"Music's Most Powerful Ally": The National Federation of Music Clubs as an Institutional Leader in the Development of American Music Culture, 1898-1919

• Other Authors: Hedrick, Ashley Geer (authoraut)
• Format: Others
• Language: English; English
• Published: Florida State University
• Subjects: Music; History
• Online Access: http://purl.flvc.org/fsu/fd/FSU_2017SP_Hedrick_fsu_0071E_13773

This dissertation explores the founding of the National Federation of Music Clubs (NFMC) in 1898 and focuses upon the organization's activities from its beginning to 1920. It highlights how the original members were able to build a strong and influential institution that continues to support American music and musicians today. The creation of the NFMC is a result of two developments that occurred simultaneously during the nineteenth-century in the United States: 1) the proliferation of voluntary associations and organized reform movements and 2) the emergence of high art music culture across the nation. This project applies gender theory to examine the development of the notion of the domestic sphere as the appropriate domain for the female sex in the nineteenth century, and how women reacted to dominant ideologies through voluntary organizations that broadened their world. It also utilizes recent scholarship in women's history, social history, early American history, and institutional studies to present a survey of the types of organizations that formed and how they changed in response to the social and historical context. Even though the NFMC was originally a women's institution run by and for women, its larger goal was to disseminate art music culture through local club activities across the nation to all citizens. The growth of women's music clubs was part of the post-civil war boom of women's culture clubs. The concept of music as art developed and spread steadily during the nineteenth century, and at first the music clubs specifically cultivated art music based on western European traditions, which was associated with high class refinement. European ideals were perpetuated by an influx of European touring virtuosos and groups during the first half of the nineteenth century. In her article titled "Art Music from 1800 to 1860," Katherine K. Preston explains that the polished concerts performed by touring musicians not only circulated art music among Americans, but they also introduced higher performance standards, which resulted in increasingly higher expectations for refined performances from American audiences starting in the 1820s and 1830s and surging after 1840. These performances were supported and promoted by patrons and institutions, which ultimately led to the growth of art music appreciation as a movement throughout the nation. Michael Broyles clarifies that even though European style was dominant during the nineteenth century, American musical culture was uniquely formed by "historical events that have no European counterpart." He states that institutions controlled the character of the music in the United States. The support and dissemination of American art music happened through a combination of civic, philanthropic, private, and entrepreneurial activities, which included: the spread of art music through touring virtuosos and ensembles on a much larger scale than the first half of the nineteenth century, women's music clubs, orchestras, monster concerts and festivals, an increase in the number of American-born composers during the late nineteenth century, and a growing sense of patriotism at the turn of the century. During the late nineteenth and into the early twentieth centuries, women's music clubs became one of the most effective cultivators of classical music in the United States through their strong infrastructure and collaboration with prominent musicians, critics, and pedagogues. This project highlights the integral role of the NFMC's activities in many of the significant developments in the history of American music at this time. No other institution has been as ubiquitous or influential as the NFMC in the musical growth of the United States. This dissertation is the first detailed exploration of the history of this powerful institution. === A Dissertation submitted to the College of Music in partial fulfillment of the Doctor of Philosophy. === Spring Semester 2017. === April 10, 2017. === 1893 chicago world's columbian exposition, institutional power, music clubs, national federation of music clubs, rose fay thomas, women's music clubs === Includes bibliographical references. === Denise Von Glahn, Professor Directing Dissertation; Karen Bearor, University Representative; Michael Broyles, Committee Member; Sarah Eyerly, Committee Member.