|MEMBERSHIP: A $ by your name on the mailing label means your membership is due. Membership is $10 regular/$6 student or low-waged (US or Canadian currency acceptable. Our apologies: we can no longer accept UK currency). Make cheques payable to Queen’s University. Send cheques, names & addresses (add e-mail &/or phone number, if you wish) to: Dr. Roberta Lamb, School of Music, Queen’s University, Kingston, Ontario, Canada K7L 3N6.|
In This Issue:
1. MENC SRIG Proposal
2. GRIME Annual Meetings
3.2 Composer Conference
4. Conference Reviews
4.1 The Third Australian Women’s Music Festival And Conference, Sydney
4.2 Feminist Theory And Music 4
4.2.1 Nita Karpf, FTM4 abstract: Session 25 African American Musics, “Art Music,
Activist Discourse, and Nineteenth-Century African American Feminism: The Case
of Amelia L. Tilghman”
4.2.2 Sharon G. Shafer, FTM4 abstract: Woman as Agent and Creator: Silences That
4.3 Music, Education And Gender Conference, Michael Tippett Centre, Bath College Of
4.4 Review Of Music, Gender And Education Conference, Claire Baron and Genevieve Cimon
4.5 Report on “Hidden Realities/ Secret Visions” National Women’s Studies Association Mid- Atlantic Regional Conference, Saturday, October 18, 1997, Anne Arundel, Community
College, Arnold, Maryland by Sharon G. Shafer
4.6 Women In Jazz: Nice Work If You Can Get It
5. Concert Reviews
6. GRIME Members’ Music
6.1 Carol Anne Weaver
6.2 June Boyce-Tillman
6.3 Ruth Robertson
7. GRIME Members’ Research
8.1 Composer Posters
8.2 Essay Contest
9. GRIMErs Recommend Music
9.1 Jazz Women
10. WWW Resources
New sites and listservs
11. GRIME WebPage
12. Newsletter Guidelines
The complete proposal is available by email on GRIME-L; only the proposed by-laws are reproduced here. Please read carefully and send comments/ suggestions to: Patricia O’Toole, Music Dept., State University of New York, Buffalo, NY 14260 USA. GRIME members will need to approve this document in order for it to go forward.
Gender Research in Music Education
Special Research Interest Group
I. NAME, PURPOSE AND COMMITMENTS
A. This organization shall be known as the Gender Research in Music Education Special Research Interest Group (GRIME). It is organized under the Society for Research in Music Education (SRME), a part of the Music Educators National Conference (MENC).
B. The purpose of GRIME shall be: to provide a forum for promoting scholarship that addresses gender issues in music education; to share research and classroom materials that focus on gender issues in music education; and, to work towards establishing a climate within the music education discipline that addresses issues, concerns and scholarship in education; and, to work towards establishing a climate within the music education discipline that addresses issues, concerns and scholarship pertinent in any way to gender. GRIME provides an opportunity for networking among those people concerned with these issues.
C. To accomplish this purpose, GRIME is committed to:
1. Providing opportunities for discussion and reflection which will define research agendas concerning gender and music education
2. Encouraging rigorous research on a variety of gender issues in music education
3. Providing a medium for disseminating information about research related to gender issues in music teaching and learning
A. Any member of the Music Educators National Conference may be a member of the MENC SRIG.
B. MENC members may become members by notifying the GRIME Chair of the MENC Headquarters
C. An MENC member may remain a member of the GRIME SRIG as long as MENC membership status is maintained or until a discontinuance notification is sent to the GRIME Chair or the MENC Headquarters.
D. Membership shall include a subscription to the GRIME Newsletter and a Membership Directory.
A. Qualifications of Officers
The national chair and vice-chair shall be current members of GRIME, present a record of interest and involvement in the GRIME SRIG, and attend the national in-service conferences of MENC.
B. Primary executive authority is vested in the National Chair whose duties will include:
1. Managing the general affairs of the GRIME SRIG
2. Appointing the Membership Chair
3. Appointing Division Chairs
4. Appointing Chairs of Ad hoc committees
5. Preparing meeting proposals to the MERCs SRIG Coordinator
6. Presenting a biennial report to the MERCs SRIG Coordinator
7. Appointing a Nominating Committee for the National Chair-Elect
8. Serving as the liaison with MENC and MERC
C. The National Vice-Chair shall assist the National Chair. Duties shall include:
1. Serving as editor of the GRIME SRIG Newsletter
2. Collecting and preparing information to be included in a semi-annual publication of the newsletter, with final copy subject to approval of the National Chair
3. Writing a report on the activities of the National Vice-Chair to be included in the National Chairs biennial report
4. Advising the National Chair
5. Assuming the duties of the National Chair if the National Chair chooses to resign or is otherwise unable to carry out the duties
6. Assuming other duties as directed by the National Chair
D. The Membership Chair shall assist the National Chair. Duties shall include:
1. Maintaining a current and accurate membership list
2. Making recommendations for membership development to the National Chair
3. Maintaining records of terms of office for members of the Advisory Committee
4. Writing a report of membership data and activities to be included in the National Chairs biennial report
5. Advising the National Chair
6. The duties of the Membership Chair may be fulfilled by the GRIME vice-chair at the discretion of the national chair
E. Six Division Chairs shall assist the National Chair. Their duties shall include:
1. Organizing Divisional meetings
2. Organizing projects at the Divisional level
3. Notifying Division members of relevant meeting and convention sessions
4. Developing membership within the Division
5. Writing a report on Division activities to be included in the National Chairs biennial report
6. Advising the National Chair
F. Ad hoc committees
The National chair may at her/his discretion appoint Ad hoccommittees as needed or desired by the Advisory Council.
G. Advisory Council
1. The Advisory Council shall consist of the National Chair, the National Vice-Chair, the Membership Chair and the Division Chairs.
2. Meetings of the Advisory Council are called at the discretion of the National Chair.
H. Assumption of Duties
1. If the office of GRIME chair becomes vacant during a biennium, the currently serving vice-chair will become chair. If the office of vice-chair becomes vacant during a biennium, the GRIME chair will appoint a vice-chair to serve until the next regular election.
2. The offices of both chair and vice-chair must be filled at all times, and the names, addresses, and phone numbers of both officers must be reported tot he national chair of MERC or her/his designee.
I. Election of the National Chair-Elect
1. On or before January 1st of her/his second year, the National Chair shall appoint a Nominating Committee consisting of at least three GRIME SRIG members.
2. On or before March 1st of the second year, the Nominating Committee shall present the names of two candidates to the current National Chair as nominees for the position of National Chair-Elect. Additional nominations will be accepted from the floor at the national biennial GRIME SRIG meeting.
3. A majority vote of those casting secret ballots at the GRIME SRIG meeting will be required to elect the new National Chair-Elect. If no nominee receives the required majority vote, a run-off election will be held immediately between the two persons receiving the highest number of votes in the first election.
4. The National Vice-Chair automatically assumes the duties of the National Chair at the end of the two-year term as Chair-Elect. If the Vice-Chair chooses not to assume or is prevented from assuming the duties of the National Chair, the Nominating Committee will be charged with submitting names for both National Chair and national Chair-Elect under the procedures outlined in 1, 2, and 3 above.
J. Terms of Office
1. The National Chair shall serve a term of two years commencing July 1 of each even-numbered years.
2. The National Vice-Chair shall serve a term of two years commencing July 1 of each even-numbered years.
3. The Membership Chair shall serve a term of two years commencing July 1 of each even-numbered years.
4. Divisional Chairs normally serve for four years, but the National
Chair may appoint Divisional Chairs to additional four-year terms.
a. The Northwestern, Southwestern, and Eastern Division chairs shall be
open for reappointment in 2000 and on each fourth year thereafter.
b. The Southern, North Central, and Western Division chairs shall be open for reappointment in 2002 and on each fourth year thereafter.
5. Ad hoc Committees serve a term defined by the National Chair.
1. The GRIME SRIG shall hold its formal business meeting and professional session(s) at every biennial convention. The proposal for the meeting is forwarded to the MERC SRIG Coordinator by the next March after the biennial convention.
2. The National Chair shall call formal or informal meetings of the GRIME SRIG or the Advisory Council at her/his discretion.
1. Any provision of this document that is in conflict with the MENC constitution or the By-Laws of the Music Education Research Council is null and void.
2. A two-thirds majority vote of those present at the biennial meeting will be necessary to amend this document.
VI. INITIAL PROCEDURES
For the years 1998-2000, the National Chair shall appoint a Vice-Chair, aMembership Chair, and six Division Chairs. In 2000 the NominatingCommittee shall submit names of nominees for both the National Chair andNational Vice-Chair as outlined in Section III (for the Chair-Elect); the nominations may or may not include the names of the National Chair and Vice-Chair appointed in 1998.
The 1998 GRIME Meeting will be held at the MENC Conference in April. Details of meeting will be posted on GRIME-L listserv. See above for proposed by-laws as an MENC -SRIG. For more information, contact Patricia Otoole <potoole@ACSU.BUFFALO.EDU>
1997 Annual GRIME Meeting at FTM4
by Elizabeth S. Gould , Boise
Below please find the minutes for the GRIME business meeting held June 1997 at the Feminist Theory and Music 4 Conference at the University of Virgina.
1. Current membersip of GRIME stands at about 120, with 85 people on the listserve, not all of whom are paying members.
2. Current expenses are exceeding revenue.
Regarding GRIME’s proposed SIG status with MENC, Roberta reported:
1. A formal proposal has been written by Patti O’Toole.
2. GRIME would maintain its own identity–GRIME members would not have to join MENC.
Discussion followed on these items, with members’ making the following recommendations:
1. GRIME dues should be raised to $10.00 to allow for an assistant to do better “publishing” and allow for longer articles.
2. For students, GRIME dues would be raised to $6.00.
3. No objections to affiliation with MENC as long as GRIME’rs do not have to join MENC.
4. In addition–or as alternative–to MENC, contact other organizations, such as College Music Society and Society for Ethnomusicology.
Suggestions for the next Feminist Theory in Music conference were:
1. Include a plenary for/in music education. 2. Schedule sessions so that papers/ presentations on gay issues and papers/ presentations on lesbian issues do not occur at the same time.
Discussion of the questions from the agenda on the listserve was postponed as attendees were discussing issues related to the Feminist Theory conference.
Meeting adjourned by consensus.
The Committee on the Status of Women of the Society for Music Theory will meet Thursday night of the Phoenix AMS/SMT meeting, October 1997.
Marcia Citron, Rice University
“Gendered Analysis in the Classroom: Opportunities and Challenges”
Susan C. Cook, University of Wisconsin, Madison “Musicology Undisciplined: A Feminist Fantasy”
Ellie Hisama, Ohio State University
To Be Announced
Marianne Kielian-Gilbert, Indiana University “Gender, Minority, and Power”
Fred Everett Maus, University of Virginia “Creating Musical Adults”
Composing a Career, a career development symposium for women composers, will be held at Mills College, Oakland, California, on November 15-16, 1997. Presented by The Women’s Philharmonic, our purpose is to provide information and inspiration to women composers desiring to move to more active professional levels. Speakers include composers Libby Larsen and Pauline Oliveros, conductors JoAnn Falletta and Apo Hsu, Tom Broido of Theodore Presser Publishing, Fran Richard from ASCAP, composer Laura Karpman on composing for films and television, sound engineer Leslie Ann Jones on producing your own CD, Carl Stone from Meet the Composer, David Harrington from the Kronos Quartet, and performers and advocates of self-publishing. Cost: $100 For a brochure and registration form, contact The Women’s Philharmonic, 44 Page Street, Suite 604D, San Francisco, CA 94102. Tel: 415/437-0123. Fax: 415/437-0121. email: email@example.com
by Maree Macmillan (RMIT University, Melbourne, Australia)
Yes, there is life in the antipodes! Imagine, if you will, several hundred enthusiastic women — composers, performers, musicologists and music educators of all ages–gathered together for six days in one of the world’s most beautiful cities. Not surprisingly, most participants were from Sydney and Melbourne, although some women travelled from more far-flung areas of Australia, and a few even ventured from overseas. In Australia, this festival has become a triennial event. The first Composing Women’s Festival took place in Adelaide in 1991, the year which seemed to mark a watershed internationally in the area of women and music. The second festival in Melbourne in 1994 was a much grander affair which also incorporated a conference component.
The 1997 festival in Sydney opened at the Museum of Contemporary Art, situated right on Sydney harbour, overlooking the famous bridge and opera house. The evening commenced with a less formal section, in which a varied programme of live music provided a backdrop for the hubbub of animated chatter of acquaintances made and friendships renewed. We were surprised and delighted by Canadian ‘cultural animator’, Moon Joyce, who appeared as a modern day minstrel, complete with jester’s hat, encouraging us to contribute to the live music-making with our voices. Another wonderful feature of the opening was an exhibition of a collection of newly commissioned photographic portraits of Australian women composers and performers by nineteen leading Sydney photographers. A presenter from national radio compered a more formal section of the evening in which the Australian Women Composers’ Fund was launched, and larger works by Australian women composers were performed by the Australian Chamber Orchestra.
On each day of the festival, the programme included a keynote address, academic papers, and forums on popular music, technology, education, funding and support, feminist/critical theory, a composers’ forum and a session discussing issues around women’s composition of works for larger musical forces. The conference was interlaced by an abundance of concerts of both composed and improvised music, spanning a variety of styles and decades, by Australian women composers. I was impressed not only by the quality of the works themselves, but also by the high standard of the (mostly) women musicians who played them and the passion and energy with which they projected their performances.
The opening address of the conference component of the festival was given by Suzanne Cusick from the University of Virginia, USA. Her work on performances of gender and sex in Queering the Pitch and on women, music and power in Musicology and Difference will be familiar to many readers. Her extremely stimulating paper On Musical Performance of Gender and Sex [Appropriations of Judith Butler in North American Music Studies] explored Judith Butler’s ideas about gender, sex and sexuality as performances in relation to feminist thinking about music, focusing particularly on the presentation of the group Pearl Jam compared with Indigo Girls.
The theme of embodiment and performance was continued by the next keynote speaker, Terry Threadgold from the Graduate School, Monash University, Melbourne, in her paper Performativity, Voice, Corporeality, Habitus, Becoming, Assemblage: Some Reflections on Theory and Performing Metaphors. Referring particularly to her association with the performance of the work of Aphra Behn, she discussed the contradictory, simultaneous, multi-level narratives which operate during the rehearsal and performance processes in theatre, where the text is always body, providing excess to speech.
In her keynote address, Thérèse Radic, a historian and musicologist who is attached to the music departments of both the University of Melbourne and Monash University, looked at the rationale, history and outcomes of the Australian Composing Women’s Festivals since 1991 in her paper Past Imperfect, Present Indicative, Future Tense: the repercussions of the Australian Composing Women’s Festivals. In a hard-hitting account, she questioned whether there has been any real improvement in the financial support for, or public profile of, women composers over the last ten years in Australia.
Leading composer and Professor of Music at the University of Sydney, Anne Boyd, presented a very moving and personal account of her creative journey as a composer in her paper ‘Singing the Muse’: A solitary female composer’s perspective on musical creativity. She deconstructed her work, showing it to be a metaphor for the position of the female artist/composer in contemporary society. Her piece Meditation is featured on a CD due to be launched at the Festival in support of the establishment of the Composing Women’s Trust Fund.
The last keynote paper was by Frances Dyson from the Creative Arts Department at the University of Wollongong. Entitled Bodies, Vibrations and Electrical Wires, it traced some of the earlier conjunctions of ideas around reverberation, vibration and embodied space, particularly in relation to contemporary concepts of aurality and immersion that appear in new media discourse and the varied thoughts of millennial culture.
Papers in other sessions addressed a range of areas, including Australian Aboriginal music, music technology, women in popular music, musicology and gender, analysis of compositional processes of works by women and the construction of sexuality in music. Some presentations focused on particular composers, such as Peggy Glanville-Hicks and Elizabeth Jacquet de la Guerre. Several papers explored issues of voice and gender: women’s voice; sonic cross dressing; the potential of women’s singing as a liberating or strategic force; and women as represented in opera.
From an educator’s point of view, it was gratifying that, whereas at the 1994 conference, only a single paper was devoted to education, at the 1997 Sydney festival, there was both a session of papers on education and an education forum. Papers on education covered the areas of studio teaching, female tertiary students as potential soundtrack composers and the use of music by Australian women composers in the secondary school classroom.
Margaret Brandman, a freelance composer and music educator, discussed the possibility that women may use more whole brain teaching ideas, owing to the physiological functioning of the female brain, which allows more connections between left and right brain compared with males. Felicia Chadwick, from the University of Newcastle, discussed her use of the music of established Australian composer, Sarah Hopkins, as the basis for encouraging the development of high-school-aged students’ own compositional processes. Carol Biddiss, from the University of South Australia, examined gendered aspects of the music composing potential of a group of tertiary students using computer-music work stations, who were taking a major study in film and electronic media production.
Carol Biddiss also spoke at the education forum, which included representatives from the industry as well as from music education. Other contributors were: Margaret Moore, Education Manager with the Sydney Symphony Orchestra; Anne Bloore, National Manager of the Australian Music Examinations Board; Kim Waldock, Music Co-ordinator at the International Grammar School in Sydney; and teacher educators Carol Richards (University of Newcastle), Philippa Roylance (University of Central Queensland) and myself (RMIT University). The general feeling was that, although some headway is being made in the area of gender and music, there is still a very long way to go.
This conclusion is also a fair representation of the feeling at the festival as a whole. While the musical activity of women has been increasingly in evidence in Australia over the last ten years, there appears to be very little change in the funding, publishing, promotional and performance opportunities afforded to women composers. The high level of composing and performing energy displayed now needs to be matched by lobbying and political action if music by women to receive a fair hearing.
This combined festival and conference sported an extremely full programme, culminating in well-earned closing night celebrations at the Harbourside Brasserie, where hard-working participants relaxed to a variety of live bands, encompassing world music, jazz and popular music. Particularly enjoyable was the group Venus, whose infectious drumming and dancing, in a style reminiscent of the pacific islands, soon had everyone joining in with gusto. Australians are friendly; to us, visitors from the northern hemisphere are the exotic other and are shown a good time. Why not see for yourself and join us downunder in the year 2000.
CHARLOTTESVILLE, VA, 5 – 8 JUNE, 1997
Reflections on selected sessions by Sharon G. Shafer
The first Plenary Session, “Remembering Ruth Crawford Seeger,” was delightful. Mike Seeger’s recollections of family life and his performance of several songs was the highlight of the afternoon. Judith Tick’s scholarly work and book on Crawford Seeger is an important contribution to research on American women. “Depictions of Gender 3: the 50′s and 60′s was a fascinating exploration of music, film and opera using gender as a category of analysis. Plenary Session 4 presented Gwendolyn Lytle in a solo voice recital that was moving and powerful in terms of her artistry as well as in the wonderful works of women included in the program. Plenary Session 6 was a special experience for those who participated, offering the opportunity to explore “Music as Community: Workshop in Central African Polyphonhy. Michelle Kisliuk motivated us to dance, sing, clap, and communicate with one another. It was a great idea to schedule this event in the middle of the day. The session on African American Musics included four different but complimentary presentations on a variety of issues from girls’ games of song and rhythm to activism and civil disorder. There were many other concurrent sessions offering insights into important issues for all of us. The only drawback is that one had to choose among so many wonderful presentations.
Session 25 African American Musics
“Art Music, Activist Discourse, and Nineteenth-Century African American
Feminism: The Case of Amelia L. Tilghman”
The relatively new discipline of feminist musicology continues to revolutionize the study of music history. While the research of Susan McClary, Ruth Solie, and Susan Cook (to name a few) breathes essential fresh air into the critical evaluation of music, their work nonetheless generally passes over the participation of black women in the cultivated tradition. The dearth of published feminist inquiry focusing on black female performers of art music suggests that musicology has yet to develop a methodology or explore the potentials and limitations of black feminist thought to evaluate art music as a discourse of feminism, activism, and resistance.
Much of the discussion in this paper applies a composite framework I assemble from works by W.E.B. Du Bois, Patricia Hill Collins, and Evelyn Brooks Higginbotham. This framework is employed to critique portions of the career of Amelia Tilghman (1856-1931), an African American singer and teacher who edited and published the “Musical Messenger”–the first news- paper devoted to the musical interests of the black community. By viewing her accomplishments through a theoretical lens, it is possible to identify certain feminist sympathies in her work that place her in the historical continuum of black feminist thought as a near contemporary of Anna Julia Cooper (author of “A Voice from the South, 1892).
Woman as Agent and Creator: Silences That Generate Music
The phenomenon of silences generating creativity can be found throughout music history. By examining the creative works produced by women in terms of their life experiences and modes of expression, this paper and demonstration focused on the works of Hildegard of Bingen (1098-1179), Maria Bianca Meda (fl. 1691), Kay Gardner (b. 1941) and Pauline Oliveros (b. 1932). After resisting the creative energy that flowed through her to the point of becoming ill, Hildegard began to compose music at the age of forty-two. She went on the complete more than 70 pieces of music as well as music and words for a morality play. Gardner went through a period of intense personal frustration in which she did not speak for two years. Her healing process began as she turned to music composition and performance. Maria Bianca Meda, an Ursaline nun, wrote and published a motet as a protest against restriction placed on musical education and performance in the convents. After hearing musical examples by these composers, participants ended the session by joining in a performance of Pauline Oliveros’ Sonic Meditation IV.
Sessions Listed on Programme
Friday 4th July
Welcome and opening address: Dr Lucy Green (UK)
Session 1 Panel presentation: Modulating identities–Genevieve Cimon (McGill University, Can), Prof Roberta Lamb (Queen’s University, Can), Prof Eleanor Stubley (McGill University, Can)
Chair: Dr Lucy Green.
Session 2 Panel presentation: Incorporating women musicians and women’s
music into mainstream university teaching– Dr. Sophie Fuller (Reading University,UK), Dr. Nicky Losseff (York University, UK), Dr Rhian Samuel (City University, UK), Dr Margaret Lucy Wilkins (Huddersfield University, UK).
Chair: Prof Roberta Lamb.
Concert by BCHE School of Music
Saturday 5th July
The influence of gender on instrument choice and movement response in children aged 50 – 64 months
Louie Suthers (Macquarie University, Aus) Gender and music stereotyping in a London Islamic school
Dr. Sonia Gergis (King Fahad Academy,UK)
Chair: Maree Macmillan
Dispelling myths: childrens’ perceptions of how they compose and improvise
Pam Burnard (AUS)
`Impressions that remained’: the music education and formative experiences of women composers in Britain and their implications for education
Rosemary Evans (Manchester Music Service,UK)
South -West Women in Jazz Research Project Report Angela Wills and Kevin Buckland (UK)
Exploring gender differences in young talented ‘musicans’ accounts of the social consequences of participation in music
Dr Susan O’Neill (Keele University, UK)
Redressing imbalance in the learning of musical instruments
Rosie Bruce and Dr. Steven James (Oxfordshire County Music Service, UK)
Chair: Pam Burnard
Oboe concert of music by women
Catherine Pluygers (UK)
Sunday 6th July
Through a woman’s eye (including video of a music theatre piece: A Life Apart: Hildegard von Bingen)
Dr. June Boyce -Tillman (King Alfred’s College, Winchester, UK)
Pandora comes out of the closet: a new look at Berg’s opera Lulu and Pabst’s film Pandora’s Box
Maree Macmillan (RMIT, Melbourne, AUS)
Musical rationality as democratic social practice: reconciling the objectivist/relativist debate in music education
Prof. Paul Woodford (University of Western Ontario, CAN)
Chair: Dr.Susan O’Neill
by Claire Baron (U.K) and Genevieve Cimon (Montreal).
1. Overview/introduction: why this conference?
The music, gender and education conference was organised in response to international requests due to the continually growing body of research and interest in gender issues and music, and in particular the educational implications of these
(see: Green 1993; 1996). It followed on from the previous conference which was held in Sweden in 1996. and which was a landmark in this area.
This 1997 Bath conference also marked the release of Dr Lucy Green’s new book of the same title: Music, Gender, Education.
In the idyllic grounds of a converted English Manor (now Bath College of Higher Education), in the blazing July countryside surrounding the famous Georgian City, delegates from Canada, Australia, Brazil and the United Kingdom converged to share and discuss the latest research in this expanding field.
Among those attending were elementary and secondary music teachers, instrumental teachers, university professors, graduate students, jazz festival co-ordinators and composers. University lecturers included those involved with teacher training as well as initial and further music degrees from a range of fields including music psychology, music education and musicology. This diversity was reflected in the methodologies used by those presenting, which spanned qualitative, musicological, quantitative, experimental, film studies and feminist paradigms.
Structure of the conference
The conference, organised by Jo Glover and Dr Lucy Green in conjunction with “Women in Music”, was structured around two panels of presentations: Canadian and British, followed by a diverse range of individual papers.
A premise around which the conference was structured was that everyone attending, whether presenting or not, had something to contribute. Therefore, after each day, the delegates were divided into small groups where issues raised during the day were explored in a more intimate setting. These satellite discussion groups and the plenary sessions which were also time-tabled, played a pivotal role in providing an open forum for the discussion of issues which emerged throughout.
Careful planning of this conference also ensured that the weekend did not just revolve around academic debate but instead involved active experience of women’s music through concerts, singing and media such as film. For example, Dr June Boyce-Tillman (King Alfred’s College, Winchester) delighted us with a screening of her beautiful and compelling music theatre piece (read Opera) A Life Apart: Hildegard von Bingen, followed by an opportunity to experience first hand some of Hildegard and Dr Boyce Tillman’s enchanting music through group choral work.
The music students from the College of Bath, entitled “The Papillon Composers Ensemble,” also contributed to the conference proceedings by presenting a concert of new works which involved instrumentalists and singers. The multitalented director of the ensemble – Kathy Hinde – had also created a visual/sound sculpture referred to as “the installation” and called The Hole is Greater than the Sum of its Parts which featured Eric Satie’s Vexations.
2. Themes which emerged:
Creation of self through music:
One of the main themes for discussion, and reoccurring in the research presented at this conference, was that of creating self through music (Lamb). The Canadian panel presentation: Modulating Identities took this theme as its primary focus. The three presentations were enriching in their diversity representing research with an autobiographical basis: perspectives from different bodies of research; different methodological approaches and, uniquely contrasting approaches to getting the research across.
Professor Eleanor Stubley (McGill) presented via video, focusing on the issue of creating self through music as explored in relation to the music teacher’s construction of their identity in relation to themselves and their students. Genevieve Cimon (McGill) explored the creation of identity within the context of Canadian Piano Competitions. This research explores power relationships within the piano competition forum with its inner circle of male adjudicators radiating to an outer circle of female assistants and looks at, for example, extramusical factors not addressed by adjudicators (such as hand size) as contributing to the statistical anomalies of the number of women contestants making it through from the smaller to the major competitions.
Professor Roberta Lamb (Queen’s) reworked the themes of the conference title into musicality, identity, pedagogy with her paper: Dorothy Troubles Musicland. Professor Lamb took the unsuspecting delegation on what could be described as a theatrical/musical experience of crossing the delineated divide as she transformed herself from Hepburnesque Professor to Biker Girl whilst perfectly timing her own illustrations of the gestures implicit within the various musical excerpts.
Two days after these thought provoking presentations, the multimedia presentation of Maree Macmillan (RMIT, Melbourne, Australia) Pandora comes out of the closet: a new look at Berg’s opera Lulu and Pabstís film Pandoraís Box, and Professor Paul Woodford’s (Western Ontario) paper, Music, Reason, Democracy and the Construction of Gender addressed many of these same issues. Professor Woodford put to the delegation, Does music have a literal meaning? and queried whether the work of, for example McClary, was imposing a political agenda on to music. One of his conclusions was that students need to construct their own musical identities rather than having them handed to them ready made.
Unsurprisingly these papers stimulated much discussion and a response to this last assertion was put forward by Dr Lucy Green who pointed out that we need to acknowledge that we all construct our views in relation to each other.
Challenging the canon – approaches:
Another key issue and the focus of the British panel was: Incorporating women musicians and womenís music into mainstream university teaching, or challenging what has been a long entrenched canon (see also: Citron 1993). The panel addressed the power issues involved with the integration of womenís music within Higher e Education.
Discussing one of the approaches possible towards such integration, Dr Nicky Losseff (York, U.K.) asked whether creating a module on women composers involved ghettoising and starting from a position of resistance? Dr Margaret Lucy Wilkins (Huddersfield) as both composer and lecturer, offered insights into the pedagogical problems involved with the climate of higher education institutions such as negotiations with colleagues and lack of resources.
Dr Rhian Samuel (City) put forward the view that an excellent forum with which to tackle entrenched perceptions was within the context of composition classes, while a solution put forward by Dr Sophie Fuller (Reading) for incorporating women composers into the classical period was that of focusing upon musical genres such as Sonata form, and including music by women as a matter of course (see also: Fuller 1994).
A vigorous debate ensued from this panel presentation surrounding whether to include women’s music surreptitiously or create a separate module. Dr Susan O’Neill (Keele) in response to this asserted that the current framework needs to be redefined/challenged first and foremost otherwise there could be a danger of a marginalization of music by women.
Teacher expectations and the teacher as mentor and model:
The expectations of teachers being transmitted to pupils was another focus for discussion during the weekend.
Pam Burnard’s recent research Into different worlds: children’s perceptions of composing and improvising generated from The Soundings Project at Reading University similarly highlighted teacher expectations. This research attempted to step within the child’s musical world in order to gain a more relevant starting point for the construction of a music curriculum based around composing and improvising. Here Burnard suggests that teachers need to be continually reflecting upon their practice and re-evaluating their attitudes/expectations. Echoing similar views of other delegates, one of Burnard’s conclusions was: “There is evidence to suggest that improvisation may be the musical practice which transcends gender constructions.”
Other research which pointed towards the issue of teacher expectations and gender issues in music education was that of Rosemary Evans (Manchester). Her paper: Impressions that remained: the music education and formative experiences of women composers in Britain and their implications for education, explored the importance of teacher role models for composers. The other, somewhat concerning conclusion of Evan’s paper was the general teacher perception that boys were more creative than girls.
The research of Louie Suthers (Macquarie) into The influence of gender on instrument choice and movement response in children aged 50 – 64 months, concluded in a similar vein that teacherís expectations regarding instrument choice were a great influence upon the children who were very adept at pleasing adults and therefore they replicate the models presented by adults. The work of Louie and others resonated in that of Professor Eleanor Stubley (Mc Gill), previously discussed, with her exploration of the creation of identity in the music teacher and the effects upon music education from the model/identity chosen.
Dr Sarah Maidlow (Oxford Brookes) highlighted the implications arising from the recent restructuring of teacher training courses in England and Wales and the increasing role of the mentor teacher in the training process. She explained how for the student music teacher the advice of the mentor teacher in the classroom was more “real” than that of the university. Here again, one could stop and consider the influence of mentor teachers, as well as others involved in pedagogy and reflect upon what model they are presenting, i.e. is this model gendered?
Looking at these issues from a jazz perspective were Angela Willes and Kevin Buckland (South-West Women in Jazz Research Project) with their report of research into women in jazz. They concluded that the lack of role models for women was one of the factors affecting male domination of jazz. Dr Sonia Gergis (King Fahad Academy) addressed Gender and music stereotyping in a London Islamic school and Rosie Bruce and Dr Steven James (Oxfordshire County Music Service) concluded that it was role models which influenced a pupil’s choice of musical instrument and helped with a cross over of social stereotyping.
In relation to these discussions Dr Green argued that we could find a reflection of ourselves in schools and that this might be the best place to start addressing gender issues in music. She described the stark empirical evidence in schools and suggested that before getting too involved with ideological debates and attempting to generate theories one might look at what is happening in schools and teacher education in particular.
3. Where to go from here?
This review has attempted to provide a general impression of the Music, Gender and Education Bath Conference. The presentations were enriching and enlightening in their diversity and the discussions and debates were lively. Issues and themes which emerged have provided all who attended with much to ponder for some time to come.
In her opening address at the conference, Dr Green put forward the notion of educating ourselves through music. Her closing remarks highlighted the need to examine issues including: moderates don’t necessarily bring about change; a wide range of methodologies need to be used in order to adopt an openness in attitude; and that we need to consider feminism as being good for everyone.
Green (1997) views the contemporary school music classroom as a microcosm of the wider society and, in a similar way, this conference could be placed within a broader sociological context: i.e. what awareness is evident at the end of the 20th century that has not existed before?
We are asking many more questions now and placing music within contexts which could be considered both exciting and baffling. Where will all of this questioning and re-evaluating take us? Considering that quite often in hindsight one can see historical trends as crossing disciplinary boundaries one could take the epistemological debate as an example, and ask, could this be a reflection of anything broader than music, education and gender?
Citron M. (1993) Gender and the Musical Canon. Cambridge University Press.
Fuller S. (1994) The Pandora Guide to Women Composers: Britain and the United States. London: Pandora.
Green L. (1993) Music, Gender and Education, A Report on Some Exploratory Research. British Journal of Music Education, 10, 219-253.
Green L. (1996) The emergence of gender as an issue in music education, Chapter in:
Music Education: Trends and Issues. Plummeridge C. Ed. London: Institute of Education.
Green L. (1997) Music, Gender, Education. Cambridge University Press.
Women in Music BAC, Lavender Hill, London, SW11 5TF.
In Praise of All-Encircling Love II, Inclusive Language Hymns, Songs and Liturgical Pieces by Dr June Boyce-Tillman are published by Hildegard press and the Association for Inclusive Language, and are available from: The Association for Inclusive Language, 36 Court Lane, London, SE21 7DR
Angela Willes was also a member of the team organising the Fourth Chard Festival of Women in Music, May 1996 which featured music by women from around the world. The next festival will be held in 1998.
by Sharon G. Shafer
From the beautifully designed brochure, well-marked signs for registration, and clear directions to the concluding Celebration of Samhain: Celtic new Year’s Eve, this was an inspiring conference. The keynote address was given by theatre artist Caleen Sinnett Jennings who gave riveting performances from her own works and engaged the participants in in a wonderful exercise she calls the “Inner Theatre.”
I attended a session presented by Linda Villegas Linzey who is with the Maryland State Department of Education, “First Steps to Gender Equity: Teaching in the Elementary Classroom.” Linzey provided a wealth of resources and suggestions for all who are involved in education and offers a truly interdisciplinary approach to training the classroom teacher.I shared a session with Victoria O’Reilly, an independent scholar from Washington, D.C. who presented “Dialogues Off-Stage: Autobiographical Writings of Women Musicians.” I repeated the paper and performance that I presented at the Feminst Theory in Music Conference at University of Virginia, “Woman as Agent and Creator: Silences that Generate Music.”
There were sessions on literature, history, psychology, social policy, music, religion, spirituality and creativity, all contributing to a truly multi-disciplinary well-attended conference.
A COLLOQUIUM PRESENTED BY THE GUELPH JAZZ FESTIVAL
IN ASSOCIATION WITH THE CENTRE FOR CULTURAL STUDIES/CENTRE D’ETUDES SUR LA CULTURE
FRIDAY, SEPTEMBER 5, 1997
MACDONALD STEWART ART CENTRE, UNIVERSITY OF GUELPH
GUELPH, ONTARIO, CANADA
Michael Borshuk, University of Alberta: ” Queen of the Colonial Exposition’: Josephine Baker’s Strategic Performance”
Sherrie Tucker, University of California at Santa Cruz: “The Internatonal Sweethearts of Rhythm: Passing for Segregated/Passing for Integrated in the 1940′s and the 1980′s”
Carol Ann Weaver, University of Waterloo: “From Kenya to Canada – Composing and Teaching Woman’s Narrative Within A Jazz Context”
Jazz Trumpeter on the road: A workshop with Ingrid Jensen, Juno Award winning trumpeter
Keynote talk by Academy Award winning filmmaker Brigitte Berman. One of Canada’s foremost documentary filmmakers, Berman is particularly acclaimed for her two excellent documentaries on jazz musicians, Bix – Ain’t None of Them Play Like Him Yet, and the Academy Award winning Artie Shaw: Time is All You’ve Got. Berman will offer a unique insight on the experience of a woman filmmaker tackling biographical films on male subject. Introduced by Constance Rooke, Associate Vice-President (Academic)
A performance by Lee Pui Ming and David Prentice.
Creative Vocalization workshop with Honey Novick: An introduction to Scat Singing.
Report by Sherrie Tucker
I arrived Thursday 9/4 just in time for the Ingrid Jensen Quartet, but Ingrid Jensen was unable to be there due to some ridiculous immigration rules having to do with her not being able to work in the States again if she worked in Canada. But all was not lost–A TERRIFIC trumpet player named Lina Allemano did the set with Ingrid’s rhythm section. Lina is 23, based in Toronto, and was kind of in a Miles mode and I thought she did extremely well under the last minute circumstances with someone else’s band and audience.
The next morning was the “Nice Work if You Can Get it” colloquium, which had a bigger turn-out than one would expect, considering this was a JAZZ FESTIVAL that would go until midnight and we were delivering papers at 9:30 am!!! Carol Ann Weaver couldn’t make it, so it was just me and a very intelligent guy from University of Alberta. Michael Borshuk was his name, and he did a beautifully written and persuasive paper on Josephine Baker, locating her performances in a context of traditions of parody in jazz, and giving her credit for returning European fantasies of black womanhood with a subversive spin.
I spoke on the meaning of “internationalism” for audiences of the International Sweethearts of Rhythm in the 1940s and 1980s, arguing that in the 1980s, the band’s internationalism was taken as a model for women’s ability to work across difference (during a time when the second wave was being critiqued by women of color, working class women and lesbians as a narrowly defined project by and for white middle-class women) and that it was taken as a powerful, transnational interpretation of blackness by black segregated audiences in the 1940s at a time when African American patriotism combined the struggle against fascism abroad with the struggle against racism at home.
Marilyn Lerner, a FABULOUS pianist/ composer/band leader from Winnipeg, chaired the session and asked great questions, and alto saxist Jane Bunnett joined us on the panel and regaled us with fascinating stories about what it was like for her to work with Slim Gaillard.
At 1:00 pm, Brigitte Berman, filmmaker of documentaries about Bix and Artie Shaw, showed clips of her work and talked about what it was like to be a woman trying to get people like Benny Goodman and Hoagie Carmichal to do interviews and to get people to fund her for jazz films, etc. She was really interesting and her films are marvelous.
My favorite concert of the entire festival was a relentlessly creative pairing between Lee Pui Ming on piano and David Prentice on violin. Ming is a really exciting voice, a physical musician who plays all the playable parts of the piano, who is as musical with her elbows as she is with her fingers, who listens to her improvisatory challengers and meets them in really magical middle-grounds. Prentice was passionate, funny, boundless. At times he ran around the room bowing a playable installation by Gayle Young.
That night was a generous, long double-bill concert: Myra Melford played great for two hours solo piano, and then Randy Weston played great solo piano for two hours. Problem was… the piano wasn’t too great. Also Randy Weston almost forgot that he was going to do a tribute to Melba Liston. Melba was supposed to be there, but the story was that her attendant had to cancel at the last minute.
The next day there were marvelous concerts in the town square. The one that stands out for me was the Marilyn Lerner Sextet. Consisting of Cuban and Canadian musicians, the band renders Marilyn’s rich voicings over a dense percussion groove. I loved this group. Jane Bunnett played a lot of flute as well as soprano sax. RIGHT after that, Jane Bunnett performed a riveting concert at a movie theatre, performing with vocalist Dean Bowman from the Screaming Headless Torsos. Bowman’s material is politically astute and poetic and he is extremely gifted. Bunnett was great with him. I’ve been listening to her for years and she really blew me away this time. She’s been studying with Steve Lacy, I hear, and she is really versatile. I heard her in many contexts.
Yes, then the last thing I heard was an incredible double bill in a cathedral. First, we spent a thunder and lightening storm of nature listening to the weird, otherworldy accordian of Pauline Oliveros. Every time the lightening would strike, the stained glass windows would light up. Oliveros listened to the storm and gave us these deep chords and gothic changes and finally she drew the music AND THE STORM (I’m not kidding, it was eerie) to a close. Finally, we heard Amina Claudine Myers, who played her gospel/ blues/jazz/free synthesis with great joy and humour, treating us to a Bessie Smith set, and then inviting Pauline Oliveros and Jane Bunnett for an unlikely three-way improvisation that seemed impossible at first—their styles are SO DIFFERENT–but was ultimately remarkable.
I went home after that, but I enjoyed it very much. Other than the colloquium, there was little said about the theme, but I felt that the IMPLIED theme was that women in jazz do every imaginable thing there is to do in jazz. E-mail Sherrie Tucker at <firstname.lastname@example.org>
A Review of Diana McIntosh Concert Submitted by Charlene Morton, Charlottetown, PEI
Diana McIntosh, a composer, pianist, and actor from Winnipeg, completed the Atlantic Canada portion of her one-woman show “Beryl Markham–Flying West with the Night” with a performance at the Steel Recital Hall, University of Prince Edward Island. McIntosh enchanted the audience in the first half with her dramatization of the true story of Beryl Markham who was the first person to fly across the Atlantic solo from England to North America. Acting as Beryl Markham and quoting from Markham’s autobiography West With the Night, McIntosh recreated Markham’s memories of her young flying days growing up in Africa. In addition to the beautiful, witty, and poignant literary quality of Markham’s writing, the audience experienced the feeling of flight and its accompanying emotional inner-journey through McIntosh’s composed piano music. The piano became Markham’s Gypsy Moth, with McIntosh using the keyboard like the control panel of an aircraft: she often looked down about the piano as if enjoying the view of clouds falling away behind her. The musical segment of the narration ended dramatically with McIntosh slouched over the keyboard, a pianistic interpretation of Markham’s crash-landing in Cape Breton. Explaining that a fisher eventually discovered Markham staggering about a bog, McIntosh ended this memorable historical account of a pioneer woman pilot with Markham’s thoughts about not landing in her planned destination, New York.
The second half of the program offered three works. The program describes “Doubletalk” as “a playful exchange between the performer and two loudspeakers”. In her performance of “Doubletalk”, McIntosh, at ease with unfamiliar vocalizations, created a clever but warm dialogue of the nonsensical. The second work, “knee-deep in clouds”, was based on a poem by New Brunswick poet and mountain climber Liliane Welch. A mountain climber herself, McIntosh presented a sonic version of Welch’s poem using piano, voice, and tape. The final work on the program, “Eliptosonics”, was a spoof of the lecture/ recital format, lampooning the mathematical and literary concepts employed by some of our finest musicologists. This performance was a theatrical, literary, and musical journey into the whimsical as well as the historical. It was also a rare opportunity to enjoy the work of McIntosh introducing and saluting two other women artists and adventurers, Beryl Markham and Liliane Welch.
“CATHARINE DANCE” for piano, violin, cello, commissioned by Gallery Players of Waterloo/Toronto, was premiered in St. Catharines, Ontario, Sunday Sept. 21, 1997. The work is a tribute to the spirit of the namesake of the city St. Catharines. Performers: Gallery Players.
“HOUSES” is a “mini-opera”/performance piece with text by Sherri Wagner of Indianapolis, USA. The piece is an extended setting of the poem by the same name, and was premiered at the American Mennonite Writers Conference, Goshen College, Goshen, Indiana, October 25, 1997. The work details houses and personalities of three mythical sisters. For the performance, Cate Friesen of Toronto joins Carol Ann on vocals. As well, Carol Ann will perform piano and vocals.
“Singing the Mystery: Hildegard Revisited” will be available soon on the British Music Label. If you are interested in including details of it I will send you them asap.
This summer, I went touring with Jim Stemen and his Los Robles Master Chorale, based in Moorpark, California. We had the privilege of singing Dvorak’s DM Mass in Dvorak Hall in Prague with the Czech Republic Choir and Radio symphonic orchestra (I did soprano solos), and again in Nikolaikirche in Leipzig with organ. We participated with 2 other choirs in the Festival of American Choirs in the Gewandhaus in Leipzig, sang a concert in the Strasbourg cathedral and Masses in the Chartres and Notre Dame de Paris cathedrals, and saw lots of other wonderful sights as tourists.
The European trip was preceded by a solo car trip from MO through KS, NE, CO, WY, ID, and on to CA. Before leaving for Europe, I sang a recital at the United Methodist Church in Westlake Village. The Recital was in three sections:
1) “Love Lost on Stage” (Arias sung by “rejected women”)
2) “Love Found at Home” (Lieder by Robert and Clara Schumann)
3) Art Songs and Spirituals by African-American Women.
It has been a wonderful summer, filled with beautiful scenery, magnificent architecture, wonderful music, and loving friends and relatives. Who could ask for anything more?
Andra McCartney invites you to check her home page, including the research section:
or email <email@example.com>
Submitted by Sondra Howe
Colored portraits of 12 women composers (9xll) are available from Paula Nelson for $29.95 plus $3.00 postage. Posters include Hildegard, Caccini, de la Guerre, Sirmen Hensel, Schumann, Farrenc, Boulanger, Smyth, Seeger, Bonds, Williams. Short duplicable biographies included. Send check or money order to Women Composers, 3446 Medin Road, Duluth, Minnesota, U.S.A. 55894.
Submitted by Terry Gates
Research Committee 32 (RC32), Women in Society of the International Sociological Association is organising a world competition to stimulate the formation of comparative studies on the changing position of women throughout the developing world. Papers are invited that elaborate a conceptual framework dealing with the effects of the women’s movement at bringing about change in the cultural, religious, ethnic and national political spheres as these involve or influence girls and young women.
The essay should highlight the conditions under which girls and young women move toward a position of autonomy within households. It should consider the effect of the demands of the women’s movement on the changing ways in which girls and young women deal with sexuality and reproduction. It should consider both the appeal of and the rejection of the women’s movement by girls and young women. You may wish to place the essay within the context of global restructuring.
The purpose of the competition is to stimulate the participation of new researchers from indigenous groups and developing countries particularly those from remote regions as well as those who have had little opportunity to engage in world meetings.
An International Jury will be established by RC-32. Because of the financial and resource constraints of this project, the competition will not consider papers that have more than 6,000 words or about 20 pages of text,plus 10 pages maximum of references and footnotes. Papers must be typed in standard pitch and be double spaced. Given the communication needs of this project and the lack of translation resources, papers must be submitted in English. Since papers will be judged anonymously, your name, address, phone, fax numbers, e-mail address (if relevant) and the paper’s title should be submitted on a separate page. The paper’s title but not your name should be at the top of the paper.
Papers will be evaluated on the basis of their use of sociology to work out gender questions; their conceptual innovation; their way of developing the arguments; the possibility of the use in a comparative international framework; and their potential to be operationalized for use in a future comparative research project. Papers that are not on the topic as outlined in paragraph one ( and elaborated on in paragraph 2) will not be considered. Results will be announced early in 1998. The sociologists whose papers are chosen will be invited to present their papers in Montreal, Canada at the World Congress of Sociology, July 26 – August 1, 1998. Although funding cannot be promised, RC 32 will provide support to help the winners find resources to attend this meeting. It is anticipated that winners will also participate in a pre-conference seminar before the ISA meeting that will continue work on the planning of a comparative research project.
DEADLINE EXTENDED! Papers should be received by DECEMBER 1st 1997 at: International Competition on Gender and Development, c/o Department of Sociology, University of Ottawa, Box 450, Station A, Ottawa, Ontario K1N 6N5, Canada.
[This listserv exchange about Jazz Women seemed to be worth repeating in the newsletter, for those of you who are not on-line. The participants gave permission to publish their comments--R.L., Ed.]
I am wondering if any of you have worked with creating your own taped anthologies of music examples in fields such as jazz or women in music–tapes of collected recordings representing many different styles and pieces and performers. I have been doing this here at Conrad Grebel College/ University of Waterloo, as part of my teaching materials for these courses. I then place these 10-or-so anthology tapes on reserve in the library, and students check them out so as to become acquinted with many listening examples. I then quiz them on these throughout the term; however, my university is challenging my doing this. I am wondering how any of you create viable listening opportunities for students in non-standard fields like this (Norton, of course, is SO convenient for teaching common-practice, male-oriented music of the past!)
I would like to clarify my question about making anthology tapes. University of Waterloo says no more than one xeroxed article may appear in a single file. Thus, our librarians are attempting to decide what that means in relation to tapes on which I have placed some 20-30 items per tape, ranging from Louis Armstrong to current jazz/hiphop items. My tapes are not copyrighted by me, but are merely study tapes to be listened to by students for music identification purposes. I place my tapes on library reserve. They are not for sale or for radio broadcast.
I would be interested in knowing how other institutions work with this situation where published sound-recording anthologies do not exist, and where individual professors need to provide listening tapes for certain bodies of music literature.
Also, I would be interested in knowing if there are published sound recording anthologies in jazz and/or women in music besides the Smithsonian (jazz)& the Jezic and Briscoe (women in music). —
Carol Ann Weaver
We have been facing this issue here at McGill on many different levels–the only real issue is the copyright issue. As long as you have cleared that for each selection, which can in the case of recordings become quite costly, everything is cool. Some recording companies, however, are agreeing to this quite handedly with a basic administrative charge, so if you can try to get as many “selections” from the same company, it is cheaper.
There is a wonderful anthology of women in jazz that was originally released on Stash Records. I had heard that it had been re-released on CD. It only goes up to the 1950s but includes virtually everyone major from the beginning of jazz, including all-women groups. Here’s the latest info I have on those recordings: Women in Jazz: Vol 1 All Women Groups. Stash ST 111. Women in Jazz: Vol 2. Pianists. Stash 112. Women in Jazz: Vol. 3. Swingtime to Modern. Stash ST 113. These volumes used to be avaiable in one collection. That collection is called Forty Years of Women in Jazz. Stash STB 001. In addition, I believe this recording includes Mary Lou Williams and other great women musicians, Now is the Time, Halcyon HAL 115. If my memory is correct, Mary Lou Williams said she was not happy with this recording so I generally play examples of her with other groups. Zoning by Williams would be a better recording of her, Smithsonian Folkways SF CD 40811.
Hope that helps.
Tina Chancey asked for suggestions for purchasing CDs of music by women composers and got these ideas:
Ursula Rempel, University of Manitoba suggests:
Tina, how lucky you are to have this carte blanche! The November 1996 issue (Vol. 4/4) of the “Women of Note Quarterly” devotes the entire issue to a discography of music by women (31 pages). As well, the IAWM journal and various websites linked to their home page offer current recommendations. These are the places to start. Ten years ago there was zip in the way of these resources and now you can buy Hildegard CDs at Future Shop!
(The IAWM web site offers other useful aids–including course outlines for women in music courses, bibliographies, etc.)
Ruth Robertson suggests:
Smyth, Ethel. Mass in D., Mrs. Waters’ Aria from The Boatswain’s Mate, and “The March of the Women.” CD- VC7 9111882. Virgin Classics, 1991.
_______. Sonata a-Moll, Op. 7 fuer Violine und Klavier, Streichquintett E-dur Op. 1, Sonate a-moll Op. 5 fuer Violoncello und Klavier, Streichquartett e-moll. Ethel Smyth Kammermusik, vol. 1 & 2. Compact Disc.
TRO CD 03. Trouba Disc, 1992.
_______. Ethel Smyth Kammermusik und Lieder, vol. 3. Four Songs, Three Songs, Double Concerto in A. Compact disc TRO CD 01405. Trouba Disc, 1992.
_______. The Wreckers. 2 Compact Discs. 75605 51250 2 (or CDCF 250/1 in UK). Conifer Classics, 1994. BBC Philharmonic, Odaline de la Martinez conducting. (This is an opera with Huddersfield Choral Society, Anne Marie Owens, Justin Lavender, Peter Sidhom, David Wilson-Johnson, Judith Howarth, Anthony Roden, Brian Bannatyne-Scotte, and Annemarie Sand.
Baroquen Treasures: Bay Area Women’s Philharmonice, JoAnn Falletta, Conductor. NCD 60102 Newport Classic, 1990. Works by Marianne Martines, Camilla de Rossi, Mlle. Duval, Maddalena Laura Lombardini Sirmen, Elizabeth Jacquet de la Guerre.
The Women’s Philharmonic. 3-7169-2H1, Koch International Classics 3-7169-2H1, JoAnn Falletta, Conductor, 1992. Works by Lili Boulanger, Clara Schumann, Germaine Tailleferre, Fanny Mendelssohn.
Ruth Crawford Seeger, American Visionary. Continuum. 513493M, Musical Heritage Society, 1993. Contiuum, Cheryl Seltzer & Joel Sachs, Directors.
Beth Anderson’s site on women and music–
If you’d like to get a copy of my flyer on using the internet to research women, women in music, music etc. it is at <http:// www.users.interport.net/~beand/ifwm.html>
Some people have used it as a hand out for students. It might get them started. It’s also useful for encouraging people who do not have a computer/modem, to get out there and enjoy what’s available. It’s about 10 pages long.
New WWW site for women
The Women’s Cybrary has been launched at <http://www.womenbooks.com/>. With over 1,000 links, you now have immediate access to a wide variety of women’s writing on line. Find full texts of books, book and movie reviews, resources for women’s studies and research, authors’ pages and resources for writers.
Women’s Bookshelf and Cybrary
New On-Line Bibliographical Search System
Music Education Search System
The University of Utah Department of Music is pleased to announce the availability of the Music Education Search System at the following URL:
Note. Capitals are important in the URL.
The Music Education Search System contains currently contains two databases: Journal Database and Poland-Cady Abstract collection. The journal database currently contains the contents of 11 journals. The Poland-Cady Abstract collection contains approximately 4,500 abstracts of research in music prior to 1965. The collection was developed by Professors William Poland and Henry Cady at The Ohio State University in the late 1960s and early 1970s.
The journals contained in the journal database are:
Council for Research in Music Education Bulletin Instrumentalist
Journal of Music Teacher Education
Journal of Research in Music Education
Music Educators Journal
Philosophy of Music Education Review
Quarterly Journal of Music Teaching and Learning
Southeastern Journal of Music Education
–The journal of the International Association of Jazz Educators (formerly NAJE) will be added soon.
These databases are offered as a courtesy to the music profession in the hopes of promoting scholarly research in the field.
For further information, contact Ed Asmus at e-mail: firstname.lastname@example.org
Submitted by Barbara Coeyman, Chair, CMS Committee on Music, Women, and Gender
The following information about the College Music Society list “cms-teaching-womgen’ may be of interest to readers of this list. Please note that this list was first established by the Committee on Music, Women, and Gender of CMS about a year ago, but technical problems shut down the list for the past several months. If you subscribed to that first list, you will need to re-subscribe in order to receive mail from this new list.
THE COLLEGE MUSIC SOCIETY
This mailing list, cms-teaching-womgen, has been created by the Committee on Music, Women, and Gender of The College Music Society. It is open to all. The group is intended to focus on discussions related to teaching women and gender topics in college music, and to complement several other discussion groups on women and gender issues currently in existence. The group is unmoderated.
The College Music Society — a professional consortium of college, conservatory, and university faculty — is dedicated to gathering, considering, and disseminating ideas on the philosophy and practice of music as an integral part of higher education, and to developing and increasing communication among the various disciplines of music. The Society provides a forum for addressing interdisciplinary issues within music in higher education and for examining broader educational concerns.
For further information, visit the website for this list <http://www.music.org/f&d/womgenls.html>, the CMS home page <http://www.music.org>, send e-mail to the Chair of the Committee, Barbara Coeyman, <email@example.com>, or get in touch with The College Music Society, 202 West Spruce Street, Missoula, MT 59802, office telephone: (406) 721-9616, office fax: (406) 721-9419.
The coverage of this list concerns issues related to teaching women and gender topics in music, at any and all levels of teaching and in any and all formats, settings, etc. Examples of issues for discussion could include but are not limited to:
a. course syllabi
b. sources of reading, listening, and viewing materials for teaching
c. how to gain access to reading, listening, and viewing materials
d. strategies for proposing new courses; other curriculum development
e. implementing new courses
g. integrating feminist theory into teaching women/gender in music
h. information from other electronic lists relevant to teaching women/gender in music
Monique Buzzarte and Roberta Lamb have been talking about creating a GRIME WebPage. There is space for it on the server that hosts GRIME-L. It’s just a matter of finding the time to put it together. If you have ideas about what should be on a GRIME WebPage and what links should be made to other sites, please post them to GRIME-L <firstname.lastname@example.org>
Roberta Lamb, Editor. 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). Submissions may be made by regular mail, FAX 613-545-6808, or by email <email@example.com>. Deadline for the Spring issue: 15 April 1997. We welcome more on practical issues of addressing gender issues in teaching/ learning settings of all kinds.