"Let Us Sing as We Go": The Role of Music in the United States Suffrage Movement

Music played a prominent role in the United States women’s suffrage movement (1848–1920). Suffragists left behind hundreds of compositions supporting their cause and historical accounts indicate that musical performances were common at suffrage events. With only a few exceptions, scholars have disregarded the music used in this movement, and have underemphasized its significance. This study examines the use of music in the suffrage movement from three perspectives: music with lyrics, titles, and images that espouse women’s enfranchisement; music performed at national suffrage conventions held by the National American Woman Suffrage Association; and music accompanying suffrage parades. Though the music used varies in each case, it is clear that music played an important role in unifying suffragists and underscoring the ideals and goals of the movement.

THEATRICAL MUSIC FOR SOLO PERCUSSION

The act of playing percussion is innately theatrical. The motions by which a percussionist plays his instruments often resemble a carefully choreographed dance. Our bodies are freed from having to hold or blow into an instrument. We are free to move to and from our instruments, to change our facial expressions, and to vocalize. This performance dissertation consists of three recitals featuring theatrical music for solo percussion. The selections are limited to works in which the composer instructs the solo percussion performer to perform in an extra-musical capacity, whether it be by singing, speaking, moving, acting, dancing, or any other action. On all three recitals, I performed established works for solo theatrical percussion. However, on the first recital, I also played the world premiere performance of The Authors, a new work by Stuart Saunders Smith. This half-hour long marimba opera requires the solo performer to speak, sing, and act while playing the marimba. For the final recital, I featured pieces commissioned from two professional composers, John Leupold II and Daniel Adams. Through this series, I hope to both pay tribute to existing great works and to encourage new composition of solo theatrical percussion music.