VOLUME 28, NO. 1 • 2022 IN THIS ISSUE: Ancient Greek Music Choral Music ChoroDelantal Cues for Television Female Percussionists Philippa Duke Schuyler Theatrical Productions Reports Reviews IAWM News Members’ News CoroDelantal performing at the 14th-century Sinagoga del Agua in Úbeda, Spain, with dancer Gerson A. de Sousa. JOURNAL of theIAWM’S 2022 CONFERENCE Call & (Her) Response: Music in the Time of Change WHEN: JUNE 2-4, 2022 WHERE: OREGON STATE UNIVERSITY, CORVALLIS, OREGON The International Alliance for Women in Music’s 2022 Conference, in association with Oregon State University’s College of Liberal Arts and the Office of Academic Affairs, will be an in-person event with virtual satellite events from across the globe. This conference will bring together people who celebrate Women in Music and who challenge and transform our future with cutting-edge music, music tech- nology, and innovative scholarship resulting in increased visibility, opportunities, and connections. Corvallis is 90 minutes away from the Portland International Airport and only an hour away from the amazing Oregon Coast; it lies in the midst of the Mid- Willamette Valley Wine Region. For lodging, information on Things to Do and See before and after the Conference, see: www.visitcorvallis.com/about-visit-corvallis and www.traveloregon.com See our website: www.iawm.org/2022conference/ for more information Registration EARLY REGISTRATION February 8 - April 15, 2022 Members: $100 Senior and Student Members: $ 50 Non-members: $145 Senior and Student non-members: $100 STANDARD REGISTRATION April 16 - June 2, 2022 Members: $125; Senior and Student Members: $ 85 Non-members: $195 Senior and Student non-members: $135 Registration Link: www.bit.ly/3HHKfHF REGISTER NOW1Message from IAWM’s President CHRISTINA RUSNAK COMPOSERS AND PERFORMERS 2Lawrence in America: Philippa Duke Schuyler’s Seven Pillars of Wisdom SARAH MASTERSON 6 MyCareer:FromOfficeClerkto the Stage and Screen VICTORIA FLAWITH 7Looking Back and Looking Forward: Becoming a Composer of Choral Music KATIE KRING 10The Challenges of Being a Female Percussionist: A Brief Look at My Story MCKENZIE SQUIRES 12CoroDelantal: Celebrating Ten Years of Vocal Experimentation SONIA MEGÍAS MUSIC HISTORY 14Status of Female Musicians in Ancient Greek Society LYDIA KAKABADSE REVIEWS AND PUBLICATIONS COMPACT DISC REVIEWS 18Juliana Hall: Bold Beauty STEFANIA DE KENESSEY 19Juliana Hall: “Silly Sallie” in Beneath the Sky STEFANIA DE KENESSEY CONCERT REVIEW 20Viktoria Kaunzner’s “Musical Journey: Mediterranean Sea, Black Sea and PacificOcean” CARLES GUAITA SERRANO REPORTS 21Report from Canada DIANE BERRY 22The Kapralova Society — Year in Review: 2021 KARLA HARTLE 24Bands Perform Music by Women Composers CHEN YI AWARDS 25The IAWM Congratulates Award Winners IAWM NEWS 26The IAWM 2021 Annual Concert NATALIA KAZARYAN 27Journal of the IAWM: Guidelines for Contributors EVE R. MEYER MEMBERS’ NEWS 28Anita Hanawalt VOLUME 28, NO. 1 • 2022 JOURNAL of the IAWM Membership Information IAWM membership includes a subscription to the Journal of the IAWM (issued four times a year) plus access to past issues on the IAWM website. Membership offers opportunities for awards in ten categories of composition, as well as music scholarship and programming, an education grant, opportunities to participate in annual concerts and IAWM conferences, and opportunities to present webinars. Membership offers increased visibility through IAWM’s social media platforms, website, and optional IAWM Listserv; eligibility to run for and hold board and officer positions within IAWM; and connections with a vibrant community made up of members from 30 countries on five continents, sharing, celebrating, and supporting women in music globally. For information on joining or renewing your membership, visit the IAWM website: www.iawm.org/contact-us/. We would like to hear from more of you, so don’t be shy—send us your reports, reviews, articles, proposals, and news for submissions to the journal. —CHRISTINA RUSNAKINTERNATIONAL ALLIANCE FOR WOMEN IN MUSIC IAWM is a global network of people working to increase and enhance musical activities and opportunities and to promote all aspects of the music of women. The IAWM builds awareness of women’s contributions to musical life through publications, website, free listserv, international competitions for researchers and composers, conferences, and congresses, concerts, the entrepreneurial efforts of its members, and advocacy work. IAWM activities ensure that the progress women have made in every aspect of musical life will continue to flourish and multiply. Inquiries IAWM 2712 NE 13th Ave. Portland, OR 97212 Payments IAWM 2400 Alycia Ave Henrico, VA 23228 PAYPAL to treasurer@iawm.org www.iawm.org/civicrm/iawm-payments-page/ Copyright © 2022 by the International Alliance for Women in Music. All rights reserved. ISSN 1082-1872 No part of this publication may be reproduced or transmitted in any form or by any means without permission. Any author has the right to republish his or her article in whole or in part with permis- sion from the IAWM. Please contact the editor. The Journal of the IAWM is designed and printed by Cheetah Graphics, Inc. of Sevierville, TN. Journal: Back Issues Back issues are available for members to download on the website under Journal– archives. If you wish to purchase a back issue, contact membership@iawm.org. JournaloftheIAWMStaff EDITOR IN CHIEF Eve R. Meyer evemeyer45@gmail.com ASSISTANT EDITOR Christina Reitz MEMBERS’ NEWS EDITOR Anita Hanawalt anita@hanawalthaus.net REVIEW EDITOR Laura Pita laurapita830@gmail.com EDITORIAL BOARD Samantha Ege Deborah Hayes Eve R. Meyer Laura Pita Christina Reitz IAWM Board of Directors PRESIDENT Christina Rusnak VICE PRESIDENT Dana Reason TREASURER Deborah J. Saidel SECRETARY Wanda Brister SUPPORTING MEMBERS Gaby Alvarado Kerensa Briggs Teil Buck Monica Buckland Christina Butera Roma Calatayud-Stocks Michele Cheng Eline Cote Morgan Davis Carolina Hengstenberg Sarah Horick Natalia Kazaryan Lil Lacy Migiwa Miyajima Elizabeth Blanton Momand Julia Mortyakova Nicole Murphy Deborah Nemko Sabrina Peña Young Riikka Pietilainen-Caffrey Leah Reid Christina Reitz Jane Rigler Sarah Westwood Support The IAWM Your donations enable IAWM to fulfill its mission and vision. Our awards, grants, and advocacy efforts bring greater equity and awareness of the contribu- tions of women in music. Any amount helps to fund our concerts, conferences, the Journal of the IAWM, grants, and all of our member services. To donate: www.iawm.org/support/ PAYPAL to treasurer@iawm.org Visit IAWM Online www.iawm.org www.twitter.com/iawmcommunity www.instagram.com/iawmcommunity www.facebook.com/IAWMusic YouTube: Coming in 2022!1VOLUME 28, NO. 1 • 2022 ■ IAWM.org launched a new website with more content and new capa- bilities, with more to come in the spring! We are looking for images and videos to share – please send yours to media@iawm.org. ■ Beginning in 2022, IAWM will be publishing four journals a year. One of those journals will continue to be sent out in hardcopy. In addi- tion to the copies that will be sent to your email address, all four will be available online in a new Flip Journal format. ■ Later this winter, IAWM will launch a YouTube channel and a MEDIA page on the website. ■ We are planning our 2022 Conference with Live Programming from Oregon State University in the northwest United States plus remote pro- gramming from Antwerp, Belgium, Sydney, Australia, and other regions! Thank you for the over 171 submis- sions you sent. Registration is live, and early registration, with the best rates, ends March 31st. Message from IAWM’s President Dear Members, As we move into the new year, we want to say THANK YOU for all of your sup- port during these challenging times. The burgeoning interest in showcasing the music of women of all backgrounds is due to people like you—people who have been pursuing a more equitable concert hall for decades. And your inner strength and adaptability in turning pandemic-induced shutdowns into new musical opportunities has been truly inspiring. At IAWM, we spent 2021 working to increase visibility, opportunity, con- nection, and relevance for all women in music. We want to share your sto- ries and make the world aware of the remarkable work you are doing. Some of the ways we are working towards that goal as we move into the new year include the following: ■ Our new webinar series, BEYOND THE NOTES, which brought you four informative sessions in 2021. The Winter/Spring sessions began on January 22 with the Daffodil Perspective’s Elizabeh de Brito. We know that the migration to our new website has been rocky, and we sincerely appreciate your input and patience during our transition. Together, we can advocate for you – together we will work to improve gender equity and inclusion in the concert halls, the classrooms, the recording studios, in publishing, and in awards and opportunities. Wishing you a Wonderful Spring, Christina Rusnak CHRISTINA RUSNAK President, IAWM Christina Rusnak Together, we can advocate for you – together we will work to improve gender equity and inclusion in the concert halls, the classrooms, the recording studios, in publishing, and in awards and opportunities. —CHRISTINA RUSNAKJOURNAL OF THE IAWM2 COMPOSERS AND PERFORMERS Schuyler won multiple composition prizes as a teenager, and her works were performed by several major orchestras in the United States. 3 In these adolescent compositions, she began using modes, pentatonic collections, and dissonances more frequently. Her most significant compositions from this time include Manhattan Nocturne (1946), Rumpelstiltsken (1944- 1945), and Sleepy Hollow Sketches (1945-1946). A piano transcription of Rumpelstiltsken (published in 1955) remains her only published work since her childhood collections. 4 In the 1940s, Schuyler also began touring extensively. By the age of twenty-three, she had performed in thirty-five countries and on five con- tinents. Reviews praised her virtuosic playing and mature interpretations of difficult works, and her programs tended to include a mixture of standard repertoire and her own compositions. 5 Schuyler continued to tour as an adult and released one recording in 1966 on Middle-Tone Records. She also worked as a freelance journalist and novelist, traveling extensively abroad and only returning to the United States to rest and perform. By 1960, she had published books on several subjects, including a highly embellished autobi- ography titled Adventures in Black and White (1960). 6 Schuyler struggled with her mixed-race identity, writing of her unhappiness in the United States. In a 1963 letter, she wrote that she “had 30 miserable years in the USA because of having the taint of being a ‘strange curiosity.’” 7 Another letter states: “I’m half-colored—so I’m not accepted anywhere. I’m always destined to be an outsider, never, never part of anything.” 8 While she was quite successful performing abroad, she was almost entirely unable to 3Ibid., 47-49. 4Ibid., 59, 50-51, 67. 5Ibid., 51-54. 6Ibid., 55, 57-58. 7Kathryn Talalay, Composition in Black and White: The Tragic Saga of Harlem’s Biracial Prodigy (Oxford: Oxford University Press, 1995), 224. 8Talalay, “Philippa Duke Schuyler, Pianist/ Composer/Writer,” 57. schedule concerts with white venues in the United States. As a result, she spent very little time at home, traveling as much as possible. 9 Beginning in 1955, Schuyler spent a significant amount of time in Africa, performing and studying the local cul- ture and politics. She was especially fascinated by the variety of musical styles, taking notes on instruments, rhythmic patterns, and scale collections from Sudan, Ethiopia, Madagascar, Uganda, and other regions. 10 Some of these musical elements appear in her later piano works. 11 During her later trips to Africa, Schuyler covered the political situation and related war crimes in the Congo. After converting to Catholicism, she also wrote a book on Catholic missionaries in Africa titled Jungle Saints (1963). Many of her perfor- mances after her religious conversion financially supported the Church and its African missions, of which she visited more than 150. 12 9Talalay, Composition in Black and White, 142. 10Philippa Schuyler, “The Music of Modern Africa,” Music Journal 18 (October 1960): 18, 60-63. [www.proquest.com/scholarly-journals/ music-modern-africa/docview/1290718468/ se-2?accountid=201395] 11Talalay, Composition in Black and White, 169. 12Ibid., 206-217. Lawrence in America: Philippa Duke Schuyler’s Seven Pillars of Wisdom SARAH MASTERSON From an early age, Philippa Duke Schuyler (1931-1967) achieved fame as a child prodigy in music and aca- demics. The biracial daughter of George Schuyler, an African-American journalist, and Josephine Codgell Schuyler, a member of a prominent Texas family, Schuyler began per- forming as a pianist when she was only six years old. 1 By that time, she had written numerous pieces, many of which were based on animals and episodes in her life. These early works tend to be tonal and relatively short, and selected pieces were published by her mother in the collections Three Little Pieces (1938), Five Little Pieces (1938), Eight Little Pieces (1938), and Nine Little Pieces (1938). 2 1Kathryn Talalay, “Philippa Duke Schuyler, Pianist/Composer/Writer,” The Black Perspective in Music 10, no. 1 (Spring 1982): 45-46. [https://doi.org/10.2307/1214998] 2Ibid., 63-64, 59, 66-67. Sarah Masterson The book by Schuyler is being made into a film starring Halle Berry, Marc Platt, Alicia Keys, Jose Rivera, and Vincent Cirrincione.3VOLUME 28, NO. 1 • 2022 During her time in Africa, Schuyler composed several works inspired by her travels and the regional music traditions, most notably Suite Africaine (ca. 1958) and White Nile Suite (pre- miered in 1964). 13 Both compositions appeared frequently in her concert programs, along with standard clas- sical repertoire. 14 Neither have been recorded or published. She continued to perform extensively, beginning a world tour in 1958. In approximately four months, she trav- eled 40,000 miles. Her tour began with concerts in the Dominican Republic and New Orleans, then continuing to Hawaii, East Asia, the Middle East, the Congo, West Africa, and Europe. 15 Her inter- national success did not translate to the United States, and in the 1960s, she developed a plan with her mother to try to develop her career in white America. In 1963, she successfully applied for a passport under the name Felipa Monterro y Schuyler. She and her mother planned for her to first establish a reputation under that name in Europe, then return to the United States and “pass” as white. For the rest of her life, she alternately would pub- lish, perform, and lecture as “Felipa” or “Philippa,” depending on the venue. 16 During the Vietnam War, Schuyler performed for dignitaries and worked as a freelance journalist in Vietnam. She first traveled there to perform at the National Conservatory of Music in 13Talalay, “Philippa Duke Schuyler, Pianist/ Composer/Writer,” 65-66. 14Talalay, Composition in Black and White, 239-40, 297. 15Ibid., 176. 16Ibid., 223-225. September 1966, but she soon decided to stay and write a book on the war. 17 She was very disturbed by the entire situation in Vietnam, writing in a letter home: “This is the funniest mixed-up war I ever saw. Everyone around here must have done something wrong in their last reincarnation and is getting punished for it now.” 18 During her time in Vietnam, Schuyler seems to have stopped composing almost entirely, with her last works most likely written around 1965. 19 Her final two compositions appear to be Seven Pillars of Wisdom (ca. 1964-1965) and Nile Fantasia for piano and orchestra (premiered in 1965). Nile Fantasia incor- porates a significant amount of material from Seven Pillars of Wisdom, with its first, 17Talalay, Composition in Black and White, 265-267. 18Ibid., 267. 19Talalay, “Philippa Duke Schuyler, Pianist/ Composer/Writer,” 66. Philippa Duke Schuyler I’m half-colored—so I’m not accepted anywhere. I’m always destined to be an outsider, never, never part of anything. —PHILIPPA DUKE SCHUYLER third, and fourth movements roughly corresponding to the Prologue, Part V, and Part VI of Seven Pillars of Wisdom. 20 After a trip home, Schuyler returned to Vietnam in March 1967, spending much of her time in Hue, despite the city being essentially under siege. 21 In May 1967, she was killed in a heli- copter crash, after delaying her return home to help evacuate students from Bien Hoa High School to Da Nang. 22 After her death, her book Good Men Die was published, and the Philippa Duke Schuyler Memorial Foundation was established. 23 20Lecture-recital in Winston-Salem, North Carolina, December 10, 1965, Box 19, cassette 17, Helen Walker-Hill Collection, American Music Research Center, University of Colorado at Boulder, Boulder, Colorado. 21Talalay, Composition in Black and White, 270-271. 22Talalay, “Philippa Duke Schuyler, Pianist/ Composer/Writer,” 43. 23Talalay, Composition in Black and White, 277.JOURNAL OF THE IAWM4 Seven Pillars of Wisdom: Since 2016, I have been researching Schuyler’s piano music and recon- structing her largest work, Seven Pillars of Wisdom, from manuscripts. After stumbling across a short biog- raphy on Schuyler, I began trying to track down copies of her piano music to program on recitals. I quickly dis- covered that the vast majority had never been published and remained in manuscript in the Schuyler Family Papers at the Schomburg Center for Research in Black Culture in New York. With the assistance of their library archivists, I was able to receive scans of Schuyler’s manuscripts; Seven Pillars of Wisdom was clearly the most substantial and extensive of the piano composi- tions. Unfortunately, it also seemed to be missing multiple movements and pages. Two of the movements were located relatively quickly in a separate folder where they had been cata- logued erroneously as separate pieces, but missing pages from the prologue and epilogue proved more difficult to find. After searching through all of the archived music in the Schuyler Family Papers, I found the missing pages of the prologue in another folder listed as an unfinished score. The missing pages of the epilogue were contained in a box labeled “miscella- neous,” among an extensive collection of untitled sketches and assorted loose manuscript pages. Once I had found all of the missing pages, Schuyler’s meticulous use of headers with page numbers and movement titles made assembling the work in the correct order fairly straightfor- ward. 24 Since then, I have focused on 24Handwritten manuscript with performance notes and introductory quotations for Seven Pillars of Wisdom, undated, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, New York. Prologue (pages 2 and 3 only) and Epilogue-Finale (incomplete version), box 25, folder 5. Movements 5 and 6, box 25, folder 6. Introductory typed pages, Prologue (missing pages 2-3), Movements 1-4, Movement 7, Epilogue 1, and Epilogue-Finale (page 0 only), box 25, folder 8. Epilogue-Finale (pages 1, 4, and 5 of complete version), Box 31, folder 1. Like him I have known the terror of the tropics…the fever of the blood, the feeling of disintegration under the broiling sun. —PHILIPPA DUKE SCHUYLER Ex. 1: “Arab Revolt” (Prologue, m. 1) Ex. 2: “T.E. Lawrence” (Prologue, mm. 29-32) Ex. 3: “Mecca” (Movement 3, mm. 1-4) Ex. 4: “Blood” (Movement 3, mm. 53-56) Ex. 5: “Deraa” (Movement 5, mm. 46-47) Ex. 6: “Beating of Lawrence” (Movement 6, mm. 81-84)5VOLUME 28, NO. 1 • 2022 analyzing and recording Seven Pillars of Wisdom; for the background infor- mation on Schuyler included here, I relied on Kathryn Talalay’s excellent research on Schuyler’s life and career. Composed circa 1964-1965, Seven Pillars of Wisdom can be placed in Schuyler’s last compositional period, and it incor- porates topics and musical material that reflect Schuyler’s interest in politics and Africa during that time. Sometime in 1964, she developed a special interest in T.E. Lawrence; his memoir, titled Seven Pillars of Wisdom, inspired this work and its title. In October 1964, Schuyler wrote to her mother of Lawrence: “He too had felt placeless and torn in his own country because of his birth—and he too went forth to seek the unknown in foreign lands. Like him I have known the terror of the tropics…the fever of the blood, the feeling of disintegration under the broiling sun.” 25 The prologue, seven movements, and extended epi- logue all include related quotations from Lawrence’s book, and Schuyler devised many of the themes to partially or fully spell the names of important characters, places, topics, and ideas. Throughout the seventy-minute com- position, themes such as “Arab Revolt” (Example 1), “Ottoman Empire,” “T.E. Lawrence” (Example 2), “Auda Abu Tai,” “Mecca” (Example 3), and “Deraa” are introduced and developed in a variety of ways. 25Talalay, Composition in Black and White, 239-240. The introduction and development of the thematic material correspond to the topics and plot of the piece, which loosely relates to T.E. Lawrence’s book. Schuyler seems to have been especially drawn to the brutality of the story, composing this work after her journalism coverage of the conflict and war crimes in the Congo. While not always fully historically accurate, Lawrence’s memoir recounts the hor- rors of war, describing terrible acts on both sides of the conflict; his story concludes in a Damascus hospital filled with excrement and decaying corpses. Schuyler’s movement titles and musical themes reinforce this emphasis, with movement titles such as “Blood,” “The Evil of My Tale,” and “The Agonies, The Terrors, and The Mistakes.” Musical themes featured in those movements have similar titles (Example 4) and incorporate extensive use of dissonances and tone clusters, as shown in Examples 5 and 6. Many musical themes are named for more abstract concepts, such as quo- tations from Lawrence’s book and concepts related to Islam. References to Islam in the musical themes were most likely inspired by the importance of Islam in the politics of the Arab Revolt, as described by Lawrence. 26 26T.E. Lawrence, Seven Pillars of Wisdom (Hertfordshire: Wordsworth Editions Limited, 1997), 19-33. Ex. 7: “Djinn” and “Ifrit” (Movement 4, mm. 57-62) Ex. 8: “Inshallah” (Movement 7, mm. 43-50) Many of these themes are named for Surahs (chapters) of the Qu’ran, although themes such as “Djinn” (supernatural creature), “Ifrit” (demon), “Allah” (God), and “Inshallah” (God willing) also appear. The Surahs ref- erenced cover topics including angels reaping souls and the day of judge- ment. As these specific Surahs are not explicitly mentioned in Lawrence’s book, their inclusion seems to indi- cate that Schuyler conducted her own research as well. Themes representing concrete characters and places are interwoven with these more abstract thematic topics to evoke not just the events of the story, but Schuyler’s interpretation of its meaning. Conclusion With a newly reconstructed musical score and upcoming recording, the possibilities for future research on Seven Pillars of Wisdom are extensive. Publication of the score should be a priority, as well as more in-depth theoretical analyses of the music. Given how little published research on Schuyler’s music exists, the potential for further investigation is significant. Dr. Sarah Masterson currently serves as Associate Professor of Piano and Music Theory at Newberry College in Newberry, South Carolina. Dr. Masterson’s research focuses on the work of 20th-century American women composers, and she recently recorded Philippa Schuyler’s unpublished piano work Seven Pillars of Wisdom for release with Centaur Records. I began trying to track down copies of her piano music to program on recitals. I quickly discovered that the vast majority had never been published and remained in manuscript in the Schuyler Family Papers at the Schomburg Center for Research in Black Culture in New York. —SARAH MASTERSONNext >