This document provides a historical overview of women's roles in music education careers from the 19th century to the 20th century. It describes how women's opportunities expanded over time, from teaching music privately or in one-room schoolhouses in the 19th century, to taking on leadership roles in national music education organizations in the 20th century. The document also discusses women's contributions as music textbook authors and editors, as well as the underrepresentation of women in music education research journals historically.

1. A Historical View of
Women in Music
Education Careers
By Sondra Weiland Howe
Presented by Amy Meyer

2. NINETEENTH CENTURY MODELS
Studying music could be done in the following ways:
• Short term courses
• Normal schools
• Individual study with individual teachers
• Self-taught
Luther Whiting Mason, male music educator
• Self-taught without college degree
• Taught at various locales
• Supervised music in primary grades in Boston Public Schools from
1864-1878
• Successful due to his independence from the family
• Wife, Hannah, stayed home with his children and took care of the
family property
• Mason's life in education typical for men at this time

3. NINETEENTH CENTURY MODELS, continued
Julia Ettie Crane, exceptional educator
• 1855-1923
• Attended Potsdam, NY district schools and graduated from Potsdam
Normal School
• Studied piano, played and sang in churches, schools and singing
schools
• Studied voice with Manuel Garcia
• Accepted Music Education position at Potsdam Normal School in
1884
• Active in national music organizations
• Founded Crane School of Music which is still in operation today

4. NINETEENTH CENTURY MODELS, continued
Women in the Kindergarten Movement
• Kindergarten was the compromise between home schooling and
institutional learning from Germany
• Acceptable for women because Kindergarten was part of the "Private
Sphere"
• Women taught music in the following ways:
o privately
o in home studios
o published music in women's magazines
o female academies, one room school houses, Sunday schools and
church charity schools
o music considered proper to teach or publish children's songs and
hymns
o trained musicians and benefited school music programs

5. MUSIC SUPERVISORS EARLY IN THE
TWENTIETH CENTURY
Educated Women between 1890-1920
• Educated women between 1890-1920
o Unmarried, self-supporting, college educated
o Pursued careers in teaching, nursing and social work
o Music studied in normal school
 supervised music in city schools
 active in local, state and national music organizations
 study music in normal schools and summer institutions
o Worked and affiliated with the following:
 Women's colleges
 Settlement houses
 Reform associations
 Suffrage movement

6. MUSIC SUPERVISORS EARLY IN THE
TWENTIETH CENTURY, continued
Frances Elliot Clark (1860-1958)
•
•
Organized Music Educators National Conference (1934) now MENC
Graduated from Tri-State Normal College
•
•
Honorary Doctorate from Temple University
Music Supervisor in Milwaukee Public Schools
•
•
RCA Victor (1911-1947)- promoted recorded music in the classroom
Active in Department of Music Education of NEA, first leader of MSNC
and founder of National Federation of Music Clubs

7. MUSIC SUPERVISORS EARLY IN THE
TWENTIETH CENTURY, continued
Supervisors in the early 1900s
• Not accepted as 'musicians' by professionals
• Not accepted as 'educators' by intellectuals
• MSNC gave an opportunity to discuss this as a 'family group'

8. MUSIC SUPERVISORS EARLY IN THE
TWENTIETH CENTURY, continued
Elsie M. Shaw (1866-1962) St. Paul's first lady of Music
•
•
Supervisor of Music in St. Paul, MN from 1898-1933
Attended Visitation Convent in St. Paul
•
•
Studied organ, piano, voice and theory privately
Worked at St. Mary's for 60 years with her mother in music
•
•
Supervised elementary classroom teachers
Taught at Teachers Training School
•
•
Conducted choirs and orchestras
Expanded music into the high school
• After retirement, worked at St. Luke's Catholic Church in music

9. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY
• More opportunities for women
o Active in professional groups
o Officers, committee members, performers, and presented papers
o Music supervisors of public schools
o Teachers at normal school
o Professors at universities

10. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
The Early Years of MSNC
• MSNC organized conferences
• There were 13 female presidents from 1907-2010
• Not indicative of impact of women in education

11. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Researching Outstanding Women in Music Education
• Important in order to understand the struggle for the majority who
balance work, professional responsibilities and family life
• Important to learn from the past

12. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Mabelle Glenn (1881-1969)
•
•
Attended Monmouth (Illinois) College Conservatory
Honorary Doctorate from Chicago Musical College
•
•
Supervisor of Music in Bloomington, IL
Director of Music in Kansas City, MO
•
•
President of MSNC from 1928-1930
Author of books about music appreciation, psychology, and textbook
series
• Wanted to promote creative art, to listen to tasteful music and train
students to make profitable leisure time

13. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Lilla Belle Pitts (1884-1970)
• Attended Chicago Conservatory of Music, Northwestern University,
and Columbia Teachers College
•
•
On Faculty of Columbia Teachers College, Florida State University
MENC president from 1942-1944
• Advocate for technology and changing our curriculum to changing
times and student needs
•
•
Advocated folk song appreciation
Strong relationship (at the time) between musicology and music
education

14. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Marguerite Vivian Hood (1903-1992)
• Attended Jamestown College in North Dakota and University of
Southern California
•
•
Montana State Supervisor of Music
Faculty member at University of Montana, University of Southern
California and University of Michigan
•
•
MENC president from 1950-1952
First woman chair of Music Educators Journal
• Encouraged educators not only to teach but to plan for the future

15. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Frances M. Andrews (1908-1976)
•
•
MENC president 1970-1972
Received Masters and Doctorate from Pennsylvania State University
•
•
Faculty member of Pennsylvania State University from 1943-1973
Journal of Research in Music Education
• Implemented GO Project as MENC president
o Identified areas of concern in music education
o Explored the relevance of the curriculum
o Developed guidelines for music education

16. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Mary E. Hoffman (1926-1997)
• Attended Lebanon Valley College (BS) and Columbia Teachers
College (Masters)
•
•
Supervisor in Milwaukee and Philadelphia
Taught graduate courses at Columbia Teachers College, Temple
University and University of Illinois
• Contributed to textbooks World of Music, Silver-Burdett, and Music
Connection
•
•
MENC president from 1980-1982
Leader in professional work in MENC, textbook author, and day-to-day
teacher

17. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Isolation from the Feminist Movement
•
•
Only 2 female MENC presidents in forty years (1952-1992)
Possibly reflects discrimination with MENC
•
•
MENC followed patriarchal values of 19th century
Female presidents followed MENC expectations for leaders
• However, from 1990-2010, there were 5 female presidents of MENC

18. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Dorothy A Straub (1941- )
•
•
MENC president from 1992-1994
Attended Indiana University for both her BME and MME
•
•
Music coordinator for Fairfield Public Schools (CT)
Violinist in Greenwich Symphony and Greater Bridgeport Symphony
•
•
ASTA member (only 1 of 2 to be MENC president)
National Arts Standards adopted during presidency
• Received awards from ASTA and National School Orchestra
Association

19. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Carolynn A. Lindeman (1940- )
•
•
President of MENC from 1996-1998
Attended Oberlin College Conservatory of Music, Mozarteum
Academy (Salzburg), San Francisco State University
•
•
Received DMA from Stanford
Professor at San Francisco State University from 1973-2005
•
•
Promoted national standards and advocacy
Series editor for Strategies for Teaching
• Acknowledges discrimination in academia

20. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
June Hinckley (1943-2007)
•
•
MENC president from 1998-2000
Attended Louisiana Polytechnic Institute and Stetson University
•
•
Received Ph.D from Florida State University
Music and Fine Arts supervisor for Brevard County School District in
Florida
•
•
Arts Education Specialist for Florida Department of Education
Conceptualized and implemented Vision 2020 Project and
Housewright Symposium on the future of Music Education
• Author of mid-level general music and various articles on music
education

21. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Lynn M. Brinckmeyer
•
•
MENC president from 2006-2008
Associate professor of Music and Director of Choral Music Education
at Texas State University
• Educated at Eastern New Mexico University and the University of
Kansas (Ph.D)
• Taught in New Mexico and then taught higher education in the Pacific
Northwest
• During her presidency, MENC celebrated its 100th birthday

22. LEADERSHIP OPPORTUNITIES IN THE
TWENTIETH CENTURY, continued
Barbara L. Geer
•
•
MENC president from 2008-2010
Attended St. Andrew's Presbyterian College (NC) and the University of
North Carolina
• Music consultant for Winston-Salem/Forsyth School System in North
Carolina

23. TEXTBOOK PUBLISHING
Important Aspect for Women
•
•
Textbooks written by men, who were self-taught
Women edited and translated for men's textbooks
• Women published their own hymns, books of songs and teaching
materials

24. TEXTBOOK PUBLISHING, continued
Mary Stanley Schindler
•
•
Translated Praktischen Lehrgang into English
Basis for Mason's National Music Course
• L. Loughlin
Adelia
Known for her popular song books published by Oliver Diston
•
•
Translated French and German
Mason used her translations for revision of National Music Course in
1886

25. TEXTBOOK PUBLISHING, continued
Eleanor Smith (1858-1942)
•
•
First senior editor of a music textbook series
•
Modern Music Series (Silver-Burdett 1901-05)
•
The Eleanor Smith Music Course (American Book Company 1908-11)
•
Emphasized quality music for kids, not just exercises
•
Prolific composer of children's songs
•
Followed Kindergarten philosophy of Froebel
•
Educated in Chicago and Berlin
•
Head of Department of Vocal Music at Chicago Normal School
Director of Hull House Music School (1893-1935)

26. TEXTBOOK PUBLISHING, continued
Eleanor Smith, continued
•
•
Head of Music Department of University of Chicago
Music teacher at Chicago Kindergarten College and Froebel's
•
Kindergarten School
Published music for Sunday school and early childhood Sunday
•o
school
Chairman of MSNC Committee on Sunday School Music 1911
Wanted quality music
o Published "Children's Hymnal" in 1918
o Hymns written by Smith and other women composers

27. TEXTBOOK PUBLISHING, continued
M. Teresa Armitage
•
•
Not much biographical information on Armitage
Senior editor of "Laurel Music Series" (1908-1929)
•
•
Senior editor of "A Singing School" (1939-1959)
From Chicago
• VP of NEA Department of Music Education in 1923

28. TEXTBOOK PUBLISHING, continued
Mabelle Glenn
• Published Music appreciation texts with Edith Rhetts and Margaret
Lowry
•
•
Published books for glee clubs with Virginia French
Glenn, Helen S. Leavitt and two men compiled World of Music
o Books for grades 1-7
o Teaching manuals
o Piano course
o Music appreciation

29. TEXTBOOK PUBLISHING, continued
Lilla Belle Pitts
• Senior editor for "Our Singing World" (1949-1967)
o Books for each grade Kindergarten through high school
o Editions for teachers and students
o Piano accompaniments

30. TEXTBOOK PUBLISHING, continued
Women Senior Editors in the 1950s
•
•
Rose Marie Grentzer, "Birchard Music Series" (1958-1963)
Sister Mary Lourdes, "To God Through Music" (1953-1959)
• Sister Cecelia, "We Sing and Praise Series" (1957-1962)

31. TEXTBOOK PUBLISHING, continued
Women Senior Editors in the 1960s
•
•
Georgiana Peterson, "Getting to Know Music" (1966-1968)
Lorraine E. Watters, "Magic of Music" (1966-1970)
•
•
Beatrice Landeck, "Making Music Your Own" (1964-1971)
Mary Helen Richards, "Threshold to Music" (1974-1985)

32. TEXTBOOK PUBLISHING, continued
Women Senior Editors in the 1970s
•
•
Elizabeth Crook, "Music" (1970-1976)
Rosemary Hallum, "New Dimensions in Music" (1970-1976)
• Mary Val Marsh, "Spectrum of Music" (1974-1978)

33. RESEARCH AND EDITING
Journal of Research in Music Education (JRME)
• Two of nine editors are women
o Cornelia Yarbough from 2000-2005
o Wendy Sims, current editor
o Ella Wilcox, associate editor, incredibly knowledgeable
• Women editors past
o Editorial associates include Lilla Pitts, Cornelia Yarbough and
Frances Andrews
o Percentage of women on committee
o Could these percentages predict trends in the future?
o What is the relationship between women and the research done
by women?

34. RESEARCH AND EDITING, continued
Bulletin of Historical Research in Music Education
•
•
Founded by George Heller at University of Kansas in 1980
Now Journal of Historical Research in Music Education (JHRME) 1999
o Editor is currently Mark Fonder
o Shelly Cooper is Book Review Editor
o 3 male editorial advisors
o One half of editorial committee of JHRME is female

35. RESEARCH AND EDITING, continued
Bulletin on the Council for Research in Music Education
•
•
Published at University of Illinois
Edited by Richard Colwell 1963-1990
• After Colwell, three women editors:
o Marilyn Pflederer Zimmerman- 1990-1995
o Eunice Boardman- 1993-1999
o Deborah Sheldon- 2000-2001
• 42% of Advisory Committee is female

36. RESEARCH AND EDITING, continued
Philosophy of Music Education Review
•
•
Founded by Estelle R. Jorgensen at Indiana University
Assistant Editor- Iris M. Bob
•
•
Book Review Editor- Mary Reichling
Current editorial consultants- only 17.6% are female

37. RESEARCH AND EDITING, continued
Gender trends
• Women outnumber men two-to-one in the following:
o General Music
o Choir
o Private studio
o Keyboard instruction
• Men are more prominent in the following:
o Band
o Administration
o Jazz
o More are at universities and colleges
o Women are contained at certain areas

38. COMPARING MUSIC EDUCATION CAREERS TO
CAREERS IN OTHER FIELDS
Opportunities for women in education
•
•
Education considered extension of the home
Women contained in certain areas of education, most are working with
young children
• Research suggests discrimination and pedagogy doesn't change to
reflect gender

39. COMPARING MUSIC EDUCATION CAREERS TO
CAREERS IN OTHER FIELDS, continued
The Role of Women in Academia
•
•
Estrange themselves from other women
Distance self from 'shared women's experience"
•
•
Devalue women's traditional occupations
Avoid research on topics about women
• Hostile climate to women professors with harassment of female
academics
• Need to persist to allow for the following:
o Feminist scholarship
o Women-friendly classrooms
o Curriculum to include women's experiences

40. HUMANE MODELS FOR THE TWENTY-
FIRST CENTURY
Historical Survey of prominent music educators
•
•
Importance of quality education
Guiding personal philosophies
•
•
Positive supportive mentors
leadership opportunities

41. HUMANE MODELS FOR THE TWENTY-
FIRST CENTURY, continued
Music Careers Evolve
• As evidenced by the following ladies:
o Frances Clark
o Eleanor Smith
o Elsie Shaw
o Frances Andrews
o Carolynn Lindeman
We need to include women as a part of Music Education history as they are
role models for today's music educators.

42. PRESENTER'S CONCLUSIONS
Women have given us much
• The women in the article have paved the way for us, as women, to
reach beyond the glass ceiling.
• The author points out that the glass ceiling is still in place, which is
evidenced by the stigma of women in charge as well as the fact men
outnumber women as administrators.
• These women have enabled us and given us the tools to take music
education to the next level.
• In order to reach the pinnacle of music education and women's impact
on it, we need to consider female academics and research about
women in education.

43. PRESENTER'S CONCLUSIONS, continued
Research in Music Education
• It is the presenter's belief that in studying women and their impact on
music education, past and present, current educators will be able to
take the tools of the past and use them in the future.
• Research needs to be done on women's impact in music education as
we have helped paved the way to current trends, texts, national
standards and teacher education.

44. PRESENTER'S CONCLUSIONS, continued
Women in Present Music Education
• Howe's article outlines some of the major contributions of women in
the past. These women were highly educated, as we are today. More
women now have college degrees and master's degrees than men do.
• Women in music education today have the opportunity to get involved
in the organizations that aid us in our jobs, as our earlier counterparts
did.
• The women in Howe's article had to make a choice between family
and careers. How is today's working mom able to do what they did?
What would the research tell us?