Katherine Norman Dearden讲座——在虚幻与现实间的Florence Clinton Sutro


在3月14日,北达科达大学的音乐学院院长Katherine Norman Dearden教授向上海理工大学学生及老师开展了一个关于女性音乐家Florence Clinton Sutro的讲座。大约15名学生参加了这个讲座。Katherine告诉在场的学生,她钦佩Florence作为一个女性在音乐领域的成就,如今依然持续着对她的研究。

讲座由tableaux vivant的定义展开,tableaux vivant是一个法语词,它是由一个或者一群演员静止地展现一种场景,绘画,雕塑等形式的艺术,也叫做“动态画”。Florence就特别擅长这种艺术。幕布拉开,一群演员身着戏服,静止不动,展现了一幅著名的绘画或者雕塑,或者一个戏剧,文学场景。在大约静止了30秒后,幕布垂下,几分钟后拉开又是另一幅画面。画面静止,观众开始细细品味这现实与理想的交融。幕布又一次垂下,又一次拉开。

Katherine接着介绍了Florence的生平。作为一个富有的女人,她在19世纪90年代结识了tableaux vivant。在当时,tableaux vivant是一个可以融资的地方。Florence就利用这个机会,宣传女性音乐教育的重要性。在Florence的一生中,她是一个有影响的音乐教育的支持者,特别是女性受到的音乐教育。她是第一个获得了博士学位的美国女性,是音乐教师协会的第一位女性主任,并且是第一个联邦音乐俱乐部的主席。她积极支持纽约城市大学的女性法律俱乐部的建立,在那里,她成为了第一个成员。她出版了一本书,并且编辑了另外的一本。尽管有这些成就,她还是从整个历史记录中消失了。尽管简短的在有关法律界和音乐界的女性的著作中出现,但是并没有在整个音乐教育的历史上。

Katherine引用Florence的话说,tableaux vivant的影响不仅仅体现对灯光的处理和层层薄雾的插入,也体现在人们视觉上的相应的调整。虚拟与现实之间互相影响就是tableaux vivant想要表达的东西。“也许,对于Florence对于音乐教育过去和未来的贡献,我们可以达到一个更深,更丰富层次的理解”,Katherine说。







Written by Kylin Li                                   March 14, 2017


Lecture by Katherine Norman Dearden:

Florence Clinton Sutro on the Boundary World Between Fact and Imagination


On March 14th, Katherine Norman Dearden, dean of the department of music at the University of North Dakota, led a lecture on the life of a musician, Florence Clinton Sutro. About 15 students attended this activity. Katherine told the students present that she admired her especially in the achievements she made about women music and still maintained the research of Florence Clinton Sutro.


The lecture began with the definition of tableaux vivant, which is a form of representation of a scene, painting, sculpture, etc, by a person or group posed silent and motionless. The curtain rises and costumed figures appear on the stage, silent and immobile in imitation of a celebrated painting or sculpture, a dramatic scene from history or one from literature. Unblinking, unmoving for 10, 20, 30 seconds, the actors hold the pose. The curtain falls, only to rise again a few minutes later to another “living picture,” where for another frozen moment, time stands still and both audience and actors, left to reflect on this merger of the real and ideal, are given a “magic glimpse of the boundary world between fact and imagination.” The curtain falls and rises once again…


Then Katherine told the audience a long story of Florence Clinton Sutro’s life. As a wealthy, New York club woman, Florence Clinton Sutro was well acquainted with tableaux vivants, which by the 1890’s had become a popular fundraising venue. During her lifetime, Sutro was a well-known and influential supporter of music, in general and of women’s participation and education in music, in particular. She was the first American woman to receive a music doctorate, the first director of the Woman’s Department of the Music Teacher’s National Association, and the first president of the National Federation of Music Clubs. Sutro is a prominent proponent for the formation of a “Women’s Law Class” at the University of the City of New York, where she became its first member and valedictorian. She published one book and compiled another. Despite these accomplishments, she has all but disappeared from the historical record, briefly referenced in literature on women in music and law, but not at all in histories of music education.


In Katherine’s paper, she documents Sutro’s contributions to music education and to women in music through a reconstruction of her life, not as a succession of events, but as a series of self-reflective, storied “scenes”—a metaphorical tableaux vivants set against her understanding of her life and the social context of late nineteenth- and early twentieth-century America. This understanding is informed by listening to her voice as manifested in written and visual records in conjunction with reiteratively comparing her life experiences and reactions with her own.


The effect of tableaux vivants not only on the “happy disposal of lights and the delusive interposition of layers of gauze,” but also on a “corresponding adjustment of the mental vision.” Being open to the interplay between actuality and imagination was what afforded that magic moment of insight that the tableaux were said to offer. “Perhaps, with a similarly adjusted mental vision, we can reach a deeper and richer understanding of Sutro and her contribution to music education, both past and present”, Katherine said.


After the vivid introduction and views on Florence Clinton Sutro, Katherine expressed her opinions on country music, folk music, Jazz and modern music which were asked by the students .


The lecture ended at 4:30 p.m. with thunderous applause. ACC volunteers gave Katherine a present as souvenir. Thanks to Katherine’ wonderful and touching presentation and to all ACC volunteers for your assistance.

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