Author ORCID Identifier

https://orcid.org/0009-0006-5339-3217

Semester

Spring

Date of Graduation

2026

Document Type

Dissertation

Degree Type

DMA

College

College of Creative Arts

Department

School of Music

Committee Chair

Cynthia Anderson

Committee Co-Chair

Andrew Kohn

Committee Member

Beth Royall

Committee Member

John Weigand

Abstract

The evolution of women in American music has been a gradual and ongoing process. Historically, women were largely excluded from public musical life and did not achieve widespread acceptance as professional musicians until the 20th century, largely due to prevailing cultural and societal expectations. In the 19th century, women typically performed in domestic settings for small gatherings of family and friends. Female instrumentalists were generally limited to the piano and a few string instruments, while wind instruments—such as the oboe—were discouraged because they were considered unladylike or visually unappealing when played. The 20th century saw the emergence of American women oboists into public performance, establishing a lineage that paved the way for subsequent generations. These trailblazing musicians faced significant societal barriers but gained opportunities to perform alongside men in major American orchestras, particularly during World War II. Today, oboists such as Anna Mattix, Caitlin Kramer Braam, and Pamela Ajango have achieved prominence in the classical music field. Through their own accounts, they reflect on their journeys and the contemporary challenges they have encountered as women in music. Their stories provide insight into how the roles of women in music have evolved since the 19th century and illustrate the continuing shifts shaping the field in the 21st century.

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