Volume 10, Number 2 (December, 2001)
In this issue:
Gender Research and Terrorism: Relevance, Relatedness, and Responses
2. Conference Reports
2.1 International Festival of Women Composers, Sharon Shafer
2.2 Feminist Theory and Music 6: Confluence and Divide, Sondra Wieland Howe
2.3 Feminist Theory and Music 6: Confluence and Divide, Nikki Tsuchiya
2.4 College Music Society Annual National Meeting, Giselle Wyers
3. Research Reports
3.1 Sixth International Festival of Women Composers “Sounds of Shattering
Glass, Focus Panel I, Research and Education Perspectives”, Sharon Shafer
3.2 Feminist Theory and Music 6: Confluence and Divide Teaching Music from
Outside the Closet, Eleonora M. Beck
3.3 “Ah dagli scanni eternei”: Verdi’s Invocations of the Absent Mother, Claire Detels
3.4 Women’s Participation in the Music Department of NEA, Sondra Wieland Howe
3.5 A Context for Eminem’s “Murder Ballads”, Elizabeth Keathley
3.6 Does Electronic Music Have a Gender?, Elizabeth Keathley
3.7 “Where are all the girls?” Women in Collegiate Instrumental Jazz, Kathleen McKeage
3.8 Reading Salome’s Dance as “Other”, Edith Zack
4. In Memoriam: Dr. Steven J. Paul (1952-2001), Jill Sullivan
5. Members Research & Creative Activities
5.1 Andra McCartney
5.2 Ursula Rempel
5.3 Sharon Shafer
5.4 Carol Ann Weaver
6. GEMS Update & Call
7. News & Conferences
7.1 4th Annual Winter Sun Music Festival
7.2 Call for Program Participation: College Music Society Forty-Fifth Annual Meeting
7.3 Network of Music Career Development Officers
7.4 Call for Compositions – Symposium XXVII for New Band Music
7.5 Society for American Music – 28th Conference
7.6 Symposium of World Musics
7.7 MENC: The National Association for Music Education National Biennial In-Service
7.8 Experience Music Project, Seattle, WA
7.9 Call for manuscripts: Sex Education
8. RSME Table of Contents
Gender Research and Terrorism: Relevance, Relatedness, and Responses
It seems impossible to write anything this fall without making reference to the horrific events in New York City and Washington DC September 11, 2001. The tragedies touched my family as both my sisterand her husband work in offices near the World Trade Center. Too many other families, however, experienced those events far more intimately, and have been devastated by the events of that day in both New York and Washington, DC. They, of course, have our most profound sympathy. Making sense of all of it may not be possible, but as feminist researchers, we do have some tools for at least beginning to sort it out.
If you have not already seen it, I strongly recommend reading the article, “Phantom Towers: Feminist Reflections on the Battle Between Global Capitalism and Fundamentalist Terrorism,” by Rosalind P. Petchesky, and published in the Women’s Review of Books November 2001
(Vol. XIX, No.2). Dr. Petchesky uses a feminist perspective to analyze the events in terms of wealth, imperialist nationalism, pseudo-religion, militarism, masculinism, and racism. Distinguishing between “immediate causes” and “necessary conditions” (p. 4), she discusses ways in which the U.S. and Al-Qaeda share similar interests. This analysis demonstrates that neither conservative nor liberal agendas in the U.S. provide comprehensive explanations for the terrorist attacks. Further, in terms of U.S. responses, she argues that war “reflects . . . not the
defense of civilization, but the breakdown of civilization” (p. 5). Her hope for the future is that as a nation “we will recover a new kind of solidarity; maybe the terrorists will force us, not to mirror them, but to see the world and humanity as a whole” (p. 6).
What does this mean for us in terms of gender research in music education? I would suggest that it makes our research even more necessary. The research projects we create and their findings have the potential to be analyzed and understood in terms of at least some of the
areas Dr. Petchesky discussed. While wealth, masculinism, and racism seem to be the most obvious areas, imperialist nationalism and pseudo-religion are not unrelated. It may be no longer enough to simply conduct our research and report the findings to our professional
community. We may need to seek ways in which it may be applied in a broader context. Or we may simply need to disseminate it beyond the confines of journals and conferences, and work to provide it directly to students, educators, administrators, musicians, and members of the community. Similarly, it may be necessary to develop research projects that reach beyond traditional concepts and boundaries, using wider, more global perspectives.
I have argued before about the importance of our research. After the events of September 11, it seems to me that its value to the profession has become even more compelling. It has the potential-literally-to change the world, even if it is only one student, one educator, one
administrator, or one classroom at a time. Feminist research matters because it speaks to the educational and musical needs of students within the context of their embodiment in societies characterized by (unequally distributed) wealth, imperialist nationalism, pseudo-religion, militarism, masculinism, and racism. It matters because it offers strategies for changing attitudes and practices that reinforce debilitating social structures and methods of interacting. It matters because it provides ways for all students, teachers, and administrators to realize their musical and educational dreams. It matters because it is focused on what matters: embodied human beings-all of us-in a world in which “they” exist only at our own peril.
Perhaps this is a good time for us to engage in some dialogue on the list about these issues. We are all busy, obligated to doing so much more than research. Spending time with students through teaching and advising grounds us, while administrative work and committee meetings
support our institutions. But it is critical, I think, to interact more with each other. We should know about research on which we are working, the issues we are trying to resolve about it and other matters. Our community might desire to function more closely (wholly?). For that,
perhaps we might consider reading at least part of the book recommended by Wayne Bowman, Who is This We?: Absence of Community edited by Eleanor M. Godway and Geraldine Finn. Or perhaps someone will suggest something else to read or some other method of furthering communication and our understanding of each other. I hope to hear from you on the list, or
privately if you would prefer.
Please make every effort to attend the MENC: The National Association for Music Education conference in Nashville, Tennessee April 10-13, 2002. I look forward to seeing you at the GRIME and Gender SRIG meeting scheduled for Thursday, April 11 at 3:45 pm. Presenters at the meeting include Elizabeth Keathley, “Gendering the DJ,” Kathleen McKeage, “Undergraduate Women in Instrumental Jazz Ensembles,” and Patti O’Toole, “What About the Boys? Third Wave Feminists Confront the Question of the Role of Men in Feminism.” It should be a lively session. See you there!
Best wishes for a peaceful and joyous holiday season.
I attended the Sixth International Festival of Women Composers held at Indian University of Pennsylvania March 21-24, 2001, and it was a wonderful experience for all of us. Libby Larsen was the composer in residence, and Valerie Capers was a featured artist. Sebronette Barnes,
soprano, was a featured performer. Her new CD You Can Tell the World: Songs by African-American Women Composers (Senrab Records, 2000) was available for purchase. It’s a great recording of art songs and spiritual arrangements that illustrate her musicianship and gorgeous
voice. Charsie Randolph Sawyer, soprano, also introduced her new CD The Unknown Flower: Song Cycles by American Women Composers of the 20th Century (Calvin CAA 1004) with songs by Valerie Capers, Lena Mclin, Lettie Beckon Alston, Betty Jackson King, Li Larsen, and Spirituals arranged by Jacquelyn Sellers.
There was an exciting performance of one of Grayza Bacewicz’s violin sonatas by Laura Kobayashi, violin and Susan Keith Gray, piano. Their new CD Boldly Expressive! Music by Women (Troy 372, Albany Records) includes works for violin and piano by Rebecca Clarke, Marie Grandval, Johanna Senfter, Serra Miyeun Hwang, Barbara Heller, and Grazyna Bacewicz, all played with tremendous energy and musicality.
Elizabeth Gould organized a fabulous conference, Feminist Theory & Music 6: Confluence & Divide, held at Boise State University, July 5-8, 2001. There were many concerts, papers, informal discussions, and the facilities were excellent.
Although music education was a small part of the conference, many of the papers related to education indirectly, and many of the topics were of interest to educators. The marvelous concerts throughout the conference featured contemporary women composers from around the world.
Several papers highlighted composers of the past. Joseph Baldassarre analyzed “A chantar,” the only trobaritz song that has survived with both text and music. There were papers on Hildegard von Bingen’s Sequences (by Olivia Carter Mather), and contemporary settings of
Hildegard’s music (Giselle Wyers). Susan Mina Agrawal compared the representations of Judith by the Italian painter Artemisia Gentileschi and the composer Elisabeth-Claude Jacquet de La Guerre. Andrea Lowgren discussed the effect of marriage and motherhood on the career of
There were papers on women’s choruses (by J. Michele Edwards) and Pauline Oliveros and the accordion (Angelique van Berlo). One of the most fascinating papers was “Me and Velma Ain’t Dumb: The Women of West Side Story,” in which Elizabeth A. Wells talked about the tomboy
character of “Anybodys.”
At the section on “Gender and Music Education,” Kathleen McKeage studied the plight of women in collegiate instrumental jazz programs, and Sondra Wieland Howe traced the participation of women in the Music Department of the National Education Association 1885-1920. The highlightof the conference was Roberta Lamb’s keynote address at the banquet — “A Wild Passion? A Wild Patience? A Wild Flower? Cultivating in the Feminist Theory and Music Garden.” Music educators need to submit more papers for the next FTM conference.
I went to this conference strictly to accompany a friend. Although Asian, I have not focused on issues of race and gender in my musical work and had no knowledge of GRIME or FTM conferences prior to attending this conference. Here’s my “from the outside looking in” review:
FTM6 took place on the beautiful campus of Boise State University under the energetic and friendly leadership of Dr. Liz Gould, indeed the entire music faculty, students and staf. As a member of a profession that tends toward conservatism and protectionism, I was astounded at the diversity of the participants and the topics that were presented. Dialogues such as Ellen Koskoff’s startling confession that Romantic music makes her feel manipulated and that she no longer listens to it, eliminating the music major as we now know it, or Fred Maus’s re-framing
of passive vs. active listening are not part of the daily banter in the halls of the music building where I work!
Of the presentations I attended, standouts were Naomi Andre’s meticulous research which allowed the historical evidence itself to tell the unexpected story of the castrati’s lingering echoes into the 19th century. Equally powerful was Elizabeth Wells’ work on the women in West Side Story. Presenting the fruits of scholarly sleuthing such as her newly discovered documentary sources made for a compelling second look at this now classic Bernstein opus.
The music heard at this conference ranged from vintage post-tonal soundscapes to Tomie Hahn’s intriguing multimedia exploration of movement and sound. Can technology be humanized after all, and to an artistic end? Before the conference, I would have said no. Now, I can only smile and say, perhaps there is hope after all! Thank you all for a powerful, eye-opening and enriching experience.
This year I had the privilege of presenting a paper at the CMS and ATMI annual meeting in Santa Fe, New Mexico from November 15-18, 2001. Against the vibrant backdrop of Santa Fe’s museums, restaurants, and shops, CMS and ATMI offered an impressive array of sessions and
performances to attend. The conference also offered a variety of walking tours of Santa Fe and excursions to monuments and towns outside of Santa Fe.
Janet Sturman, program director for CMS, created numerous sessions that centered around musical influences of Southwestern culture and history, and brought in guest performers Marimba Maderas de Comitan from Arizona State University (Ted Solis, director), Cipriano Vigil y Su Conjunto and Alma Flamenca for evening entertainment and dance workshops. Concerts
at the St. Francis Auditorium within the Museum of Fine Arts afforded performers a beautiful setting with warm acoustics.
Tom Hughes, program director of ATMI, offered a variety of informative workshops for using new software and online music instruction to enhance effectiveness in teaching. Many of the software programs were available for use by program participants after the workshops.
Anthony Seeger, professor of ethnomusicology at UCLA, was the honored speaker for the Robert Trotter lecture, and spoke about the ways folk music recordings have shaped, and in some cases, changed, the course of people’s lives, as he discovered during his work as Curator for the Folkways Collection and Director of Smithsonian Folkways Recording from 1988 to 2000.
“Sounds of Shattering Glass, Focus Panel I, Research and Education Perspectives”
Changes in women’s roles in society are reflected in assumptions about their activities as composers. Eighteenth and nineteenth century expectations that women should make music only in a domestic setting restricted their opportunities to become professional musicians. By the end of the twentieth century, three women won Pulitzer prizes in music composition, and The Library of Congress announced the Koussevitzky Commissions for 2000 with half of the awards made to women composers. That’s the sound of “shattering glass!”
Teaching Music from Outside the Closet
Eleonora M. Beck
This paper explores the hurdles and rewards of teaching music history from outside the closet. It begins with some strategies for coming out in the context of a music class and/or professional academic setting. This is followed by an evaluation of strategies in teaching composers whose lives and music engender an exploration of GLTBA issues. Meredith Monk’s opera Atlas is the focal point of my investigation — an example of a journey of self-awareness as expressed through music. The paper examines Monks’ use of repetition and silence as metaphors for growth and evolution.
In her recent book Opera on Screen (2000), Marcia Citron criticizes the 1986 Zeffirelli film of Verdi’s Otello for using an excess of Catholic imagery in a mistaken effort to strengthen the psychological motivations of the characters. Without taking sides on the merit of Zeffirelli’s
portrayal, this paper explores the connection of the Catholicization of Otello to a larger pattern found extensively in Verdi’s middle- and late-period operas, involving the invocation of either the dead mother of the heroine, or a heavenly mother, or both together. Verdi’s invocations of the absent mother begin with Lina’s aria “Ah dagli scanni eternei” in Stiffelio (1850, libretto by Francesco Maria Piave) and continue in operas composed with various librettists, including
Rigoletto (Piave), Il trovatore (Cammarano), Simon Boccanegra (Piave), La forza del destino (Piave), Aida (Ghislanzoni) and Otello (Boito). Most of these invocations are extraneous to the structure of the plots and to the main literary sources, but they are far from insignificant:
along with the compo ser’s prominent use of low male voices and his sympathetic portrayal of oppressed heroines, they serve as (probably unconscious) signifiers of the patriarchal imbalance of power between genders in late nineteenth-century society, which, they imply, will be corrected in the next world. They also reflect, similarly to Puccini’s Suor Angelica, the continuation of the cult of the Virgin in Italy, a continuation that appears to have helped create positive feminine imagery in late nineteenth-century Italian art at a time when cultural
fears about the rise of feminism were otherwise leading to harshly negative portrayals.
The history of music education needs to be reconstructed with a feminist perspective, emphasizing the important contributions of women. This paper will focus on the Music Department of NEA 1885-1920. The Music Department was important because its members founded the Music Supervisors National Conference, which evolved into MENC, the largest
organization of music teachers in the United States today.
In the mid-nineteenth century, public school music programs were established by male music teachers who supervised the female classroom teachers. By the 1890s, female music teachers supervised music and were active in local, state, and national music organizations.
Although the officers of the Music Department were mostly male, there were strong female leaders including Francis Clark, Julia Crane, and Elsie Shawe. According to the NEA Proceedings, women served on committees, presented papers, and performed at the annual meetings.
This paper will analyze some of the issues discussed by women, and their occupational status (private teachers, public school teachers, or college faculty). The paper will look at performances of women: instrumentation, genres, and composers. The Music Department was a valuable training ground for women who would later become active in MSNC.
The day of the Grammies I taught Verdi’s Otello in my music history sequence course. The previous week I had taught Bellini’s Norma. The following week, I taught Berg’s Wozzeck. Catherine Clement’s Opera, or the Undoing of Women has come into then fallen out of fashion, and musical works in which women are murdered remain staples of our historical canon: try as we may to “problematize” them, they are there. It is difficult to imagine, then, what moral authority musicologists might have to weigh in on Eminem’s raps about murdering his wife (“’97 Bonnie and Clyde” on The Slim Shady Album and “Kim” on The Marshall Mathers Album), but it seems crucial that we do so.
We should begin by acknowledging that the type of violence and degradation of women that NOW objects to in the raps of Eminem is our stock in trade, our bread and butter, distinguished only by aestheticizing music and poetry, by pretensions to social criticism, or
by the aura of masterpiece status. Having acknowledged our complicity in whatever ways that music about violence against women contributes to real violence against women, we can then interrogate the music and the discourse around it. In this paper I will argue that Eminem’s “murder ballads” should have received two different treatments. I will further argue that, although these recordings seem to be marketed as products of the rage of an oppressed underclass, they employ strategies with long bourgeois traditions, particularly “masquerading” in a genre of a racial “other” to make transgressive statements, and making those statements at
the expense of women. Finally, I will consider the “liberal” and “progressive” media immediately prior to and after the Grammies, with attention to how the issue of violence against women became eclipsed by that of homophobia and what that might say about the way violence against women has been normalized in our culture.
A defining moment of my high school education happened in this wise: in my chemistry classroom, before the beginning of class, a small group of boys gathered around the teacher and laughingly tried to persuade him to sign a petition requesting that Walter Carlos come to our school to play all of the Well Tempered Clavier on the Moog synthesizer. Thinking that
that sounded pretty neat, I offered to sign the petition. “You don’t know anything about Moog synthesizers,” the alpha boy sneered. “Yes, I do.” “Then you don’t know anything about Bach.” Thus dismissed on both technical and musical grounds–surely because of my gender–I was unimaginably delighted in the late 1970’s when Walter became Wendy.
In spite of a now distinguished history of electronic music composition, women remain marginal to the mainstream discourse of electronic music, just as electronic music remains marginal to the mainstream discourse about music. Although stereotypes of women as non-
or even anti-technological have persisted, women in electronic music have recently gained increased visibility over the world wide web through the pages of the Canadian Electroacoustic Community, “Pink Noises,” and the WAVES listserv, begun by Elizabeth Hinkle-Turner.
These reveal some interesting continuities among the experiences of women in electronic “art” music and those in electronic “pop” music, including, in many cases, attempts to use electronics to neutralize the category of gender. Several of the women on these sites are reluctant to identify with other women, and particularly with feminists, but one young woman, DJ Shortee, from Atlanta, Georgia, has created a course “DJ101″ to encourage other women to take on the DJ virtuosities of scratching and beat juggling, and she participates regularly in the “Take Back the Decks” tour.
This qualitative study was undertaken in answer to a question posed by a visiting high school musician who, after sitting-in with a college jazz ensemble, noted that she was the only girl in the room. For this study, three undergraduate women music majors were selected. Each was
an instrumentalist, had an extensive background in jazz at the high school level and had withdrawn from college jazz bands after the freshman year. Individual and focus group interviews with the participants revealed that each of the three had made conscious choices
that lead to their withdrawal from the jazz program. Those choices were based on the following themes: (1) a lack of female role models and mentoring in jazz; (2) pressure to perform exerted by non-jazz studio teachers; (3) a sometimes negative environment associated with jazz ensembles; and (4) self-assessment and choosing career paths based on gendered expectations for success.
Women, especially music education majors, may limit their career options by opting out of jazz ensemble opportunities at the undergraduate level. Considerations for modifying collegiate jazz programs to enhance participation by women students are also discussed.
>From a male-dominated perspective, Salome, the princess of Judea, is commonly viewed as a seductive and destructive femme fatale. Yet a subversive reading of Richard Strauss’s Salome, based on Oscar Wilde’s drama, may shed a new light on its narrative, and turn the text itself
Instead of a demon woman, performing an erotic dance, Salome may be perceived as an adolescent girl engaged in a puberty rite. Her dance over split blood not only foreshadows the Expressionist symbols associated with blood (as is apparent, for example, in Schoenberg’s
Pierrot Lunaire and Berg’s Wozzek), but it also echoes traditional ritual dances, which celebrate the different stages of femininity (menstruation, first pregnancy, and the birth of the first child).
Salome’s erotic dance, accordingly, symbolizes her first stage of femininity (menstruation). It is not commemorated, however, as an intimate occasion; nor is it celebrated as a traditional puberty rite in the company of women. Rather, it is invaded by Herod and other male observers, thereby becoming a source of socially forbidden erotic pleasure. A musical analysis will further demonstrate how this male transgression is clearly manifested in Salome’s dance.
Dr. Steven J. Paul (1952-2001)
Jill Sullivan, Arizona State University
The music education community suffered a great loss last spring when one of its leaders died on Saturday, April 14. Dr. Stephen J. Paul, 48, of Tucson, had a heart attack in Lancaster, PA. Dr. Paul held several university positions during his eighteen-year career in higher education. He served as the associate director of bands and eventually director of bands at the University of Oregon, associate professor and chair of the music education division at the University of Oklahoma, and associate professor and coordinator of music education at the University of Arizona. In addition, he served as National Chair for two MENC SRIGs, Instructional Strategies and Social Science. Dr. Paul wrote for numerous journals and presented research and teaching clinics at state, regional, and national conventions.
Steve loved to teach and his goal was to make a positive difference in the lives of his students, both personally and professionally. He was an innovative instructor who respected his students as individuals. His greatest satisfaction came, not from academic awards, but from the close, lifelong relationships he developed with his students over the years. Those of us who were fortunate to know Steve will miss his quick wit, comforting smile, and his intellectual prowess.
1. Publications (print, online, CD)
Cook, Susan, and Andra McCartney. “Gender and Sexuality.” The Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Edited by Ellen Koskoff. New York: Garland, 2001: 87-102.
2. Solo publications:
“Allik, Kristi (Anne).” Sadie, Stanley, eds. The New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries Inc., 2001. Vol. 1, 404-405.
“Beecroft, Norma (Marian).” Sadie, Stanley, eds. The New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries Inc., 2001. Vol. 3, 69.
“Hildegard Westerkamp’s Moments of Laughter: Recording childhood, performing motherhood, refusing to shut up, and laughing.” Perspectives of New Music 38 (1), 2000: 101-128.
3. Performances, Broadcasts and Installations:
“Homing Ears”. Installation, Betty Rymer Gallery, School of the Art Institute of Chicago, December 2001.
“Still, Ringing Bells.” Sound Unbound, SAW Gallery, Ottawa, ON. June 14, 2001.
McCartney, Andra, Chris Brookes and Michael Waterman. “What is Audio Art?” National Campus and Community Radio Conference, University of Ottawa, June 14, 2001.
McCartney, Andra, and Sandra Gabriele. “Soundwalking at Night.” Night and the City. Montr?l, QC, March 15, 2001.
McCartney, Andra, and Helmi Jarviluoma. “Listening Walk.” International Association for the Study of Popular Music, Turku, Finland, July 10,
“Mentoring young women with digital media.” Forum on Children in the Digital World. Oslo, Norway: September 25, 2001. Online participation.
“Don’t Tell Me to Stop. Soundscape recording and agency.” Soundscape panel, International Association for the Study of Popular Music, Turku, Finland, July 8, 2001.
“Issues of agency and privacy in soundwalk recordings.” Human Voice/Computer Vox. Banff Centre for the Arts, June 23, 2001.
“Soundwalks.” Open Ears Festival of Music and Sound, Kitchener, Ontario. May 5-6, 2001.
“Gender, Genre and Moments of Laughter.” SEAMUS. Louisiana State University, Baton Rouge, March 2, 2001.
On October 20, Ursula Rempel gave a paper at the Canadian Society for Eighteenth-Century Studies (CSECS) in Saskatoon. This is an annual interdisciplinary conference–this year organized by the University of Saskatchewan. Professor Rempel’s paper, “Chaste, Sweet, Plump, Elegant: Private and Public Representations of ‘Spectacle’ in Female Musical Performances” addressed the paradoxical views of women as performers vis-?vis society’s expectations of “virtue” as expressed in the conduct manuals of the period (ca. 1800).
5.3 Sharon Shafer
Sharon Shafer made her “debut” at the MCI Center in Washington, DC, singing The National Anthem for a Washington Capitals Hockey Game. February 2, 2001, she performed in a concert at the Charles Sumner Museum in Washington DC, celebrating Black History month, presenting
vocal and keyboard works by Florence Price and Betty Jackson King. March 19, 2001, several of her compositions were performed in a concert at Trinity College, Washington DC, celebrating Women’s History Month: “Night Blues” for clarinet and piano; “Introduction and Reflection” for
soprano, speaker and piano; and Songs for Friends, a cycle for soprano and piano on poems of Natasha Josefowitz.
1. Within this past year, 2001, I have released my third CD, DANCING RIVERS–FROM SOUTH AFRICA TO CANADA, comprised of compositions of mine performed and recorded by a band of leading South African jazz musicians – jazz vocalists Natalie Rungan and Thandeka Mazibuko, premiere guitarist Mageshen Naidoo, front-line bassist Bongani Sokhkela, Zulu
drummer Lebohang Methebeng and pianist Carol Ann Weaver. The album was completed in Toronto with leading Canadian vocalist Rebecca Campbell and innovative jazz drummer Jean Martin, produced by John Gzowski, 2001.
This music, composed and performed in South Africa, sparkles and dances with African flavors, jazz fusions, the bustle of Durban, and sounds of silence from Kalahari desert and Kruger wilderness in South Africa. “Calabash Woman” combines maskanda guitar with mbaqanga bass and township guitar and vocal improvisations. “Beer Pounding Song” receives Zulu vocal improvisations typical of a traditional African beer-making scene. “Back to the Light” tributes the lightness and buoyancy of African popular jazz music, “Waiting Birth” brings ache into the process of waiting, so familiar to Africans. “Beyond the Water” is a gentle healing song inspired by the Indian Ocean. “Dancing Dancing River” appears in a vivid, upbeat, blues-gospel style, with fluent South African jazz guitar and pungent vocals by East Indian, Zulu, and Canadian voices. No comparisons necessary but if Paul Simon did it in the 80s, why not try it differently now?
2. AWAKENINGS, 2001, a four-way collaboration by composer/performers Carol Ann Weaver and Rebecca Campbel and poets Dorothy Livesay and Di Brandt was commissioned by and premiered at the Wider Boundaries of Daring Conference/Festival on Canadian Modernist Poetry, hosted by University of Windsor and York University at University of Windsor and at the Scarab Club in Detroit, October 25, 26, 2001. The work was warmly received, the music and poetry leading the listeners down rare paths dealing with transitions between life and death. The music ranges from folk to avant garde, jazz to natural soundscapes, groove to meditative,
minimalist to country/blues, and was performed by two leading Canadian musicians, singer/songwriter Rebecca Campbell, and composer/pianist Carol Ann Weaver.
3. I gave a paper at the SEM, Society for Ethnomusicology Conference, Oct. 27, in Detroit entitled: “FROM RESISTANCE TO RENAISSANCE – SOUTH AFRICAN WOMEN MUSICIANS’ VOICES IN A NEW MILLINIUM”, featuring the musical work and impact of singers Busi Mhlongo and Natalie Rungan.
4. BENEFIT CONCERT: DANCING RIVERS — FROM SOUTH AFRICA TO CANADA featuring the music of Carol Ann Weaver.
With: Natalia Lobach, vocals; Carol Ann Weaver, piano;
Mark Hartman, guitar; Clifford Snyder, bass;
John Brownell, drums
When: Saturday evening, Nov. 24, 8:00 PM, 2001
Where: Toronto United Mennonite Church, 1774 Queen Street East
This pre-Christmas concert of vibrant, upbeat African-inspired music represents music written by Carol Ann during recent stays in South Africa, which appears on her recent African-recorded CD, DANCING RIVERS – FROM SOUTH AFRICA TO CANADA. The concert is being performed by the lyric jazz singer Natalia Lobach, superb American guitarist Mark Hartman, versatile bassist Clifford Snyder, leading Toronto drummer John Brownell, and fusion pianist/composer Carol Ann Weaver.
5. I spent a month in Durban, South Africa from mid May to mid June, 2001 where I was appointed “Visiting Professor of Music” at University of Natal in Durban. I conducted music research, composed music, reformed with my South African band mentioned above, and performing 4 concerts with this band throughout Durban, doing African release concerts of my
recent album, DANCING RIVERS-From South Africa to Canada.
6. In July I attended the Conference of North American Mennonites in Nashville, performing multiple concerts on various stages within the Opryland conference area. I was fortunate to be chosen as one of the solo performers on main stage (Ryman Auditorium) of the Grand Ole Opry, where I did a set of my own songs, backed by an American band.
Announcing the first issue of GEMS (Gender, Education, Music, Society).
You will be able to read it beginning March 1, 2002 at
Call for papers:
Submissions are currently being sought in the following categories:
In-depth discussion (2000 – 4000 words) of a particular issue or research project that explores a topic addressing a connection between music and gender in an educational context. Music teaching and learning need not be restricted to traditional school settings, and may be considered to include any level of instruction, including professional studies in musicology, performance, theory, etc., as well as innovative or unique ideas, practices, and/or settings reflecting different musical traditions and approaches.
Shorter, more informal articles (800 – 2500 words) that identify an issue requiring further study or that illustrate a particular pedagogical application having the potential to re-dress inequalities of current educational practices. In the case of the latter, articles should provide a general description of the pedagogical application that is sufficiently detailed to allow others to adapt it to their own teaching situation, as well as a statement of the guiding principle
behind the application (as appropriate).
Short articles (800 – 1200 words) reviewing a book, web site, software application, or other resource relevant to gender and music in an educational context.
Notes and letters (500 – 1000 words) responding to a feature or pedagogical spotlight in the previous issue.
The Editorial Board strongly encourages potential authors to consult with a member of the board before developing a feature article, pedagogical spotlight, or review. The Editorial Board works cooperatively with authors to plan and develop each issue, so early notification of interest will help facilitate the process.
All submissions should be forwarded in electronic format to Co-Editor, email@example.com. Authors are encouraged to consider web layout in preparing the article. In this medium, the screen, rather than the page, forms the canvas for writing. Long scrolls of unbroken text can
intimidate readers and minimize communication. Authors should therefore develop articles in clear sections and with relevant sub-headings. Authors are also encouraged to make use of the variety of creative options mixing word, sound, and image made possible by the electronic
Submissions should include a 150 word abstract at the beginning and a 100-word biography of the author at the end. Notes/citations should be included at the end of the article in APA format. The Columbia Guide to Online Style offers examples for the citing of online sources. The Chicago Manual of Style should be consulted for all other matters. Submissions should use of one of the following formats: Microsoft Word for Windows (version 97 or later); ASCII text, or HTML. Graphical images should be submitted in one of the following formats: Windows bitmap, GIF, or JPEG.
Deadlines for Submission: August 15 and February 1
The 2002 Program Committee of The College Music Society welcomes proposals for papers, panels, discussions, performances, lecture-recitals, clinics, demonstrations, workshops, a poster session, and other types of presentations that relate to all fields of college music, including teaching, learning, research, outreach communication, and other areas of concern to the college music professional. Proposals may deal with any aspect of college music teaching. The Program Committee specifically requests proposals concerning interdisciplinary approaches and teaching enhancement. Also encourage are proposals concerning: advocacy; arts partnerships among educational institutions, communities, and businesses; cultural and generational, and gender diversity; extramusical contextual issues (e.g., political, economic); music and film; and proposals that will illuminate musical influences, cultural and sociological contexts, and cross-cultural teaching and learning as exemplified through Kansas City jazz, musics of Civil War South and North as they met at the east-west border between Missouri and Kansas, and musics of European and native peoples of present-day Kansas City and the Central Plains. Special topics might include musics of the westward European expansion and of Native Americans, both displaced from the east as well as native to the plains. Proposals may also relate to
specific disciplines and areas of interest-composition, cultural diversity, ethnomusicology/world music, mentoring, music education, music in general studies, music theory, musicology, performance, student issues, and women/gender studies. For more information, see the CMS
wepsite at http:www.music.org.
7.3 Network of Music Career Development Officers
Conference New England Conservatory
January 16, 2002
7.5 Society for American Music – 28th Conference
Society for American Music
March 06, 2002
7.6 Symposium of World Musics
Texas Tech University
March 06, 2002
7.7 MENC: The National Association for Music Education National Biennial In-Service Conference
7.8 Experience Music Project, Seattle, WA
Experience Music Project
April 11, 2002
In this special issue of the journal Sex Education, we intend to bring to light and critically examine the myriad ways that school curriculum subjects serve as specific sites to educate bodies and educate about bodies. We want to publish papers that broadly conceive sex education to encompass education about the sexes, about sex, about sexualities and about bodies. As Bronwyn Davies notes, “Positioning oneself as male or female is not just a conceptual process. It is also a physical process. Each child’s body takes on its knowledge of maleness or femaleness through its practices” (1989, p. 14). We invite manuscripts that look
at what specific subject areas are teaching [both explicitly and implicitly], how these subjects are being taught and the ways in which children take these lessons up and make sense of both the intended and hidden curricula contained within. Manuscripts should interrogate school curriculum subjects as specific and perhaps unique sites of this inscription work. For example, the ways that students learn to use their bodies and thus learn about their bodies is likely to be very different in science class than in physical education or social studies. We intend to collect papers that unpack and examine the already embodied nature of curricula, and how both teachers and students understand this.
This special issue is being guest edited by Will Letts of Charles Sturt University and Connie Nobles of Southeastern Louisiana University.
Questions and expressions of interest may be directed to:
School of Teacher Education
Charles Sturt University
Bathurst, NSW 2795, Australia,
+612 6338 4365
Southeastern Louisiana University
Hammond, LA 70402, USA
Contents page for Research Studies in Music Education
Editor: Assoc Prof Gary McPherson, University of New South Wales.
Published by the Callaway International Resource Centre for Music Education.
Copyright of all material is vested in the Publisher.
Number 17, December 2001
Special Focus Issue: Philosophical Perspectives of Music Education
The Rise and Fall of Philosophies of Music Education: Looking backwards in order to see ahead
What are the Roles of Philosophy in Music Education?
Estelle R. Jorgensen
Modernity, Postmodernity and Music Education Philosophy
David J Elliott
Harry Broudy’s Aesthetics and Music Education
Whose Aesthetics? Public, professional and pupil perceptions of music
A View from Aesthetic Education
Ralph A. Smith
Contents for Journal of Historical Research in Music Education,
Vol. XXII:1, October 2000
Perspectives in Music Education Research
Meaningful Musical Performance: A bodily experience
Jane W. Davidson and Jorge Salgado Correia
Letter to the Editor
David Helfgott: A Psychologist’s Perspective by Jane Davidson (RSME,
16)– a response by Margaret and Leslie Helfgott
Special Focus Issue – December 2002. Music education and post-colonialism.
Guest Editor: Dr. Peter Dunbar-Hall, University of Sydney
7th International Conference on Music Perception & Cognition (ICMPC7),
July 17 -21, 2002, University of New South Wales, Sydney, Australia