoulder a financial burden. That can be a real hardship, since many teachers are of lower income than is typically assumed. Add in the time and patience needed to track down representative works in the first place, and our challenge is clear.

To lessen this challenge for others, I’m planning to document each work I come across as I slowly shift my personal collection into something more balanced. I’m hoping that, in doing so, I’ll be able to make teaching with representation just a little more feasible.

Works featured:

Star-Gazing, by Nancy Telfer. Published by the Canadian Music Centre. (Français) [Easy Flute]
Sonata in a minor, Op. 34, by Amy Beach. Transcribed for Flute and Piano by Alexa Still. Published by International Opus. [Advanced Flute]
Chinese Folk Songs Collection, arranged by Joseph Johnson in consultation with Wen Guo Yao, Shen Wen, Jerry Huang, the Deng family, and Jennifer Linn. Published by Hal Leonard. [Early Intermediate Piano]
The Physical Flute, by Fiona Wilkinson. Published by Waterloo Music Company Ltd. [Intermediate to Advanced Flute]

Portrait of Anna Amalia, Duchess of Saxe-Weimar.

History Hunt: Anna Amalia, Duchess of Saxe-Weimar

Hello, all! Apologies for the delay between History Hunt posts. My studio continues to grow, which is great news for me, but makes it hard for me to find time to do the research for these posts. I’ll keep trying to make them as regularly as I can, though, because the History Hunt series is very important to me.

So, this week, we’re going to be meeting our second musical Anna Amalia–our first was Princess Anna Amalia of Prussia, who I featured last summer. Unfortunately, up-to-date information about this Anna Amalia is sparse at best and inaccessible at worst, and so I’ll have to rely on old sources. This means that, though I’m doing my utmost to ensure this post is accurate as always, not having access to newer scholarship means some of my information may be outdated.

Also, please note that child neglect and misogyny are discussed in this post.

Anna Amalia of Saxe-Weimar was born a princess on October 24, 1739 in Wolfenbüttel, in what’s now Germany. She was her parents’ ninth child, but sadly, rather than being excited to welcome another member of their family, her parents were disappointed that she was a girl. They neglected her terribly in favour of her older siblings, which left Anna deeply unhappy.

Even her teachers treated her poorly, something she didn’t at all deserve. Eventually, with no one to turn to, she devoted herself to learning in order to bring herself happiness. Luckily, there were a great many musicians and artists at the court of her father, Duke Charles I (also known by his German name of Karl I). She took music lessons from a professor at Collegium Carolinum, a university her father founded.

When she was sixteen, she married Duke Constantine of Weimar in an arranged marriage. However, in spite of what’s usually thought about arranged marriages, this was a great relief for Anna. She saw it as a way out of her unhappy home, and so she gladly married the eighteen-year-old Duke and moved to Weimar to become its new Duchess.

Life in Anna’s new home was hard at first, as Weimar was much poorer than the household in which Anna grew up. The arts weren’t valued nearly as much in Weimar as they were in her old home. Still, she kept her chin up and persevered.

Sadly, when Anna was eighteen, her husband died of illness. Because their son was still an infant, this left her ruling Weimar in his stead, first with a fellow guardian, and then, once she was twenty-one, alone.

Anna had a long road ahead of her: Weimar was in tough shape and had little money. However, that didn’t discourage her. She was used to studying, and so she started learning about how to run a duchy as soon as possible. Though it took years, she brought Weimar back to its former riches. She also encouraged artists, musicians, writers, and actors to come to her court. Some of the most famous artists of her day soon arrived, putting Weimar on the map as an important cultural centre.

It wasn’t only other people who made music around Anna, though. She was a composer herself, and though only a few of her pieces survive, one of them is the opera Erwin und Elmire, which she composed when she was about thirty-six. When writing this opera, she united two different opera styles with the traditional music of the area to create what’s been called “an important artistic milestone in the development of German Opera by a major historical figure in her own right.” (Tregear)

Nowadays, Anna is best known for the Duchess Anna Amalia Library, which she established personally, starting it off with around two thousand books. Even after a terrible fire in 2004, it still houses over a million volumes–including the published manuscript of her own opera. Though she’s no longer a well-known composer, her influence can still be felt to this day.

Here’s a sample of Anna’s music in the form of a trailer for her opera, Erwin und Elmire. More of the opera can be found by searching its title on Youtube.

If you’re enjoying the History Hunt series, why not drop me a tip or subscribe to me at Patreon? History Hunt will always be free–this is just an option for my readers to show their appreciation.

To Learn More (Sources):
A Grand Duchess: the Life of Anna Amalia, Duchess of Saxe-Weimar-Eisenach, and the Classical circle of Weimar by Frances Gerard
Abstract of Anna Amalia (1739–1807) Erwin und Elmire (1776) Full Score with Critical Essays by Peter Tregear
Weimar, Germany on the Encyclopædia Britannica website
Duchess Anna Amalia of Brunswick-Wolfenbüttel on Wikipedia.org
Duchess Portrait Missing Since WWII Returns to Her Heirs on Bloomberg.com (Image Source)

New Arrangements and a Musical Phone!

I’ve just posted three new arrangements to the Library section of my website for my students to download and play at their leisure: a beginning piano version of the first verse of “Firework” by Katy Perry, and beginner recorder versions of “Ode to Joy” by Beethoven and “Here Come the Bride.” I’m still not quite through all my current requests, so keep an eye out for at least one more addition in the coming weeks.

I’d also like to share with everyone the coolest phone I’ve ever seen:

Sadly, this phone was sold sometime ago on Etsy. It’s a shame–I could think of more than a few music teachers who would love to get their hands on this. Teachers like me!

Michael Jackson Goes to Japan

Anyone who’s been following this blog for a while will probably have figured out by now that I love covers. I can’t get enough of hearing people’s interpretations of well-known songs. I love witnessing the hard work they put into their music, and the way they share a little of themselves with their listeners.

This week’s cover that I adore is an arrangement of Michael Jackson’s “Smooth Criminal,” led by professional musician Yoshimi Tsujimoto on the shakuhachi and backed by Yuko Watanabe and Erina Ito on the koto.

To learn more about all three musicians, check out this article. I hope they collaborate on other projects in the future!

Micki Grant on the cover of her LP "Lovin' Kind of Woman"

History Hunt: Micki Grant

This week marks the 1st anniversary of History Hunt! Looking back, I’ve learned so much about musicians from all kinds of different places in history, from those who lived nearly a thousand years ago to musicians who are still alive and making music to this day. I’m so glad to have the opportunity to share the lives and music of these great people with you, and I’m looking forward to many more anniversaries!

For today’s History Hunt post, it’s time to visit another musician whose career is ongoing, someone who’s a woman of many talents.

Micki Grant was born as Minnie Perkins on June 30 in Chicago, Illinois. We don’t know the exact year of her birth, though it’s often quoted as 1941, because Grant doesn’t like to share it.

During her childhood, Grant recalls in an interview with the Dramatists Guild of America, there was always music in the air. This music was often blues music, such as W. C. Handy’s “Saint Louis Blues,” and was performed by her father, who had taught himself how to play the piano by ear. Grant would often sit on the piano stool beside her father and then improvise her own songs when he was finished.

When Grant was either six or eight years old, she played the part of the Spirit of Spring in a play at the community theatre. It was then, as she touched the flowers to make them come to life, that she decided she wanted to have a career in theatre when she grew up, and that same year she began taking acting lessons (for free!).

Later, when she was nine, she started taking violin lessons while her sister learned how to play the piano. Unfortunately, Grant was discouraged from taking piano lessons by her sister’s teacher, as the teacher believed she didn’t have the talent to play the piano–something that Grant soon proved wrong.

As she grew up, Grant took up other instruments. She learned to play the double bass, as there was a vacancy in a newly formed string orchestra that she volunteered to fill. Her violin teacher began teaching her how to play the instrument, even though Grant’s mother thought she was too small for it! She also learned to play the sousaphone in high school, another very large instrument. And, by the time she was sixteen or seventeen, she was directing the youth choir at church!

At this point, Grant wanted to become a famous novelist, though she knew she also wanted to work in theatre. How music would fit into her plans, she wasn’t sure just yet. Still, it remained a part of her life as she continued her education at three separate universities. At the University of Illinois, for example, she played in both the jazz ensemble and the concert orchestra, and when she studied double bass at the Chicago School of Music, she also played in its concert orchestra as well.

Though she spent some time in Los Angeles, it was in New York that Grant’s musical career really took off. On her own time, she learned to play the guitar (which she considers “a very friendly instrument”) and sang protest songs. Her paid work included singing in the off-Broadway plays The Blacks, Brecht on Brecht, and The Cradle Will Rock. In 1965, when she was twenty-four, thanks to her well-received musical theatre roles, she became one of the first African-Americans to land a role on an American soap opera, which was Another World. Almost right away, she became the first African-American to have a soap opera storyline written exclusively for her.

Grant wasn’t just interested in performing in musical theatre: she was also into writing plays and their music and lyrics. In 1970, she became the Urban Art Corps’ artist in residence and started what was to be a fifteen year-long collaboration with Vinnette Carroll, who was the first African-American woman to be a Broadway director. Together, they created Don’t Bother Me, I Can’t Cope, a Broadway musical that Grant also starred in. It was the first Broadway musical to be written solely by a woman, and when it finally closed, it was after 1065 performances–a huge success by any definition.

Throughout her career, Grant worked on numerous musicals, sometimes contributing the bulk of the work and at other times content to take the backseat. She’s also had fun writing music and lyrics for commercials, and for club singers. She’s won multiple awards over the years, including three Tony Awards, the NAACP’s Image Award, and the Dramatists Guild’s Lifetime Achievement Award. She was the first woman to receive  Grammy for Best Score for Don’t Bother Me, I Can’t Cope. And she’s had not one, but two “Micki Grant Day”s given in her honour: one in Brooklyn in 1990 and another in Newark, New Jersey in 1993.

Those of you who are lucky enough to find yourself in New York City between February 27 and March 6 will have the opportunity to see Don’t Bother Me, I Can’t Cope for yourselves, put on by the York Theatre Company. If anyone goes, let me know how it was–I’d love to hear about it!

In the meantime, for those of us who won’t be able to make it to the performance, here’s the reprise of “I Gotta Keep Moving,” as sung by Micki Grant and Alex Bradford:

If you’re enjoying the History Hunt series, why not drop me a tip or subscribe to me at Patreon? History Hunt will always be free–this is just an option for my readers to show their appreciation.

To Learn More (Sources):
Micki Grant with Kia Corthron, interview on Dramatists Guild of America site (mild language, racism mention)
Micki Grant, by Phiefer L. Brown in Notable Black American Women, Book 2 (ed. Jessie Carney Smith)
Micki Grant on The History Makers
Micki Grant on Music Theatre International
York Theatre Company to Launch Winter MUSICAL IN MUFTI Series in February at Broadway World
Micki Grant at Oxford Reference
Micki Grant at Wikipedia.org
Image Source