Chapter 4 ? A Composer in the Making: Munich?
And the maestro?who was a very great man?felt that she was the only one who understood. As it is always, it is to the one who understands to whom we turn, so after this the maestro found himself unconsciously teaching just that one person in class b. He would have scoffed at the notion had you been bold enough to accuse him of it, but nevertheless the truth remained. Mabel Daniels[footnoteRef:-1] [-1: Mabel Daniels, notebook (featuring orchestration notes, commentary on opera productions, and a short story fragment), c. 1901-1954, folder 48, Daniels Papers.]
This quotation concludes a two-page draft of what appears to have been the beginnings of a short story that Mabel Daniels …show more content…
The composer proudly acknowledged her triumphant exploits by frequently including direct quotations from her book in other articles she authored or in typescripts of interviews. These quotations pertain to her initial meeting with the directors of the Royal Conservatory and her first score-reading class with the thirty male students. Two sources include a typescript of a speech given in 1960 for the National Federation of Music Clubs and an article from 1961 that appeared in The Christian Science Monitor.[footnoteRef:22] The historical milestone of being the first woman to study score reading at the Royal Conservatory in Munich has not gone unnoticed by scholars. It has become an emblem of success in Carol Neuls-Bates? Women in Music: An Anthology of Source Readings from the Middle Ages to the Present and is regarded as significant to the history of women?s musical training.[footnoteRef:23] In her article ?Gender, Professionalism, and the Musical Canon? and book Gender and the Musical Canon Marcia Citron referred to the above-quoted two scenes from the standpoint of representing barriers to women?s professionalism in music.[footnoteRef:24] [22: Mabel Daniels, typescript of a speech, which the composer gave 6 June 1960 before the National Federation of Music Clubs, folder 55, Daniels Papers. See also Mabel Daniels, ?Mabel Daniels Reads through Scores of Her Memories: Dean of American Composers Looks Back with a Smile,? The Christian Science Monitor, 22 April 1961, ?Arts and Entertainment.?] [23: Women in Music: An Anthology of Source Readings from the Middle Ages to the Present, ed. C. Neuls-Bates (New York: Harper and Row, 1982), Chapter 38: ?Fighting Generalizations about Women,? 219-222.] [24: Marcia Citron, ?Gender, Professionalism, and the Musical Canon,? The Journal of
And the maestro?who was a very great man?felt that she was the only one who understood. As it is always, it is to the one who understands to whom we turn, so after this the maestro found himself unconsciously teaching just that one person in class b. He would have scoffed at the notion had you been bold enough to accuse him of it, but nevertheless the truth remained. Mabel Daniels[footnoteRef:-1] [-1: Mabel Daniels, notebook (featuring orchestration notes, commentary on opera productions, and a short story fragment), c. 1901-1954, folder 48, Daniels Papers.]
This quotation concludes a two-page draft of what appears to have been the beginnings of a short story that Mabel Daniels …show more content…
The composer proudly acknowledged her triumphant exploits by frequently including direct quotations from her book in other articles she authored or in typescripts of interviews. These quotations pertain to her initial meeting with the directors of the Royal Conservatory and her first score-reading class with the thirty male students. Two sources include a typescript of a speech given in 1960 for the National Federation of Music Clubs and an article from 1961 that appeared in The Christian Science Monitor.[footnoteRef:22] The historical milestone of being the first woman to study score reading at the Royal Conservatory in Munich has not gone unnoticed by scholars. It has become an emblem of success in Carol Neuls-Bates? Women in Music: An Anthology of Source Readings from the Middle Ages to the Present and is regarded as significant to the history of women?s musical training.[footnoteRef:23] In her article ?Gender, Professionalism, and the Musical Canon? and book Gender and the Musical Canon Marcia Citron referred to the above-quoted two scenes from the standpoint of representing barriers to women?s professionalism in music.[footnoteRef:24] [22: Mabel Daniels, typescript of a speech, which the composer gave 6 June 1960 before the National Federation of Music Clubs, folder 55, Daniels Papers. See also Mabel Daniels, ?Mabel Daniels Reads through Scores of Her Memories: Dean of American Composers Looks Back with a Smile,? The Christian Science Monitor, 22 April 1961, ?Arts and Entertainment.?] [23: Women in Music: An Anthology of Source Readings from the Middle Ages to the Present, ed. C. Neuls-Bates (New York: Harper and Row, 1982), Chapter 38: ?Fighting Generalizations about Women,? 219-222.] [24: Marcia Citron, ?Gender, Professionalism, and the Musical Canon,? The Journal of