Volume 11, No 2 (December 2002)


Volume 11, Number 2  (December, 2002)

In this issue:

1.  Editorial

     Loss and Renewal: The Persistence of Memory, Elizabeth Gould

2.  Conference & Concert Reports

2.1  19th Research Seminar of the International Society for Music Education,

       Sondra Wieland Howe

2.2  The Way of Beauty: Celebrations on the VII Centenary from the Birth of

       St. Bridget of Sweden,   Edith S. Zack

2.3  Strong GLASS Concert Shows A Lot of Class, Charlene Morton

3.  Member News

3.1  Nora Beck

3.2  Sondra Wieland Howe

3.3  Elizabeth Keathley

3.4  Ursula Rempel

3.5  Jill Sullivan

4.  In Memoriam: Philip Brett (1937-2002)

5.  News of the Profession

5.1  ATHENA 2003 Festival and Competition, March 6 and 7, 2003

5.2  The Teacher Identities in Music Education (TIME) Project

5.3  Organised Sound

5.4  Korean Music Festival: “The World Women in Music Today 2003″

5.5  Women, Space and Technology

5.6  The 4th Asia-Pacific Symposium on Music Education Research

6.  Calls for Papers & Proposals

6.1  Researching Black Canadian Musics / Black Music Cultures in Canada

6.2  Music – Culture – Society: A Symposium in Memory of John Blacking

6.3  Call for Manuscripts, Communication Education invites manuscripts for a

       special issue

6.4  Cultural Intersections in Latin American Art Music: The Music of Tania Leon

6.5  Critical Matrix

6.6  Central Pennsylvania Consortium’s Women’s Studies Conference

6.7  Engendering Change: New Directions in Music Studies

6.8  UPDATE: Feminist Theory and/of Science (12/15/03; journal issue)

7.  Opportunities & Announcements

7.1  Bank Of Montreal Visiting Scholar in Women’s Studies

7.2  Interactive Web-based Tutorial on the Evaluation of Websites

7.3  Feminist Theory and Music 7 and the 12th Annual Meeting of Gender Research

       in Music Education-International

8.  Table of Contents: Journal of Historical Research in Music Education (JHRME) 

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1.  Editorial

Loss and Renewal: The Persistence of Memory
Elizabeth Gould

The end of the calendar year always causes me to reflect on loss and renewal in the midst of what has become in the U.S., at least, holiday madness. This affects me both personally and professionally. Twenty-one years ago, my mother took her own life at the end of the U.S. Thanksgiving weekend; a year ago December 19, my partner’s mother died of a sudden, unexplained illness. This past October, our profession lost two distinguished musicologists: Eileen Southern and Philip Brett. Because of his cheerful, timely, astute participation on the Program Committee of Feminist Theory and Music 6 last year, I counted Philip as a friend. He decided rather at the last minute to attend the conference, and even agreed to serve on the panel of the closing session, which was addressing the future of feminist research in the new century. Philip participated, in part, because I had assured him there would be no complaining during the session (I was wrong). He took part, though, with his usual grace and humor, and we corresponded after the conference about the homophobic messages in the otherwise enjoyable film, Songcatcher, which was playing at the alternative movie house in Boise (yes, Boise does have one!) during the weekend of the conference, and was seen there by many of the conference attendees.

The importance of both Philip’s and Eileen’s research and professional work cannot be underestimated for GRIME. Philip Brett and Eileen Southern carved out possibilities for respected, responsible, and scholarly research into previously forbidden areas: homosexuality in music, and the music and musical contributions of black composers and musicians. Without their work, our research today would meet with even more hostility and resistance, in addition to less understanding. Their work, as well, has helped us conceptually to frame our questions, and direct our inquiry. I have often thought these past weeks that they held the lights that continue to guide us as we develop our own understandings and ways of knowing. This is not to valorize them heroically, but rather to both acknowledge the tremendous debt, as scholars, we owe to them, and to affirm the grief we experience in their loss.

When I thanked Philip for attending the Feminist Theory and Music 6 conference, he smiled and said cryptically, “Well, I decided I really wanted to attend one more of these things.” I did not understand the full implications of his comment then, as he did not share with me the state of his health. He did share with me, however, his brilliant mind, his gentle humor, and infinite patience and kindness. He also shared during the final session a provocative, succinct, and searing letter that he had written in response to a strongly worded negative review of the New Grove’s entry on gay and lesbian music, which he had co-authored. His work on behalf of gay and lesbian researchers, as well as feminists, clearly was ongoing. I have no doubt that his legacy will ensure that his work will continue indefinitely as it is represented in the research of all of us who have benefited from his courage and vision.

The research legacies of both Philip Brett and Eileen Southern will be continued at the Feminist Theory and Music 7 Conference, which will be held July 17-20, 2003 at Bowling Green State University, Bowling Green, Ohio, USA. GRIME will hold our 12th annual meeting at the conference. Make plans to submit proposals for presentations and performances, and to attend the conference and GRIME meeting. I look forward to seeing you there.

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2.  Conference & Concert Reports

2.1  Sondra Wieland Howe

At the 19th Research Seminar of the International Society for Music Education was held in G?eborg, Sweden, August 3-9, 2002 thirty papers were presented. These papers will be published in the Bulletin of the Council for Research in Music Education. Most of these papers were again presented in the research poster session at the 25th Biennial World Conference of ISME in Bergen, Norway, August 11-16, 2002. Three of these papers are of particular interest for gender research.

Hellen Agak (Maseno University, Kenya), presented “Gender difference and academic achievement in music among Form Four students in Kenya 1991-1995.” The purpose of the study was to compare achievement between boys and girls in the Kenya Certificate of Secondary Education. Girls had statistically significantly higher means compared to boys in the Music Practical and Average Music Mark portion of the test, but there was no statistically significant difference found in Music Theory. Agak also found that there were significantly higher means for girls in urban and urban single-sex schools. At the Bergen ISME conference, Agak presented a paper on “Women and Instrumental: The Kenyan Experience” in which she explained that women sing and dance while men play instruments in indigenous Kenyan society. Since these practices evolved from specific cultural needs which are now irrelevant, the author proposes that males and females today should all learn to play instruments of their own choice and abilities.

The paper of David M. Howard (University of York) and Graham F. Welch (University of London), “Female chorister voice development: A longitudinal study at Wells, UK,” explains that girl choristers are now accepted in English cathedral choirs, although they rarely sing the treble line for cathedral services. This paper is part of a larger study to investigate the nature of cathedral chorister’s singing experiences and development. The authors measure variations within individual singers on a longitudinal basis.

Gordon Cox (University of Reading, UK) in “Recollections and realities: Conversations with student music teachers” interviews ten student music teachers (female and male), gathering information on musical backgrounds, decisions to teach, and teaching experiences. This method of “group biographies” may be helpful for researchers to learn more of the actual experiences of music teachers.

2.2  Edith S. Zack, Bar Ilan University, Israel

“The Way of Beauty: Celebrations on the VII Centenary from the Birth of St. Bridget of Sweden” – an international conference for a more just and worthy world, organized by the Order of the Most Holy Savior of Saint Bridget and the Adkins Chiti Foundation: Donne In Musica (Rome, October 4-5 2002).

St. Bridget, who was declared by the Pope John Paul II “Patron of Europe,” was born in 1303 in Sweden into the aristocratic family of the Perssons. At the age of 15 she was given in marriage to the eighteen year old Ulf Gudmarsson. Bridget and Ulf had eight children and gave them a profoundly Christian upbringing. Bridget’s life was a life of exemplary charity towards the poor. When her husband died in the Cistercian monastery of Alvastrashe left her home, distributed her goods to the poor and devoted herself to a more intensely ascetic life.

In 1346 Bridget set about renovating the Castle of Vadstena in order to turn it into a Convent where two communities, one male and the other female were to Eve under the authority of the Abbess, following the Rule dictated by Christ, and taking as their name The Order of the Most Holy Savior. To obtain approval for the Rule, and her Order, Bridget went to Rome in 1349. There, in Rome, she lived for 24 years, making the city her second home, and using all possible means to bring the Pope back from Avignon to his true See, Rome.

The opening morning of the conference (Friday, 4th of October) took place at the Palazzo della Cancelleria; with the presence of Victoria, princess of Sweden, cardinals and archbishops from all over the world, the diplomatic corpus in Rome, participants and guests who were invited from all over the globe, the place looked colorful and festive.

The two parallel sessions that followed were dedicated to the Feminine genius. One section centered on Way of Beauty in New Europe and the other section was dedicated to the Feminine genius in Sacred Music. I will mention here some of the papers presented in the latter, as there is no space to present it in its wholeness.

“Voices Found: Women as Composers of Hymns for the Community” by Lisa Neufeld Thomas, director of The Women’s Sacred Music Project in Philadelphia, stressed the importance of worship by women and about women. ‘Voices Found’ is actually an interesting collection of more than one hundred fifty hymns and spiritual songs that celebrate the gifts of women as composers, hymn writers, arrangers and translators. It is a compilation of contemporary and historical materials, crossing boundaries of geography, time and culture and representing the diversity of the gifts of women.

June Boyce-Tillman, from King Alfred’s College at the University of Winchester, examined a model of healing through music as balance; an outcome of St. Bridget’s teaching. “The Interrelationship between the Healing Power of Music and the Theology of St. Bridget” comes up with characteristics linked with women’s music, which, according to Tillman, reflects subjugated ways of knowing. Singing in the Community has also a significant power which affects the human soul. Frances Cox from London spoke for a necessary change in the attitude of the church towards hymn singing as part of worship. In “Community Singing – Its Role and Importance in the Liturgy,” Cox emphasized the fact that contemporary society offers few opportunities for people to sing together without fearing that they are excluded from the community experience. The challenge to the church (congregations and worship leaders), according to Cox, is to discover and explore how our choice and singing of hymns might unify the church community in worship. In other words, what we sing ought to be a true representation of what we believe in. It has, thus, to reflect the varied and shared experiences of men and women in each congregation. Hence, it needs to be accessible to everyone, whatever their age or ability.

Karin Strinnholm Lagergren, from Sweden, introduced the Cantus Sororum; the entirely new liturgy created in St. Bridget’s time, for the nuns, known as ‘the song of the sisters.’ Lagergren compared it to the liturgy for the brothers, borrowed from the diocese where the St. Brigidine order abbey was situated in 1378. In St. Bridget texts there are direct instructions about how the sisters’ music should be performed and comments about the special aspects of this sort of music. Although up-to-date research does not confirm whether or not there is a Scandinavian, late medieval chant tradition, there is no doubt that these findings form a unique aspect in the music history of Scandinavia.

One of the highlights of the conference was Carmina Slovenica, a children’s choir from Slovenia, conducted by Karmina Silec. This outstanding choir is involved in a project by the name of “Musica Inaudita” (from Latin: ‘music not yet heard’). It encompasses works by women composers from the 9th century to the 17th century – from Cassia of Byzantium to the nuns of Lombardy, from Hildgard von Bingen to a Mexican slave musician in the Baroque period.

From a more personal point of view, this conference was most

significant for me as an Israeli-Jewish scholar who was given the chance to meet all the variety of people from the Christian world.

Attending the Ecumenical Celebration of Vespers that was presided by the Pope John Paul II in St. Peter’s Basilica as part of the St. Bridget celebrations was a magical event. My paper “Women Composers in the Bible” seemed to be a natural continuation. The paper that was ordered by the organizers became a journey in its own right. Preparing it here, in Israel, gave me the chance to go back to biblical texts and re-contemplate about women’s driving forces and the source of their creativity. Presenting the paper in the special environment of the conference helped me strengthen my own location in the worldly community of women. And for this I am grateful to all those wonderful women with whom I shared ideas about identity, performance and representation alongside transmissions of warmth, empathy, tolerance and unconditioned acceptance regardless of religion, nationality, and race. Undoubtedly St. Bridget’s way of life, and the strong musical aspect that goes with it, were the perfect catalysts for forming our own Women solidarity.

2.3  Strong GLASS Concert Shows A Lot of Class
Charlene Morton

On the evening of November 14, 2002, and with the West Burnaby United Church as their performance venue, the Gay/Lesbian and Supportive Singers (GLASS) Youth Choir sang with heart-felt faith in a better tomorrow for all. The concert was organized to celebrate the choir’s first anniversary after forming in November 2001. At that time, a few students approached Carol Sirianni, a local secondary school music teacher, asking her if she would organize and direct a youth choir for gay and lesbian youth (ages 14-20).

Norm Olding—an English teacher at Carol’s school and also, along with Carol, a member of the Coquitlam School District Social Justice Committee (in British Columbia, Canada)—is the accompanist, and has travelled with them to all concert events on either side of the Canada/USA border. This year, the choir is raising funds to perform at the John F. Kennedy Center for the Performing Arts, Washington, DC.

In one year, the choir has grown from seven to thirty members. Three of those original choir members spoke during this anniversary concert to express their appreciation for the better sense of well-being that their choir experience brought them through their shared sense of purpose and strong sense of community. The concert repertoire not only reflected their shared purpose but also the promise of a more just society in which diversity of all kinds would be respected and celebrated. In addition to the political and social merit of the evening, music making was a priority: mouths were open wide, correct attention was paid to diction and cut-offs, and a hand could be seen placed on a hard-working diaphragm. The program comprised of repertoire that was for the most part SATB and memorized: Praise His Holy Name! (Keith Hampton), Imagine (Jennifer Higdon), Never Turning Back (Judy Small/Barry Oliver), One Small Voice (arr. Roger Emerson), What A wonderful World/Everything Possible (Weiss, Thiele/ Grice) and Singing For Our Lives (Holly Near). The audience was also invited to sing for the last well-know activist song, and they gave it their all. After the singing portion of the program was finished, the choir members presented Carol and Norm with bouquets, and then lined up to each give Carol a rose and hug. With their heads, hearts, and voices in the right place, this choir shows a lot of class.

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3.  Member News

3.1  Nora Beck
Associate Professor and Chair of the Music Department, Lewis and Clark College

“Revisiting Dufay’s Saint Anthony Mass and Its Connection to Donatello’s Altar of Saint Anthony of Padua” in Music in Art, Vol. 26, no. 1-2, Spring-Fall 2001.

“Surviving Mt. Hood.” Short story appearing in Kelvinmagazine.com.
“A Bad Girl’s Tenure Decision.” Poem in The Minnesota Review, Vol. 55-57, 2002.

3.2  Sondra Wieland Howe

In August 2002 Sondra Wieland Howe presented a paper on  “Swedish Music Textbooks in the Mason-McConathy Collection” for the Research Seminar of the International Society for Music Education and the research poster session at the ISME conference in Bergen, Norway. The co-author is Judith Th?ell.

3.3  Elizabeth Keathley

New position: Assistant Professor of Music History at the University of North Carolina, Greensboro

“A Context for Eminem’s ‘Murder Ballads,'” (first presented in 2001 at Feminist Theory and Music 6 in Boise!) will appear on the online journal Echo: A Music-centered Journal this December.

3.4  Ursula Rempel

Ursula Rempel presented three sessions (with Carolyn Ritchey) on Renaissance Music and Dance at the annual American Orff-Schulwerk Association conference in Las Vegas, Nevada (Nov. 6-10, 2002). The sessions were enthusiastically and energetically received: participants enjoyed exploring Spanish Renaissance music for recorder consort, and dancing a variety of branles, allemandes, and a Renaissance “cha-cha” (a farandole).

The AOSA national conference attracts participants and presenters from around the world. This year 2200 people gathered in Las Vegas for the 36th annual conference. This is the fifth conference to which Ursula Rempel and Carolyn Ritchey have been invited.

Their most recent published collaboration, _Festive Fayre: Renaissance Music and Dance for Recorder Ensemble_ was published by Waterloo Music Ltd. in 2000.

Ursula Rempel is a member of the Board of Directors of the IAWM (International Alliance for Women in Music) and an associate professor at the School of Music, University of Manitoba.

3.5  Jill Sullivan

Research Presentations:

Sullivan, J. M. (2002). A history of the U.S. Marine Corps women’s reserve band. Internationale Gesellschaft zur Erforschung und Forderung der Blasmusik (IGEB), Lana, Italy.

Sullivan, J. M. (2003). A history of the U.S. women’s military bands during W.W.II. World Association of Symphonic Bands and Ensembles (WASBE), Jonkoping, Sweden.

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4.  In Memoriam: Philip Brett (1937-2002)

Early on the morning of October 16, 2002, GRIME lost a great friend in Philip Brett, who died of cancer at his home in Los Angeles, California. He was 64. Musicologist, harpsichordist, and teacher, Brett was born in Edwinstowe, Nottinghamshire, on October 17, 1937.

Philip Brett had a long and distinguished career in musicology, but perhaps will be best remembered for his ground-breaking research regarding the homosexuality of Benjamin Britten. In an article first published in 1977 in the Musical Times and later included in his Cambridge Opera Handbook to Peter Grimes, Brett explored Britten’s sexual identity in relationship to his opera, Peter Grimes. Continuing this controversial and courageous work during the rest of his career, Brett co-founded the Gay and Lesbian Study Group of the American Musicological Society, and later co-edited the influential collection of gay and lesbian musicological research, Queering the Pitch. Brett also wrote the entry on Britten and co-authored the entry on “Gay and Lesbian Music” in the 2nd edition of the New Grove Encyclopedia of Music and Musicians.

Philip Brett received many awards during his career. He was nominated for a Grammy Award for the Harmonia Mundi recording of Handel’s oratorio Susanna, which featured the Philharmonia Baroque Orchestra and the University of California-Berkeley Chamber Chorus. The American Musicological Society honored him with the Noah Greenberg Award for his production of Monteverdi’s Orfeo and Peri’s Eurydice. Further, the American Musicological Society established the annual Philip Brett Award. In 2000, Brett was named the Distinguished Humanist Achievement Lecturer by the University of California at Riverside Center for Ideas and Society.

After 24 years at the University of California-Berkeley, Brett moved to the Riverside campus of the University of California to be with his partner, English professor George Haggerty, who survives him. Brett was chair of the UC-Riverside music department until 2000, when he was appointed Associate Dean of Research and Graduate studies in the College of Humanities, Arts, and Social Sciences. In 2001, Brett left UC-Riverside to take a faculty position at the University of California-Los Angeles.

Philip Brett will be remembered by all who knew him for his integrity, passion, sense of humor, and ultimately, his grace.

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5.  News of the Profession

5.1  ATHENA 2003 Festival and Competition, March 6 and 7, 2003

The ATHENA Festival and Competition, held biennially at Murray State University, is devoted to the performance and study of keyboard and vocal/choral music written by women. The featured scholar for the 2003 festival is Dr. Judith Tick from Northeastern University (biographer of Ruth Crawford Seeger) with special guest, Peggy Seeger, songwriter/singer and daughter of Ruth Crawford Seeger.

5.2  The Teacher Identities in Music Education (TIME) Project

The Teacher Identities in Music Education (TIME) Project is investigating how the attitudes and identities of intending British secondary school music teachers develop during the transition from music student or musician through postgraduate teacher education and into their first teaching post. It is also exploring how students on undergraduate teacher education courses might differ from those in university music departments and specialist music colleges in their attitudes toward, and preparedness for, teaching secondary school music as a career. Funded by the UK Government Economic and Social Research Council (ESRC), the project is hosted jointly by the University of Surrey Roehampton and the University of London Institute of Education. The study began in April 2002 and will be complete by July 2003.

Our latest newsletter provides a comprehensive introduction to the project and includes some preliminary findings. It is available as a PDF file from:http://www.leeds.ac.uk/educol/documents/00002229.pdf

5.3  Organised Sound

An International Journal of Music and Technology

Volume 8, Number 1
Issue’s thematic title: Gender Issues in Music Technology
Date of Publication: April 2003
Publishers: Cambridge University Press

Guest editor Hannah Bosma will co-ordinate this issue. Please contact her at Hannah.Bosma@hum.uva.nl .

5.4  Korean Music Festival: “The World Women in Music Today 2003″

The Korean Society of Women Composers (KSWC) will host an International Conference, “The World Women in Music Today 2003,” in Seoul, Korea, from April 8 to 13, 2003, in cooperation with the International Alliance for Women in Music (IAWM). The conference events and concerts will take place at the major arts complex, Seoul Arts Center (equivalent to Lincoln Center), and the National Center for Korean Performing Arts as well as the campus of Yonsei University, Ewha Women’s University, Sookmyung Women’s
University and Korean National University of Arts.

Attendees will have rich experiences in both Korean traditional and new music; they will explore the life style and cultural context in Korea; and they will participate in intellectually stimulating discussions about world women in music today. Internationally recognized artists and scholars, who will contribute their creativity and expertise to concerts and engaging panel discussions, will be featured. The conference will present a variety of new musical styles, closely tied to the mission of supporting Asian artistic and cultural expressions that integrate new music into the fabric of their traditions and contemporary life styles. The performances will cover a broad area ranging from new orchestral music, Korean traditional music with the Korean Broadcasting System (KBS) Orchestra, chamber music, music technology, and opera to cross cultural improvisations.

This is a participatory conference for musicians, arts organizations, educators, funders, students and members of the KSWC as well as the IAWM.

5.5  Women, Space and Technology 

99th Association of American Geographers Annual Meeting

March 4-8, 2003, New Orleans, LA

Organizers: Mei-Po Kwan and Pamela Moss

Theory in technology studies has increasingly become the focus of debate. While feminist theory has lots to say about women, space, and technology individually, there have been only scattered pieces of work that have tried to deal with these three concepts at the same time. For example, in economic geography, there are geographers interested in women’s work in high tech industries, in highly mechanized labor processes, in the intersections of technology, work and gender relations within the household, and in how discourses about technology are gendered.

There are some works in cultural geography studies about women’s bodies in cyberspace, women’s cyberspatial experiences and identities, women’s social networks in the physical world and cyberspace, women’s training in spatial technologies, and the spatiality of gendered technologies. And even more peripherally are studies in how women negotiate space through specific devices and machines as well as change their surroundings through home renovations.

In this session, we want to bring together people who are interested in developing a discussion focused on technologies with regard to women and space in innovative ways. Innovation refers not only to the topic, but also to the source of theory. Possible topics include:

* spatializing women’s bodily movements through studying kinesiology,
* analyzing women’s bodies as cyborgs,
* representing women’s spaces through various technologies,
* investigating women’s use of technology to alter the effect of space and time in their everyday lives,
* figuring out how spatial technologies can effect positive social change for women,
* reconceptualizing women’s spaces with basic and advanced technologies,
* creating safe spaces for women on the Internet, and
* other innovative approaches or topics.

5.6  The 4th Asia-Pacific Symposium on Music Education Research

July 9-12, 2003
Hong Kong Institute of Education
Hong Kong, China

Conference Theme:  Curriculum Innovation In Music

– Music Curriculum Reform
-School Music Teaching and Learning
– Theory and Practices in Teacher Education
– Arts Education Reforms
– Music Education in the Community
– Teaching World and Folk Music
– Flexible Learning in Music
– Technology in Music Education
– Studio Music Teaching

Keynote Speakers:
Dr Lucy Green
Gary McPherson
Professor Peter Webster
Professor Xie Jia Xing,


Symposium Chair Symposium Vice Chair
Department of Creative Arts Department of Creative Arts
Hong Kong Institute of Education Hong Kong Institute of Education
Hong Kong Hong Kong
wycheung@ied.edu.hk bwleung@ied.edu.hk


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6.  Calls for Papers & Proposals

6.1  Researching Black Canadian Musics / Black Music Cultures in Canada
May 1-3, 2003
York University, Toronto, Ontario

An interdisciplinary conference sponsored by the Centre for the Study of Black Cultures in Canada, York University, Toronto.

The Centre for the Study of Black Cultures in Canada invites your participation in the first conference devoted to research on Black Canadian musics / Black music cultures in Canada. This conference will bring together scholars, musicians and community historians to share research and build a foundation for Black Canadian music studies.

We invite papers on all genres of Black music, including (but not limited to) hip hop, jazz, r & b, pop, reggae, calypso, steelpan, dub, “high-life”, soukous, mbaqanga, salsa, son, dance, electronica, gospel, blues, spirituals, “classical”, ragtime, musical theatre, country, soul, funk, and DJ culture.

  • Possible themes include:
  • Defining “Black Canadian musics”
  • Histories of Black Canadian musics and musicians
  • Ethnicity, Class, Gender and Sexuality in Black Canadian musics
  • Black Canadian music organizations
  • The music industry and the Junos / East Coast Music Awards
  • Black activism, community radio, and independent labels
  • Canadian musics as Black diasporic musics
  • Latin Canadian and Black francophone musics
  • Black Canadian music/ians in film, literature, music video
  • FLOW, WORD and the Black press
  • Black popular culture and club scenes
  • Black Canadian music, globalisation, and the Canadian state
  • Black American, Caribbean and African musicians in CanadaSubmit 2 copies of proposals (250 words or less) and a brief biographical statement (1 pg. maximum) by December 2, 2002 to (proposals accepted through the beginning of December):

    Researching Black Canadian Musics
    706 Atkinson College
    York University
    4700 Keele Street
    Toronto ON M3J 1P3

    or e-mail Natasha Smith <nsmith@yorku.ca> or Leslie Sanders <leslie@yorku.ca>.

    6.2  Music – Culture – Society: A Symposium in Memory of John Blacking

    12 – 14 JULY 2003, Callaway Centre, School of Music, Perth, University of Western Australia

    Submission of Abstracts: by 15 December 2002

    John Blacking (1928-1990), British anthropologist and ethnomusicologist, was a pioneer in the exploration of the role of music in society and culture.  What began as a field study of the Transvaal Venda people of South Africa in 1956 became the basis of his postulation on the nature of musicality and the foundation of his theory on the presence of music in human life.

    The Callaway Centre is the custodian of the John Blacking Papers, comprising his original research data on African music as well as unpublished papers written for many of the conferences he attended.

    The theme Music – Culture – Society: a symposium in memory of John Blacking, addresses cornerstones of the thinking of John Blacking and originates in chapter headings from his seminal work, How Musical is Man?  It is hoped that this broad-ranging theme will encourage a wide variety of papers from scholars and practitioners working in the areas of music education, ethnomusicology, music theory, music aesthetics, and anthropology.   Whilst not being limited to the following, papers are welcomed in such areas as:

  • the application of Blacking’s theories to the musical life of the Indian Ocean littoral  (Africa, Asia, Australia);
  • music for children;
  • world musics in contemporary music education curricula;
  • music and movement;
  • the John Blacking/Percy Grainger link;
  • the role of ‘other’ in ethnomusicology;
  • the relationship between imposed and indigenous cultural frameworks.
  • the role and place of music in different cultures;The Symposium is being organised by the Callaway Centre in association with the School of Music and the Institute of Advanced Studies, The University of Western Australia. Besides keynote addresses and paper sessions, there will be concerts, an opportunity to view and discuss the Blacking Papers, a symposium dinner, and a visit to an indigenous music centre.

    The four keynote speakers are Professor Patricia Shehan-Campbell (University of Washington), Dr. John Baily (Goldsmiths College, University of London), Professor Meki Nzewi (University of Pretoria) and Dr Fiona Magowan (University of Adelaide).

    Abstracts of papers up to 300 words should be sent (preferably electronically) no later than 15 December 2002 to the convenors, Dr Sam Leong (sleong@cyllene.uwa.edu.au) or Dr David Symons (dsymons@cyllene.uwa.edu.au), The University of Western Australia, 35 Stirling Highway, Crawley, WA 6009, Australia. A short biography of the presenter (up to 150 words) should be included. Notification of acceptance will be sent by 15 January 2003.  Please provide email, postal and fax details to facilitate communication.

    It is planned that papers from the symposium will be selected for a refereed publication. Presenters whose abstracts have been selected for this publication will be invited to submit the complete paper by 1 April 2003. Notification of acceptance for the publication will be no later than 15 May, 2003 and the final version will need to be submitted by 15 September 2003.

    For further information contact Dr Victoria Rogers, Manager, Callaway Centre at circme@cyllene.uwa.edu.au

    6.3  Call for Manuscripts, Communication Education invites manuscripts for a special issue entitled:

    Racial, Cultural, and Gendered Identities in Educational Contexts:
    Communication Perspectives on Identity Negotiation

    Educational environments are not simply contexts for the exchange of ideas; there is also the constantly occurring exchange of codes of personhood.  This special issue will examine how racial, cultural, and gendered identities emerge and are negotiated in educational milieux, and explore the practical implications of this phenomenon.

    Manuscripts addressing the following themes will be given priority:

  • The intersection of race, culture, gender and/or identity in the classroom (i. e. examining identities, message processing and/or relationships among culturally diverse students and teachers)
  • Explorations of cultural or gendered identity management in pedagogical practices
  • The intersection of race, culture, and/or gender in the curriculum
  • Power and dominance as mediating factors that influence identity shifting in the classroom among teachers and/or learners
  • Comparing the communicative experiences of two or more cultural groups within the classroom
  • Confluence among race, instruction and identity/identity negotiation
  • Ways that teaching may be enhanced in multicultural as well as in culturally homogenous classroomsAuthors should demonstrate how their work contributes to praxis as well as to knowledge about racial, cultural, or gendered identities in the classroom or curriculum.  All methodological and theoretic approaches are welcome.  Manuscripts may address the special issue theme from a wide array of perspectives. Historical, critical, social, political, rhetorical, feminist or postfeminist, postmodern, postcolonial, afrocentric, and aesthetic essays are welcome, along with empirical and other methods.

    Submission of Manuscripts

    Full-length manuscripts of articles reporting empirical research, critical analyses, historical scholarship, or theoretic expositions should conform to the Style Manual of the American Psychological Association, 5th edition (2001).   Article manuscripts should generally not exceed 30 double-spaced pages (including references and notes). Manuscripts should be submitted by mail with three print copies and a disk copy formatted in MS Word only.  To facilitate masked review, the author’s identity should not be discernible in the text, except on the title page.

    Submissions include: (1) detachable title page with names of author(s), academic position, institutional affiliation, full address, telephone number, fax number, and email address; (2) an abstract of not more than 150 words; and (3) a history of the manuscript under review including whether it is a dissertation or thesis excerpt or conference paper. Communication Education only publishes original work not previously published or under review anywhere else. All manuscript submissions must be received by the January 15, 2003 deadline.

    Ethical Standards

    Manuscripts submitted to Communication Education must subscribe to the National Communication Association Code of Professional Ethics for Authors.  (Seehttp://www.natcom.org/policies/Internal/code_of_professional_ethics.htm
    or write NCA, 1765 N Street NW, Washington, DC 20036). These guidelines enjoin authors to use inclusive and non-defamatory language.

    In addition, submissions should be accompanied by a cover letter attesting that the author has met professional standards for any of the following principles as may apply: (1) The manuscript is original work and proper publication credit is accorded to all authors; (2) Simultaneous editorial consideration of the manuscript at another publication venue is prohibited; (3) Any publication history of the manuscript is disclosed, indicating in particular whether the manuscript or another version of it has been presented at a conference, or published electronically, or whether portions of the manuscript have been published previously; (4) Duplicate publication of data is avoided; or if parts of the data have already been reported, then that fact is acknowledged; (5) All legal, institutional, and professional obligations for obtaining informed consent from research participants and for limiting their risk are honored; (6) The scholarship reported is authentic.

    Contact Information

    Queries and manuscript submissions should be addressed to: Ronald L. Jackson II, Guest Co-Editor, Communication Education, 234 Sparks Building, Department of Speech Communication, Pennsylvania State University, University Park, PA 16801; Phone:  (814)-863-6260 or to Katherine Grace Hendrix, Guest Co-Editor, 143 Theatre & Communication Arts Department, University of Memphis, Memphis, TN 38152; Phone: (901)-758-0636. Otherwise, direct all correspondence to the special issue email address atcommed@psu.edu.

    6.4  Cultural Intersections in Latin American Art Music: The Music of Tania Leon
    DePauw University
    Greencastle, Indiana
    5 April 2003

    As part of the on-campus residency of highly regarded composer and conductor Tania Leon, the School of Music at DePauw University will host an interdisciplinary symposium to discuss various aspects of the life and work of Leon as well as the multifaceted cultural meanings associated with art music from Latin America. We invite scholars from all fields and at all levels to present work on the music of Tania Leon and Cuban and Latin American art music and culture more generally.

    Topics include the following but are not limited to:

  • The life and works of Tania Leon
  • Contemporary art, dance, and music in Latin America, particularly the Caribbean and Cuba
  • Relationship between art and popular musics
  • Music and politics
  • Indigenismo in art music
  • Black ethnicity in Latin American music and culture
  • Contemporary Cuban and Caribbean composersProposals should include a one page abstract, a short bio, and complete contact information (3 copies). Proposals should be postmarked by 15 January 2003 and sent to:

    Leon Symposium
    c/o School of Music
    DePauw University
    Greencastle, IN 46135

    Inquiries and email submissions should be sent to: Dr. Matthew Balensuela at <balensue@depauw.edu>

    6.5  Critical Matrix

    Critical Matrix is a forum for research, criticism, theory and creative work in feminism and gender studies. Seeking connections among scholarly, aesthetic and activist approaches to gender, CM brings together written and visual materials that explore, redefine or reach across traditional disciplinary boundaries. Today an award-winning, internationally circulated professional journal, CM was founded by feminist graduate students in the early 1980s to provide academic support for exploratory scholarship in Women’s Studies and continues to encourage submission that might encounter resistance or neglect within established disciplines. We solicit new work by authors at any stage in their careers, with or without academic affiliation. Critical Matrix is currently seeking submissions from all disciplines for an issue devoted to questions of space and place. Please see this link for possible topics and guidelines:


    Lawrence D. Berg, D.Phil.
    Associate Professor, Department of Geography
    Okanagan University College, Vernon, B.C., Canada     V1B 2N5
    Voice:  +1 250 545-7291 ext. 2264          Fax:     +1 250 545-3277
    E-mail: LBerg@ouc.bc.ca

    Editor: The Canadian Geographer/Le Geographe canadien

    Editor: ACME: An International E-Journal for Critical Geographies

    Moderator: Critical Geography Forum

    6.6  Central Pennsylvania Consortium’s Women’s Studies Conference

    The topic of this year’s Central Pennsylvania Consortium’s Women’s Studies Conference is WOMEN AND WAR. The conference will be held on Saturday, March 1, 2003, at Gettysburg College, in Gettysburg, PA. Our keynote speaker will be Dyan Mazurana. Dr. Mazurana is co-author of the United Nations Secretary-General’s study on Women, Peace and Security (United Nations 2002) as requested by the United Nations Security Council in Resolution 1325. She is a 2001-2002 Peace and International Security Fellow, Kennedy School of Government, Harvard University, USA. Her areas of specialty include women’s human rights, war-affected children, armed conflict, post conflict, peacebuilding, and peacekeeping.

    We also seek proposals from the academic and activist communities. We are looking for proposals that break down the boundary between audience and participant – workshops, roundtables, personal narratives, dance, and performance – as well as more traditional scholarly papers and reports. Individual and group proposals are welcome. We also welcome proposals from students and graduates working with faculty. Email proposals to cpc@dickinson.edu  by January 15, 2003. Please include a 1-to-2-paragraph description of your panel or proposal and include names, email addresses, phone numbers, and institutional affiliations (if any) of all participants. Notification of acceptance will be sent by February 5, 2003.

    Possible Topics:

  • Impact of war on children and women
  • Militarization of women’s lives
  • Women in peace making and peace keeping
  • Portrayals of women in war: film, literature, and art
  • Women at the home front6.7  Engendering Change: New Directions in Music Studies

    Music Graduate Society Annual Symposium
    McGill University
    Montreal, Canada
    March 21 to 23, 2003

    Keynote Speaker: Dr. Ellie Hisama – Associate Professor of Music, Brooklyn College and the Graduate Center, City University of New York

    The McGill Music Graduate Society requests the submission of abstracts for its annual conference. This year’s symposium focuses on evolving trends in all disciplines of music research, with a special focus on issues of gender, race, and sexuality. We encourage any abstracts that use new research paradigms, whether through music theory, musicology, ethnomusicology, music education, composition, computer applications, or sound recording technology. The committee strongly encourages proposals for lecture-recitals and performances. Presentations in a non-traditional format are also welcomed.

    Proposals should be submitted by January 31, 2003 via email. Submissions made within the body of the email should include the author’s name, address, telephone number, email address, affiliation, all required equipment, and an abstract of no more than 250 words, suitable for publication in the conference program. Note that the abstracts will be judged anonymously.
    Please submit proposals to:   mcgillsymposium@yahoo.com.

    6.8  UPDATE: Feminist Theory and/of Science (12/15/03; journal issue)

    Call for Papers

    Feminist Theory

    Special Issue:
    Feminist Theory and/of Science

    Guest Editor: Susan M. Squier

    Articles are invited that consider the relations between feminist theory and science, as well as feminist theories of science. Essays may vary in subject area and methodology.  Literary, historical, and/or visual and cultural studies approaches, sociological and anthropological approaches, as well as perspectives from the scientific disciplines, are encouraged.  Possible subjects of exploration include: feminist theory and the biological body and brain; the limits of materiality; the limits of social construction; feminist theories of information and communication technology (ICT); is there a feminist science? Is there a scientific feminism? Discourses of science and feminist theory; feminist science studies or queer science studies: what are the differences? What is the role of literature in feminist theory / in feminist science studies? How does feminist theory respond to the risk society? How does feminism understand the categories of gender, race, class, disability, and/or species as they are constituted and/ or deployed in scientific practice? Is a ‘non-modern’ feminist science studies possible?  What are the essential texts for feminist theory of science?  What practices characterize feminist science studies or the feminist theory of science?

    Feminist Theory is a peer-reviewed journal and all articles will be subject to the usual refereeing process. Six copies should be submitted. Author’s names and biographical notes should appear only on a cover sheet, and all identifiers in the text should be masked so that manuscripts can be reviewed anonymously. Each article should be accompanied by an abstract and keywords and a brief biographical note. Articles should be typed double spaced, with references in the Harvard Style and substantive footnotes at the end of the article. Manuscript length should be between 6,000 and 8,000 words.

    Detailed notes for contributors are available on request from the Feminist Theory office: email feminist.theory@york.ac.uk. Other inquiries should be directed to the issue editor by e-mail, at sxs62@psu.edu.

    This special issue will review only unpublished manuscripts that are not simultaneously under review for publication elsewhere.

    Deadline for submissions: December 15, 2003.

    Manuscripts should be clearly marked ‘Special Issue’ and sent either to Feminist Theory, Centre for Women’s Studies, University of York, Heslington, York YO10 5DD or, in the case of North American authors, to Susan Squier, PO Box 557, 211 Miller Lane, Boalsburg, PA 16827, USA. Susan Squier is Brill Professor of Women’s Studies and English at the Pennsylvania State University, where she is a member of the Science, Medicine, Technology and Culture group and the Disability Studies group of the Rock Ethics Institute.  She has served as President of the Society for Literature and Science, and is currently on its Executive Board. Among her publications are: Babies in Bottles: Twentieth-Century Visions of Reproductive Technology, Playing Dolly: Technocultural Formations, Fantasies and Fictions of Assisted Reproduction (edited with E. Ann Kaplan), Arms and the Woman: War, Gender, and Literary Representation (co-edited with Helen Cooper and Adrienne Munich). Her edited collection, Communities of the Air: Radio Century, Radio Culture, is forthcoming in 2003 from Duke University Press.  In summer 2002, she co-directed (with Anne Hunsaker Hawkins) the National Endowment for the Humanities summer institute on “Literature, Medicine and Culture” at Penn State University Hershey Medical Center.

    Susan Squier
    Brill Professor of Women’s Studies and English
    S228 Burrowes Building
    University Park, PA 16802

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    7.  Opportunities & Announcements

    7.1  Bank Of Montreal Visiting Scholar in Women’s Studies

    Sponsor: University of Ottawa
    Program Number: 70367
    Title: Bank of Montreal Visiting Scholar in Women’s Studies
    E-mail: mcharbo@uottawa.ca

    Program URL:


    The Institute of Women’s Studies at the University of Ottawa seeks applications for a visiting scholar in women’s studies. The duration of the Visiting Scholar’s stay should be from three (3) to six (6) months and within the university’s academic year, which runs from September to
    April. The purpose of this fund is to attract highly qualified researchers working on women’s issues. The Visiting Scholar will present her ongoing research project in conferences and seminars as requested. The Institute of Women’s Studies invites applications from Canadian and non-Canadian scholars, both tenured and untenured faculty, and from post-doctoral, independent scholars who are pursuing critical feminist research. Individuals pursuing a university degree are not eligible.

    Deadline: 12/31/2002

    7.2  I would like to announce completion of an interactive web-based tutorial on the evaluation of websites, which uses topics related to international women’s issues as examples throughout. The tutorial uses an easily remembered Who-What-When-Why-How approach to help students assess the web pages they retrieve using search engines. It is accessible at


    This tutorial could be used in teaching web evaluation in any course. When available in a couple of months, our tutorial on “Using A Metasite” could also be used in a variety of contexts.

    We have two more tutorials online teaching skills related to effective use of electronic resources and using examples from international women’s issues, which we may still tweak a bit here and there. They are likely to be of interest primarily to women’s studies. They use databases that may be available on your campus; if so, you are welcome to use them. They are

    “Using GENDERWATCH” at



    “Finding Articles from CONTEMPORARY WOMEN’S ISSUES Within LEXIS-NEXIS” at


    Note: If your campus library has a direct subscription to CONTEMPORARY WOMEN’S ISSUES database, do NOT use this tutorial. Not all articles from CWI are in Lexis-Nexis.

    The tutorials have a homepage at


    which is also linked from my office’s homepage at


    Pamela O’Donnell and I are the authors of the tutorials; the University of Wisconsin System Board of Regents holds the copyright. Our rules for use are stated on our credits page as follows: “The materials may be copied freely by individuals or libraries for personal use, research, teaching (including distribution to classes), or any other fair use as defined by United States copyright law. Please include this statement and author or photographer attribution with any copies you make. Materials on this site may be linked to freely in non-commercial, non-subscription Internet editions created for an educational purpose. Anyone interested in another use of the materials on this site, including for-profit Internet editions, must obtain permission from the University of Wisconsin System, by contacting the University of Wisconsin System Women’s Studies Librarian.”

    The tutorials were funded under a grant from the University of Wisconsin System Institute for Global Studies.

    We welcome feedback sent to pweisbard@library.wisc.edu and pkodonnell@wisc.edu.

    Phyllis Holman Weisbard
    University of Wisconsin System
    Women’s Studies Librarian
    430 Memorial Library, 728 State Street
    Madison, WI 53706

    7.3  Feminist Theory and Music 7 and the 12th Annual Meeting of Gender Research in Music Education-International will be held at Bowling Green State University (Ohio) on July 17-20, 2003.

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    Journal of Historical Research in Music Education

    Volume XXIII:2 (April 2002)


    Jere T. Humphreys, Arizona State University


    Creative Music Making as Music Learning: Composition in Music Education from an Australian Historical Perspective
    Peter Dunbar-Hall, University of Sydney, New South Wales, Australia

    The Influence of Japanese Music Education in Taiwan during the Japanese Protectorate
    Angela Hao-Chun Lee, Mulgrave, Victoria, Australia

    A History of Music Education at Michigan State University
    Jean H. Fickett, Michigan State University

    Some Notions, Stories, and Tales About Music and Education in Society: The Coin’s Other Side
    Jere T. Humphreys, Arizona State University

    Book Reviews

    Butt, John. Music Education and the Art of Performance in the German Baroque
    Reviewed by Brian Cardany, Arizona State University

    Sudhalter, Richard. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945
    Reviewed by Andrew Goodrich, Arizona State University

    Frederiksen, Brian. Arnold Jacobs: Song and Wind, ed. John Taylor
    Reviewed by Christopher M. Hulett and Barry N. Kraus, Arizona State University


    School of Music
    Arizona State University
    Tempe, AZ  85287-0405

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