Gender Research in Music Education
Volume 14, Number 1-2 (December, 2005)
In this issue:
From the editor
2. Member News
Sandra Wieland Howe
Carol Ann Weaver
3. News of the Profession
Julia Koza to Speak at MENC Gender SRIG
Department of Women’s Studies at Queen’s University, Canada
4. Conference Abstracts
Feminist Theory and Music 8
5. Abstracts from On-going Research
Jill Sullivan, Women’s Military Bands
Alice Carey Inskeep(1875-1942): A Pioneering Iowa Music Educator and MENC Founding Member
Robb MacKay, Personal and Professional Traits of Female Pop Musicians in Canada
6. Conference Reports
Feminist Theory and Music 8, Elizabeth Keathley
7. Calls for Papers/Proposals
MENC 2006 Biennial Conference Gender SRIG—special guest, Julia Koza Research Roundtable, call for papers
Welcome to the December 2005 edition of the Gender Research in Music
The MENC Biennial Conference is set for April 17-19 in Salt Lake City, Utah. The Gender SRIG is scheduled for Friday, April 21 and 8:30. I am very excited that Julia Koza will be the guest speaker for the SRIG meeting. Julia’s presence at the convention is bound to spark interest in the Gender SRIG. Congratulations to GRIME co chair Jill Sullivan for making this happen.
Thanks so much to GRIME co chair Elizabeth Keathley for the abstracts from Feminist Theory and Music 8 and her thought-provoking conference report. She notes that the reception that some of the presenters received at FT&M8 was less than supportive. Elizabeth also sent out an email to GRIMErs recently about the difficulty of doing EVERYTHING in a tenure year. Both issues strike close to home for me. I value my GRIME colleagues because we actively seek out alternative voices and nurture new researchers. I do not advocate we accept flawed research, but I propose we leave the grand inquisition approach to research evaluation at the door.
As for the need to do everything, I’ve had some great conversations in the past year with people who share my concerns about the pressures associated with what passes for success in academia. Perhaps we should initiate a conversation that includes feminist theory, the intersection of the personal and the public, and an alternative definition of career success in academia.
May all your tenure votes be affirmative.
Sandra Wieland Howe
German and American Influences on the Development of the Kindergarten and Kindergarten Music in Meiji Era Japan, Fifth Asia-Pacific Symposium on Music Education Research. University of Washington, Seattle, July 2005. Published in the Asian Pacific Journal of Arts Education, vol. 3, no. 2 (2005).
Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898-1933), Journal of Research in Music Education 52, no. 4 (Winter 2004): 328-42.
Women’s Participation in the NEA Department of Music Education, 1884-1925. Journal of Historical Research in Music Education 26, no. 2 (April 2005): 130-43.
Carol Ann Weaver
Concerts by Carol Ann Weaver, piano/composition with Rebecca Campbell, vocals, guitar, songwriter, doing Weaver/Campbell’s composition Awakenings, and Weaver’s settings of texts by Jeff Gundy, Julia Kasdorf, and Ann Hostetler:
•Youngstown State University, Dana School of Music, Youngstown,Ohio, Sept. 23, 2005
• University of Manitoba, School of Music, Eva Clair Hall, Nov. 4, 2005
• Brandon University School of Music, Lorne Watson Recital Hall, Nov. 5, 2005
• Canadian Mennonite University, Laudamus Auditorium, Nov. 6, 2005
• Goshen College, Reith Recital Hall in New Arts Centre, Nov. 22, 2005
• Goshen College, Mennonite Writers Class — presentation, Nov. 22, 2005
• Goshen College, Humanities Class — presenation, Nov. 23, 2005
World Premiere of Music by Carol Ann Weaver:
• Durban Seoul-Rock (for two bass clarinets) performed by Bass Impact — Tilly Prudom and Kathryn Ladano, bass clarinets, at World Bass Clarinet Convention, Rotterdam, Holland, October 23, 2005.
• Still Life (text by Ann Hostetler), Brandon University School of Music, Nov. 5, 2005
• almost completed the co-editing of the book of collected essays from Sound in Land conference, with Maureen Epp, main editor. Book is currently at the press, and will be printed within the next month, released in early 2006. Title: Sound in the Land — Essays on Mennonite Music.
Other Current Projects:
• CD recording with Rebecca Campbell of the new music set to texts of Mennonite writers — preparatory work already underway
• preparing for Music 355 Travel Course — Music and Culture in Durban, South Africa, May 2006
• composing new composition in response to African AIDS pandemic, to be premiered in March, 2006, working with team of fellow researchers, Jennifer Wiebe and Mary Barlow
• preparing for Sabbatical research on South African music, for the year 2006-2007
Carol Ann Weaver
is thrilled to have had another healthy and happy year! And recommends adequate sleep, meditation and exercise to everyone!
She continues her work on Ruth Crawford Seeger as an educator. She has presented two papers on aspects of this topic at the Society for Ethnomusicolgoy (SEM) meetings (Miami 2003; Tuscon 2004). During August 2005 she interviewed Peggy Seeger and Mike Seeger. This autumn she continues her research at the Library of Congress.
Other areas of activity include
• Editing a special issue on women, the arts, power and politics for Atlantis, journal of choice for the Canadian Women’s Studies Association. The issue will be available at the end of May 2006
• Presenting on gender issues at the Pan-Canadian Music Education Symposium in London, ON, May 2006.
• Introducing a periodic gender issues column to the Canadian Music Educators Journal (CMEJ), at the request of editor Lee Willingham. It takes a light-hearted but serious approach, called “Mis-Education — A Column where Equity Matters.”
• Wrote a short, practical article on Barbara Pentland’s pedagogical materials for the CMEJ to be published in the December 2005 issue. She has plans to do the same with Violet Archer’s and Jean Coulthard’s music for students.
• Participating in a panel on mentoring at the SEM 2005 Atlanta meeting.
• Producing “Girls Night Out (but Guys Welcome)” every month at the Camden East Bookstore Cafe. This series features local women performers, both new and experienced, but the men are welcome as part of the back-up band and in the audience. The series became the most consistently successful night at the Bookstore Cafe and will go to its third year in 2006.
Carolyn Livingston, University of Rhode Island
I have some news that might be of interest to GRIMers. Next semester I’ll be teaching a three-credit course, Women in Music. It is the first time it’s been offered at the University of Rhode Island. I’ve wanted to do this since I came here in 1987! At last there’s room for it in my schedule now that we have another choral/general music education specialist.
Presented his masters thesis research in progress at Reprise ’05, the annual meeting of OMEA, the Ontario Music Educator’s Association http://www.omea.on.ca/.
• My study of women’s participation in high school and college instrumental jazz ensembles was published in the Winter, 2004 edition of The Journal of Research in Music Education. This study could not have been completed without the help and support of GRIME members throughout the United States.
• In February, 2005, I performed Canadian composer Michael Horwood’s Concerto for Double bass with the University of Wyoming Chamber Orchestra.
• I am currently the serving as the president elect of the Wyoming chapter of the International Association for Jazz Education. In that capacity, I will be attending my first IAJE meeting since I was in high school and the group was called the NAJE. I plan to turn the experience into a qualitative study of something.
University of Toronto Welcomes Elizabeth Gould
Dr. Gage Averill, dean of the Faculty of Music, University of Toronto is pleased to announce the appointment of Elizabeth Gould as Associate Professor of Music Education. Her outstanding leadership in GRIME and cutting edge scholarship in feminist and postmodern theories will be a strong addition to the undergraduate and graduate curricula at the Faculty of Music. Liz brings to the University of Toronto her strong profile as a scholar, musician, and a joy of teaching that will enhance the community of musician/teachers at U of T
MENC 2006 Biennial Conference Gender SRIG
Special guest, Julia Koza
My Body Had a Mind of Its Own: On Music Classroom Management, Gender, and the Terrifying Limits of Governmentality
Dr. Julia Koza, Professor
Department of Curriculum and Instruction, and the School of Music
University of Wisconsin-Madison
Intrigued by the continued prevalence of control and management discourse in music education, I will explore some of the ways this discourse is both gendered and myopic. First, I examine the concept of “illusion of control,” arguing that illusions of control in the music classroom are among the gendered manifestations of what George Lakoff calls the mapping of a “strict father” metaphor onto schools. I confirm the centrality of control and management discourse to several other cultural projects not directly related to education, including U.S foreign policy and genetic engineering, and I document the continued prevalence of this discourse in published materials for music teachers. I contend that illusions of control are among the means by which governance is accomplished in a host of domains far from schools; the tactical productivity of illusions of control in settings other than schools “necessitates” and explicates their prevalence in educational discourse. I maintain that recognizing the limits of governmentality, bankrupting illusions of control, and uncoupling associations between uncertainty and terror are powerful political disruptions. Acknowledging that classroom control may be neither achievable nor desirable may open the door to different understandings of classroom power relations and to rearticulations of the purposes of schooling.
Department of Women’s Studies at Queen’s University, Canada
Tenure track appointment
The Department of Women’s Studies at Queen’s University invites applications for a full time tenure track appointment at the Assistant Professor level. The Department seeks a scholar whose research agenda focuses on the study of women and gender. The individual will demonstrate a commitment to excellence in teaching and the ability to incorporate race, ethnicity, class and sexualities into their scholarship and teaching. Developing areas of the Women’s Studies curriculum include aboriginal studies, black feminisms, queer theory, and transnational feminisms. We administer a certificate program in LGBT, as well as offering community practicum experience to students.
Teaching responsibilities will include at least one of our large introductory courses – Contemporary Women’s Issues (WMNS 120*) and Sex, Gender and Popular Culture (WMNS 225*) – and a selection of our other courses. We are in the process of introducing a number of new courses currently listed on our website. The normal course load in the department is two courses in each of the fall and winter terms.
The position, which is subject to budgetary approval, will commence on July 1, 2006 or as soon thereafter as possible. The successful candidate will hold a completed PhD and demonstrate a commitment to working in a small, interdisciplinary and feminist academic environment.
Queen’s University is in Kingston, Ontario. This historic city of some 120,000 people is located on the northeast shore of Lake Ontario equidistant from Toronto, Ottawa and Montreal. Its numerous and high quality arts, entertainment and culinary amenities belie its size.
Applications, including curriculum vitae, three letters of reference (sent separately by the referees), a statement of teaching philosophy and research interests, and an example of scholarly writing, should be sent to: Head, Department of Women’s Studies, Queen’s University, Kingston, ON, K7L 3N6. Deadline for completed applications (including letters of reference) is December 20, 2005.
The University invites applications from all qualified individuals. Queen’s is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. The academic staff at Queen’s University are governed by a Collective Agreement between the Queen’s University Faculty Association (QUFA) and the University which is posted at <http://www.queensu.ca/qufa>
Feminist Theory and Music 8
City University of New York Graduate Center and New York University,
June 23-35, 2005
Feminist Epistemologies, Lesbian Imaginary, and Music Education Under the Aegis of GRIME (Gender Research in Music Education)
Roberta Lamb, Queen’s University, Session Chair
In the era of “No Child Left Behind,” the increasing encroachment of commercial values into education, and interpretations of “school accountability” that hinge on standardized testing, the creativity and individual difference of both students and teachers are decreasingly valued. At issue is the nature of knowledge itself—what constitutes knowledge, how is it generated, what kinds are worth knowing, and who counts as a “knower”? The papers of this session address feminist approaches to these epistemological questions and demonstrate their application to music education.
Empowering Music Students through Non-Sexist Teaching Strategies
Beth Denisch, Berklee College of Music
This paper addresses the specific milieu of the Berklee College of Music and its emphasis on popular music. Sexism in the music industry and in popular culture more generally gives particular salience and urgency to the need to address potential patriarchal bias in the presentation of material and management of classroom activities. The feminist concept of “situated knowledges” can contribute to the awareness of the ways a teacher’s own experiences have shaped his/her understanding of musical meaning and thus open up new possibilities of musical knowledge for students.
Listening to the Girls: Music, Gender and Technology in a Technology in Music Program
Karen Pegley, Queen’s University
Technology has been embraced widely within the North American school system and particularly within music education programs where MIDI technology often is used as a way to make music more accessible for students. Within the literature on gender and technology, many agree that women’s technological socialization is complex, and that women relative to men have been described as less enthusiastic about new technological “advances.” This narrative resonates within the music education discourses where boys often are reported to have more ease with technology than girls. In a study conducted by Colley, et al., for instance, girls were described as “held back” and “circumspect,” in relation to the technology compared to boys, and one teacher is cited as saying that: “whereas the boys will automatically use the equipment, you have to lead the girls to it like horses to water.”
In this paper I problematize these statements vis-à-vis responses gathered from girls during two case studies within technology-driven Ontario intermediate schools. The grades seven and eight girls at these “paperless” schools spoke articulately about their concerns with current technologies, and challenged their educators to question their own assumptions surrounding technological inevitability. These girls shared particular concerns surrounding the loss of tradition and critical identity markers, as well as the value of process over product, repetition over rapidity. Their lack of enthusiasm and unwillingness to embrace technology, I will argue then, are not “inappropriate” responses but rather evidence of the negative repercussions of our new technological landscapes.
The Witch Dance: Composition, the Negotiated Curriculum, and the Music Classroom
Carol Matthews, Boise State University
In this presentation I intend to make clear the relationship between child-centered composition, a negotiated curriculum, and the egalitarian music classroom. Music, as it is taught in schools today is discipline-based, reifying the structures and functions of the common practice period, and essentially denying individual children their unique voices. In other disciplines, such as art and language, children are taught to be expressive, to experiment with the elements of visual and verbal expression as they learn them. Not so in music. To the contrary, students are frequently discouraged from experimentation with or developing theories about music, and their own musical cultures are often denied in classrooms dominated by the patriarchal canon. Their own methodologies for learning are not considered.
Using a feminist pedagogical approach, I will show how the current paradigms of music education, which deny students their own musical voices, can be changed by examining the classroom and the curriculum from the student’s perspective. I will consider briefly power relationships, the music classroom environment, and the necessity for developing a musical vocabulary or palate from which children may draw, experimentation, theory building and philosophical stance. The central concerns of this paper, however, are how students may draw on their own cultures and ways of thinking to compose music, and how to negotiate the acquisition of musical elements. I will pose corollary questions about the necessity for standard notation, Western musical history, and the power of the quarter note in making students creators of music.
Desire(ing) and Difference: Not Who I Am, but How I Am
Elizabeth Gould, University of Wisconsin, Madison
The purpose of this presentation is to explore in terms of my philosophical construct of lesbian imaginary the Deluzian (1994; Deleuze and Parnet, 1987) concepts of desire and difference in relationship to hearing, performing, composing, teaching, and learning music. Based on Cusick’s (1994) “lesbian relation with music,” lesbian imaginary opens possibilities of actualizing students and teachers in engaging with music in ways that are queer, feminist, and nomadic. Not only does lesbian imaginary make possible power-sharing relations in music, music classrooms and ensembles, it also introduces desire and difference; ways of being that have been systematically eliminated in music, discussions about music, teaching and learning of music. As fluid and unstable multiplicities, musicians interact in/with music in terms of claiming subjectivity non-discursively—literally, beyond language and propositional logic.
Traversing disciplinary borders, nomad logic (Deleuze and Guattari, 1987), provides the basis for exploring these ideas in which both desire and difference are understood in terms of positivies and affirmation. Instead of existing relationally as subject and object (desire-for), and originary representation (difference-from), Deleuze argues that desire and difference exist in their own right: desire as joyful, aleatory, experimental processes directed toward extending and multiplying themselves; and difference as multiplicities and possibilities directed toward solving material Problems-Ideas, which constitute the only way difference may be thought beyond representation. As the means by which we actualize and are actualized in lived experiences, difference and desire are integrally implicated in lesbian imaginaries of music and musical lives, opening the way for unlimited possibilities.
American Women Making Musical Culture: Pedagogy and Patronage before 1950
The panel addresses the ways that women shaped the culture of American music in the early twentieth century. This history generally remains untold for reasons that include our composer-centered historiographical paradigms and the longstanding devaluation of teaching as “women’s work,” crucial to the “natural” interests of the species but marginal to culture.
Female Piano Teachers and Performers in Early Twentieth-century America:
Challenges, Innovations, Legacies
Connie Arrau Sturm, West Virginia University
Early twentieth-century America piano teachers such as Evelyn Fletcher-Copp (1872-1944) and Carrie Louise Dunning (1860-1929) made significant contributions to musical life in their contemporary society and helped spur the development of modern American piano pedagogy. With their creative and innovative teaching strategies, journal articles, workshops, and method books, they helped transform a piano teaching approach based on technique and regimen inherited from European piano pedagogues, into the child-centered and age-appropriate piano instruction that forms a hallmark of American piano pedagogy and is now regarded as a model of elementary piano pedagogy in many countries throughout the world. Although recognized in important publications of their time, the accomplishments of these teachers have since disappeared from the musico-historical record, and are not recognized in current professional literature related to music education or piano pedagogy. While women’s role in shaping American musical culture has generally been marginalized, the professional achievements of independent piano teachers (who are predominantly women, working with young children in a private setting) have over time been almost totally devalued and ignored. This paper examines some of the many ways that early twentieth-century female pianists advanced the art of piano teaching despite societal prejudices and limitations, and laid the groundwork for modern-day American piano pedagogy.
Women Teachers as Musical Creators: Three “Daughters of Miriam”
Constance L. McKoy, University of North Carolina, Greensboro
While rank-and-file music teachers are predominantly female, the towering figures of the history of music education (Lowell Mason, Carl Orff, Zoltan Kodaly, and Emile-Jacques Dalcroze) were men, replicating the “feminine” nature/ “masculine” culture ideology identified by Sherry Ortner (1974) and others: women may be bearers of culture, inculcating community values in successive generations, yet they may never be makers of culture. To the contrary, although Frances E. Clark, Satis Coleman and Hariett Gibbs-Marshall, for example, lack the immediate name recognition of their male counterparts, their work has influenced the theoretical foundations underlying best practices in music teaching and learning. Thus, inasmuch as music education transmits musical culture from one generation to the next, those who develop creative pedagogical approaches may be said to be among the makers of that culture.
Making Modern Music History: Marion Bauer’s Twentieth Century Music
Elizabeth L. Keathley, University of North Carolina, Greensboro
Although the compositions of Marion Bauer (1882-1955) have begun to reap some important scholarly inquiry, her historical writing has yet to receive the attention it deserves. Sometimes collaborating with Ethel Peyser (b. 1887), whose non-musical writing concerned home economics, Bauer wrote on a broad range of musical topics, including concert music, opera, and jazz. Her most notable prose acheivement, Twentieth-century Music (1933) exceeds comparable contempraneous publications in its coverage, paradigms, and musical examples, and was a decided influence on the musical career of her student Milton Babbitt (b. 1917). Its critical and academic reception, as well as its adoption as a course of study by the National Federation of Music Clubs, testifies to the significance of Bauer’s Twentieth-century Music not only for the instruction of students in the history of music, but also for guiding listeners through the music of a century still young.
Power and Gender in Modern Music Patronage: Elizabeth Sprague Coolidge’s Changing Patronage Style
Elizabeth Yackley, University of North Carolina, Greensboro
Over the course of her patronage career, the patronage style of Elizabeth Sprague Coolidge (1864-1953) changed from one marked by the “feminine” values of 19th-century “cultural feminists,” with an emphasis on nurturing, to a more “masculine” style emphasizing control over the composition and performance of new works, professional relationships with men rather than women, and cultivation of the most prestigious chamber music genre, the string quartet. This study draws its data from Coolidge’s correspondence with composers and other documents in the Library of Congress, and interprets the data to argue that Coolidge’s patronage style changed to give her more credibility in the (“masculine”) public sphere and exhibited aspects of what Catherine Parsons Smith, after Gilbert and Gubar, has called a “female affiliation complex.” Thus, although Coolidge established her own status within modern music culture, and arguably accomplished much in the promotion of modern music, she contributed to the notion of modernism’s putative “masculinity.”
Jill Sullivan, University of Arizona
Since 2001, I’ve been working on historical research pertaining to women¹s military bands. Mostly my work has investigated women’s bands that existed during World War II. I had two papers from that research recently accepted for publication in the Journal of Band Research: A History of the Marine Corps Women’s Reserve Band, 1943-1945 and Women’s Military Bands in a Segregated Army: The 400th and 404th WAC bands. Also, I recently submitted a book proposal titled Parading Women, the Untold Story of World War II Musicians.
This past summer I discovered that there were women’s military bands that existed in the U.S. after the Civil War. They were formed by women auxiliary members from an organization referred to as the Grand Army of the Republic, a veteran group for union soldiers.
If you would like to see pictures of the World War II women’s bands and hear a few of them, visit my website at www.public.asu.edu/~jmsulli .
Alice Carey Inskeep(1875-1942): A Pioneering Iowa Music Educator and MENC Founding Member.
Debra Gordon Hedden and George N. Heller, University of Kansas
Jere T. Humphreys, Arizona State University
Valerie A. Slattery, University of Kansas
Alice Carey Inskeep (1875-1942) was one of many once-prominent women whose contributions deserve more attention today. She was born in Ottumwa, Iowa, taught for five years in that city’s school system and then served as music supervisor in Cedar Rapids, Iowa for most of the remainder of her career. She was one of three people appointed to plan the initial meeting in Keokuk, Iowa for what is now the MENC: The National Association for Music Education (MENC), and she was one of the sixty-nine founding members of the organization in 1907. Later, she sat on the organization’s nominating committee (1912) and board of directors (1915-20, chair in 1919-20). She was elected to the first Educational Council (1918), precursor to the current Music Education Research Council, completed a major status study, the first national course of study in school music, and the first major curriculum for the training of music supervisors in the United States. The Keokuk meeting served as an impetus for her to travel to Chicago, where she studied with William L. Tomlins, Jessie L. Gaynor, Thomas Tapper, Emma Thomas, W. Otto Miessner, and other notable music educators. Later, she served the organization’s North Central Division (board of directors, 1931-33) and one of its affiliates, the Iowa Music Educators Association (founding board of directors, 1938). She served as a part-time or summer faculty member at Iowa State Normal School in Cedar Falls, Coe College (Cedar Rapids, IA), and the American Institute of Normal Methods in Evanston, Illinois and Auburndale, Massachusetts. Alice Carey Inskeep served the profession well and contributed in a variety of capacities.
Personal and Professional Traits of Female Pop Musicians in Canada
Purpose: This presentation reports some preliminary findings from a two part study designed to examine the personal and professional traits of female professional pop musicians in Canada.
Rationale: We are likely to learn to learn something about how gender factors into certain cases by examining individual stories in depth. Contributing these stories to the growing body of research on gender and music may widen perspectives on the social context of the contemporary Canadian music scene. Such studies can show how current professionals were influenced by their tutors and how they contend with the real-life problems. Many young musicians may face similar situations as they search for their own, authentic voices.
Similar questions have been asked in the context of American and British culture, but the focus has rarely been on popular musicians. The Canadian music business is both qualitatively and quantitatively distinct from the U.S. or the U.K., chiefly because of our relatively small domestic market, but also due to our political geography, and because of a Western World perception of Canada as a bit of a cultural backwater.
Methods: The research project has two phases designed to help me move from an overview to a detailed account of Canadian female pop musicians’ professional and personal traits, i.e., a questionnaire, followed by in-depth interviews. The questionnaire addresses issues that arose from the relevant literature. An analysis of the questionnaire responses will lead me to the themes I will use to construct an interview guide for in-depth, follow-up interviews with four pre-selected respondents.
Phase 1: Questionnaire
Participants: The participants are 80 professional female Canadian pop musicians, ranging in age from 18-54. I have defined pop music as music which does appear, or could appear, on Much Music or MTV, due to the audience to which it is marketed. A professional musician, in this case, is one who currently has or is working toward a full-time career as a pop performer.
Robb MacKay, http://post.queensu.ca/~mackayr
Conference Report: Feminist Theory and Music 8, City University of New York Graduate Center and New York University, 23-26 June, 2005
GRIME’s sororal twin, the biennial international conference Feminist Theory and Music, cordially hosted by feminist luminaries Suzanne Cusick and Ellie Hisama, offered the broad range of papers, performances, and plenary sessions for which we know and love it. The opening plenary session, with Elizabeth Wood and Farzaneh Milani, and Farah Jasmine Griffin’s keynote address, “A Midsummer’s Night in Harlem, 1943: A Cultural Critic Listens,” evoked this FTM’s special emphasis on race in New York musical culture and the political implicationsof 9/11. Milani compared Azar Nafisi’s memoir, Reading Lolita in Tehran (2003) to Betty Mahmoody’s overtly anti-Arab memoir, Not Without My Daughter (1991; later a film with Sally Field), to argue that women’s concerns can be manipulated and implicated in racist discourses.
GRIME members appeared in two sessions, “Feminist Epistemologies, Lesbian Imaginary, and Music Education,” with Beth Denisch, Karen Pegley, Carol Matthews, and Elizabeth Gould presenting and Robert Lamb chairing; and “American Women Making Musical Culture,” with Connie Arrau Sturm, Constance L. McKoy, Elizabeth Keathley, and Elizabeth Yackley presenting and Ruth Solie chairing (see abstracts). The GRIME business meeting focused mainly on the issue of where to locate our scholarly online journal, GEMS, since it can no longer be housed at Boise State (see related article).
There was a heartening mix of skin tones, accents, subjects and approaches at this conference, facilitated by both its location and its emphasis. As usual, my main quandry was selecting from among the compelling concurrent sessions: how can one resonably decide when sessions on gender and computer music, on feminist American histories, and on women transgressing gender boundaries, occur simultaneously? Or when hip-hop activist DJ Kuttin Kandy performs opposite works by Rebecca Clarke, whose history endures suppression by a zealous estate executor? In short, there were many interesting papers, and I would like to have heard them all. As of this writing, the FTM8 website is still up, so you may go to that site to find paper abstracts:<http://www.nyu.edu/gsas/dept/music/ftm8/>
The quality of the papers I heard was uneven, as is true of many conferences, but I attribute this in part to the inclusiveness of FTM: it has always welcomed the work of students and scholars from different perspectives who add richness to the discourse, but who may be less well-versed in the history of feminist theory and music. FTM also has a tradition of self-criticism, which is healthy. Yet, I was troubled by the tone of the closing plenary session (Kyra Gaunt, Nadine Hubbs, Niloofar Mina, and Ruth Solie). Gaunt and Hubbs, especially, complained that some of the papers were insufficiently informed or theorized, and that we need to build on what we already know, rather than reinventing the wheel all the time. These are legitimate observations, but I’m not certain that they warranted the verbal spanking the audience received: there are institutional and historical reasons that traditions of women’s knowledge are not passed down the way we would like. Feminist and queer theory and their applications to musical practice remain marginal to the academy and to culture in general, and students and scholars must expend considerable effort to acquire this knowledge, in addition to whatever “mainstream” teaching/learning and research obligations we may have. As Dale Spender has written: When one begins to appreciate what Aphra Behn, Mary Astell, ‘Sophia’, Catherine Macaulay and Olympe de Gouges said…the notion of progress becomes meaningless. ‘Coming and going’, ‘appearing and disappearing’, beginning anew virtually every fifty years and sometimes not attaining comparable insights to those who have gone before but who remain unknown, does not resemble progress. It does, however, constitute women’s tradition.
So, yes, let’s work to maintain a tradition of progress in our knowledge and ideas about music and gender, but let us also welcome to the table those who are less knowledgeable, but ready to learn. For this reason and many others, long live Feminist Theory and Music.
MENC 2006 Biennial Conference Gender SRIG
An informal discussion of current gender-related research projects will follow Dr. Julia Koza’s discussion at this year’s MENC Biennial Conference. Please submit abstract or reports via email to:
Call for Papers: Domesticity and Narrative
From: Ann Braithwaite
For a special issue of the peer-reviewed journal Storytelling: A Critical Journal of Popular Narrative (Winter 2007), the guest editor is soliciting contributions that address issues of domesticity and narrative as a mode of storytelling. The guest editor envisions essays that explore this topic in narrative film, on television, and in popular literature including advertising and nonfiction texts.
Essays that consider intersections of domesticity and narrative with femininity, motherhood, masculinity, housewifery or sexuality are especially welcome.
Essays should be between 10 to 15 double-spaced, typed pages (approximately 3,300 to 6,000 words) including notes and works cited, and should be formatted according to MLA style.
Please email all submissions to the guest editor as Word attachments.
Deadline: March 1, 2006 Gest Editor:
Sidney Eve Matrix, Assistant Professor
Women’s Studies at The University of Winnipeg
515 Portage Ave. Winnipeg, MB Canada R3B2E9
Tel: 204/786-9921 Fax: 204/774-4134
Call for Papers: International Conference on Music Education,
Equity, and Social Justice
October 6-8, 2006 New York, NY, USA
The program in music and music education at Teachers College Columbia University will sponsor an international conference to disseminate research in music education that investigates issues of educational equity and social justice. The conference organizers intentionally seek a diversity of research approaches, ranging from the philosophical to the empirical, addressing topics such as curriculum and teaching, policy and administration, teacher education, testing and assessment, formal and informal contexts, and performance practice. We wish to engage topics that speak to all stages and phases of schooling from preschool and early childhood to higher and adult education. All selected participants will be provided a travel stipend.
Challenging questions surround the conference theme. How do issues of equity inform music teaching and learning? What does it mean to teach music through the lens of social justice or social consciousness? How is a philosophy of equity and democracy enacted? What can research on this topic reveal? This conference seeks to explore the relationships between meanings and practice, and to provide implications for further study in this field.
Guidelines for submitting paper:
Manuscripts, in English, should be between 4000 and 6000 words and conform to APA style. Submit three hard copies of the full text for blind review with the author’s name and affiliation on a separate title page. Selected papers will be published in Music Education Research. The deadline for receipt of papers is June 1, 2006. Electronic copies will not be accepted. Send submissions to:
Randall Everett Allsup, Ed.D.
Assistant Professor of Music and Music Education
525 West 120th Street, Box 139
Teachers College Columbia University
New York, NY 10026