the

MAGGIE

BOYD

MEMORIAL

SCHOLARSHIP

for young musicians

The Maggie Boyd Memorial Scholarship is awarded to well-deserving youth ensembles to help them afford to work with composer Stephanie Ann Boyd. Maggie was born in 1927 as the youngest of six children in a farming family during the Great Depression. Despite exhibiting an extraordinary musical talent from a very young age, there just wasn’t money for piano lessons or any other support for her musical wishes. Despite never learning how to read music, Maggie began composing in elementary school and quickly became known as the pianist for social functions in her community while still a teenager. She faked her way through music school based solely on her extraordinary ear and vivacious stubbornness, graduating from the University of Central Missouri with a degree in Music Education. Though she never used her degree, she kept composing for an audience of four: her husband and four sons, often writing lyrics as well, resulting in immensely eloquent, Gershwin-esque pieces about the joys and difficulties of life from the perspective of a 1950s housewife, a perspective exceedingly rare in that genre.

In the 1970s, Maggie first experienced Interlochen while taking her sons there in the summers for all-state band camp. Deeply wishing she could have attended as a child, she decided that it was the most magical place on earth.

In the 1990s she began to share her immense love of melody, harmony, and language with her granddaughter, accompanying her as she practiced music for her violin lessons and exposing her to a wealth of compositions.

Margaret Isabel Rages Boyd was born the morning after large tornado on June 2nd, 1927, grew up as the youngest of six children born into a farming family in Missouri during the Great Depression. Maggie was influenced by her five older sisters who all became music teachers, and her older brother who was sent overseas to fight in World War II when she was a teenager. Though her family lost their farm when they owed just $50 on their mortgage, they survived that era of devastation by focusing their efforts on education and on making music as a family. “The more I think of it, the more I realize that music kept us alive. There was always music, if someone wasn’t plunking on the piano, they were singing.”

Maggie hopped up onto the bench of the family piano when she was about 3 and soon was playing in four part harmony. (Her first work, “The Cat Ate my Bird” was written when she was 4. ) She surprised her mother one morning in church by singing alto to her mother’s soprano only on intuition around the age of 4. In community gatherings and in “productions” at community events, Maggie was the default accompanist, playing sophisticated renditions of music she’d only heard once or so before. There was never any money for lessons, and Maggie could never learn how to read music. However, she faked her way through music school, earning a Bachelor’s Degree in Music Education while playing the flute in orchestral ensembles. She met Dale Boyd at college  (he had just come home from the war) and they were married within a year, at age 21 and 24 respectively. 

Dale’s work as an Aerospace engineer took them from Seattle, WA to Nashua, NH, and then finally to Ann Arbor, Michigan, where they stayed until Dale’s passing of a heart attack at age 81 in 2005. Maggie lives at Chelsea Retirement Center in Chelsea Michigan, just 15 minutes away from the home of her youngest son Jon and daughter-in-law Pamela in Ann Arbor. 

ABOUT MAGGIE

Maggie’s life many of the things we look for in stories of musical “child prodigies”: 

  1. Ability to memorize music after hearing it once

  2. Unusual musical abilities present from early age (<5 years old)

  3. Having understanding of harmony “pre-programmed” (she started singing alto to her mother’s soprano at age 4)

  4. Having an extraordinary memory for music (Music she wrote as an 8 year old is still at the forefront of her mind, and she can play any piece from the great American songbook by request.)

  5. Some difficulties from an overactive internal aural imagination (Maggie has not been able to listen to music on the radio for decades: her brain overlays sound with harmonies.)

  6. Difficulty with different areas of study: In the way that trying to read or write music has been “painful” for her, math has also been a shame-point for her, despite raising three sons who excelled in those very areas: her youngest was a mechanical engineer who graduated summa cum laude at University of Michigan, her middle son has a masters degree in History and just retired after many decades as K-12 school Principal, and her oldest was head of Concept Car design at Ford Motor Company, and is one of the world’s experts on model cars. 

musical abilities

Despite having no financial or intellectual support for her musical abilities, Maggie spent her summers as an adult composing music. Her library of works is immense.

These pieces all still exist, either in recorded form or in her mind. Some of them have been written down in simplistic form. These are lullabies written for her children, love songs, torch songs (breakup songs), pieces meant to be a some-day ballet, clever ballades written for the Rages family reunions, songs tracing family lineage, “complaint” songs that eloquently argued against sexism (like her Fight Song entry for the University of Michigan Marching Band’s song-writing contest entitled “The Mighty Mrs. of Michigan”). “I didn’t really give a fig about foot ball but I She also wrote music about her hesitancy regarding the space race, and about how she felt that her work as a mother and housewife was being looked down upon by “working” mothers (like in her song “I’m Just a Footnote on my Mommy’s Resume”). 

compositional output

legacy + present day

My grandmother is now 95 years old. Though she now walks with the assistance of her purple walker, her wit and wisdom are sharper than ever. She plays her Aston-Weight upright piano every day and her apartment is a cornucopia of beautiful things she has created in her nearly century-long life. From the beautiful braid rugs that cover every inch of the floor to the artwork on her walls to the many, many books of her music and the sheet music of others, Maggie Boyd–a woman who never learned how to drive, who never learned how to read music, whose only “job” was as a housewife from the time she was 21–has been a prolific creator of innate beauty her whole life. She has come to terms with accepting her “other-ness”, holding out hope that some day someone would be able to help her have some answers about these things that have made her work extraordinary while at times making her life a bit more difficult. 

As her granddaughter, and as one of her best friends (Maggie and I have spoken on the phone nearly every day for the past decade), I feel that as a composer, I have perhaps 3% of Maggie’s talent but I was born at a time when I could make good on those abilities and have a career as a woman composer. I feel very much as if I’m simply continuing her work.