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In This Issue:
2. ANNUAL GRIME MEETING
GRIME becomes a MENC SRIG, Patti O’Toole
3.1 Making Connections IV
3.2 May Day Group
3.3 Dance Culture
3.4 The Other Side of Nowhere: Jazz, Improvisation, and Cultural Theory
3.5 CHARD Festival, FUIGGI in Italy
3.6 Fiuggi In Italy: Third International Festival and Interdisciplinary Symposium
3.7 Committee on the status of women at the American Musicological Society
3.8 Second Asia-Pacific Symposium on Music Education
4. CONFERENCE REVIEWS
4.1 Commentary from CMS Committee on Music, Women and Gender
4.2 CSW @ AMS, Phoenix, a minority report, Elizabeth Keathley
5. GRIME MEMBERS’ MUSIC
5.1 Elaine Keillor
5.2 Carol Ann Weaver and Cate Friesen
5.3 Karen Frederickson
5.4 Ruth Robertson
6. GRIME MEMBERS’ RESEARCH
6.1 Charlene Morton
6.2 Sondra Wieland Howe
6.3 Mary Cousens
6.4 Wayne D. Bowman
7.1 Winter Workshop
7.2 Music Education Research
8. WWW RESOURCES
New sites and listservs
9. MUSIC, GENDER, EDUCATION NEWSLETTER
10. NEWSLETTER GUIDELINES
by Roberta Lamb
This issue of the GRIME Newsletter marks a time of change for our organization. Formal affiliation with MENC should bring more visibility to gender issues in music education (particularly in the U.S.), while at the same time we retain our international and independent status. A great big thank you goes to Patti O’Toole for her major efforts in putting together the proposal and submitting it to MENC. Thank you, Patti!
This change is also the time for a new editor for the newsletter. I had no idea when I sent out the first newsletter in 1991 that I would be producing two newsletters per year for seven years. I have enjoyed putting the newsletter together and seeing it grow; however, I am quite happy to pass on the task. Patti O’Toole will be the new editor. Welcome, Patti!
A time of change is often one for reviewing history. Although some of us were talking about a gender research group as early as 1988, GRIME’s history began seven years ago at the first Feminist Theory & Music conference in Minneapolis where a dozen people indicated interest in forming this organization. Rachel Brett Harley, Carol Richardson, and Laree Trollinger and myself held a planning meeting to get things started. GRIME has grown to over 100 members from Canada, USA, Australia, Sweden, Germany, Finland, Japan and UK.
Each year we held a meeting at Feminist Theory & Music (University of Virginia, 1997; University of California, Riverside, 1995; Eastman School of Music, Rochester, 1993; University of Minnesota, Minneapolis, 1991) or MENC (Kansas City, 1996; Cincinnati 1994; New Orleans, 1992). We have been on the program of Feminist Theory & Music since 1993. GRIME meetings were listed in the MENC program book since 1994, although it was always a struggle to arrange the meeting since we did not have SRIG status (Betty Atterbury was a great help in getting us scheduled at both the ’94 and ’96 MENCs). It is interesting to note that different GRIMErs attended each type of conference. The Feminist Theory meetings were often a bit more international and included performers, musicologists and ethnomusicologists concerned with education, whereas the MENC meetings tended to include more school music teachers and music education professors. This diversity across disciplines and countries is one of the strengths of our group.
The GRIME-L listserv is a fairly recent addition to the way we are as an organization; it started up during the summer 1996. And, although a bit slow in putting it together, we still hope to put up a web page in the near future. The listserv has yet a different subscription than the newsletter, because not all newsletter GRIME members are on the listserv and some subscribers to the listserv have not joined GRIME as members. This flexibility allows more people to participate in GRIME discussions in a variety of ways.
So, while I say good-bye to editing the newsletter, I will remain quite involved in GRIME through the listserv which I will continue to moderate (and the someday-soon GRIME web page).
Best wishes to all GRIMErs in our evolving organization!
GRIME BECOMES A MENC SRIG
by Patti O’Toole
At the 1998 National MENC meetings a proposal for GRIME to become an official SRIG, to which many of you contributed via the listserv, was submitted to the MERC executive board. Jere Humphreys, acting as official liaison between new SRIGS and the MERC board, was extremely helpful in championing the proposal. There were no changes in the by-laws. (See by-laws as printed in GRIME Newsletter v. 6, no. 2, pp. 1-3) As a result the SRIG was accepted with an unanimous vote and GRIME was introduced as a new SRIG at the MERC business meeting. GRIME went on to have our first “official” business meeting for which 18 members were present, with many more sending regrets for attending in spirit only. At this meeting members elected officers and discussed ways to increase gender-based workshops and research presentations at state, regional, and national MENC conventions.
On a personal note, I’d like to thank all of you for your thoughtful input and continuous support during the preparation of the proposal. I sincerely hope that becoming “official” will be more than a symbolic act and that we will continue to raise issues and consciousness about gender issues in music education.
Chair – Patricia O’Toole, Ohio State University
Vice Chair – Elizabeth Gould, Boise State University, Egould@atlas.idbsu.edu
Eastern – Susan Wheatley, Indiana University of Pennsylvania, firstname.lastname@example.org
Southern – Kimberly Walls, Auburn University, email@example.com
North Central – Sondra Wieland Howe, University of Minnesota, firstname.lastname@example.org
Southwestern – Rosemary Watkins, University of Texas, email@example.com
Northwestern – Judith Boelts, Fairbanks Northstar Borough School District,
Western – Ida Jo Gates-Thorpe, University of Arizona, (no email yet)
International – Eleanor Stubley, McGill University, firstname.lastname@example.org
GRIME-MENC DIVISION CHAIRS
Eleanor Stubley is an Associate Professor at the Faculty of Music, McGill University, Montreal. She has written extensively on Canadian music and philosophical issues concerning the nature and value of music and is currently writing a book that explores the experience of self in music from a wide variety of perspectives. She is also internationally active as a conductor and is artistic director for a series of educational community programs designed to make music come alive for young people.
SONDRA WIELAND HOWE has music degrees from Wellesley College (A.B.), Harvard Graduate School of Education (A.M.T.), and the University of Minnesota (M.A., Ph.D.) She is an Affiliate Scholar in the Center for Advanced Feminist Studies at the University of Minnesota and an independent teacher of piano and theory in Wayzata, Minnesota. Dr. Howe is the past National Chair of the MENC History SRIG and does research on the history of music education and on women composers. Her book, <Luther Whiting Mason: International Music Educator>, was published by Harmonie Park Press in 1997.
I am a K-6 general music teacher in Fairbanks, AK. I have been teaching for 26 years in elementary schools, both as a general music teacher and a regular classroom teacher, in the states of Alaska, Nebraska, and Florida. I finished a masters degree in educational leadership in December, 1996, at the University of AK. My research for that degree included gender issues in mentoring between elementary principals. That is how I became interested in GRIME. As a result of being the only northwest person who showed up at the meeting in Phoenix, I agreed to be the representative. I’m looking forward to the discussions to come!
ROSEMARY C. WATKINS, Ph.D., is an Associate Professor of Music at The University of Texas at San Antonio where she teaches undergraduate and graduate courses in music education, foundations of music, and music research. She is active in music education at state, divisional, and national levels through committees, presentations, and publications.
3.1 MAKING CONNECTIONS IV: WAYS FORWARD: The Status of Women and Women’s Studies at Catholic Colleges and Universities, a conference sponsored by NAWCHE (National Association of Women in Catholic Higher Education) will take place at Trinity College in Washington, DC, June 19-20. For information, contact: email@example.com.
3.2 MAYDAY GROUP – JUNE 12-14, 1998 – DALLAS, TEXAS: The MayDay Group will convene in Dallas, Texas from June 12-14; the particulars about the place are below. The program features critiques and group discussions of David Elliott’s theories of music education.
There is no registration fee for the meeting, and the meeting is open to non- MayDay Group members who are interested in and capable of advancing the quality of discourse on philosophical issues in music education. As always, MayDay Group expenses are the responsibility of individual participants.
The program will open on Friday evening with a paper by Paul Woodford (Canada): “On applying reason to music education theory and practice.” [Prof. Woodford: “What I intend to do is to define what I mean by ‘reason’ and then to apply that to the present schism in music education theory and practice.”]
Saturday’s schedule features six prepared critiques of David Elliott’s theories of music education led by Pentti Maattanen (Finland); Wayne Bowman (Canada); and Patricia O’Toole, Robert Cutietta, Stephen Paul and Thomas Regelski (USA). Each critique will be followed by an informal response by Prof. Elliott and then a group discussion. (Pentti Maattanen is a philosopher from Finland who specializes in pragmatic and action-based philosophical studies. His book Action and Experience: A Naturalistic Approach to Cognition was published in 1993. Prof. Maattanen is familiar with David Elliott’s work, having written a review of it for the Finnish Journal of Music Education.)
On Sunday morning Prof. Elliott will present an update of his thinking, and we conclude at noon following a short business meeting.
Meetings will be at the Dallas-Fort Worth airport, specifically at the Drury Hotel-DFW. Make your reservation before May 29 to guarantee getting the MayDay Group rate ($72.95 plus 11% tax). The phone no. (and fax no.) is <USA> 1-972-986-1200, and the Drury has an on-call shuttle from the Dallas- Fort Worth air terminal. DFW is a hub for American Airlines.
Contact Terry Gates <JTGates@aol.com> with questions about meeting arrangements and with agenda items for the business meeting, and Thomas Regelski <firstname.lastname@example.org> with questions about the program.
AN INTERDISCIPLINARY CONFERENCE
Department of Music
University of Leeds
10:30am, 26th – 17:30pm, 27th June, 1998
The Dance Culture conference will address issues of contemporary and traditional popular dance musics and their roles in the wider cultural context, focusing on perspectives from the new musicologies, cultural studies, postmodern theory, deconstruction, post-structuralism, gender studies, post-colonial theory, etc….
Registration fee: (1) punters & press: stlg30; (2) speakers: stlg20; (3) student & conc.’s: stlg10; (4) Leeds Uni. staff: stlg10; (5) Leeds Uni. students: free
Food: Buffet Lunches (each day): stlg5:00
or snail your message to:
Dr. Steve Sweeney-Turner,
Department of Music,
University of Leeds,
Leeds LS2 9JT,
The Guelph Jazz Festival, in conjunction with the Centre for Cultural Studies / centre d’etudes sur la culture at the University of Guelph, and the Macdonald Stewart Art Centre, invites proposals for papers to be presented at a one-day colloquium on improvisation. The colloquium will take place Friday Sept. 11, 1998 as part of the fifth annual Guelph Jazz Festival (Sept. 10-13) alongside international artists in concert, as well as workshops, speakers, films, and a unique opening-day gala performance featuring a number of leading improvising musicians.
As a process-oriented model of performance that emphasizes freedom, responsibility and mutual tolerance amongst both practitioners and listeners, improvisation seems a particularly resonant topic for contemporary cultural debate. While we invite submissions on any topic that brings together discussion of improvisation and cultural theory, we are particularly interested in papers that cut across institutional communities of interest and involvement by speaking to both an academic audience *and* a general public. Some topics to consider might include the following:
- To what extent is improvisation shaped by social, historical, and musical constraints?
- To what extent can we articulate purposeful connections between creative improvised music and egalitarian social orders?
- How might we understand the role of improvisation in the organization of (and resistance to) social relations of power, including those of race, gender, sexuality, and class?
- What might it mean to theorize improvisation (a la Toni Morrison, Jack Kerouac, etc) as a kind of narrative?
- How do we understand jazz in relation to the role of improvisation in New Music, World Music, etc?
- Can “noise” be said to have a politics? Does dissonance have an ideology?
Please send (500 word) proposals or completed papers (for 15 minute delivery) by May 30th to:
Dr. Ajay Heble, Artistic Director
The Guelph Jazz Festival
Dept. of English
University of Guelph
May 20-25, 1998
Workshops and talks include:
2-4:30 pm: Singing workshop on religious music with June Boyce Tillman
4:30-6 pm: Illustrated talk about the hidden women of the improvisation world by Jen Wilson from the Women’s Jazz Archive
10 am-4 pm: Day of Song for choirs and singers with Frankie Armstrong, Melanie Harrold and Sammy Hurden
10:30 am-12:30 pm:
Drumming workshop led by Zumbida
10 am-12 noon:
Women in Music: surgery on how to develop your musical career
Also featured at the festival:
-Jazz Spring School
-Young Women’s Band project
-sound engineering workshops by Overtones
-composer Jenni Roditi develops new opera
-open studios by local women artists
-music and craft workshops for young people (supported by CRS)
-programme of workshops in schools and hospitals
September 7-13, 1998
Each year a theme (or historical period) is chosen for the Inter-disciplinary Section of the Symposium. The 1998 Edition of the Festival and Symposium will be centered around the period running from 1198 (death of Saint Hildegard of Bingen) till 1498 (when Vasco da Gama opened the sea-routes for the Indes).
In Western classical music, this encompasses the period between the middle-ages and the Renaissance, a period in which we find many women composers in the courts, cloisters, as itinerant singers in family companies and as courtesans. In many parts of the Mediterranean they were still active as sacred songstresses, in court bands and orchestras and, above all, as strong presences within the oral traditions.
Europe-Asia-Africa: Women Musicians from 1200 till 1500
(Both sacred and profane, three centuries of musical creativity and profession) for:
Musicologists (women/men) who would like to contribute a paper related to the above.
Performing Artists who uphold the traditions and performing styles of the above period.
Composers: who should send scores and recordings of their work together with complete professional biographies to:
FondazioneDonne in Musica
Piazza Trento e Trieste
Fiuggi Citta 03014
N.B. Proposals from performing artists are welcome but do not send proposals for general programmes of women’s music. The Foundation invites specialists for old and traditional music.
Special Interests for 1998 – 1) music for unaccompanied s.a.t.b. choir (specialized in polyphony) 2)cello octet 3)sax
How has women’s interest in asking broad intellectual questions and crossing established boundaries affected the fields of musicology and ethnomusicology? Join the Committee on the Status of Women of the American Musicological Society at our open meeting, Thursday, Oct. 29, 1998, 8-10 pm, to discuss the ramifications of this topic, ranging from the impact of women’s scholarship on redefining the musicological mainstream to the ways gender-specific niche-ification affects women’s professional prospects.
The panel, still under consideration, will include classroom teachers of different levels, editors, administrators, and/or publishers, from various musicological and ethnomusicological backgrounds. If you plan to attend the AMS annual meeting this year, be sure to come and contribute your ideas and experiences to what promises to be a lively discussion!
The Second Asia-Pacific Symposium on Music Education Research and the University of Tasmania (supported by the ISME Research Commission and AARME) present an international symposium focusing on music education research in children’s musical development. The symposium will be held between February 4 and 7, 1999, in Launceston, Tasmania (Australia).
The symposium aims:
* to identify national and international research priorities in the domain of music education
* to facilitate the establishment of international networks and collaborative research projects in music education;
* to stimulate, guide, and encourage high quality research incorporating a variety of methodologies; and
* to disseminate research findings internationally.
Researchers in music education, including professional music educators, and graduate and undergraduate students majoring in music education, are invited to participate.
The symposium is organized by Dr. Margaret Barrett, Dr Gary McPherson and Dr Rosalynd Smith from Australia, in association with Professor Tadahiro Murao (Japan) and
Professor Hong-soo Lee (Korea).
Further information can be obtained by connecting to the website for the symposium
(http://www.educ.utas.edu.au/IMERS) or by contacting Dr. Margaret Barrett (E-mail:
The symposium will consist of focused keynote presentations, formal paper readings and ‘arm chair’ discussions of emergent research themes (at the close of each day).
Invited keynote presenters will each address the conference theme of Children & Music: Developmental Perspectives, each from a differing perspective (i.e., biological, psychological, cultural, sociological).
Call for papers:
Submit three copies of an abstract reporting research that contributes to the theory and/or practice of music education. The abstract should be no more than 500 words, excluding references, typed and double-spaced. At the top of the first page of the abstract, the following information should be included: (a) full name; complete mailing address with telephone, fax, and e-mail; and the following statement: “This paper is submitted for consideration as a reading session at the international music education research symposium to be held in Launceston, Tasmania between February 4 and 7, 1999.” In addition, submit a one-page curriculum vitae, including the highest academic degree held, current teaching (or other) position, and special interest area(s) in research and/or teaching.
Three copies of the 500-word abstract and the one-page curriculum vitae must be postmarked Airmail and sent to the representative for your region (see below) no later than October 9, 1998. Acceptances will be forwarded to applicants (via email or fax) by October 26, 1998. A formal letter of invitation will be sent to applicants by early November.
Proposals (i.e., abstracts) should be sent to the following representatives no later than October 9, 1998:
Korea: Dr. Hong-soo Lee, Department of Music Education, Korea National University of Education, San 7, Darak-ri Kangnae-myon, Chongwon-gun Chungbuk, Korea 363-791 (E-mail: email@example.com)
Japan: Prof. Tadahiro Murao, Department of Music, Aichi University of Education, Igaya, Kariya City, Aichi-ken, 448 Japan (E-mail: firstname.lastname@example.org)
All other countries: Dr Margaret Barrett, Faculty of Education, University of Tasmania, PO Box 1214, Launceston, Australia 7250 (E-mail: Margaret.Barrett@utas.edu.au)
NB: The organizers of this symposium are grateful for the assistance of the Australian Research Council
by Gladys Johnsen, Associate Professor of Music, Keene State College, Keene, New Hampshire
What are the most pressing current needs in women and gender matters in college music which our committee has the capacity to address? This question was posed by Barbara Coeyman (University of Texas at Austin), chair of the CMS Committee on Music, Women, and Gender to the Committee at the 1997 Annual CMS Meeting, held in Cleveland, Ohio last November. The discussion prompted other questions, such as:
Have we gone back to the thinking of the 50s?
Should we revisit issues on language inclusion?
Are women assertive with their male colleagues?
Have we come as far as we thought we had?
Do college music departments just not get it, when it comes to women and gender issues?
General consensus was that there was still a great need for educating the masses. Workable suggestions included:
1. Deliver papers on the use of pronouns at regional and national meetings.
2. Have all correspondence from CMS be intentional about inclusive language.
3.Presenting shorter workshops on Teaching Women and Gender in Music, rather than the longer summer institute. (i.e., the Winter Workshop held at the University of Texas at Austin, January 30 – February 1, 1998.)
4. Collect data of what has occurred, globally for women and gender.
5. Write articles about women’s music and submit to the many music organizations.
6. Create a list of women’s music and publishers. Give such a list to college and university libraries.
7. Collaborate with Women’s Studies groups on individual campuses.
In addition to this committee meeting there were four women and gender presentations at the CMS Annual Meeting.
Women and Gender, chaired by Gladys Johnsen (Keene State College).
Women’s Status in College Music: The View from the Conductor’s Podium
Christina McElroy (Hillsdale College).
Women As Agent and Creator: Silences That Generate Music, Sharon Guertin Shafer (Trinity College).
Thinking About Music II, chaired by Martha Asti (Wingate University).
Feminist Aesthetics and the Writings of Susanne Langer, Mary J. Reichling (University of Southwestern Louisiana).
Women in World Music: Teaching, Research, Performance, moderated by Barbara Coeyman.
Presenters: Ama Oforiwaa Aduonum (Florida State University), Jane Bowers, (University of Wisconsin-Milwaukee), and Margaret Sarkissian (Smith College).
Open Forum on Women, Music, and Gender Issues, chaired by Barbara Coeyman.
The forty-first Annual Meeting will be held in San Juan, Puerto Rico. Barbara Coeyman invites folks to consider serving on the Committee on Music, Women and Gender in 1999-2000.
by Elizabeth Keathley
Student Member, Committee on the Status of Women, AMS
The CSW of the AMS co-chaired with the Committee on Cultural Diversity a panel and open meeting on mentoring. The panel, chaired by Ruth Solie, included Lesley Wright, organizer of a successful women’s mentoring program at the University of Hawaii, Rae Linda Brown of the University of California Irvine, Guy Ramsey of Tufts University, and Philip Gossett of the University of Chicago.
The ethnic diversity of the audience, and the fact that many graduate students and junior faculty asked questions from the floor, were encouraging aspects of the meeting. However, in this graduate student’s view, the perspective of the panel was overbalanced in the direction of preserving rather than challenging the institutional status quo.
Each panelist spoke of the mentoring successes in his/her institution, and several panelists encouraged women and minorities to be aggressive in seeking out the mentoring they need. Yet a common complaint I hear from women graduate students (some at these very institutions) is that their advisors (institutionally-appointed mentors) have failed them, and often, for a variety of political and personal reasons, these students are fearful of seeking mentorship elsewhere. The preservation of the aggressive/ competitive model of academic success is not helpful to these students.
An initial procedural plan to submit some questions to the panel anonymously in writing was changed at the beginning of the meeting. Although this resulted in a less formal atmosphere, it also meant that those who did not wish their questions to be identified with them (and there were several of these) did not get their questions asked. One question that had been on the minds of a number of the students I know concerned the perception of “bedroom mentoring”: a few women appear to be receiving the kinds of support and advocacy we feel all of us deserve, but on the basis of questionable relationships with senior men, rather than on the basis of quality teaching and scholarship. This issue is so highly charged that no one wished to be the one to raise it, although many grad students wanted it to be aired.
Mentoring is not a neutral activity, but rather has served as the linchpin of a network of privilege: by lavishing guidance, support, and advocacy on a few and withholding it from others, the inner sanctum of academia has been preserved for the chosen. My most burning–and unanswered–question about mentoring is how we can reconceive the concept, not merely to allow a few women and minorities into the inner sanctum, but to democratize the institution.
Views of the Piano Sonata , Carleton Sound CSCD-1002, presents piano sonatas from the classical to contemporary periods. Each shows a different approach to this particular genre of writing. The CD includes the first recording ever of Sonatas by Marianna von Auenbrugger (d. 1796), a musician widely admired by Haydn and Mozart, and the Canadian composer, Deirdre Piper. The fascinating “Sonata in G minor” by Fanny Mendelssohn Hensel was published for the first time in 1992. Other sonatas included that have been rarely recorded are Alban Berg’s, Jean Coulthard’s No. 1, and Georges Ensco’s particularly beautiful “Sonata in D”.
Keillor began her public performances at the age of two, and became the youngest graduate ever in piano performance of the Royal Conservatory of Music (Toronto) with all of the theoretical exams completed at the age of ten. Dr. Keillor was the first woman to receive a Ph.D. in musicology from the University of Toronto. She has toured across Canada and given recitals and orchestral performances in North America and Europe as well as appearing regularly on the CBC, NBC, TVOntario, radio and television programs.
Carol Ann Weaver, composer/pianist, and Cate Friesen, singer/songwriter performed a Memorial Concert in memory of Carol Ann’s mother, Miriam L. Weaver of Harrisonburg, VA, and her mother-in-law- Lottie Friesen (no relation to Cate) Saturday, April 25, 1998, at Conrad Grebel College/University of Waterloo.
The concept of a concert honoring two recently-departed mothers is one of the many women-oriented events which is finally occurring this part of the century.
Weaver and Friesen are bringing together two different musical styles in their concerts–both avant garde and folk traditions are represented, as well as a plethora of funk, jazz, and minimalist styles. The centerpiece performance was Weaver’s I HAVE BEEN A TRAVELER, an extended song cycle, with text by U. of Waterloo poet, Judith Miller.
by Karen Frederickson, Assistant Professor, Queen’s University, School of Music, Kingston, ON,
In February, 1997, I adjudicated the Ontario Intervarsity Choral Festival. This is a non-competitive event that brings several college/university choirs together for a weekend of choral singing. Each choir presents some selections at the Sunday concert, as well as a combined effort to present a larger work conducted by a guest conductor. It is a great experience, and I was excited to play a part in the occasion. As I listened to each wonderful choir, I noticed that there were no women composers represented in anyone’s repertory and wondered why. I also began to think about what I could do about it.
Thus began the journey to the Year of the Woman Composer, presented by Queen’s Polyhymnia (formerly the Women’s Chorus) under my direction, as well as my own recital in April, 1998. All of the music selected for the 1997-98 season was written or arranged by women composers, including one commissioned electroacoustic work by Queen’s composer, Kristi Allik. The following is a listing of the 1997-98 Polyhymnia repertory (most of them are SSAA; publisher information available by request):
This little light of mine arr. Karen Frederickson
Done foun’ my los’ sheep arr. Marylou India Jackson
Laggard Dawn Ethel Mary Smyth
I sing of a maiden Eleanor Daley
In Flanders Fields Ruth Watson Henderson
Five Texts by William Shakespeare Beverly Lewis
Here’s to Song arr. Lydia Adams
Aure volanti Francesca Caccini
Sechs geistliche Lieder Louise Reichardt
I am in love, I dare not own it arr. Alice Parker
Marie Calumet Marie Bernard
Songs of Auyuittuq Kristi Allik
For each concert we provided detailed information about the composers in the program notes. No special attention was paid to the focus on women composers in the advertising or program (i.e. special titles); we just performed the music. The interesting part began after each concert or event when audience members would comment on the program or presentation (we sing at special events on campus in addition to concerts). Some sample comments: “I didn’t know there were that many women composers” and, “I didn’t know you could do a WHOLE concert of just women composers” and, “Those songs by women composers were really great” as well as comments comparing the compositions to those that were more familiar to them, usually by famous European male composers.
The responses of choir members was equally interesting. Many of the women were unaware of the vast number of women composers. Only those students enrolled in our Women in Music course were familiar with any of the composers studied during this season, including the Canadians: Eleanor Daley, Ruth Watson Henderson, Beverly Lewis, Lydia Adams, Marie Bernard and Kristi Allik. Some comments included in the course evaluations were “I liked the fact that we did all women composers. I thought that was really neat” “I loved the diversity of songs we sang> I feel I learned a great deal this year” “The theme of women composers was excellent.”
In addition to the Polyhymnia season, I also presented a solo recital this year to honor my 50th birthday. Over 50% of the program included music by women composers: Louise Reichardt, Josephine Lang, Augusta Holmes, and Pauline Viardot-Garcia. I loved the songs, and perhaps learning them late in my life is better than never learning them at all.
By these small efforts I hope there is a bit more awareness of women composers on our campus now. I am going to include as many compositions written by women composers on future concerts as possible to continue this musical education: of my students, my colleagues, and our audience.
by Ruth Robertson
My interest in composing began with arranging. I’ve always enjoyed writing down what I hear in my head. I used to sing a familiar hymn or folk tune while accompanying myself on the guitar or on the piano, experimenting with different harmonic progressions until I’d find one I really liked. Then I’d write it down–in pencil, of course. When I directed church choirs, I would compose an obligato for the sopranos to sing on the last verse. Or perhaps, I would make an entire choral arrangement of several verses of a hymn.
I arranged “Were You There?” for a ladies trio in 1995 on the occasion of a class reunion of my high school. I planned to sing it with two of my classmates, but the arrangement was too difficult to put together in one rehearsal. We just sang the “normal” SSA arrangement with the same music for all three verses. Then, when I heard about the Cantorum planning on featuring music by Missouri composers, I decided to get this piece in shape and submit it. I put it on the computer, refined it, added dynamics, and otherwise “improved” it. (That process is never complete, I think–thank goodness for computers!) I’m having the women of the Lincoln University Vocal Ensemble sing it this spring on tour and again for our May 7 Spring Concert, under a nom de plume, of course!
It has always been fun to try to compose my own pieces, instead of just arranging some existing melody. My most ambitious venture was a cycle of songs entitled “Seven Good Words for Good Friday” based on Christ’s last words, using texts by Roger Robbenolt. I originally performed it at an ecumenical Good Friday Service in Pasadena, CA, accompanying myself on the guitar. Since then I have changed some of the keys, added “refrains,” and added piano accompaniment. I have sung excerpts for different occasions. Someday I would like to submit these for publications somewhere.
It seems a bit arrogant to compose something and suppose that anyone will really want to hear it when there is already so much fine music out there. And yet, there is a lot of mediocre music that gets published, making it seem desirable to put something good out there for use. Someday when I retire, I hope to do more composing. It’s hard to find time to compose in addition to teaching, conducting, performing, and just ordinary living things like sleeping, paying bills, working in the yard, etc. But it is very gratifying to hear sung what one has only imagined in the head or played on the piano. I am grateful to the Cantorum for giving me a chance to do that this evening. I hope the audience will enjoy this and other works by Missouri composers.
by Charlene Morton
Drs. Charlene Morton and Wendy Shilton organized a lecture-recital as the introductory component for the 3rd Annual University of Prince Edward Island Interdisciplinary Undergraduate Conference on Women’s Issues, March 5-8, 1998. The idea for this musical event, originally planned as an independent initiative, was generated in order to give a venue where amateur and professional musicians could celebrate women composers and women performers. Four (female) faculty members from the English, Music, and Psychology Departments met in Fall 1997 to organize a Women in Music discussion group. We talked about inviting (women) musicians we knew in the local community as well as other interested (women) faculty members. Some of us favored working toward a serious recital while others simply wanted to meet once a month at someone’s home to make music. Some others questioned whether we should make it exclusive to women or invite men to join us in the performance of music by women composers.
For a first attempt, the beginning was fairly typical: no focus but plenty of feminist perspectives, and numerous ethical dilemmas of intent and inclusivity. In general, though, the objectives were to develop a better awareness of (1) contemporary women composers, (2) neglected women composers of the past, (3) Canadian women composers, and, of course, (4) the gender-related barriers women musicians face(d).
On May 31st, 1998, Dr. Morton will be presenting a reflective report of this project at the meeting of the Canadian Association for Studies in Women’s Education, Ottawa. In her presentation, she will be addressing practical and ethical considerations of this interdisciplinary event, incorporating theoretical perspectives of feminist and critical pedagogues such as Marci Citron, Jennifer Gore, bell hooks, and Peter McLaren. For a copy of the presentation or recital program, contact Charlene Morton, Department of Music, UPEI, Charlottetown, PE, C1A 4P3 or e-mail her at <email@example.com>.
by Sondra Wieland Howe
My book, Luther Whiting Mason: International Music Educator (Harmonie Park Press, 1997) Mason (1818-1896) developed the music program in the Boston public schools, teaching children and training female classroom teachers. His National Music Course was the first American graded textbook series. Mason went to Japan in the 1880s to teach western music, train teachers in the Tokyo Normal Schools, and help develop a Japanese textbook series. Several Japanese women assisted him in his teaching, and translated for him.
At the 17th ISME Research Seminar in Johannesburg, South Africa, in July, I will present a paper, “Leadership in MENC: The Female Tradition.” I will describe the ten women who have been president of MENC 1907-1997, evaluate their contributions to MENC and to international music education. At this conference, 25 researchers, from around the world, will be discussing their research for a week. This paper will also be presented as a poster in Pretoria, and will be published in CRME (Bulletin of the Council for Research in Music Education).
The XXIII ISME World Conference in Pretoria, July 19-25, will include lectures, workshops, concerts, and plenary sessions. I will be giving an hour-long workshop on “Including the Music of Women Composers in the School Music Curriculum.” I plan to give a survey of women composers, show slides, play recordings and piano selections, to provide educators with an overview of available material. My bibliography includes lists of books (in various languages), recordings, and web sites. [I can always use more information on non-English books. This conference is in English, but there are many ISME members for whom English is a second language].
(M.A. thesis, Ontario Institute for Studies in Education, University of Toronto, 1997)
This study surveyed female students and their vocal music teachers from ten senior vocal music classes in the public high school system in ten Ontario regions. Senior female students commented on their views of the choral repertoire, career aspirations, role models in a choral music setting and experience composing music. The vocal music teachers described criteria used in the repertoire selection process, their inclusion of compositional skill development components and their views of including works by Canadian women in their vocal programs.
Conclusion of the findings from this study show that music teachers do not use gender as a criteria when selecting vocal repertoire and that female students can be inspired to pursue careers in music composition through the study of works by Canadian women in their vocal music programs.
Oxford University Press, 1998 (488 pages)
I originally set out to write on philosophy of music education, beginning, as is customary, with a consideration of the nature and value of music. I quickly concluded that there was abundant work to be done on those two issues alone. I believe that most musical disciplines are the worse for their untheorized preoccupation with ‘doing’ or practice, and hope this book may provide a useful introduction to critical musical thought for the serious musician without a background in philosophy or aesthetics. The book explores music – not the arts, note, but music – from a variety of perspectives, without advancing any as “the” definitive point of view. In other words, the questions “What is music?” and “What is music good for?” are approached through diverse and divergent points of view, encouraging the reader to weigh the advantages and disadvantages of each. By the same token, the book resists the assumption that music is an unconditional or inherent “good.” It is hoped that by so ‘problematizing’ musical issues, readers may come to experience something of the excitement, indeed, the urgency, of the philosophical quest and appreciate the potential contemporary relevance of theories too often regarded as quaint historical relics.
It includes chapters devoted to music as mimesis: the pre-Platonics, Plato, Aristotle, and the neo-Platonists; music as idea: Kant, Schiller, Hegel, and Schopenhauer; music as autonomous form: Hanslick, Gurney, and Leonard Meyer; music as symbolic, or a vehicle for semiosis: Langer, Goodman, and Nattiez; music as ‘lived’, as phenomenological experience: Maurice Merleau-Ponty, Mikel Dufrenne, Thomas Clifton, David Burrows, Eleanor Stubley, and Mark Johnson; music as social and political force: Theodor Adorno and Jacques Attali; and music from feminist and postmodern perspectives.
7.1 WINTER WORKSHOP: Due to the success of the Winter Workshop held at the University of Texas at Austin, January 30 – February 1, 1998, Barbara Coeyman and Susan Cook are interested in taking this workshop to three sites in early fall, winter, and spring. Their goal is to have these workshops on the East Coast, West Coast, and somewhere in the Mid-West. Anyone who is interested in hosting a workshop should contact Barbara at firstname.lastname@example.org.
The focus will be firmly on research, providing a forum for debate arising from findings as well as methods and methodologies. It will seek to generate and promote research from both experienced researchers and those new to the field. Qualitative and quantitative research methodologies, ethnographic, action research and experimental approaches will be encouraged as well as reflections on the research process and reports on research in progress. The journal will encourage contributors whose interests encompass teaching and learning in musical styles and traditions outside the European ‘classical’ tradition. It is hoped that this journal will reflect an international community and provide a forum for comparative investigation and debate.
Education is interpreted in its widest sense: as a lifelong process which includes both formal and informal settings. Research in this field should be relevant and illuminating, and should encourage teachers, practitioners and researchers at all levels to reflect on, and challenge theories and practices.
The journal is supported by an international editorial board as well as a UK-based board. All submissions will be independently judged by two referees.
For further information about submissions please contact the editor, Sarah Hennessy, The School of Education, University of Exeter, Heavitree Road, Exeter, EX1 2LU, UK Tel +44(0)1392 264858, Fax +44(0)1392 264921 or E.Mail: S.J.E.Hennessy@exeter.ac.uk
NEW ACADEMIC LISTSERV ON WOMEN’S CONTEMPORARY POPULAR MUSIC:
Womusic is a discussion list for Academic Perspectives and Inquiry related to Women’s Contemporary Music.
Womusic is a non-moderated discussion list for the application of diverse methods of academic/feminist inquiry to women’s music, women’s musical spaces, and women’s performance in contemporary popular music. Any genre of music can and should be included in discussion, including (but not limited to) folk, women’s music collectives and women-only spaces, women-centric punk (i.e. RiotGrrl), country music, rap, and Lesbian Punk/Queercore.
Participation in the list is open to anyone and will ideally be a forum for the exchange of research, information, and methodologies. The format is fairly fluid….as long as the topic is women’s musical expression/spaces, the content of the list can and should be driven by those subscribed to the list!
HOW DO I SUBSCRIBE?
Send mail to email@example.com with the contents:
SUB WOMUSIC your name
CONFERENCE WEB SITES:
Dance Culture: An Interdisciplinary Conference
26th-27th June 1998, University of Leeds
(The above web site has links to information about food, accommodation, locations, abstracts, and registration forms.)
WEB SITES RECOMMENDED BY MUSIC, GENDER EDUCATION NEWSLETTER:
Site for the International Alliance for Women in Music:
With links to:
Early Music Women Composers:
(This gives a list of women composers born before 1765 and gives access to an illustrated CD list and MIDI sound files. There is a special section on Editions Ars Femina and the Ars Femina Ensemble.)
Society for Music Theory:
(This includes the SMT’s guidelines for non-sexist language and an archive of syllabi from women and music courses.
Women in Rock:
(A site for practitioners, enthusiasts and academics. Lots of information about artists, bibliographies, contacts etc. also.)
Leonardo Music Journal:
(The Leonardo Music Journal which is part of Leonardo’s “Women, Art & Technology project.)
Rosemary Evans, ed., M.G.E.N., P.O. Box 14, Manchester M23 ORY England. Tel.: 0161 902 9893 Fax: 0161 902 9893 E-Mail: firstname.lastname@example.org
Volume 2, Issue 4 includes an announcement of the Chard Festival of Women in Music (May 20-25), which offered talks on contemporary music, jazz and opera as well as performance poetry, visual art and theater. The newsletter announced the 1998 FIUGGI symposium in Italy (Sept. 7-13, 1998). The Heritage Community School in the village of Clowne in Derbyshire is the featured school in this issue, chosen because of the progressive leadership of Helen Kirby and its non-sexist ambiance. Also included in the newsletter are a report on Out of the shadows, a celebration organized by the Royal Liverpool Philharmonic Society as part of the Association of British Orchestras’ National Orchestra Week, and glowing reviews of New Found Voices (Derek Hyde, 3rd edition, Ashgate Press, 1998) and the interactive CD-ROM by Stevie Wishart, Red Iris (Glossa Nouvelle Vision GCD 920701).
If you would like to write a conference or book review, please do!! Letters are welcome; reviews of available recordings or videos would be good, too. Please try to write short articles (1000 words).
NEW EDITOR: Patti O’Toole will be taking on the editing of the GRIME newsletter from her new position at the Ohio State University. Exact address and deadlines will be announced over the listserv. In the meantime, submissions may be sent to Roberta Lamb (who will forward them to Patti O’Toole) by regular mail, FAX 613-545-6808, or by email <email@example.com>.
We welcome more submissions on practical issues of addressing gender issues in teaching/ learning settings of all kinds.