I’m looking forward to my trip to London for this conference this week, and I’m grateful both for the invitation to give a paper, and for the support from my home institution, in the form of a Royal Conservatoire of Scotland Athenaeum Award. I thought it would be worthwhile sharing the link to the event again, now that the programme has been finalised.
Women and Musical Histories, 1789-1914
The organisers have shared the following information:-
The final programme can be accessed directly here:
View the full conference schedule.
A more comprehensive programme, including all presenter abstracts and biographies, is accessible as an Exposition on the Research Catalogue platform.
My paper is on the final afternoon, Friday 4th September:-
‘The Trumpet Major’s ‘Poetess’ Widow; the Scottish Shipping Magnate’s Daughter and the Retired Barrister: The Importance of Parental Support to Musically Gifted Girls in the Late Victorian and Edwardian Eras’.
ABSTRACT
Although I’ve encountered few women’s names in nineteenth- and early twentieth-century Scottish music publishing, I recently published an article about the five women that I did find. (Two were English by descent, but they all grew up in Scotland.) Meanwhile, in other unrelated research, I encountered a London-born Scotswoman with a completely different background, who made her career as a high-flying soprano recitalist. The common thread was their family background and/or support. In today’s paper, I’d like to focus on Rose Buchanan Smith (1870–1942), one of the Scottish-born Englishwomen, and Flora Woodman (1896–1981), the London-born Scot. The cut-off date of this conference, 1914, is significant for both women: it’s the latest possible date for Kerr’s fourth book of Kerr’s Merry Melodies, in which I first encountered Rose’s name; and the year of Flora’s concert debut in London’s Bechstein Hall.
One cannot generalise about women’s musical careers on the strength of two women’s stories. Nonetheless, when there are comparatively few stories substantial enough to draw any inferences from, those that do survive must perforce carry more weight. In my research, I have realised that it is sometimes surprisingly useful to attempt comparisons between individuals whose lives were entirely unconnected. How did these women curate their careers? What influence might their parents have had? Might their mothers have had a particular influence or been especially supportive? What about marital status? Did being a Scottish-born Englishwoman, or a London-born Scotswoman, have any particular effect on their careers? Did they make use of professional networks? And was the advent of new technologies reflected in their musical activities? I shall outline the resources to which I had access, in tracing their path from adolescence to late middle-age, and demonstrate the importance of families to a young Victorian or Edwardian woman establishing a musical career.
This project has been supported by the Royal Conservatoire of Scotland’s Athenaeum Awards.
Karen McAulay, Musicologist 