As a scholar-performer, this “rediscovery” has inspired me to develop A Herstory of the Saxophone, the first systematic study of women’s musicianship in the twentieth century, viewed through the lens of the saxophone. The first generation of female saxophonists was particularly active in the United States and Europe, performing in alternative circuits. Unlike their male counterparts, they composed their own saxophone music, commissioned new saxophone works from composers, and even founded schools for girls (including girls of color) who were not admitted to established institutions.
To delve deeper into these women’s narratives, I urgently needed to visit international archives, particularly in the United States. Institutions such as the New England Conservatory hold personal archives of these female saxophonists, including diaries, correspondence, and other invaluable documents. Thanks to a Postdoctoral Fellowship from the U.S. Fulbright Program, I was able to spend nearly four months in the United States, preparing future book publications on these women’s saxophone practices (with Routledge and SUNY Press).
