1. A New Editor
2. Conference News
2.1 Abstracts from MENC
2.1.1 What’s So Funny? Effects of Presentation Order, Major, and Gender on Perceptions of Musical Humor. Ruth Brittain, Chair, Music Education, University of the Pacific
2.1.2 Gender Preferences of Fifth Grade Students for Musical Instrument Performance
and Other Music Careers. Christopher Hayes, Eastern Kentucky University, Richmond, Kentucky;
Michele K. Hayes, Kit Carson Elementary School, Richmond, Kentucky
2.1.3 Demonstrator Gender and the Woodwinds: Investigating Children’s Differential Views of Gender Propriety. Keith A. Koster, University of Missouri-Columbia
2.1.4 The Relationship of the Gender of High School Band Directors to the Motivation of Their Students. Kiyoshi Miyamoto, Crown College, Music Department, St. Bonifacius, MN
2.1.5 Student Song Preference in the Elementary Music Class.
Dennis J. Siebenaler, Zavala Elementary, Austin, TX
2.1.6 Effects of Gender, Music Experience, and Test Order on the Perception of Dynamic Accents.
Kimberly C. Walls, Auburn University
2.2 Review of CSW at AMS 2.3 Upcoming Conferences
3.1 Articles by GRIMErz
3.2 New Journal Announced
5. How to Contribute
The Ohio State University
Happy New Year! In putting this newsletter together my respect for Roberta Lamb and previous newsletters increased one hundred-fold! It is indeed a challenge to get people to contribute, and it requires careful attention to the profession’s news and announcements – items I have always taken for granted as they pass in and out of my email-box. I would like to thank Roberta Lamb for diligently having produced a fabulous newsletter since `the beginning of GRIME.’ Her hard work and professional vigilance has kept us all well informed and we owe her a great debt of gratitude.
This newsletter not only marks the first one with a new editor, but also our first electronic newsletter. A few months ago I initiated a poll on our listserv about the desirability of going electronic, and the response was overwhelmingly positive. The electronic format allows us to produce a free newsletter of any length and saves a few trees in the process. However, there were a few dissenting voices with legitimate concerns, namely accessibility and viability of electronic resources. What I’ve decided to do is try this for a year (2 newsletters) and then if we determine this doesn’t work we’ll start collecting dues again! Which reminds me, I will return the checks I have in the next week to those members who sent money in the beginning of the school year.
This year we are slated to meet at Feminist Theory and Music (FTM) 5. However, the conference is being held in London in conjunction with the Eleventh International Congress on Women in Music sponsored by The International Alliance for Women In Music. While this should be an exciting meeting, I’m wondering how many members will make it there, given the expense of traveling. On the other hand, we do have a large international contingency and this may provide the opportunity to meet and hear from new voices. In a few months I will survey listserv members concerning the viability of meeting and agenda items.
As a reminder, the national meeting of MENC is just a year around the corner and I urge you all to submit proposals for gender-based teacher workshops and research presentations. Because we are an official SRIG, we automatically are given one session and we need to decide how to use that time. Again, these will be topics for discussion on the listserv.
Please continue to recruit new members. If you have graduate students who are interested in gender issues or colleagues who would enjoy our newsletters please have them contact me via email. In hopes of attracting more members, I’m going to post this issue to Ed Asmus’s Music Education Researcher listserv. Given the date of this newsletter and the abundance of work in my new job, you can anticipate volume 7 no. 2 coming out in July. Until then, I wish you a sane and productive semester.
The following 6 abstracts were collected at the Research Poster Session. Each of these investigations used gender as a variable.
Ruth Brittain, Chair, Music Education, University of the Pacific, Monfro@msn.com
This study investigated university students’ (n=135) perceptions of humor and preference for nine musical excerpts. Music majors (n=77) and education majors (n=58) rated each selection’s humor and their preference for it on Likert-type scales, also providing comments regarding each excerpt’s humor. Selections included three Peter Schickele “PDQ Bach” instrumental parodies and six vocal-instrumental popular selections from various performers. Positive relationships between perceived humor and preference were found for all selections, although correlations were notably stronger for vocal selections than for instrumental selections. There were no significant differences between responses for music and education majors; however, an order effect was found for humor responses, showing that instrumental selections were perceived as less humorous when following vocal selections and that potentially inappropriate selections had a negative impact on perceived humor in subsequent selections. Gender differences were also seen in both humor and preference ratings. Certain selections elicited comments on the excerpt’s “appropriateness”, particularly the “Too Fat Polka” and “They’re Coming to Take Me way, Ha Ha,” although the comments revealed some differences between music and education majors’ perceptions of appropriateness, with education majors appearing more sensitive to issues of appropriateness. Implications for the music classroom are discussed.
Christopher Hayes, Eastern Kentucky University, Richmond, Kentucky
Michele K. Hayes, Kit Carson Elementary School, Richmond, Kentucky
This study questioned 505 fifth grade students to determine if gender bias exists in their preference of who would be best in certain music careers. A ten-question survey was administered containing the professions of choir conductor and music teacher, as well as the performance careers of opera singer, piano, violin, clarinet, trumpet, and guitar player. The students were given the option to select a man, a woman, or either as a response for each question.
The results showed that the boys and girls generally agree on their preferences for gender involvement in music careers. The students felt that either a man or a woman could be a piano player, violin player, clarinet player, choir conductor, and a music teacher. In addition, the results showed that the students believe a trumpet player and guitar player should be a man. The only disagreement between the boys and girls were with the careers of orchestra and band conductor where the boys thought a man would be best, and the girls believed that either a man or a woman would be best.
Keith A. Koster, University of Missouri-Columbia
The present study examines the possibility that one catalyst of gender-biased attitudes toward specific musical instruments may be the gender of the individuals who demonstrate the instruments to children. During the experiment 743 children (grades 2,3,4, and 5) from a Midwestern community viewed a series of videotaped demonstrations in which five woodwind instruments (bassoon, clarinet, flute, oboe, saxophone) were presented by various demonstrators (male, female, male and female team, and a demonstrator disguised as a penguin). Subjects then completed a forced-answer questionnaire that asked, “Who should play the bassoon [clarinet/flute/oboe/saxophone]?”
In order to identify differences among several sets of variables, two sets of chi-square tests of homogeneity were computed. The first set of tests sought to find differences within the total sample (n=743). Significance (.05 alpha) was found (1) between the gender of the subjects (male/female) and their responses to the bassoon, oboe, and saxophone questions, (2) between grade level and response to the clarinet, flute, oboe, and saxophone questions, and (3) between demonstrator and response to the flute, oboe, and saxophone questions.
The second set of tests, which investigated differences within each grade level, found statistically significant differences only between (1) gender of subject and instrument and (2) gender of demonstrator and instrument. Lack of such differences was especially marked in the third and fourth grades.
Frequency counts of questionnaire responses showed that regardless of demonstrator, the majority of subjects indicated that “Both Boys and Girls” should play any of the instruments presented. Chi-square tests confirmed that the demonstrator(s) had little effect on subjects’ responses.
Kiyoshi Miyamoto, Crown College, Music Department, St. Bonifacius, MN, firstname.lastname@example.org
The purpose of this study was to examine high school students’ motivation in band as it relates to the gender of the band director and the student. A total of 790 band students from 20 Japanese high schools with 10 male and 10 female band directors completed a modified version of the Academic Motivation Scale (AMS), based on Deci and Ryan’s self-determination theory. The scale consists of 28 items describing why students play in a band. These 28 reasons were categorized into three types of intrinsic motivation, three types of extrinsic motivation, and amotivation. The students indicated a level of agreement for each reason according to 7-points on a Likert-type scale. The score was used as a parametric data and analyzed using a two-way multivariate analysis of variance (MANOVA) to find any significant (p<.05) main effects or interactions among variables when compared by gender of the director and gender of the student. The results of the study showed that there were no significant differences (p<.05) by gender of band directors for all of the motivational types. This result indicates that female band directors are as effective as male band directors in terms of motivating students to play in a band. Additional findings include (1) Male students seem to be more extrinsically motivated than are female students, (2) Friend related reasons and fondness for music and/or instruments are important reasons for students to play in a band, (3) Public school students seem to be more intrinsically motivated than private school students whereas private school students seem to be more extrinsically motivated than public school students.
Dennis J. Siebenaler, Zavala Elementary, 310 Robert Martinez Jr. St., Austin, TX 78702
In the spring of 1996, the Music Educators National Conference (MENC) published a list of 42 songs that “every American should know,’ as part of a nationwide campaign to promote singing. The purpose of this study was to determine student preferences for several songs on the list, and how familiarity with a son, grade level, gender, rehearsal, and language spoken at home may be related to that preference.
Ten songs were selected from the MENC list of songs “that ever American should know.” All songs chosen for this investigation were limited to an octave range. Subjects (n=160) were nine intact classes of third-, fourth-, and fifth-graders (three classes at each grade level) in an urban school. During their regularly-scheduled music class, subjects listened to the ten recorded songs and rated each on a five-point Likert-type scale for both preference and familiarity. In 10 subsequent classes, each song (one song per class) was rehearsed for 10 minutes followed by another preference rating and a self-evaluation of performance quality.
This investigation examined possible relationships between students’ familiarity with a song and their subsequent preference for the song. Correlations for individual songs ranged from .40 to .64 with a mean correlation over all ten songs at .57. A significant difference (p<.01) between grade levels was found for both familiarity and preference. Boys indicated a consistent decline in both song familiarity and preference from grades three to five. Grade level, gender, and language spoken at home (English or Spanish) interacted significantly (p<.01) in their effect upon song preference for these elementary students. Mean preference ratings were consistently higher after the 10-minute rehearsal with one exception (“De Colores”). The student subjects demonstrated little discrimination in their self-evaluations of singing.
Kimberly C. Walls, Auburn University
A research study (Walls, 1992, 1994) examined relationships of difference limens (DL), and years of music experience with an accent limen (AL). Pairs of digitally sampled snare drum taps at a tempo of 180 events per min were used to determine difference limens (DL) at 75% correct criterion. This study extends the 1992 study, using identical stimuli to examine subjects’ gender, subjects’ years of music experience, and test administration order for relationships with subjects’ accent limen (AL).
The subjects were 86 females and 48 male students enrolled in 12 sections of an introductory psychology course at a large southern university who volunteered to participated for class credit (n=134). Sixty-five subjects reported having never studied music privately. Sixty-nine had taken music lessons between 1 and 14 years (M=4.232, SD=3.020). Subjects’ hearing acuity was not tested. Subjects circled the loudest note in 65 AL stimulus response items of 7 snare taps played at a constant intensity level of 82 dB(A) except for one tap which was at an intensity increment of 1.25 dB(A) up to 97 dB(A).
The measured mean of AL of 3.289 dB(A) with a precision of +/- 1.89 dB(A) supports Walls’ (1992, 1994) earlier estimate of the accent limen. Although she found an average of AL of 3.4 dB(A) for college women and an average of AL of 4.3 dB(A) for younger girls, the group differences may have been due to the precision of measurement instead of an age-related effect. It is also noteworthy that the mean AL estimate in this study is less than that of the earlier study, even though all the subjects in the first study were tested as having a normal hearing. When compared with Windsor’s (1993) success with 3 dB(A)A intensity differences, it seems that an estimate for AL from 3 to 5 dB(A) is fairly accurate since it has been shown that overall intensity level influences the discrimination of loudness (Haack, 1975). Windsor’s choice of overall intensity level (59 to 83 dB(A)) was low compared to a snare drum at close proximity (soft dynamic level).
Several important questions remain to be answered. How does AL relate to musically appropriate accents? How much intensity change is required to make an accent sound planned yet tasteful instead of random? Can performers intentionally control the production of intensity at levels less than AL? How does AL relate to the instruction of performers and listeners?
Haack, P.A. (1975). The influence of loudness on the discrimination of musical sound factors. Journal of Research in Music Education, 23, 67-77.
Walls, K.C. (1992). The effect of intensity and age on the perception of accent in isochronous sequences of a snare drum timbre (octral dissertation, Florida State University, 1992). Dissertation Abstracts International, 53 (03), 662.
Walls, K.C. (1994). Effects of intensity and age on perception of accent in isochronous sequences of a snare drum timbre. Journal of Research in Music Education, 42(1), 36-44.
Windsor, W.L. (1993). Dynamic accents and the categorical perception of metre. Psychology of Music, 21, 127-140.
Report on the Committee on the Status of Women (CSW) of the American Musicological Society (AMS), Boston 1998
The 1998 meeting of the American Musicological Society meeting in Boston was the site of one of the more enlightening meetings of the Committee on the Status of Women I have attended. For this I was grateful, particularly as the AMS meeting as a whole had very little to say about gender: there were only two papers presented concerning women composers, although I had heard from several scholars that their gender-related paper proposals had been rejected. In response to this display of institutional disinterest in women composers, Liane Curtis organized an informal study session on women composers (contact her for more details).
The CSW session, entitled “‘They Won’t Let You Do That': Women, Minorities, and Professional Choice in Teaching and Writing,” was moderated by incoming committee chair, Judy Tsou, and featured panelists Mary Hunter of Bowdoin College, Jessie Ann Owens of Brandeis University, James Briscoe of Butler University, Ellen Koskoff of the Eastman School of Music, and Annegret Fauser of City University, London. Each panelist brought different issues to the table and engendered lively discussion.
In her presentation, “Fences, Ha-has, and DMZs,” Mary Hunter observed that, whereas women constitute about 40% of the membership of AMS, women authored only about 29% of the articles in journals she surveyed. She further noted a difference in the size of the claims made by male and female authors, more sweeping, “unfenced” claims more often being the domain of male authors. Are the fences, she then questioned, which circumscribe women’s writing internal or external? Hunter drew an analogy between ha-has (sunken cattle fences), which both limit range and frequently take the limitee by surprise, and the situation of women in cross-disciplinary studies: although institutions benefit from this cross-disciplinarity, the women involved are often perceived as less focussed, a possible detriment to their careers. Women, she cautioned, must weigh carefully the risks and benefits of cross-disciplinary work.
Jesse Ann Owens remarked that, although there has been progress, there continues to be pervasive discrimination against women musicologists. She opined that women’s fortunes in musicology are under threat less because of their areas of investigation than because of the economic crisis in our discipline and the fact that jobs are changing faster than training programs. James Briscoe spoke on “NASM (National Association of Schools of Music) Requirements and New Directions in Musicology,” querying what impact new requirements might have on hiring and teaching as music programs compete for fewer music students. Based on interviews with a representative of NASM and the chairs of prominent, accredited music departments, Briscoe reported the perceptions that there is a need to train future college teachers to teach; that budget constraints encourage curricular conservatism; that all faculty needed to challenge the conservatism of “hide-bound” students and “canon-bound colleagues”; and that younger music faculty need to engage the larger community.
In her presentation, “Views from the Margins: On Being a Jewish Feminist Ethnomusicologist,” Ellen Koskoff related her experiences in ethnomusicology dating from her “conversion” from conventional musicology (c. 1975). Koskoff “embraced the cult of the margin,” choosing to study a marginal topic (an American Hassidic Jewish community). She did not encounter sexism, but also received very little mentoring or help. Koskoff also noted that age and status (e.g., the “spousal hire”) are other possible parameters of marginalization. There are many ways to mariginalize, she concluded, and one must be wary of uses and abuses of power. The margin, in and of itself, is not a problem, but rather the value placed on the center over and above the margin.
Annegret Fauser reported on the state of feminist musicology in England and Germany, remarking that Europeans consider the U.S. notion of women as university-based scholars quite innovative. There is a dearth of women role models for younger scholars, and policies are hostile to women, and feminist academics steer clear of feminist topics of scholarly research: scholars who undertake the study of women composers are considered “second-rate.” There is also substantial skepticism of feminist musicology in Germany due to its occasional lack of solid historical grounding and its methodological inconsistencies. Fauser sees a need to anchor feminist musicology in “our own traditions.”
Considerable discussion followed the panelists’ presentations. Points addressed include the following:
* In Norway, women trained in musicology are confined to librarianship.
* Women need to do less service and more writing in order to establish their scholarly careers.
* Although teaching is commonly thought of as an area in which women excel, AAUW (American Association of University Women) studies have shown that students tend to give them lower marks in evaluations than they give to men teachers.
* “Testosterone teaching” tends to be rewarded, while teaching which emphasizes nuance and complexity tends to be perceived as “disorganized.” Women scholars and teachers are often perceived as “aggressive” when they do not conform to gender expectations.
* In one study, male students perceived the discussion to be “dominated” by women when women spoke 20% of the time.
* Although men currently have an easier passage into the profession of musicology, this will likely change with the presence of more women elders in the field.
The Open Meeting of the Committee on the Status of Women of the AMS will take place at the usual time (Thursday at 7 pm) at the Kansas City meeting in 1999. The tentative topic is “Feminist Studies vs. Gender Studies.” I expect some rousing debates!
Elizabeth Keathley, Outgoing student member, CSW
School of Music, University of Puget Sound, Tacoma, WA 98416, email@example.com
American Choral Directors Association
February 24-27, 1999
For the past decade, ACDA has had a consistent focus on issues concerning women’s choirs and women conductors. This year they again feature sessions on these topics.
SESSION: Women’s Choirs: Discovering Real Repertoire
Clinicians: Michele Edwards, Nina Gilbert, Mary Lycan
Music for women’s choirs reaches beyond parallel thirds that keep the leftover girls busy in your choral program. Our panel prepares you for adventures in discovering significant, first-rate music for women’s voices, as well as hunting for forgotten, neglected, or grass-roots works that represent the development of women’s choral culture in convents, orphanages, girls’ schools, women’s colleges and clubs, labor and political movements, and business and social organizations. Women’s voices have conveyed society’s important thoughts and values since ancient times. Women’s choirs today must continue that powerful role.
SESSION: What Are We Telling Our Young Women?
* Marguerite Brooks
Associate Professor Adjunct Yale School of Music and the Institute of Sacred Music, New Haven,Connecticut
* Sharon Paul
Artistic Director San Francisco Girls Chorus, San Francisco, California
* Beverly Taylor
Director of Choral Activities University of Wisconsin, Madison, Wisconsin
* Carol Tralau
Director of Vocal Music Jefferson High School, Cedar Rapids, Iowa
R&S Chair Presiding:
Sandra Peter, R&S Chair for Women’s Choirs, North Central Division
Instructor in Music, Luther College Decorah, Iowa
Panelists will talk about women today – women from all ages and stages of life who sing in all kinds of choirs. What kinds of messages are they hearing? What do they need to hear? How can the musical experiences we offer women help illuminate and enrich their lives? This session is designed to be stimulating and thought provoking for all directors who work with both mixed and equal voice choirs.
National Women’s Honor Choir
1999 National Convention
Diane Loomer & Morna Edmundson, Co-conductors
The College Music Society presents
TEACHING WOMEN AND GENDER IN WORLD MUSIC
February 5-7, 1999
Agnes Scott and Spelman Colleges
A weekend workshop providing an overview of teaching women and gender in world music through a wide range of repertories and cultures, as well as teaching materials (course outlines, syllabi, resources such as bibliographies, audio-visual aids, and cyberspace connections). Also featured presentations by musicians from world cultures and corresponding cuisines.
Faculty will include Susan C. Cook (University of Wisconsin, Madison), Ellen Koskoff (Eastman School of Music), and Virginia Danielson (Harvard University).
For registration information, please contact The College Music Society, 202 West Spruce Street, Missoula MT 59802, phone: 406-721-9616, fax: 406-721-9419, e-mail:firstname.lastname@example.org, website: http://www.music.org
FEMINIST THEORY AND MUSIC 5
Wednesday, July 7, 1999 through Saturday, July 10, 1999
St. Mark’s on Old Marylebone Road
It will be held in conjunction with the Eleventh International Congress on Women in Music sponsored by The International Alliance for Women In Music. The Program Committee of FTM 5 invites proposals for 20-minute presentations on any aspect of musical studies in relation to feminism, women’s studies, or gender studies. Proposals should be about 200 words in length. Proposals must be received by March 15, 1999, and may be submitted as email messages sent to the address <email@example.com>. Though email submission is preferable, it is also possible to send a hard copy of the abstract to:
Fred Maus, Secretary, Program Committee, FTM5
Department of Music, University of Virginia, Charlottesville VA 22903
Sondra Wieland Howe, “Reconstructing the History of Music Education from a Feminist Perspective,” Philosophy of Music Education Review 6, no. 2 (fall 1998): 1-11.
Patricia O’Toole, “A Missing Chapter from Choral Methods Books: How Choirs Neglect Girls,” Choral Journal, 26, no 5: 9-32. j
The Editorial Board of WOMEN AND MUSIC: A JOURNAL OF GENDER AND CULTURE is pleased to announce the October printing of Vol. 2. WOMEN AND MUSIC, published annually, is available through individual or institutional membership in International Alliance for Women in Music. Individual dues are $45; senior/student dues are $25; and institutional/library dues are $55.
For individual membership, contact Kristine Burns at Florida International University, School of Music, University Park Campus, Miami, FL 33199, tel. 305-385-9517 or email firstname.lastname@example.org.
For institutional/library membership contact Lynn Gumert, Merrill House #2B, Amherst, MA 01002, tel. 413-549-7032 or email email@example.com.
WOMEN AND MUSIC: A JOURNAL OF GENDER AND CULTURE is a journal of scholarship about women, music, and culture. Drawing on a wide range of disciplines and approaches, the refereed journal seeks to further the understanding of the relationships among gender, music, and culture, with special attention being given to the concerns of women.
It is a publication of the International Alliance for Women in Music with additional funding from The George Washington University.
Submissions of varying length are now being accepted for consideration in the THIRD ISSUE that will appear in the fall of 1999. Author guidelines are given at the end of this message.
The Table of Contents for Vol. 2, 1998:
“The Ironies of Gender, or Virility and Politics in the Music of Augusta Holmes” by Jann Pasler; “Women in Troubadour Song: Of the Comtessa and the Vilana” by Fredric L. Cheyette and Margaret Switten; “PJ Harvey’s Man-Size Sextet’ and the Inaccessible, Inescapable Gender” by Judith A. Peraino; “Female Big Bands, Male Mass Audiences: Gendered Performances in a Theater of War” by Sherrie Tucker; “Intersecting Circles: The Early Careers of Elizabeth Maconchy, Elisabeth Lutyens, and Grace Williams” by Jennifer Doctor; “Singing against the Grain: A Javanese Composer Challenges Gender Ideologies” by Susan Pratt Walton; “A Tribute to Marcia Herndon, Pioneer in Gender Studies in Ethnomusicology” by Pirkko Moisala; and “Women’s Lamenting Traditions around the World: A Survey and Some Significant Questions” by Jane Bowers.
Ruth Solie reviews Ruth Crawford Seeger: A Composer’s Search for American Music by Judith Tick; Kyra Gaunt reviews Brown Girl in the Ring: An Anthology of Song Games from the Eastern Caribbean collected and documented by Alan Lomax, J.D. Elder, and Bess Lomax Hawes; and Caribbean Voyage: Brown Girl in the Ring produced by Anna L. Chairetakis and Jeffrey A. Greenberg; Eva Rieger reviews Inszenierung der Frau – Frau in der Inszenierung: Operette in Wien zwischen 1865 und 1900 (The Performance of Women — Women Performers: Operettas in Vienna between 1865 and 1900) by Marion Linhardt; Beverly Diamond reviews Engendering Song. Singing and Subjectivity at Prespa Albanian Weddings by Jane Sugarman; and Judith A. Peraino reviews Music, Gender, Education by Lucy Green.
The American Association of University Women offers several grants that may interest GRIME members. For more information go to their web page: www.aauw.org/index.html.
Community Action Grants
1999-2000 Academic Year
Grant award–$2,000-$7,000 for
one-year projects; $5,000-$10,000 for two-year projects
Aug. 1, 1998-Jan. 15, 1999
Postmark deadline: Feb. 1, 1999
Grant year: July 1, 1999-June 30, 2000 for one-year projects
July 1, 1999-June 30, 2001 for two-year projects
Community Action Grants provide seed money to individual women and AAUW branches and states for innovative programs or nondegree research projects that promote education and equity for women and girls. Special consideration will be given to
AAUW branch and state applicants who seek partners for collaborative projects. Collaborators can include local schools or school districts, businesses, and other community-based organizations. Applicants must be women who are U.S. citizens or permanent residents. Grant projects must:
* Have direct public impact
* Be nonpartisan
* Take place within the United States or its territories
Two types of grants are available:
* One-year grants for short-term projects; topic areas are unrestricted but should have a clearly defined educational activity.
* Two-year grants are for longer-term programs and are restricted to projects focused on K-12 girls achievement in math, science, and/or technology. Funds support planning activities and coalition building during the first year and implementation and evaluation the following year
Approximately 40 grants are available for one-year projects. Five grants are available for two-year projects.
To apply for a Community Action Grant, fill out a request for an application form on line, call 319/337-1716 ext. 60, or write to:
AAUW Educational Foundation
2201 N. Dodge St.
Iowa City, IA 52243-4030
1999-2000 Academic Year
Letter of Intent due: Sept. 15, 1998
Proposals due: Nov. 15, 1998
Award announced: Jan. 15, 1999
Funding begins: July 1, 1999
Colleges and universities may apply for funding for a new University Scholar-in-Residence to support a woman scholar to undertake and disseminate research on gender equity for women and girls. Institutions may use the funds either to bring a qualified
scholar to the institution for a fixed period of time or to designate an individual currently at the institution to undertake project activities that would not occur without such support. Priority will be given to proposals that provide matching funds. In addition to
direct cost sharing by the institution, a portion of the matching funds may be in the form of in-kind contributions. Priority also will be given to institutions indicating that activities proposed are likely to continue after the funding period, as opposed to single events or one-time initiatives.
Stipend: Not to exceed $50,000 for a one-year project or $100,000 for a two-year project, depending on the nature of the project and cost sharing provided by the institution.
Qualifications: Proposals must include both research activities on gender and equity and dissemination of findings. Successful proposals will be crafted to achieve impact across the institution, or among departments or schools, rather than in a single department or program. Proposals also must include confirmation by an authorized institutional official confirming the institution’s commitment to the project and cost share provided.
Selection Criteria and Process: Proposals will be evaluated on the basis of overall feasibility; qualifications of key personnel; likely impact of the project; its creativity, potential contribution to knowledge, and impact on practice; as well as institutional
commitment to the project.
If you would like to write a conference, book, recording, or video review please do and email it to me. You are also welcome to write letters or short articles (2 pages). Of course we always look forward to highlighting the work of our GRIME members, so if you have published an article or are giving a conference presentation please send me notice.
If you are too busy to write for the GRIME Newsletter then why not encourage your graduate and undergraduate students to contribute? We would welcome annotated bibliographies, summaries of research, or articles on more practical topics such as gender issues in teaching and learning.