Bearing True North: Unlimited Becomings, Elizabeth Gould
2. MEMBER NEWS
2.1 Nora Beck
2.2 Debbie Flournoy
2.3 Carol Matthews
2.4 Boden Sandstrom
2.5 Carol Ann Weaver
3. NEWS OF THE PROFESSION
3.1 Carolyn Heilbrun
3.2 Women and Creativity 2004: Examining the Past/Composing the Future
3.3 MENC: The National Association for Music Education, 59th National Biennial In-Service Conference
3.4 26th International Society for Music Education World Conference
3.5 Canada-U.S. Fulbright Program Grants
4. CONFERENCE ABSTRACTS
4.1 Feminist Theory and Music 7, Crossing Cultures*Crossing Disciplines
4.1.2 Claire Detels, “Screeching Figure of Fun”: Images of Brunnhilde from the Second Wave of Feminism
4.1.3 Elizabeth Gould, Monologue(s) of Desire: Becoming-Woman as University Band Directors
4.1.4 Sandra Howe, Women Teaching Music in Sweden, 1850-1950
4.1.5 Elizabeth Keathley, Castrati at the Movies: In which Faranelli is Remasculated, and Hedwig Cuts Down “Cock Rock”
4.2 Society for Ethnomusicology Annual Meeting, Cultural Crossroads: Miami, 2003
4.2.1 Susan Conkling, Preparing Doctoral Students for their Roles as Teachers in Higher Education
4.2.2 Wendy De Bano, Performing Against Silence: Celebrating Women and Music in Iran
4.2.3 Estelle Jorgensen, Transforming Music Education: Creating Alternatives
4.2.4 Roberta Lamb, “Sounding Apart Together”: Ruth Crawford Seeger and Charles Seeger; American Music Education and Ethnomusicology
4.2.5 Marie McCarthy, Lilt a Tune, Dance a Reel: Irish Traditional Music in the Classroom
4.2.6 Kimberly McCord, Using MIDI Instruments for Reaching Children With Special Needs
4.2.7 Carol Richardson, Musical Journeys in Ghana, West Africa
4.2.8 Susan Wheatley, The Legacy of Gunild Keetman
4.2.9 Betty Anne Younker, Content versus Pedagogy: Realizing, Applying, and Transferring Content Across Silos in Present and Future Contexts
5. CONFERENCE REPORTS
5.1 Carol Matthews, Of Madwomen, Madonnas, and Memories:Feminist Theory and Music 7: Crossing Cultures-Crossing Disciplines
5.2 Roberta Lamb, Society for Ethnomusicology Annual Meeting-Short Report
6. CALLS FOR PAPERS/PROPOSALS
6.1 Playing the Field: the Politics and History of Gender & Sexuality
6.2 3rd Annual Hawaii International Conference on Social Sciences
6.3 Education, Participation and Globalisation
6.4 National Symposium on Music Instruction Technology
6.5 Interim conference of RC05 Ethnic, Race and Minority Relations and of RC32 Women in Society
6.6 Next MayDay group colloquium
6.7 Justice for Asian and Pacific Islander Americans Peace Review: A Journal of Social Justice
6.8 Mapping Identities: Urban Landscapes and the Discourses of Space
Faculty Position Available, Director of the Pride of Dayton Marching Band
Sound in the Land – a Festival/Conference of Mennonites & Music
Bearing True North: Unlimited Becomings
As this is my last editorial as Chair of GRIME, I have been musing for several months about what thoughts I most wanted to share. Inevitably, though, events overtook me as the fall term ended and I moved between two countries, two universities, and two universes, driving nearly 2,300 miles-all in the space of two weeks, and woke up last week to find myself 50 years old. While feeling younger-and certainly happier-than I have ever felt before (thanks in large part to my astounding Canadian sojourn at the University of Toronto with Lori-Anne Dolloff, Denise Grant, and Patricia Shand, for which I am profoundly grateful), my thoughts now turn to the incredible friendships I am so honoured to share, the many accomplishments of and contributions made by members of GRIME, and our amazing and exciting work that is still to be addressed. The best way for me to bring this all together, I think, is to re-fashion in terms of GRIME a presentation I made last summer in which I examined the MayDay Group. The paper develops for me a way of thinking about change, a way to pursue intangibles related to my incomplete understandings of our organization that seem to be just beyond my grasp. I think about it now in terms of GRIME because perhaps the primary reason I hoped two years ago to be able to serve as Chair for one last term was to try to clarify the relationship between GRIME and the MENC Gender SRIG. As I feel that I probably have not been particularly successful with that task, I shall try to articulate my observations and hopes for the future.
It seems to me that GRIME and the MENC Gender SRIG (and both organizations in relationship to the music education profession) may be said to exist in a manner similar to a tree that grows in what my partner and I call our meditation garden which is located in a small alcove next to our little house in Boise. This is a tree that is two trees: a blue spruce and a sitka spruce. These two trees share a common trunk and root system, but are otherwise completely independent in structure. Has this been good for both trees? It seems to me that the blue spruce is doing rather better than the sitka, but they are both growing, and indeed, the blue spruce is now taller than the house. The problem with this one-tree-which-is-two is that it is in some competition with itself, using one root system, as well as the same light and space.
I would suggest that some confusion associated with the relationship of GRIME, the MENC Gender SRIG, and the music education profession is related to our individual and collective positionalities. As we know, these positionalities, inscribed by the material conditions of everyday life, are partial, obfuscated and obfuscating, and developing ideologies based on them is almost inevitable if we fail to communicate. Examples of this include misunderstandings related to definitions of feminisms, the roles of men in feminist movement, the myriad of ways gender is (perniciously) inhered in music education, and the concomitant necessity for change in terms of ending all interlocking systems of domination, including but not limited to sexism, racism, classism, heterosexism, ageism, and discrimination based on physical, cognitive, and emotional disabilities. Our lack of understanding and inability to consistently listen and engage each other makes it necessary to defend our ideologies, to be protective of our arguments instead of sharing and exploring ideas together. I liken this to the difference between so-called democracy-or majority rule-and consensus models of governing. Democracy compels us to prevail over others-even using pre-emptive strikes-in order to further our position. Consensus, on the other hand, compels us to seek understanding and to compromise so that everyone can achieve their goals-in order to further the process. I wonder, then, how we can come to understand our positionalities, and further, how we can expand possibilities for them.
Like members of GRIME and the MENC Gender SRIG, philosopher Gilles Deleuze long has been concerned with change and changing conditions. In 1968, as students and workers took to the streets in Paris, he met Felix Guattari, and for the decade between 1970 and 1980, the two explored issues related to the present, and possibilities of change. They proposed ways of thinking that are nomadic in nature, and I would suggest that we think of the work of GRIME and the MENC Gender SRIG in terms of nomadology.
Nomadic thought is based on multiplicity. Rather than representational, it is conjunctive; that is, instead of attempting to establish identity by minimizing complexity or focusing on what is, it features “inclusive disjunctions” (Boundas, 1993, 5) that synthesize “elements without effacing their heterogeneity or hindering their potential for future rearranging” (Massumi, 1987, xiii). Multiplicity of nomadic thought is not achieved simply by adding more dimensions, however, but rather by subtracting the unique from the dimensions that are already available (Deleuze and Guattari, 1987, 6). Similarly, the concept of multiple identities is situated in the context of unlimited becomings of de-individualization in which one identity does not dominate. For example, in her definition of feminisms, bell hooks’ (2000) specifically argues that “feminism is neither a lifestyle nor a ready-made identity or role one can step into” (p. 28), and suggests that instead of declaring that one is a feminist, people should simply advocate feminism. While I concur with her description of feminisms, I believe her suggestion severs the ontological connection between individuals and feminisms, and argue that feminisms as subjectivity may be asserted in Deleuze and Guattari’s sense of the molecular; that is, being feminist is a multiple and organic part of one’s life, how people who are feminist are in the world. The statement, “I am a feminist” (which uses a noun in terms of identity or an epistemology of difference) becomes “I am feminist” (which uses an adjective in terms of subjectivity or an ontology of difference). This could explain, as well, how men are/can be feminist-and why Deleuze and Guattari are not more sensitive about difference in general, and sexual difference in particular (Braidotti, 1994). Being feminist for men is something they may know about themselves; that is, it is epistemological, but not ontological, because they lack the lived experience of sexism.
Nomadology, then, represents a way of thinking in which Deleuze and Guattari “replace Being with difference” (Boundas, 1993, 4). Understood in terms of the outside, difference for Deleuze and Guattari is an integral aspect of reality that provides the “condition of possibility for the existence of multiplicity and for the thinking of multiplicity” (p. 163). Difference is not foundational, however, because according to Deleuze (1990) it “engulfs all foundations, it assures a universal breakdown (effondrement), but as a joyful and positive event, as an un-founding (effondement)” (p. 263). In relationship to feminisms based on difference, this joyfulness has been described in terms of “affirmation” and “positivity” (Braidotti, 1994, 100), “no longer different from but different so as to bring about alternative values” (p. 239; emphasis in original).
In terms of difference, the most salient question I believe that we should address is related to community. Do GRIME and the MENC Gender SRIG constitute a community? If so, what kind, and for whose benefit? (These questions are posed with thanks to Wayne Bowman, who first brought the issue of community to my attention.) In a profession-indeed, a world-defined more and more in terms of us and them, what is community? Is it even possible? Audre Lorde (1983) speaks eloquently of “the community of women” (p. 97), and we intuitively know exactly who she means: all women, not only white, privileged women, but in particular those women who “stand outside the circle of this society’s definition of acceptable . . . those . . . who have been forged in the crucibles of difference” (p. 99). Community, though, may be defined in terms of exclusion, as well. In relationship to the academy, Said (1998) observes that a community may be based “on keeping people out and on defending a tiny fiefdom (in perfect complicity with the defenders of other fiefdoms)” (p. 175). Understanding that all individuals differ not only in terms of their material conditions, but perhaps more importantly “in terms of their (former) subjective experiences” (Embree, 1994, 93), what might absence of community mean for GRIME and the MENC Gender SRIG?
Kiefte (1994) argues that we have an “ethical responsibility” (p. 178) to resist forms of community based on a single identity (p. 180). Subverting the fascistic tendencies of identity, then, constitutes what he calls an ethics of difference. Absence of community is positive, and is achieved through Deleuze and Guattari’s concept of desire: “unlimited becoming without identity” (p. 165). Becoming relates to the space between in terms of both (all) directions at once, eluding the present. As Deleuze (1993) tells us, “becoming does not tolerate the separation or the distinction of before and after, or of past and future” (p 39). Indeed, pure becoming includes infinite multiplicities that encompass entire spectrums of time, quantities, actions/thoughts, and results, even while transcending their limits. No single identity, whether acquired or imposed, can adequately account for our uniqueness as individuals. Nomads demonstrate this through fluid identities. In resisting stasis in terms of identity, nomads also resist the power implicated by positionalities-the power that compels us to defend them and create ideologies in terms of them. This is not the destruction of identities, but the possibility inhered in fluid identities, opening the space for other becomings. While community may be impossible, absence of community makes possible “new forms of commonalities and belonging” (Kiefte, 1994, 181).
Nomads exist on the outside, even as attempts are made to appropriate and assimilate them inside. When forced inside, however, they bring with them “lines of flight” (Boundas, 1993, 14) which allow them to escape and transform themselves, demonstrating fluid identities and multiple subjectivities. These lines of flight, then, constitute paths of resistance and becomings. GRIME and the MENC Gender SRIG may traverse these lines only to the extent that we become-other, nomadic, what Deleuze and Guattari call minority. “There is no becoming-majoritarian; majority is never becoming. All becoming is minoritarian” (Deleuze and Guattari, 1987, 106). It is important to note that in this context, minor and minority are not quantitative concepts, but rather refer to transformative potential (Boundas, 1994, 16).
As examples of nomadic thought, I would hope that we address our work in terms of three considerations. First, it should be interconnected rather than hierarchical, conjunctive rather than representational, constituted as alliances rather than allegiances. Second, it should become-minoritarian; that is, transformative and inclusive of all voices. Third, it should enable all members to continually interrogate our own beliefs and practices, which constitutes the means by which we resist creating our own ideologies. Deleuze and Guattari (1987) express this through their delight at the possibilities of becomings, nomadic lines of flights, and multiplicities. They urge us: “Don’t be one or multiple, be multiplicities! Run lines, never plot a point! Speed turns the point into a line! Be quick, even when standing still!” (p. 24). I would add: watch, listen. Light travels faster than sound. Explore. Experiment. Laugh. Most of all: imagine. Take to the water. Jump in, swim to the middle and ride the swift currents there as the banks of traditional ways of thinking slowly erode. The rules are simple: do no harm, be of benefit, remember compassion.
I look forward to establishing bearings and navigating these waters with you. It has been a very great pleasure to serve as Chair of GRIME. Thank you again for that extraordinary opportunity. I hope to see and greet everyone in April at the MENC conference in Minneapolis, Minnesota, U.S.
Boundas, Constantin V., (Ed.). 1993. The Deleuze Reader. New York: Columbia University Press.
Braidotti, Rosi. 1994. Nomadic subjects: Embodiment and sexual difference in contemporary feminist theory. New York: Columbia University Press.
Deleuze, Gilles. 1990. The logic of sense. Constantin V. Boundas, ed.; Mark Lester with Charles Stivale, trans. New York: Columbia University Press, 1987).
Deleuze, Gilles, and Guattari, Felix. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Trans., Brian Massumi. Minneapolis and London: University of Minnesota Press.
Embree, Sonja. 1994. Mommy dearest: Women’s studies and the search for identity. In Eleanor M. Godway and Geraldine Finn, (Eds.), Who is this ‘we’? Absence of community, pp. 83-100. Montreal and New York: Black Rose Books.
Kiefte, Barend. 1994. Gilles Deleuze: The ethic of difference and the becoming-absent of community. In Eleanor M. Godway and Geraldine Finn, (Eds.), Who is this ‘we’? Absence of community, pp. 159-184. Montreal and New York: Black Rose Books.
Lorde, Audre. 1983. An open letter to Mary Daly. In Cherr? Moraga and Gloria Anzald?, (Eds.), This bridge called my back: Writings by radical women of color, pp. 94-97. New York: Kitchen Table: Women of Color Press.
Said, Edward. 1998. Opponents, audiences, constituencies, and community. In Hal Foster, (Ed.), The anti-aesthetic: Essays on postmodern culture, pp. 155-183. New York: The New Press. (Original, Port Townsend, WA: Bay Press, 1983).
I presented a paper at Uris Auditorium at the Metropolitan Museum of Art November 8th, 2003 entitled “Justice and Music in Giotto’s Scrovegni Chapel Frescoes.” It was part of a conference called: Music in Art: Iconography as a Source for Music History. The Ninth Conference of the Research Center for Music Iconography, City University of New York, co-sponsored by the Department of Musical Instruments of The Metropolitan Museum of Art and Austrian Cultural Forum New York.
My short story “Still Life with Prone Figure on Twin Bed” was published in Sundry Magazine.
I am presently a new assistant professor at Wayland University in Plainview Texas. I oversee the vocal music education section, accompany, and conduct their traveling ensemble; SPIRIT. You can see me and the ensemble on our University website at www.wbu.edu. Click academics, Division of Fine Arts, Music….you will see faculty information with my syllabi of what I am teaching and profile…then you can click Ensemble/Performance Opportunities…then click SPIRIT and you will see my ensemble. I have been teaching in public schools for the last 12 years. I’ve taught all 12 grade levels. I am working on my Ph.D. at Texas Tech also. I am currently writing a research project centered around gender issues and women in music education. I can be reached at email@example.com.
Carol Matthews received her international premiere with La frontera, a symphony for band, when it was performed by the University of Toronto Wind Ensemble, under the direction of Denise Grant. A work in four movements, La frontera is a musical evocation of the American Southwest border region, the Sonoran desert, the ranches and cities, and the nexus of cultures that live there. Originally premiered at Boise State University by the All-Campus Concert Band, under the direction of Elizabeth Gould, La frontera received a second performance by the Boise State Symphonic Winds, under the direction of Marcellus Brown.
Documentary Film Radical Harmonies, Director Dee Mosbacher
Boden Sandstrom, Co-producer
Available for purchase from www.woman-vision.org
Radical Harmonies chronicles a women’s music cultural movement which resulted in a revolution in the roles of women in music and culture. The movement gave birth to an alternative industry that changed women and music forever. During the early 1970s a convergence of cultural feminism and the radical politics of lesbian-separatists created the philosophy and space necessary for a new genre of music-Women’s Music-to bloom.
Through festival and performance footage, interviews, and archival material, the film
delves into the rich and beautiful history of women creating a cultural life based on a commitment to diversity, personal integrity, feminism and women loving women. In its heyday, during the 1970s and 1980s, Women’s Music offered a different message than mainstream musical culture. It opened doors for women musicians, producers, sound and light technicians and for new women-owned recording companies, such as Olivia Records and women-oriented shows.
Radical Harmonies features such early stars of Women’s Music as Meg Christian, Holly Near, Mary Watkins, Kay Gardner and Cris Williamson as well as contemporary artists Indigo Girls, Ani DiFranco, Bitch and Animal, and Melissa Ferrick. Additionally, the film highlights the infrastructure that made possible the recording, production, and dissemination of the work of these talented performers.
- Audience Award for Best Documentary, 2002 San Francisco International Lesbian & Gay Film Festival
- Boden Sandstrom – The Philip Brett Award for exceptional musicological work in the field of Gay and Lesbian Studies2.5 Carol Ann Weaver
I have just released a new CD, AWAKENINGS, in collaboration with Rebecca Campbell, Canada’s amazing, one-of-a-kind singer/songwriter, producer, Davie Traves-Smith, Rebecca Campbell, Jane Siberry, and others — vocals; Carol Ann Weaver — piano. Below is a short writeup about this piece. The album can be purchased for $22.00 Can, or $18US$, (cheques made out and sent to me at:
Carol Ann Weaver
Conrad Grebel University College
University of Waterloo
Waterloo, ON N2L 3G6
The Music of Carol Ann Weaver & Rebecca Campbell
“Carol and Rebecca’s music travels beyond categories of singer/songwriter or avant garde music, creating new fusions of innovative, passionate/compassionate, accessible art music.”
Adventurous, imaginative, and celebrated Canadian composer/performers Carol Ann Weaver (piano) and Rebecca Campbell (vocals, guitar) create joyeous fusions of folk, jazz, roots, art & world music – powerful, daring, expressive, and passionately connected with the world around us. A Canadian treasure, Rebecca has done extensive touring and recording on her own and in support of many artists, including Jane Siberry. Carol has discovered new cultural blends while recently living in South Africa and recording her music with leading African jazz musicians. Her Piece of a Rock speaks out in honour of Iraqi civilians, whose intoned names were supplied by John Sloboda of iraqbodycount. Their collaborative work, Awakenings, is newly released on CD.
AWAKENINGS, 2001, is a four-way collaboration by Canadian modernist poets Dorothy Livesay and Di Brandt and composer/performers Carol Ann Weaver and Rebecca Campbell. The work began with a limited edition publication by Canadian poet Dorothy Livesay, “Awakenings”, written late in her life and published in 1991 on which poet Di Brandt wrote her own poetry, “Waking Up”. The combined poetry, with Livesay’s original works and Brandt’s reworking of the same themes, emerged as a co-written literary work, AWAKENINGS, which was then given to Carol Ann Weaver and Rebecca Campbell for musical settings. Coming from varied musical traditions and styles, these two musicians emerged with a co-composed work, commissioned by and premiered at the Wider Boundaries of Daring Conference/Festival on Canadian Modernist Poetry, hosted by University of Windsor and York University. Performances took place both at University of Windsor and at the Scarab Club in Detroit as part of the poetry conference, October 25, 26, 2001.
Subsequent performances have occurred numerously in such places as Universities of Ottawa, University of Toronto, Renison College/UW, Conrad Grebel/UW, WLU, as well as a major international writing conference at Goshen College, Indiana, London and Keele England, Graz, Austria, Honolulu, Hawaii, and many other concerts and festivals. The work has always been received with warm enthusiasm, especially as the music and poetry lead the listeners down rare paths dealing with transitions between life and death. People have referred to the performance as powerful and seamless. One listener commented, “Your spirit can change the world.” The music ranges from folk to avant garde, jazz to natural soundscapes, groove to meditative, and is performed by two leading Canadian musicians, singer/songwriter Rebecca Campbell, and composer/pianist Carol Ann Weaver who is a music professor at University of Waterloo, and also a former Chair of Association of Canadian Women Composers.
PIECE OF A ROCK – IN MEMORIAM by Carol Ann Weaver, was composed in memory and in honour of Iraqi civilians who were killed in the recent war. The text of this piece calls out to various mothers, goddesses, queens of heaven and earth, saints and seers from many different religious and secular traditions, asking for guidance. As such, it becomes an invocation for wisdom from various iconic and archetypal sources we all know collectively. Also included in the piece are actual names of Iraqi civilian victims of the latest war – mothers, children, young and old men – as supplied especially for this piece by John Sloboda of www.iraqbodycount.net, and other international peace workers. The work was premiered at Open Ears Festival of Music and Sound, May 10, 2003, Kitchener, ON, Canada, performed by Rebecca Campbell, vocals; Carol Ann Weaver, keyboards and vocals; and Arun Pal and members of the University of Waterloo Drum Circle, drums. Subsequent performances have included a Peace Concert in San Francisco, a Buddhist Temple in Mississauga, Ontario; a folk festival, a Sacred World Music Concert, and upcoming concerts in London and Keele England, partly organized by Iraqbodycount, and various concerts in October, 2003 at University of Waterloo, Waterloo, ON.
Carol Ann Weaver and Rebecca Campbell: TOUR TO EUROPE: Nov. 9-14, 2003
Sunday November 9
- Performance at London Mennonite Centre based on Piece of a Rock and other peace-related music making (Rebecca Campbell and Carol Ann Weaver)Monday November 10, 8.00 p.m, London:
- SONGS FOR PEACE
- Benefit Concert for the People of Iraq (arranged via Iraq Body Count)
- Shakespearean Globe at The Bedford, 77 Bedford Hill, London SW12 9HD
Featuring Carol Ann Weaver and Rebecca Campbell & othersWednesday November 12, Keele University, UK
- 11:00 AM — Seminar/presentation in Lindsay Studio, entitled:ak
“‘Piece of a Rock–In Memoriam': The Subversive Act of Creating Voices for the Voiceless and Names for the Nameless,” with CA Weaver and RCampbell
- 12:00 Concert by Carol Ann Weaver/Rebecca Campbell OF AWAKENINGS at Keele UniversityFriday November 14
- performance of AWAKENINGS by Carol Ann Weaver/Rebecca Campbell at University of Graz, (Austria) within Canadian Studies Conference at University of Graz.Saturday November 15
- performance of AWAKENINGS by Carol Ann Weaver/Rebecca Campbell at University of Maribor, SloveniaJanuary 8 – 11, Carol Ann Weaver and Rebecca Campbell will be performing AWAKENINGS at the 2004 Hawaii International Conference on Arts and Humanities.
3.1 In October 2003, feminist movement lost pioneer Carolyn Heilbrun, who committed suicide. Heilbrun was one of the first feminist scholars in the academy in the U.S., joining the English Department faculty of Columbia University in 1960. Twenty years after receiving tenure, she left the position in 1992 “in a blaze of protest at the entrenched patriarchal values of the men she had worked with for 32 years, telling the New York Times in an interview, ‘When I spoke up for women’s issues, I was made to feel unwelcome in my own department, kept off crucial committees, ridiculed, ignored'” (Amy Hoffman, Women’s Review of Books, XXI 3, p. 4). Sadly for those of us left behind, Heilbrun, at the age of 77, exercised her belief that choosing one’s death after the age of 70 is as much of a fundamental right as is abortion for younger women. She will be missed.
3.2 February 13, 2004
Women and Creativity 2004: Examining the Past/Composing the Future
West Virginia University College of Creative Arts, Center for
Women’s Studies, and Council for Women
3.3 April 14-18, 2004
MENC: The National Association for Music Education
59th National Biennial In-Service Conference
The Gender SRIG meeting still has not been scheduled-I will post the information on our listserve as soon as it is available.
The Gender SRIG meeting still has not been scheduled-I will post the information on our listserve as soon as it is available.
3.4 July 11, 2004
26th International Society for Music Education World Conference
International Society for Music Education
3.5 September 01, 2004
Canada-U.S. Fulbright Program Grants For Research, Teaching or
Graduate Study in the United States
Canada-U.S. Fulbright Program
The now-prevalent imagery of Brunnhilde as singing Fat Lady, seen in contexts ranging from opera to politics, is a recent development, going back to a 1976 coining of the metaphor “the opera ain’t over till the fat lady sings” by San Antonio sportswriter Dan Cook. This paper will argue that the rise of Fat Lady imagery is not, as Carolyn Abbate suggests, a demotion of Brunnhilde from Wagnerian goddess to “screeching figure of fun” but a more ambivalent sign, representing both the rise of female power during the second wave of feminism and the fear of that power. The fact that we can trace such a symbol back to late 19th-century opera affirms that, as many have argued from the standpoint of musical style, the envoicing of women in opera of that period, on top of men and no longer inscribed in the prettiness of bel canto, provided a strking model of feminine power during the first wave of feminism. In short, the iconization of imagery associated with the most resonant operatic heroine from the first wave of feminism during the second wave is no coincidence.
Women currently account for less than 10% of all university band directors in the U.S., a proportion that has increased only slightly in the past 20 years. The goal of this research is to better understand the everyday lives of women university band directors in order to contribute to their retention in the profession, lessening pervasive occupational gender segregation and its pernicious consequences. The research describes the lived experience of women university band directors in terms of their identity, activities, and relationships. While all women have individual reasons for continuing in or leaving the profession, their experiences in general are similar because of the unique status in society of women as a group(s). Data were collected through mailed and on-line surveys and journals, and four on-site visits. Analysis of data is grounded in the categories of identity, activities, and relationships, and creates a reflexive monologue(s) grounded in the material conditions of their everyday lives as university band directors. The presenter(s) will speak/sing only the words/music expressed by the participants. This method of representation reflects the notion of becoming(-woman) developed by Deleuze and Guattari (1987) that describes a process(es) of multiple and constant transformation(s) in which ontological desire may be expressed as lines of flight with(in) a collective(s) of bodily and social subjectivity(ies).
Although traditional accounts of the history of music in Sweden have neglected women, recent scholarship by Meyers and ?rstr? describe women’s involvement in many aspects of music in the nineteenth and early twentieth centuries. This paper looks at the roles of women teaching music between 1850 and 1950 and the influence of economic and cultural conditions that enabled their participation in music education.
Swedish women in the nineteenth century were involved in music in the private sphere as they made music in their homes and performed in salons. Jenny Lind was important because she made it acceptable for women to perform in public. Women had opportunities to study at the Royal Academy of Music and in teacher-training seminaries, but men held the professorships, dominated textbook publication, and held positions as organists and church music directors. Elfrida Andree was the first female organist in a major church.
By the late nineteenth century, a large percentage of Swedish women were in the labor force, and performed in orchestras. Two outstanding leaders in music education were Anna Berstrom-Simonsson, teacher of school song, and Alice Tener, composer. Swedish women take pride in their opportunities in society today, but their roles in music were limited before 1950.
Two recenet films, Farinelli, il castrato and Hedwig and the Angry Inch feature protagonists whose genitalia was surgically altered against their wishes. While Farinelli figures its hero’s castration as profoundly tragic, only redeemable through surrogate fatherhood, Hedwig’s loss becomes a springboard for her creative activity and increased self-knowledge.
Through plot, dialogue, and music, each film construes a different relationship between the castrato and patriarchy, a relationship that is echoed through the other characters of the two films: the fictive Farinelli seeks incorporation into the patriarchal order, using his phallic voice as a tool of both sexual pleasure and aggression, rehearsing the lurid interest in the fiture of the castrato, and reproducing the heterosexist scripts of mandatory procreation and dichotomous sexual difference. Hedwig, however, both inhabits a typically feminine role of patriarchal victimization and blurs conventional distinctions in her assertive performances of gender.
An extraordinary number of DMA and Ph.D. music graduates begin new appointments at colleges and universities without ever having received any instruction in how to teach. This fact belies a common assumption that good teachers are born, not made. Furthermore, it reinforces the assumption that, in collegiate institutions, good teaching is limited to transmission of content, relying solely on intellectual or performance skills. Courses in music pedagogy do exist, but theres are normally devoted to specific instrumental or vocal techniques and the repertoire that employs those techniques. Accountability for student understanding is seldom a consideration.
This panel brings together professors who have developed courses aimed specifically at DMA and Ph.D. students, offering opportunities to think critically about teaching in higher education and to respect teaching as an art that can be developed and improved. The goals of the session are:
*Discuss the benefits to doctoral students of formal instruction in how to teach
*Demonstrate ways in which learning to teach at the collegiate level might be accomplished
*Focus on preparing future faculty for the campuses of tomorrow, including dealing with student diversity, using technology to enhance instruction, assessment strategies, and employing active and collaborative means of instruction
*While research and creative work are important facets in the careers of music professors, teaching (and the concomitant responsibility for student understanding) retains a central place in the professor’s daily activities. Doctoral programs must acknowledge the centrality of teaching in higher education and fulfill their responsibilities to ensure that students are prepared for the full range of work in higher education as scholars, performers, and teachers.
The Fourth Annual Jasmine Music Festival, a weeklong event sponsored by and for women in contemporary Iran, highlights the dynamic processes whereby musicians and audiences articulate multiple identities. This festival celebrates the resilience and dedication of leading musicians -who have continued to be musically active, despite many post-Revolutionary restrictions regarding female performers. The festival’s recent emergence also reflects significant social and cultural changes in Iran since Khatami was elected. I will argue that this festival provides a unique space for Iranian women to establish important socio-cultural networks, to articulate individual and collective identities, and to hare and contest their visions of the future.
By exploring the many modes of social inclusion and exclusion framing this festival, it becomes clear that complex social and cultural issues were negotiated at almost every stage of the festival’s planning and implementation. Seemingly insignificant choices about concert refreshments and more fundamental decisions about musical style were all important articulations of notions of music, self, and society.
Based on research conducted in Tehran during the summer of 2002, this work contributes to studies on expressive culture, music and gender, Iranian musics, and Muslim performers. Many publications documenting the music of Iran often present it as a male domain and rarely focus exclusively on female musicians. By examining this music festival and its multivalent symbols and meanings this paper contributes to studies that examine the relationships between gender, ethnicity and power as they are expressed in, around, and through musical performance.
While some teachers view the status quo in music pedagogy as an imperative, many are open to change, dissatisfied with the ordinary, and eager to embrace new ideas. The panel looks at what it means to transform music education and how we might go about doing it. It includes and encourages audience participation.
1. An Overview of Transforming Music Education. What might music education be like, what could its effects be on the people comprising it and the communities in which it occurs? Transforming music education calls for principles that can be interpreted and practiced in different ways. These are suggested with implications arising from problems of gender, world views, and music making.
2. Focus on Ways of Thinking. If we are truly interested in transforming music education, it is necessary to break out of the ties that bind and restrict our thinking both at theoretical and practical elvels. Suggestions are offered along with the challenge to music educators to raise their expectation and look beyond the ordinary.
3. Focus on Ways of Being. A broad view of music education can be directive and liberative, didactic and dialogical. It calls for both inspiration and imagination. “Being” refers to human beings, living things cannot be standardized. Music education is explored holistically addressing these concepts.
4. Focus on Ways of Acting. Acting involves teaching and learning, but also leadership, music making, and music taking. Our mass-mediated, information-driven, multicultural world demands that for music to be transformative, it also has to translate into practical plans and policies involving collective action, inclusiveness, leadership, and cooperation.
Charles Seeger’s music composition treatise (1923, 1930, 1994) outlines his principles of “dissonant counterpoint,” characterized as “sounding apart together.” I explore the “sounding apart together” of Ruth Crawford Seeger and Charles Seeger in music education, which appears to follow a complementary pattern similar to that found in their music theory and composition (Greer; 1999, Nicholls, 1990; Rao, 1997; Stauss, 1995; Tick, 1990) and their theories of singing style/transcription (Tick, 1999). Ruth apparently influenced Charles in music education. The cooperation among progressive educators and musicologists formed another “sounding apart together” during the 1940s-1950s. While Ruth taught music and made folk song collections, Charles, other musicologists, and folklorists advocated for the inclusion of American folk music and non-European musics in American education, 1940-1953 (the years when Charles Seeger headed the Music Division of the Pan American Union and the years during which music education was central to that division). The Seegers’ pursuit of a living folk music tradition was a subtle blending of modernist values in music and education. Locating their interests on the edges of musicology, music theory, and music education, I identify a social “dissonant counterpoint” that becomes logical and meaningful in the context of “sounding apart together.” This subtlety may have been lost in scholarship accentuating the differences between the ultra modernist music and folk music traditions. I trace the Seegers’ ideas and attempt to demonstrate the value of the subtle “dissonant counterpoint” for ethnomusicology and music education.
This presentation falls under the “Music Education” category in the CMS Call for Program Participation. The session addresses how Irish traditional music and dance can be presented in the K-12 classroom. Our focus in this demonstration/workshop will be interdisciplinary: through our presentation of particular music and dance forms, we also illustrate other aspects of Irish culture from both an historical and a contemporary perspective. The session will include lecture, listening, and hands-on activities.
The workshop will begin with an overview of the nature and scope of Irish traditional music, including a brief background of political and social issues as they relate to music and contexts for music making over time. The major genres will then be introduced: dance tunes, step dance, set dance, and songs in the Irish and English languages. This introduction will be followed by an overview of musical instruments in the tradition. Audio and audio-visual examples of the instruments will illustrate how they are played, how they sound, and instructional strategies for presenting them to students. This material will include listening charts.
After the instrument survey, examples will be presented of the dance tunes themselves*jigs, reels, and hornpipes. We will focus on their structure and distinctive rhythms by listening, clapping, and teaching a dance such as Fallai Luimni (The Walls of Limerick). The dance will be accompanied by the presenters. The last section of the workshop will introduce Irish singing traditions. Ornamentation and performance practice will be discussed as participants listen to two versions of the same song and then learn to sing the song themselves.
Children with special needs are often a challenge for music educators to include in their classes and ensembles. Music educators are often not even sure if disabilities impact music learning and understanding. Under current federal law (Individuals with Disabilities Act of 1990) music educators are expected to include children with disabilities in their music classes. Observing children create music using music technology is a powerful way to understand how their disabilities impact them musically. A variety of children with disabilities will be discussed with supporting video clips and MIDI files. MIDI instruments such as the SoundBeam and DrumKat are used along with keyboard synthesizers and software to help reach children musically.
This paper will explore the issues involved in bringing undergraduates to authentic musical experiences in musical cultures different from their home musical culture. The University of Michigan’s Global Intercultural Experience for Undergraduates program (GIEU) supports faculty sponsors to take undergrads on 3-4 week summer study trips. Our trips to Ghana, West Africa have allowed us to study various forms of traditional music with local teacher/performers and ensembles, and have offered rich opportunities for expanding participants; musical frames of reference. The more challenging aspects of these interactions will be explored here, including learning in the aural tradition, traditional teacher/learner roles, and the intricacies of traditional teaching methods.
Gunild Keetman (1904-1990) composed over 50 dance pieces in the early twentieth century. Her career began in 1924 when she read about Carl Orff, Dorothea G?ther, and the much-advertised G?therschule for music and dance located in Munich, Germany. Within two years she and 18-year-old dancer Maja Lex enrolled in the school. Together, they would become composer and choreographer, forming the Tanzgruppe G?ther, a unique dance company that would win 1st place in the 3rd-German-Dance-Congress with their award-winning Barbarischen Suite.
From 1928-43, Keetman composed dozens of dance suites, created for
dancers who accompanied themselves in a percussion ensemble make up of instruments fashioned in the likeness of African and Indonesian xylophones and including recorders. Several performances were staged throughout Europe until 1944 when the school was closed as a result of a bombing raid during WWII. Keetman’s persona as a composer is presently overshadowed by her later work as music educator. After the war, she and Carl Orff were responsible for developing the Orff-Schulwerk, a music education method for children.
However, when one finally is acquainted with Gunild Keetman and her dance suites, the legacy of her talents as a composer comes into sharp focus. Her compositions contribute greatly to the repertoire available for percussion ensembles as well as material suitable for choreography as period pieces from the modern dance era of the early 1900s. In fact, Keetman’s dance compositions are so unique that they stand as the only examples of modern dance repertoire set exclusively for percussion ensemble.
Within the core curriculum, all music students acquire historical and theoretical, and at some universities, pedagogical, and philosophical knowledge. This knowledge is disseminated or shared within classroom settings and taught by individuals who construct syllabi at the individual level. Thus possibilities of dialogue between students and professors across courses are often minimal at best.
When discussions do occur among faculty, the focus tends to be on content rather than aspects of pedagogy including the realization, application, and transfer of content across disciplines and in new contexts. Is the latter important and if so, why? Additionally how might collaborative efforts in formal and informal settings enhance realization application, and transfer?
John-Steiner (2000) refers to intellectual and artistic collaboration, as “interdependence of thinkers in the co-construction of knowledge” (p. 3). Her premise is that learning and thinking is a social process, hence much influenced by social constructivism, (e.g. Vygotsky, 1978). While studies have focused on the role of collaboration in music teaching and learning (e.g. Hamilton, Murphy, and Thornton, 2002), the number is small.
The purpose of this paper is two-fold: (1) to examine current learning theories as found in the psychology literature with a focus on application and transfer, and (2) to offer alternative approaches based on collaborative models for the realization, application, and transfer of content as found in core curriculum.
On July 17, 2003 the biennial conference on Feminist Theory and Music began at Bowling Green State University in Bowling Green, Ohio. Held at the College of Musical Arts, it was conceived with an emphasis on ethnomusicology, but embraced many other areas of music including composition, musicology, and music education. More than 60 registrants and over 70 presenters and performers participated. The conference was well organized, the food was plentiful and tasty, the location was convenient, and we were forewarned about the excessively cold air conditioning. Even the weather cooperated by being exceptionally pleasant and enjoyable. As is true for most conferences, there were conflicts about which sessions to attend as every session seemed to hold great attraction for the majority of attendees. As a composer and theorist I was drawn toward those sessions that featured presentations on contemporary composers, avant-garde performers, and innovative analyses, but there were many other powerful and moving presentations outside of these areas.
The conference began with a delightful and ironic keynote address, My New Career, by Ellen Koskoff, which seemed to set the tone for the whole conference: affectionate, smart, witty, thought provoking. This led to the screening of, Radical Harmonies, by Boden Sandstrom, which stunned and moved all those attending that first evening. I am not certain how the younger members of the audience received this film, a documentary on the women’s music of the 1970s and 1980s, but for those women “of a certain age” this work was powerful, joyful, a revisiting of our youth, hopes, dreams, and empowerment, a reminder of the path we took so long ago to arrive at where we are today, and of those musicians, technicians, composers, and producers, who took us there. They were truly the madwomen of that time, taking risks, braving the climate, the hostilities, the closed doors, to make their music with joy and great daring. They were the Madonnas of their time, as well, the pop icons for the women of this culture, the divas we followed and were enthralled by. They were part of our cultural heritage, our history, our collective memory. Memories, history, the known, the loved, seemed to be a large part of this conference, and while it is impossible to touch on all of the presentations that suggested remembrances, this film seemed exactly right as a beginning for the work presented in the days that followed.
Of madwomen there were many, if one can argue that doing the new, the innovative, the edgy is mad. The first concert featured the electroacoustic music of Elizabeth Hinkle-Turner, Elainie Lillios, Chin-Chin Chen, and Alicyn Warren. Each in its own way was evocative and provocative. But the second half of the concert was dominated by Kristin Norderval and Monique Buzzarte, extraordinary musicians who performed their own works, as well as Red Shifts by Pauline Oliveros, for voice, trombone and live processing. These two artists have been on the cutting edge of concert art music for some years but continue to amaze and hold their audience with the breadth of their vision and the incredible strength of their musicianship. In the second concert Tomie Hahn was stunning in her performance of Shakuhachi improvisation, her own composition. A difficult instrument to play at best, the shakuhachi as she played it created nuances and shifts of texture that were breathtaking. Also featured on the program were Katherine Hoover’s Kokopelli, Jennifer Higdon’s Rapid Fire, performed by Adeline Tomasone on flute, Marilyn Shrude’s Memories of a place and Joan Tower’s Wings, both performed by John Sampen on alto saxophone. All were strong performances. Other madwomen presentations were Stephanie VanderWel’s “A Feminist Spirituality: The Temporal Play and Poetic Language of Meredith Monk’s Visions of a Madwoman.” Perhaps most profoundly moving was Elizabeth Tolbert’s presentation on the Finnish-Karelian ritual lamenters, the power and beauty of their tradition, and her own struggle to find a “more nuanced and theoretically sophisticated way to talk about Karelian laments and lamenters.” A difficult and exhausting study for Tolbert, her presentation drew the audience into a small part of the experience of witnessing and sharing pain through the music of the lament.
Many Madonnas were present, as well, if one includes all the popular artists and pop icons that were represented in the conference. There were presentations on Xena: Warrior Princess and Buffy the Vampire Slayer (Renee Coulombe), Madonna (Keith Clifton), Melissa Ferrick (Ann Savage and Trudi Peterson), the B-52s (Fred Maus), Lawrence Welk (J. Bradley Rogers), George Michael and Limp Bizkit (Wynn Yamami), Kuttin Kandi (Ellie Hisama), Aretha Franklin (Richard Rischar), Bjork (Nancy Newman), the Rocky Horror Picture Show (Steven Reale) Mary Lou Williams (Monica Hairston) and that eternal goddess of Hollywood style, Shirley Temple (Rose Theresa.) The broad scope of these presentations and the informative views of the presenters seems to indicate a growing interest in popular culture, its effect on western music, and its role as reflection and recreation of itself, as well as its influence on the culture around us.
Finally, I return to memories. There were many presentations like Radical Harmonies, that dealt with the historical, our cultural memories, and thoughts of those not present. Lydia Hamessley brought us Peggy Seeger’s work, her life, and her influence in Anglo-American folk music. I was pleased to participate in Elizabeth Gould’s performance piece on U.S. woman college band directors, their thoughts about their work, their recollections of struggle and success, their love of teaching and conducting, of the students and the music. An entire session was devoted to the music and film of the Second World War. There was a delightful presentation on the late Glen Gould in which Daniel Stevens interviewed Gould using clips of Gould’s own dialogue as responses to his questions. And finally a special session was held in memory of Philip Brett, the musicologist, teacher, musician, and gentle-man, who so supported these conferences, and whom we lost this past year to cancer. He was a skilled and caring teacher, mentor, advisor, colleague, and friend. For most of us it was a touching and deeply moving session, but one for which we were grateful to be able to honor a man who had so honored us.
There were many sessions at the conference for which I have neither the space nor ability to adequately cover, but that were certainly worthy of note. In particular the presentations on women, music, and Islam, the critiques on methodology, and the presentations on queer studies were all important and engaging. Like the conferences before it, FTM7 had much to share, to teach, to inform, to move, and to inspire its participants.
The SEM Education is a lively group. In addition to the specific sessions sponsored by the Education Section, there were many others that focused on learning in some way. A most interesting series were the round tables put together between members of the SEM and SMT to discuss teaching music theory and what ethnomusicologists and music theorists have to say to each other about this. Since this meeting was joint with CMS and ATMI one was able to attend education related meeting of these other two conferences, as well. This is much more interesting than MENC or CMEA or CUMS. The only problem was the expense of the hotel and Miami-$10 U.S. for a muffin and coffee is outrageous!!.
Gender and sexuality emerged as categories of analysis through political activism, and in turn, have revitalized numerous academic fields through the influx of innovative ideas, theories, and methodologies. The conference seeks to bring together scholars, writers, and activists who are engaged in the ongoing discussion about the place of gender and sexuality in academic and public discourse.
Proposals may address (but are not limited to) the following topics:
*intersections among gender, race, and sexuality both in and out of the academy
*how gender and sexuality studies are used by non-academics
*connections and disconnects between gender and queer activism and gender and queer studies
*the place of gender and sexuality studies outside the academy
*interdisciplinary analysis of gender and sexuality
*history of women’s history and sexuality studies
*the future of gender and sexuality studies
*the history and politics of gender and sexuality in an international context.
*the use of gender theory both in and out of the academy
*the politics of writing about gender and sexuality
*strategizing the role of the next generation of gender and sexuality scholars, writers, and activists
With Special Presentations By:
Indrani Chatterjee (Rutgers University/South Asia)
Jacqueline Dowd Hall (University of North Carolina at Chapel Hill/U.S. South)
Lisa Duggan (New York University/American Studies and Theory)
Dorothy Ko (Barnard College/China)
Please send a 250-word proposal with CV to
firstname.lastname@example.org by January 15, 2004. Proposals sent before the deadline are greatly encouraged. Graduate students and faculty are both encouraged to apply.
Accepted panelists will be notified by February 16, 2004.
The 3rd Annual Hawaii International Conference on Social Sciences will provide many opportunities for academicians and professionals from the social sciences fields to interact with members inside and outside their own particular disciplines. Cross-disciplinary submissions with other fields are welcome.
Topic Areas (all areas of social sciences are invited):
*Area Studies (African, American, Asian, European, Hispanic, Islamic, Jewish, Middle Eastern, Russian, Women’s and all other cultural and ethnic studies)
*Ethnic Studies/International Studies
*Urban and Regional Planning
*Other Areas of Social Science
*Cross-disciplinary areas of the above related to each other or other areas.
The Hawaii International Conference on Social Sciences encourages the following types of papers/abstracts/submissions for any of the listed areas:
Research Papers – Completed papers.
Abstracts – Abstracts of completed or proposed research.
Student Papers – Research by students.
Work-in-Progress Reports or Proposals for future projects.
Reports on issues related to teaching.
Submission deadline: January 27, 2004.
For more information about submissions see:
ISA Research Committee on Sociology of Education, ISA Research Committee on Participation, Organizational Democracy and Self-Management, Asociacion Iberoamericana de Sociologia de las Organizaciones, IPSA Research Committee on Political Socialization and Education.
The theme of the conference is Education, Participation and Globalisation and the focus will be on questions of both scientific and practical relevance. The proposed topics are:
– Participation and education
– Restructuring of education and globalization
– Nuevas perspectivas en participacion y comunicacion en las organizaciones
– Participation, education and movements in organizational change
– Participative research as an educating tool in a globalizing world
Submissions must be in the electronic form.
Abstracts should not exceed 300 words, they should also contain a title, three keywords and selected references, full names of author(s) and affiliations. Submissions should be sent by 23
January 2004 to
Chair of the Program Committee
Charles University in Prague
Faculty of Arts and Philosophy
Department of Sociology
116 42 Prague 1
For registration fees, forms and up-to-date information:
Valley City State University
Valley City, North Dakota
CALL FOR PARTICIPATTION
**Submissions Due March 1, 2004**
organized by NSMIT Conference Committee:
Sara Hagen, Valley City State University
Kimberly Walls, Auburn University
Nancy Barry, University of Oklahoma
Jack Taylor, Florida State University (retired)
View previous NSMIT conferences online:
The Sixth Annual National Symposium on Music Instruction Technology will provide opportunities for music educators and music education researchers to share knowledge and experiences concerning technology enhanced music instruction. Its purposes are to accelerate the exchange of ideas among practitioners and researchers; to encourage appropriate uses of music technology in PreK-12 learning environments; and to disseminate findings of investigation into learning with music technology.
To facilitate the exchange, the following types of presentation proposals are solicited:
*Presentations, demonstrations, and hands-on workshops of PreK-12 music teaching utilizing technology;
*Presentations and/or demonstrations of research findings concerning technology in music instruction;
*Presentations combining 1 and 2 (above) pairing practitioners with
*Performances of technology ensembles, student electronic compositions, or student-produced multimedia.
Proposals are welcomed from both PreK-12 teachers and college faculty experienced in music technology. Lengths of presentations will range from 30-minute lectures to 45-minute performances to 90-minute hands-on workshops.
Presentation abstracts will be published in the Journal of Technology in Music Learning. Researchers may choose to submit complete articles for a peer reviewed section. One to two page presentation proposals should be sent to the conference chair, postmarked no later than March 1, 2004. Proposals for performances should include a cassette tape or compact disc. Proposals must include a list of equipment to be provided by the presenter, a list of equipment the conference would supply, and an indication of th etype and desired length of presentation. Presenters should bring their own laptop computers where possible.
Email submissions are encouraged. Send proposals to email@example.com.
Contact: Sara Hagen
phone (701) 845-7270
fax (701) 845-7245
Participants who are presenters will not need to pay a registration fee, but must submit a registration form for attendance. Optional graduate level credit is pending for attendance. Preconference workshops will be held Wednesday, June 16. Contact Sara Hagen for more information or check the website for further details.
Dr. Sara L. Hagen
Valley City State University
Valley City, ND 58072
1-800-532-8641 ext. 3-7270
Call for papers
Theme: Racisms, Sexisms and Contemporary Politics of Belonging/s
The interim conference of ISA RC05 and of RC32 aims to examine some of the racialized and gendered effects of some of central features of contemporary politics of belonging. Undoubtedly we are in a situation of a global crisis which encompasses a variety of social, political, economic and moral dimensions, often enmeshed together in ideological constructions which naturalize, essentialize and fixate collectivity boundaries, ‘civilizations’ and power hierarchies. These fixities are used both in order to defend and promote privileged positions of power as well as personal and communal defence mechanisms of the many who feel threatened and deprived by the same processes. These dynamics dominate both many local political scenarios as well as global international relations constructed in terms of ‘clash of civilisations’, ‘axes of evil’ and the ‘global war on terrorism’. At the same time we also see evidence of growing resistance movement/s under the slogans of anti-globalisation and anti-war.
Human rights and human security discourses are affected and sometimes constructed by these discourses, with special racialized exclusionary effects which operate on a variety of levels, from pogroms and wars to immigration policies and international law. At the same time, constructions of gender, sexuality and family relations play central roles in justifying these policies and have high symbolic value that have direct effect on the lives of women and sexual minorities in very many places.
The interim conference will examine some of the issues, causes and effects of these processes which we believe are at the heart of contemporary political and social lives. We call for RC05 and RC32 members (and interested contributors who are not [yet] our members) to offer papers B and panels – in the broad arena described above.
Please let us know what you are interested in presenting as soon as possible so that we can get on with the conference planning.
Nira Yuval-Davis RC05 President
Kalpana Kannabiran RC32 President
6.6 The next MayDay group colloquium will take place June 10-12, 2004, in Amherst, Massachusetts. The theme is: “Music for Life: Re-visioning Music Education as a Part of General/Comprehensive Schooling.”
MDG members interested in contributing to this theme are invited to present discussion-provoking papers that envision and describe one (or more) possible future scenario(s) for music education as part of general education, also considering how possibly unforeseen historical forces might collide with each scenario if it came to be realized. Of particular interest are scenarios that transcend or bring together the usual, historical sub-speciality areas (i.e., ensembles, general music courses) and scenarios that include music education in contexts beyond K-12 school programs (e.g., non-compulsory classroom music in community centers). Members are asked, as well, to contact and encourage participation of any non-MDG members who might be interested in a particular need for envisioning change (e.g., in research, empowering music teachers).
Further details may be found on the MDG website at:
Send a brief summary of your proposals by January 31, 2004 to Tom Regelski at <firstname.lastname@example.org>. Once we know the number of presenters, the program, including length of specific presentations, can be determined and announced.
Call for essays
Peace Review is a quarterly, multidisciplinary, transnational journal of research and analysis, focusing on the current issues and controversies that underlie the promotion of a more peaceful world. We define peace research to include human rights, development, ecology, culture, race, gender and related issues. Our task is to present the results of this research and thinking in short (2500-3500 words), accessible and substantial essays.
Stereotyped as apolitical, we want to highlight the struggles and triumphs of Asian and Pacific Islander Americans in relation to quests for justice. For this issue of Peace Review, we invite both historical and contemporary works that focus on past and on-going projects to attain justice for all those of Asian and Pacific Islander ancestry. Editors of this issue are : Rebecca King-O’Riain, University of San Francisco and Davianna McGregor, University of Hawaii, Manoa
Author deadline: January 12, 2004
For writer’s guidelines or to send essay submissions by email attachment, contact Robert Elias, Editor email@example.com or Anne Hieber, Managing Editor firstname.lastname@example.org
Or send correspondence to
University of San Francisco
2130 Fulton Street, San Francisco, CA 94117, USA
Phone: 1-415-422-2910 Fax: 1-415-422-5671
Call for papers
6.8 Mapping Identities: Urban Landscapes and the Discourses of Space
This one-day colloquium will explore political and cultural shifts in approaches to questions of subject formation and urban representations. Panels may explore inter-relationships of race, ethnicity, nationalism and nationhood, sexuality, and class within the context of space and place in the urban sector(s) in literature, film, and cultural studies. Interdisciplinary approaches are welcome. The organizers of this one-day conference in the Department of Modern Languages and Literatures at The Catholic University of America in Washington, D.C. invite proposals for papers on:
Borderland(s) and Margins
Ghettoization and Gentrification
Spaces of Performance
Deterritorialization and Reterritorialization
Displacement, Diaspora and Migrant Communities
Urban Representations in Film
Space and Race
New Social Landscapes
Gender Identity and Place
Securing the Homeland
Proposals for 20-minute presentations addressing new research directions, methodologies, pedagogical perspectives, and related topics are sought. Please send a one-page abstract and title page to Gizella Meneses (email@example.com) by January 15, 2004.
For more information visit our website at:
Faculty, graduate students and independent scholars are welcome.
The Annual Colloquium at the Catholic University of America Department of Modern Languages and Literatures
April 3, 2004
EFFECTIVE DATE: July 15, 2004 or to be determined
QUALIFICATIONS: Master’s degree required. Successful experience directing marching band at the college and/or high school level.
CANDIDATE: Excellent skills as a musician. Evidence of successful recruiting and retention, Demonstrated ability as an outstanding drill designer. Evidence of success in an additional area(s) of teaching. Strong communication, interpersonal and public relations skills. Ability to enthusiastically engage both music majors and non-music majors in high-quality musical performances.
RESPONSIBILITIES: Direct and administer the marching band. Design and teach drill. Cultivate and maintain an excellent relationship with the Athletic Department staff. Supervise marching band support staff. Effectively teach in areas of additional duties. Serve on departmental committees as needed.
ADDITIONAL DUTIES: Will include one or more of the following:
- conductor of the University Concert Band (second concert band)
- director of the University Jazz Band (second jazz band)
- applied performance instruction in area of expertise
- teach courses in one or more of the following
- Marching band pedagogy
- Music technology
- General education courses in music
- Other courses commensurate with departmental needs and candidate’s strengthsSALARY: Commensurate with qualifications and experience
INSTITUTION: The University of Dayton, a Catholic co-educational institution, offers a wide variety of undergraduate programs, as well as numerous graduate programs. The University enrollment of over 10,000 students includes approximately 6,500 full-time undergraduates. The Dayton metropolitan area has a population of over 830,000 and offers many cultural opportunities, including the Dayton Philharmonic Orchestra, Dayton Ballet, Dayton Opera, and the Bach Society of Dayton. UD’s Department of Music has approximately 100 music majors and offers the Bachelor of Music degrees in Music Education, Music Therapy, Composition, and Performance. Additionally it offers a Bachelor of Arts in Music, a Church Music Certificate, and the summers-only music education masters degree program.
To apply: Letter of application, vita and three current letters of recommendation can be emailed directly. Supporting materials will be requested on a later date.
Email all documents to: firstname.lastname@example.org
Send all files as attachments.
For additional information, write to:
Chair, Marching Band Search
University of Dayton, Department of Music
300 College Park
Dayton, OH 45469-0290
Phone (937) 229-3994 / FAX (937) 229-3916
Deadline: Review of applications will begin December 15, 2003, and will continue until position is filled.
The University of Dayton is any Equal Opportunity/Affirmative Action employer. Women, minorities, individuals with disabilities, and veterans are encouraged to apply. The University of Dayton is firmly committed to the principle of diversity.
SOUND IN THE LAND
– a Festival/Conference of Mennonites & Music
May 28-30, 2004
Conrad Grebel University College/University of Waterloo
Call for Submissions
Renewed Deadline: January 25, 2004
SOUND IN THE LAND will be both a festival with multiple concerts, performances, mini-concerts, workshops, possible jam sessions/reading sessions, and an academic conference addressing issues of Mennonite-rooted peoples and their music making in terms of ethnicity, cultural studies, or musical/theoretical/ historical analysis. Collaborative projects pairing Mennonite composers and creative writers are also invited. Composers/musicians are strongly encouraged to bring along their own performers, especially for jazz/folk/rock submissions, for which limited funds will be provided. Professional musicians & singers will also be hired, determined by scoring needs, budget, & festival performers’ participation. DaCapo, an excellent professional choir, will perform new Mennonite choral works.
Please submit an email proposal of no more than 250 words in which you propose a musical composition, performance, mini-concert, workshop, collaboration, piece of creative writing, or academic paper. (NO ATTACHMENTS PLEASE).
Suggested Categories for Submissions to SOUND IN THE LAND:
1. Musical compositions by composers of Mennonite background and/or current affiliation (please send scores & tapes/CDs of the music via surface mail)
2. Musical performance – either mini-concert or workshop proposals of Mennonite-composed or arranged music. Workshops may also include jam sessions or reading sessions with performers of similar playing styles.
3. Instrumental or vocal performer, willing to perform new works, &/or perform in ‘mostly-Menno’ bands with improvised jazz/folk/rock/other (send sample tape/CD of your performing via surface mail)
4. Collaborative works of Mennonite composers & creative writers
5. Creative writing about Mennonites and music – poetry, short story, essay
6. Academic papers in areas such as:
a.issues of ethnicity within so-called “Mennonite music”
b.analysis of Mennonite music and/or performance practices
c. historical focus on Mennonite music from any time period
d. international Mennonite music-making – beyond North America
e. connections between texts and music – Mennonite voices
f. Mennonites/music/pacifism – interfaces
g. where do Mennonite musicians go? – finding places and voices
h. Mennonite music – postmodern, feminist, gender, cultural studies theories
i. Gender and sexuality issues within Mennonite music
j. Mennonite worship music – past &/or current practices
k. Mennonites and music for children
Send all email submission to: Carol Ann Weaver
Send all surface mail submissions (scores, tapes, CDs) to:
Carol Ann Weaver, SOUND IN LAND Chair
Conrad Grebel University College
University of Waterloo
Waterloo, ON N2L 3G6
Sound in the Land website, including all registration information:
Phone: 519-885-0220 x245 OR x226