Volume 13, No 1 (July 2004)

Gender Research in Music Education

Volume 13, Number 1 (July, 2004)

 In this issue:

1. Editorials

Welcome Message Co-Chairs Elizabeth Keathley and Jill Sullivan

Editor’s Note: Kathleen McKeage

2. Member News

Roberta Lamb

Sondra Wieland Howe

3. Conference Abstracts

MENC 59th Biennial In-Service Conference SRIG Gender and Stereotyping 

Jill M. Sullivan
A History of the United States Women's Military Bands, 1942 – 1946

Colleen Pinar

Historical Significance of Emma A. Thomas to the Field of Music Education

Kathleen M. McKeage

Gender and Participation in Undergraduate Instrumental Jazz Ensembles: A National Survey

4. Abstracts from Recent Research

Nicole Riner

The Girls in the Band: Women’s Perspectives on Gender Stereotyping in the Music Classroom

5. Conference Reports

MENC’s 59th National Biennial In-Service Conference

Gender SRIG

History SRIG

Poster Sessions

6. Calls for Papers/Proposals

International Society for the Philosophy of Music Education
For the Sixth International Symposium on the Philosophy of Music Education

American Educational Research Association (AERA)

2005 Annual Meeting

Desert Skies Symposium On Research in Music Education

The 3rd Annual Hawaii International Conference on Arts and Humanities

January 13-16, 2005

Gender, Education, Music, Society G.E.M.S

7. Music Reviews

Robb MacKay reviews music by Kim Barlow and Erin McKeown

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1. Editorials

Welcome Message from the Co-Chairs

Elizabeth Keathley & Jill Sullivan

Dear GRIME Members:

Thank you for electing us co-chairs.  Even though we ran unopposed, we still appreciate your votes.  Voting is good.  Don’t forget to do it every chance you have.

As I write, every TV and radio station is broadcasting a massive outpouring of post-mortem adulation for Ronald Reagan, a man whose penchant for cutting government services has been taken to the heart of the conservative movement of the United States as a fundamental value, with repercussions for every student in a public school, every single mother needing social services, every arts organization in the U.S., and many, many others.  The picture may look less bleak in other nations, but the notion that business, trade, and purchasing “power” should eclipse all other concerns increasingly drives international relations, and instant worldwide media makes the “supersized” American way of life a dream for all—to the detriment of crucial but unprofitable values like human dignity, environmental integrity, fair trade, full employment, ethnic, religious, and gender equity, creative expression, teaching and learning.

Members of organizations like GRIME are precisely the “enemies” of culture warriors whose policies seek to keep women in their place and make education the privilege of the wealthy.  We just can’t help it.  We obviously don’t attach much importance to money, or we wouldn’t be teachers.  Or musicians.  We clearly embrace the unprofitable values of creative expression and gender equity.  We are bucking the trend.  So, let’s keep it up until we are the trend.  Talking about gender research in music education is a dirty business, but somebody has to it.  And that somebody is us.  Add your voice to the dialog.  Participate in GRIME.

Here are some things we should all think about:

Feminist Theory and Music 8 (2005) is in the early planning stages, but it looks like it will be in New York.  Last time (Bowling Green, 2003), there were several panels whose focus was pedagogy, and this is a trend we should work to continue.  I encourage all of you to think about possible papers and panels.  In addition, I would like the GRIME meeting also to include a discussion topic.  Here is one that several of my students suggested, but I welcome other suggestions as well:  women’s musical performance and visual delectation.  With the increasing commercialization of even classical music, women musicians are expected to exhibit sex appeal as well as chops.  How do or should we respond to this as teachers of music?

Thank you to those who attended the GRIME SRIG presentation and meeting at the National MENC Conference in Minneapolis.  To continue this tradition of scholarly exchange, feel free to send us format suggestions or names of speakers you would like to hear for the 2006 conference in Salt Lake City.

Patti O’Toole’s wonderful bibliography on the GRIME website needs some updating:  the most recent entry was published in 1997.  Are there any suggestions?  Volunteers?

Are all of you submitting your well-researched, well-written, and highly significant research articles to GEMS?

As Robbie MacKay updates the GRIME website, do any of you have suggestions?

We are available both through the list, and also individually:

Elizabeth Keathley Jill Sullivan
elizabeth337@earthlink.net Jill.Sullivan@asu.edu
Co-Chair, GRIME International Co-Chair, GRIME SRIG

Editor’s Note

Kathleen McKeage, GRIME Vice-Chair

I am a little uncomfortable taking over the GRIME Newsletter. Roberta Lamb, Patricia O’Toole and Elizabeth Gould set a standard of excellence in past newsletters and I’m not sure that my skills are up to the task. Our current chairs, Elizabeth Keathley and Jill Sullivan have outlined a vision for GRIME in their welcome message. I’d like to offer my ideas for the newsletter, but first, a story.

This last spring was, for me, the end of a very long year teaching. On top of the usual problems, our music department went through a curriculum revision that challenged the ensemble status quo. By the end of the year I was tired, fed up, cranky and ready for a nap. However, I have two sons who think they must both eat and eventually go to college, so I agreed to facilitate a seminar for 17 members of our summer masters cohort. We would all spend the next six weeks together in a basement band room.

The students were mostly Wyoming educators, with a couple of Montanans and Nebraskans thrown in for the sake of diversity. They were all experienced teachers but still young enough to have energy and enthusiasm. There was an even distribution of men and women, elementary music teachers and secondary choir, band, and orchestra people.

The seminar covers contemporary issues in music education and is the first course in the grad sequence that is not skills-based. Music teachers are very focused on results, so there is usually resistance to a class that covers philosophy, history and culture, as opposed to fingerings, fundraising and puppet-making. This group was no different and it took a day or so, along with some readings from Goodlad, Eisner and Reimer, to get the conversation started. Once they got rolling, they questioned whether they were teaching music or simply parts. They felt that their school lives were directed by a stream of math, science and reading consultants or administrators who didn’t understand the discipline. Many complained about the effects of their professional lives (holiday concerts, home games, festivals, trips to Disneyworld) on their personal lives. Mostly, they felt disconnected from very things that originally drew them to music: exploration, creativity, spirituality, and emotion.

This was a very reflective group and the conversation was depressing, so we started talking about alternative music curricula and pedagogies, postmodernism and eventually, feminist theory. We explored stereotyping and role models with Elizabeth Gould (they loved Liz; she taught instrumental music in a small Wyoming town and is considered “one of our own”), touched on gendered musical meanings and Lucy Green, and explored the power structures in traditional ensembles through Patricia O’Toole. We read feminist critiques of curricula by Roberta Lamb and Sandra Harding. We covered gender equity issues in music as perceived by men and women. The students welcomed the readings as insights into the way things are and as blueprints for the way things could be. By the final two weeks of class I was re-energized and running to keep up with them.

I came away from this class with two conclusions. First, we do not need to convince K-12 music educators that the profession needs to change; they know it intuitively. Second, the men and women in this audience are hungry for alternative pedagogies and curricula and we can to a better job of communicating those alternatives.

The class and I made an agreement. I promised to provide a reading list throughout the school year (think I’ll try some bell hooks on them) and they are to share whatever tangible changes they make in their professional or personal lives. My “tangible change” is, through this newsletter, to help facilitate communication within the gender research community and to encourage the participation of a broader audience. I look forward to working on this newsletter and encourage members of our research community to share their work, ideas, concerns, accomplishments, and expertise.

And now for my summer vacation,


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2. Member News

Roberta Lamb 

I have continued to experiment with web-based writing. The latest publication is found at this site-http://mas.siue.edu/ACT/index.html Action, Criticism & Theory for Music Education, Volume 3, Number 1, May, 2004. The title of my article is “Talkin’ Musical Identities Blues.”

I am working on a major project on Ruth Crawford Seeger. The most recent, “The legacy of Ruth Crawford Seeger’s folk song collections for music education: ‘sounding apart together’,” is forthcoming in Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, Ellie Hisama & Ray Allen, Editors. Rochester: University of Rochester Press. The total project links Ruth Crawford Seeger as teacher, transcriber, composer with feminist theories and critical education.

Sondra Wieland Howe   

Article and editions of three songs by Loïsa Puget (1810-1889), vol. 7, 2003, pp. 63-79; and Jane Vieu (1871-1955), vol. 7, 2003, pp. 557-75. In Women Composers: Music Through the Ages. New York: G. K. Hall.
This anthology, edited by Sylvia Glickman and Martha Furman Schleifer, will eventually have twelve volumes. The individual pieces of music in the anthology are available from Hildegard Publishing Company, P.O. Box 332, Bryn Mawr, PA 19010, http://www.hildegard.com/

Review of Charles Faulkner Bryan: His Life and Music, by Carolyn Livingston. Journal of Historical Research in Music Education 25, no. 2 (April 2004): 142-45.

Review of Living Music in Schools 1923-1999: Studies in the History of Music Education in England, by Gordon Cox.  Journal of Historical Research in Music Education 24, no. 1 (October 2002): 109-12.

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3. Conference Abstracts

MENC: The National Association for Music Education
Gender Special Interest Research Group

59th National Biennial In-Service Conference

April 17, 2004
Minneapolis, Minnesota

Jill M. Sullivan

A History of the United States Women’s Military Bands, 1942 – 1946

During W.W. II the United States government created women’s reserve units and recruited women to “free a man to fight.” Each military branch enlisted women into separate units from the men and assigned these units catchy acronyms: the Coast Guard SPARS (Semper Paratus, Always Ready), the Army WAAC/WAC (Women’s Army Auxiliary Corps/Women’s Army Corps), the Navy WAVES (Women Accepted for Volunteer Emergency Service), and the Marine Corps WR (Women’s Reserve).  Women enlisted from all parts of the country and held a variety of jobs, one of which was being a member of a military band. 

All branches of the service had women’s bands. The first activated was in 1942 at the WAAC Training Center in Fort Des Moines, Iowa. The following year all other military branches started bands while the WAAC added four more to training centers around the country. The WAVES were the only branch of the service that did not have full-time duty status for its women’s military bands. At the close of W.W. II all bands were deactivated except the 400th WAC ASF Band which was renamed the 14th WAC Band in 1947, and lasted through 1974. The following year men were accepted into the band, the name was changed to the 14th Army Band, and a man was assigned as conductor. In addition, the WAC had the only female black band in the history of the United States military, the 404th, located at Fort Des Moines, Iowa. 

Band membership ranged from 28 – 45 players with a mix of musical backgrounds from high school to college conservatory graduates. Women jumped at the opportunity to perform in a military band since performance opportunities for women were rare. Some women reported that they turned down the chance to become officers to be in a band. 

All of the ensembles had an assortment of patriotic duties that called for a variety of music. It was essential for each unit to perform concerts, march in reviews and parades, and perform at service clubs with a dance band. In addition, several of the groups had a Dixieland band, a drum and bugle corps, small chamber ensembles, instrumental soloists, vocal soloists, and choral ensembles. 

This research started in the spring of 2001 and has grown steadily over the last three years. I have collected a significant number of primary sources: diaries, newspaper articles, scrapbooks, recordings, film, 300 photos, and over 60 personal interviews. I work to reconstruct the historical timeline, locate and interview band members, add to my collection of primary sources, and understand the cultural context of women during this time. I am finishing two articles for publication: Musical Marines: Women Who Served a Nation in Need and Segregation in the U.S. Army:  The 400th and 404th WAC Bands. 

My research is funded by grants from the College of Fine Arts and the College of Liberal Arts & Sciences Women’s Studies Department at Arizona State University.

Jill M. Sullivan, Ph.D. Assistant Professor of Instrumental Music Education at Arizona State University teaches undergraduate instrumental methods, supervises student teachers, and teaches graduate classes in quantitative research and instrumental literature.  Prior to her appointment at ASU, she held positions at the University of Oklahoma, Augustana College, and Sequoyah Middle School in Broken Arrow, Oklahoma.  Dr. Sullivan has experience teaching elementary, secondary, and community bands.  Her research agenda includes instrumental pedagogy, teacher training, and women’s W.W. II bands.  Dr. Sullivan’s research has been published in refereed music education journals and has given research presentations internationally in Italy and Sweden. She serves on the editorial board for the web publication RIME (Research and Issues in Music Education) and is a Faculty Affiliate to the Women’s Studies Department on her campus.  Dr. Sullivan also serves as the national president-elect for CMENC and as the AMEA state collegiate representative.

Colleen Pinar

Historical Significance of Emma A. Thomas to the Field of Music Education

The “Historical Significance of Emma A. Thomas to the Field of Music Education” (work in progress) is derived from my research on the “Natural Music Course,” in which Thomas was a significant figure.  My ultimate goal is to close some gaps in the literature of pioneering women in the field of music education at the turn of the twentieth century in a book length study.

The purpose of this study is to substantiate and document Thomas’ contributions to music education by providing a brief historical outline of her work as a music educator.  At the age of thirty-two, while being a mother of two children, Thomas began teaching in the Detroit public schools, along with teaching vocal culture at the Detroit Conservatory.  She was widely known throughout Michigan and the Midwest for her significant contributions in the fields of teacher education and public school music in Detroit.  In particular, her involvement as the supervisor of music for the public schools of Detroit, as instructor of vocal culture training (1886) at the Detroit Conservatory of Music, and two years later as an instructor of public school music demonstrates her pioneer spirit (1888).  Eventually, Thomas separated from the Detroit Conservatory of Music and became the proprietor of The Thomas Normal Training School, which was recognized as one of the first training centers for music education.  Thomas was pioneering in her correspondence training program for students who could not receive formal training (1898).  She graduated over 700 students during her tenure.  Noteworthy personalities who studied at The Thomas Normal Training School include Frances E. Clarke and Alice C. Inskeep.  Additionally, Thomas was a faculty member for the following textbook institutes:  the National Summer School, sponsored by Ginn and Company, and the New School of Methods, sponsored by the American Book Company.  Both institutes were summer schools for public school music training and included other topics for the grade teacher.

Thomas was an author and composer.  She contributed many articles pertaining to music teacher training and music pedagogy to prominent newspapers, journals, magazines, and proceedings of the day.  Additionally, she co-authored the book Song Stories and Songs for Children (1897, 1898), field-tested the Natural Music Course: (1895), and contributed song materials to the Natural Music Course: Harmonic Primer (1902).  Thomas played an important role in establishing higher standards of student performance and effective teacher implementation.  This higher standard impacted numerous music supervisors and grade teachers who studied with her.  Thomas was innovative in her approach to music pedagogy by instructing students in all the current music series and offering correspondence courses to students who could not study full-time in Detroit.

Further advancement in the field of music education can be attributed to Thomas’ active role in early music education conferences.  She was the Vice-President of the National Education Association, President of the Michigan Music Teachers National Association, and a prominent professional in her home city of Detroit.

Colleen Pinar holds degrees in the following areas:  B. F. A. in Music Education — K-12 Instrumental, Choral, General;  two Masters of Music degrees in Music Education (Kodaly and Instrumental);  has music training and certifications in the following areas:  Kodaly, Orff-Schulwerk, Dalcroze, and Suzuki;  and has completed the course work towards a Doctoral degree.   She has taught over eight years in the public schools and eight years in higher education.  Pinar is active as a presenter and has presented sessions in eleven different states.  Her publications include:  Melody, Rhythm, Songs, and Games and Let’s Sing About Math.

Kathleen M. McKeage

Gender and Participation in Undergraduate Instrumental Jazz Ensembles: A National Survey

This study examined the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students (N = 628) representing 15 programs offering degrees in music education were surveyed to determine participation levels in high school and college. The results indicated that a relationship does exist between gender and participation at both the high school and college levels.  For all students,  46% of women (N = 162 ) and 15% of men (N = 42) indicated they had never played instrumental jazz. In high school, 52% (N  = 185) of women and 80% of men (N  = 221) played jazz. In college, 14% of women (N  =  48) and 50% of men (N  = 136) played jazz.

The second component of the study explored the effects of gender differences and three variables (lack of connections between jazz and career aspirations, institutional pressures to specialize in music areas other than jazz, and comfort in the jazz environment) on student choices to continue or discontinue participation in instrumental jazz.  The study concluded that relationships exist among the three variables and women’s decisions to withdraw from jazz, especially institutional pressures tied to primary instrument selection. Women and men were found to differ significantly in their stated reasons for quitting. While both groups indicated that lack of  time was the primary reason for withdrawing from jazz, the women rated the need to focus on classical playing, feeling more comfortable in traditional ensembles than jazz and their inability to tie jazz participation to career goals higher in their decision to quit playing jazz than did the men. Additional analysis of the data provided by music education majors indicated similar findings and may provide insights into the reasons women continue to be under represented in secondary instrumental (band) teaching positions.

Kathleen McKeage is Senior Lecturer in Music at the University of Wyoming where she teaches courses in music education, aural theory, improvisation and maintains the double bass studio. She performs regularly in orchestral and chamber groups, is a member of the UW Faculty Jazz Combo and plays throughout the United States with the western swing band Wyoming Home Grown.  Her research interests include instrumental jazz participation patterns, alternative pedagogies and gender issues in the classroom.

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4. Abstracts from Recent Research

Nicole Riner

The Girls in the Band: Women’s Perspectives on Gender Stereotyping in the Music Classroom

A doctoral document submitted in partial fulfillment of the requirements for the degree, Doctor of Music in Flute Literature and Performance, 2004, Indiana University.

The gender stereotypes associated with certain wind instruments have resulted in limitations placed upon children choosing band instruments, as demonstrated in numerous objective studies (Abeles and Porter, 1978; Byo 1991; Tarnowski, 1993; Sinsel, et al, 1997; etc.).  This qualitative study was developed in order to explore more fully the root of this social bias and how it affects girls entering band programs.

Following reviews of the literature covering the history of women’s participation in Western classical music and the uneven treatment girls receive in North American public schools, four case studies are presented in order to explore personal experiences playing traditionally gender-stereotyped instruments.  The four women interviewed, all graduate students at Indiana University in spring 2002, play trombone, percussion, and flute (2).  They were asked to discuss their experiences in their band programs, including how they chose their instruments, how peers and mentors reacted to their choices, and how they have been able to carve niches for themselves in the music world.

All subjects reported a degree of dissatisfaction with their experiences; those playing trombone and percussion disclosed widespread verbal and physical harassment as children, and those playing flute expressed a certain amount of despair at the large quantities of women flute players in the field.  It is interesting to note that both flutists had originally chosen other instruments (baritone saxophone, clarinet), of which their parents did not approve; the percussionist and trombonist chose their instruments without guidance from adults.  All four subjects have chosen nontraditional careers within the music profession.   Implications for further research and implementation of band programs are discussed.

Nicole Riner is a freelance flutist and teacher in Greeley, CO and is currently completing her Doctor of Music in Flute Performance and Literature from Indiana University at Bloomington.  She has formerly held positions teaching at the Interlochen Academy for the Arts and Indiana University, and has performed with various orchestras around the Midwest. Ms. Riner currently holds the positions of second flute in the Wyoming Symphony Orchestra and director of the Rocky Mountain Flute Choir.

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5. Conference Reports

MENC’s 59th National Biennial In-Service Conference in Minneapolis, Minnesota, April 14-18, 2004. Submitted by Sondra Wieland Howe
The MENC conference had many excellent research sessions (held in the Hilton Hotel), plus many concerts and practical sessions on teaching music (held in the Minneapolis Convention Center. Here is a summary of some of the sessions of interest to scholars in gender and feminist research.

GENDER SRIG (Special Research Interest Group)
The Panel Discussion on Gender and Stereotypes included papers by Colleen Pinar on Emma A. Thomas and her normal school in Detroit; Kathleen M. McKeage on contemporary university instrumental jazz ensembles; and Jill M. Sullivan on A History of the United States Womens Military Bands, 1942-1946.Jill also gave an hour-long presentation of her research at a pre-conference symposium for band directors in the National Reserve Corps. During a meeting of the Gender SRIG, officers were elected.

A panel, with moderator Roger Rideout, discussed topics for research on the history of American music education. Carolyn Livingston spoke about doing research on local topics, and her work with graduate students in Rhode Island. John Grashel discussed research on the history of music aptitude testing. James McRaney summarized Birge’s book on theHistory of Public School Music in the United States. Marie McCarthy spoke about her upcoming book on the history of ISME (International Society for Music Education), emphasizing some important contributions by women music educators.

During the History SRIG meeting, Jere Humphreys was elected Chair Elect (2005-2008), and James McRaney will be the next chair (2004-2006). There was a lively discussion about commemorating the centennial of MENC in 2007. Should there be a special history symposium, or should historical events be incorporated into the regular MENC plans? It was decided that the History SRIG needs to wait to see what MENC plans for 2006, 2007, 2008, before making further plans.

Some papers of interest to feminist researchers:

Bonnin, Jeri W. Katinka Daniel: Her Life and Contributions to Kodaly Pedagogy in the United States.

Koster, Keith A. Gender Issues in Music Education Research: History, Issues, Perspectives, and Prospects.
McKeage, Kathleen M. Gender and Participation in Undergraduate Instrumental Jazz Ensembles: A National Survey.
Petersen, Gerry. Nancy Ferguson and Her Contributions to Music Education with Specific Attention to the Orff Approach and Jazz Improvisation.
Volk, Terese M. Ann Shaw Faulkner Oberndorfer, 1877-1948: Music Educator for the Homemaker.
Warnock, Emery C. Gender Differences in Elementary Fifth-Graders Attraction to Beginning Band.

6. Calls for Papers/Proposals

International Society for the Philosophy of Music Education

For the Sixth International Symposium on the Philosophy of Music Education

Submissions are invited for the Sixth International Symposium on the Philosophy of Music Education to be held by the International Society for the Philosophy of Music Educationat the University of Hamburg, Germany, May 18-21, 2005. Participants can expect to enjoy stimulating conversation in the second largest city in Germany which offers a wide range of tourist and cultural attractions. The Symposium will provide an important opportunity for philosophers, teachers, performers, composers, and others interested in philosophical issues in music education to rethink music and music education from an international perspective.

Papers should be in English, not exceeding 25 double-spaced pages including notes, and will be considered for publication in the Philosophy of Music Education Review. Presenters should also prepare a short version of the paper suitable for presentation within a 30-minute time frame.  Submit three hard copies of the full text for blind review with author name and affiliation on a separate title page.  Authors should certify that the papers are their original work and have not been published elsewhere or under review for other conferences or publications.  Electronic submissions cannot be accepted.

Send paper submissions to Dr. Paul Woodford, Don Wright Faculty of Music, University of Western Ontario, London, Ontario, Canada N6A 3K7. The deadline for receipt of papers is October 1, 2004 (postmarked).

There are also opportunities to respond to papers. Responses are normally five minutes in length with the purpose of opening up conversation regarding the papers presented. There are two respondents for each paper and responses may be published in the “In Dialogue” section of the Philosophy of Music Education Review. For inquires about the Symposium, paper submissions, or participation as a respondent, contact the ISPME Co-Chair, Frede Nielsen, or the Program Co-Chairs, Charlene Morton and Paul Woodford.

Charlene Morton, University of British Columbia, Canada charlene.morton@ubc.ca
Frede V. Nielsen, Danmarks Pædagogiske Universitet, Denmark fvn@dpu.dk
Paul Woodford, University of Western Ontario, Canada woodford@uwo.ca


American Educational Research Association (AERA)

2005 Annual Meeting

April 11-15, Montreal

Demography and Democracy in the Era of Accountability

Deadline for proposals: August 2, 2004


Desert Skies Symposium On Research in Music Education

Sponsored by:

University of Arizona

College of Fine Arts

School of Music and Dance

February 24-26, 2005

Call For Papers

Research reports are solicited on topics related to music education research in all areas. Members of the Symposium Advisory Board will review all reports through a blind review process.

Four copies of the complete report and four copies of a 150-word abstract should be sent postmarked by October 1, 2004 to: Dr. Donald L. Hamann Desert Skies Symposium Director School of Music and Dance University of Arizona Tucson, AZ 85721-0004

Notification letters will be mailed by November 15, 2004.

The author of each accepted paper, or at least one member of a co-authored report, must provide an abstract via email to the Symposium Director and be present at the Symposium to deliver the paper.

The 3rd Annual Hawaii International Conference on Arts and Humanities

January 13-16, 2005

The 3rd Annual Hawaii International Conference on Arts and Humanities will be held from January 13 (Thursday) to January 16 (Sunday), 2005 at the Sheraton Waikiki Hotel in Honolulu, Hawaii. The 2005 Hawaii International Conference on Arts and Humanities will be the gathering place for academicians and professionals from the arts and humanities and related fields from all over the world.

The main goal of the 2005 Hawaii International Conference on Arts and Humanities is to provide an opportunity for academicians and professionals from various arts and humanities related fields from all over the world to come together and learn from each other. An additional goal of the conference is to provide a place for academicians and professionals with cross-disciplinary interests related to arts and humanities to meet and interact with members inside and outside their own particular disciplines. Performing artists (live dance, theater, and music) interested in displaying their talents will be accommodated whenever possible. For more information visit http://www.hichumanities.org/Direct specific inquires to humanities@hichumanities.org

G.E.M.S   Gender, Music, and Society


Mission Statement:

G.E.M.S. is a peer-reviewed, on-line journal that explores the myriad intersections between gender, education, music and society. Emphasis is on the ways in which music teaching and learning can be used to re-dress and eliminate inequalities brought about through ideologies of domination by creating an open-ness to musical experience that promotes access to all. (And, thus by extension, also the ways in which music teaching and learning have not been and are not transformative). Gender will be approached, not as male or female, but as a continuum of possibilities sustained by socially and historically constructed notions of masculinity and femininity that interact in complex, often competing and contradictory ways. A wide variety of methodological (historical, ethnographic, philosophical, sociological, etc.) and inter-disciplinary orientations will be featured, with contributors encouraged to make use of the variety of creative options presented by the electronic medium

Call for Papers:

Submissions are currently being sought in the following categories:

Features: In-depth discussion (2000 — 4000 words) of a particular issue or research project that explores a topic addressing a connection between music and gender in an educational context. Music teaching and learning need not be restricted to traditional school settings, and may be considered to include any level of instruction, including professional studies in musicology, performance, theory, etc., as well as innovative or unique ideas, practices, and/or settings reflecting different musical traditions and approaches.

Pedagogical Spotlights: Shorter, more informal articles (800 — 2500 words) that identify an issue requiring further study or that illustrate a particular pedagogical application having the potential to re-dress inequalities of current educational practices. In the case of the latter, articles should provide a general description of the pedagogical application that is sufficiently detailed to allow others to adapt it to their own teaching situation, as well as a statement of the guiding principle behind the application (as appropriate).

Reviews: Short articles (800 — 1200 words) reviewing a book, web site, software application, or other resource relevant to gender and music in an educational context.

Reader Notes: Notes and letters ( 500 — 1000 words) responding to a feature or pedagogical spotlight in the previous issue. (this will be on the web site, but not in the call per se).

Submission Guidelines:

The Editorial Board strongly encourages potential authors to consult with a member of the board before developing a feature article, pedagogical spotlight, or review. The Editorial Board works cooperatively with authors to plan and develop each issue, so early notification of interest will help facilitate the process.

All submissions should be forwarded in electronic format to Co-Editor, Eleanor Stubley at stubley@music.mcgill.ca. Authors are encouraged to consider web layout in preparing the article. In this medium, the screen, rather than the page, forms the canvas for writing. Long scrolls of unbroken text can intimidate readers and minimize communication. Authors should therefore develop articles in clear sections and with relevant sub-headings. Authors are also encouraged to make use of the variety of creative options mixing word, sound, and image made possible by the electronic medium.

Submissions should include a 150 word abstract at the beginning and a 100-word biography of the author at the end. Notes/citations should be included at the end of the article in APA format. The Columbia Guide to Online Style offers examples for the citing of online sources. The Chicago Manual of Style should be consulted for all other matters.

Submissions should use of one of the following formats: Microsoft Word for Windows (version 97 or later); ASCII text, or HTML. Graphical images should be submitted in one of the following formats: Windows bitmap, GIF, or JPEG.

Deadlines for Submission: on-going

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7. Music Reviews

Robb MacKayMEd candidate, Queen’s University

The first, not so new, is Gingerbread, by Kim Barlow (Caribou Records, 2001).  Kim is a Haligonian transplanted to the Yukon via a degree in music from Florida State University, for studies in classical guitar.  The title-track caught my ear on CBC one Saturday afternoon and I went on-line to find out more about this banjo/harmonium/found-object percussion sound.  Her website says that “Gingerbread beckons you into a world of fairy tales, with engaging stories of people, love, and grand adventures, all grounded in the magical Yukon landscape.”  I sampled a couple of other tracks, including ones on which she is joined by John Mann of Spirit of the West and by Strang heroes Jesse Zubot andSteve Dawson. Then, I bought a copy of the album on-line.   When I had a chance to see her in Kingston a couple of years ago, her guitar-playing was solid and tasteful, but it was her ‘cello playing that stood out most, even after some great tunes on clawhammer banjo.  Then, I bought 3 copies of Gingerbread for gifts.  It’s easy music to listen to at a party or while you take care of a pile of dishes in the sink, but each song also deserves and stands up to some very close listening.  Kim Barlow is a clever and talented musician and I am quite looking forward to her next release and tour.  Have a listen to her music’s “Kimness” at www.caribourecords.com/artists/frameKimBarlow.html.

In 2003, Erin McKeown released Grand (Nettwerk).  She says, “I wanted this record to be so good you wouldn’t believe it, to be so joyful that it hurt.”  What really hurts is that it’s one of the few albums I’ve heard in a long time that is actually too short.  McKeown has just about perfected the two and a half minute pop-song and so this 14-track album comes in just under 41 minutes.  Just like her first full-length release DistillationGrand leaves you wanting much more.  Grand is cute and some times brush-slinky or pop-rattley, but never too cute, too slinky, or rattley.  It’s never too anything but short.  There are some classic sounds on the CD as McKeown plays B3 organ, mandolin, banjo, and accordion, but also her first loves: bass, guitars, and drums.  My favourite track is “born to hum” for its slow groove and near Muppet feel, with the lilting melody and spiralling banjo part.  McKeown says though that  “i believe that everything you need to know about GRAND you can find in “cinematic”. it is no longer the best or most interesting song on the record, but it is still the song that best explains what GRAND is about: the performance of fame and femininity. the life of the artist and the life of the soldier. housewives, moviestars, dancers, musicians and writers POPulate GRAND, and POP music expresses their lives. this is not a record about my life; these are other people’s stories that fascinated me, that inspired me to try and add sound to the feature.”  Grand is inspired.  Have a listen at www.erinmckeown.com.

One very important thing that strikes me about both of these albums is that each of these writer/performers seem to respect their material, their listeners, and themselves enough to have treated each song with equal care.  There is no filler here.  Buy indy and buy often.

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