Florence Levin Lockshin papers
Scope and Contents
The papers contain limited biographical and personal information, focusing primarily on Lockshin's musical compositions. The bulk of the papers consists of scores, dating from 1959 to 1982. In addition there are recordings of several of her works and files of correspondence, publicity, and memorabilia related to performances of the works. There is also a file which demonstrates Lockshin's tireless efforts to interest various musicians in performing her pieces. Subject files on music attest to the sudden interest in women composers fired by the women's movement.
Later in life, Lockshin turned to the written word, producing a series of poems. In addition to manuscript and typescript versions of the poems there is material related to Lockshin's efforts to find publishers for these works.
- Lockshin, Florence Levin (Person)
Language of Materials
Conditions Governing Access
Collection is stored offsite; researchers must give 48 hours advance notice.
Conditions Governing Access
Conditions Governing Use
Biographical / Historical
In 1952, Lockshin moved to Northampton, Massachusetts, where she studied composition at Smith College (1952-55) under the tutelage of composer Alvin Etler. From this point, Lockshin turned her attention to larger ensembles, composing primarily for orchestra or chorus and orchestra. Her first such work was The Cycle (1956-57), a ballet commissioned by the Smith College Dance Department.
In 1959, Lockshin began to incorporate folk themes into her work in Annie Bradley's Tune, a piece based on a short melody sung to Lockshin's twin sons by their African-American nurse. Paean Santa Maria de Guadalupe (1962) is based on a hymn Lockshin heard penitents sing as they approached the basilica in Mexico City. When her husband's work as a management consultant took them to Arizona in the late 1960s, Lockshin's response to the music she heard there was the orchestral suite Scavarr (1969), based on Yuma and Mojave themes. After retirement, Samuel Lockshin worked for the International Executive Service Corps as a volunteer business consultant in Columbia, Venezuela, and Panama. ¡Cumbia! Fantasy on a Columbian Folk Dance (1977) was inspired by music heard during the Lockshins' many trips to various countries in Central and South America.
Interest in women composers spurred by the women's movement, plus interest in all things American connected with the country's bicentennial in 1976, led to a series of performances of Lockshin's work during the 1960s and 70s. Annie Bradley's Tune was the most-performed, both in the U.S. and in concerts of American music in Venezuela and Panama.
Florence Levin Lockshin died in Naples, Florida, on September 26, 1997.
14 boxes (6.25 linear feet)
- I. Biographical and Miscellaneous Materials
- II. Speeches and Writings
- III. Muscial Compositions
- Florence Levin Lockshin Musical Compositions
Immediate Source of Acquisition
- Composition (Music)--20th century
- Lockshin, Florence Levin
- Music--Manuscripts--United States
- Pianists--United States
- Women composers--United States--20th century
- Women in the music trade
- Women musicians--United States--20th century
- Florence Levin Lockshin papers
- Finding Aid
- Maida Goodwin
- Description rules
- Describing Archives: A Content Standard
- Language of description
- Script of description
- Processed with funding from the Lockshin family. Encoding funded by the Andrew W. Mellon Foundation.
- 07/26/2017: This resource was modified by the ArchivesSpace Preprocessor developed by the Harvard Library (https://github.com/harvard-library/archivesspace-preprocessor)
- 2005-09-23: mnsss126 converted from EAD 1.0 to 2002 by v1to02-5c.xsl (sy2003-10-15).
- 2017-07-26T17:48:11-04:00: This record was migrated from InMagic DB Textworks to ArchivesSpace.
Part of the Sophia Smith Collection of Women's History Repository
4 Tyler Drive
Northampton MA 01063