Sigma Alpha Iota

PAN PIPES • FALL 2016 • sai-national.org 16 Her bands achieved national renown, includ- ing two performances at the Midwest Clinic as well as other numerous high-profile conferences. Buehlman was further well known through the band arrangements she wrote. Her first published arrangement, Coronation Scene from Boris Go- dunov by Modest Mussorgsky, was attributed to 'B. Buehlman,' as there was fear male band direc- tors would not purchase band music written by a female. Over 30 years later, the arrangement was re-issued by Hal Leonard Music Publishing. Buehlman initially wanted it to still say 'B. Buehl- man' for sentimental reasons, but the publishing company insisted on her full name. By this point, Buehlman had become so well known in the band community, it was believed her full name would attract sales, rather than deter them. 23 Another reason for Buehlman's fame was her service as Executive Administrator of the Midwest Clinic, from 1980-1997. During her tenure, the Midwest grew into the largest, most high profile instru- mental music education conference in the world. Paula Crider was the first female Direc- tor of Bands at a Class 5A Texas high school. In 1982, she became the Assistant Director of the Longhorn Bands at the University of Texas, and in 1995 was named the head director. is made Crider the first female marching band director in the Big 12 conference. 24 e only female march- ing band director of a university in a major ath- letic conference to pre-date Crider was Kathryn B. Scott, who directed the University of Alabama's marching band from 1984-2002. 25 In 2010, Crider became the first female to serve as president of the American Bandmasters Association. In 1996, Mallory Thompson was named Director of Bands at Northwestern University. is was the first time a female held such a posi- tion at a major university. is accomplishment was felt across the profession, with many aspir- ing female conductors citing ompson as a role model. 26 ompson is considered one of the most important wind band conductors in the country, and is in constant demand as a guest conductor and clinician. Many of ompson's former stu- dents are having success as collegiate conductors, in their own right. Today, our school bands are filled with male and female members. Instruments that once had gender stereotypes associated with them are less so today. Female tuba players, for example, are no longer a rare occurrence. Males once almost ex- clusively occupied the director's podium. Today, female directors can be found in front of bands at all levels, from elementary school to the univer- sity. is past spring, Emily reinen was named Director of Bands at the University of Minnesota. e Big 10 conference now has three institutions with a female Director of Bands: reinen, Mal- lory ompson, and Carolyn Barber at the Uni- versity of Nebraska. e concept of a female being barred from participating in band is a thing of the past. How- ever, it is important to remember the barriers that previous generations faced, and the trailblazers who broke through them. As music education professors Jane Palmquist and Barbara Payne wrote in 1992, "To more fully appreciate the strength of the human desire to create music, stu- dents need to know how certain composers have transcended the barriers of gender, race, class and physical disability in order to create music." 27 ough they were referring to composers, the thought applies equally well to bands. I invite you the next time you are in band, to take a minute and think about how your experience may have been different in previous decades. Let us never take for granted the accomplishments of those who made today's bands open for all. Dr. Timothy Todd Anderson has been a member of the music faculty at the University of Massachusetts Amherst since 2011, where he is the director of the marching band, the pep bands, and the concert band, as well as teaching courses in marching band techniques, conducting and observing student teachers. His doctoral dissertation was a study of the career of Barbara Buehlman, one of the first female band directors to achieve national renown. End Notes 1 Schwartz, H. W. (1957). Bands of America. Garden City, NY: Doubleday & Company, Inc. 2 Foster, R.E. (2002). Opening the band room door. The Instrumentalist. 56 (96). 3 Ammer, C. (2001). Unsung: A history of women in American music, (2nd ed.) Portland, OR: Ama- deus. 4 Mistak, A. F. (1969). A general history of instrumental music in the Chicago Public Schools, 1900–1950. Unpublished doctoral dissertation, University of Iowa, Iowa City. 5 Holz, E. A. (1960). The national school band tourna- ments of 1923 and its bands. Unpublished doc- toral dissertation, University of Michigan, Ann Arbor. 6 Delzell, J. K. (1993). Variables affecting the gender- role stereotyping of high school band teaching positions. The quarterly journal of music teach- ing and learning, 4-5(4), 77-84. 7 Hash, P. M. (2006). Development of school bands in Illinois: 1863-1930. Unpublished doctoral disser- tation, University of Illinois, Urbana-Champaign. 8 Holz 9 Duval, G. (1929). The red and white of the Lake View: Speaking of bands (pp. 4). [Yearbook]. Lake View High School, Chicago, IL. 10 Foster 11 Sperry, G. L. (1954). Women are here to stay. The Instrumentalist, 8, p. 30-31. 12 Brozak, G. A. (2004). A history of the bands at Ohio University, Athens. Unpublished doctoral dissertation, University of Illinois at Urbana- Champaign. 13 Dell 14 Gould, E. S. (1996). Initial involvements and continu- ity of women college band directors: The pres- ence of gender-specific occupational role mod- els. Unpublished doctoral dissertation, University of Oregon, Eugene. 15 Revelli, W. D. (1943). Women can teach instrumental music. The Etude music Magazine, 61(5), 311, 345. 16 Wright, G. S. (1975). Career opportunities for the young woman graduate. The School Musician, Director, and Teacher, 46, 41, 49 17 Howe, S. W. (2001). A historical perspective on con- tributions of American women music educators. Journal of Historical Research in Music Educa- tion. 22, 147-158. 18 Wright, G.S. (1977). Do women directors beget 'girlie' bands? The School Musician, Director & Teacher, 48 (9), 59, 66. 19 Bowman, W. D. (1998). Philosophical perspectives on music. Oxford: Oxford University. 20 McElroy, C. J. A. (1996). The status of women orches- tra and band conductors in North American col- leges and universities: 1984-1996. Unpublished doctoral dissertation, University of Missouri, Kansas-City. 21 Hazen, M. H., & Hazen, R. M. (1987). The music men: An illustrated history of brass bands in America, 1800-1920. Washington, D.C.: Smithsonian Insti- tution. 22 Sullivan, J. M. (2006). A history of the Marine Corps Women's Reserve Band. Journal of Band Re- search, 46, 1-41. 23 Buehlman, B. D. (1996, July 26). VanderCook College of Music commencement address. Chicago, IL. 24 Texas Bandmasters Association. (2007). Featured biography: Paula Crider. Retrieved from http:// www.texasbandmasters.org/bios/bio-PaulaCrid- er1.cfm 25 University of Alabama Million Dollar Band. (2007). History and Facts. Retrieved May 14, 2010 from http://www.mdb.ua.edu/administration/history. php 26 Grant, D. E. (2000). The impact of mentoring and gender-specific role models on women college band directors at four different career stages. Unpublished doctoral dissertation, University of Minnesota, Minneapolis and St. Paul. 27 Palmquist, J.E. & Payne, B. (1992). The inclusive in- strumental library: Works by women. Music Educators Journal, 78, 52-55. A LOOK BACK BAND continued from page 15

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