|MEMBERSHIP A $ by your name on the mailing label means your membership is due. Membership is $3.00 (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. 1996 Directory
2. Annual GRIME Meeting
3. Upcoming Conferences
3.1 Gender Studies & its significance for musicology
3.2 Critical Thinking in Music
3.3 Feminist Theory and Music 4
3.4 Music, Education and Gender Conference
4. Conference Reviews
4.1.2 There’s No Place Like…Kansas: Personal Reflections on the Music Educators National Conference, Virginia Caputo
4.2 Conference on Music, Gender and Pedagogics
5. WWW (World Wide Web)
7. GRIME Members’ Music
8. GRIME Members’ Research
8.1 Elizabeth Gould
8.2 Elizabeth L. Keathley
8.3 Andra McCartney
8.4 Charlene Morton
8.5 Lillian H. Studt
8.6 Molly Weaver
8.7 Sondra Wieland Howe
9. Article: Professors launch study of gender equity issues in pre-service education
10. MGEN Newsletter (UK)
11. GRIME Newsletter
The 1996 GRIME Directory is included in this mailing for those of you who are currently paid-up members. It includes a listing of those on the GRIME-L listserv as well as the traditional directory.
Thanks to Betty Atterbury’s organising our GRIME meeting was scheduled in the MENC programme book–a first! Approximately 25 people attended the GRIME meeting at MENC.
We discussed our areas of research and sug-gested directions for further inquiry. Carol Richardson provided information about the new Music Education SIG being formed in AERA (contact her for more information <email@example.com>).
We made some major steps forward as an organ-isation as a result of this year’s meeting. Those present agreed it would be worthwhile to seek SRIG status in MENC, while maintaining the international character of our association. To this end Patti O’Toole (SUNY-Buffalo) has agreed to pursue setting up GRIME as a SRIG.If you want to help contact Patti <potoole@acsu. buffalo.edu>.
Another suggestion was that we become more available on the internet. Further on in this newsletter you will find the details for subscribing to GRIME-L, our new listserv. Our membership is more than 100, with about 70 currently on the listserv. We now have mem-bers in Germany, Sweden, Finland, US, UK, Australia and Canada.
Our 1997 meeting will be at the Feminist Theory and Music Conference 4 at the Uni-versity of Virginia. Details to follow in the next newsletter. If the conference schedule works for her, Susan Wheatley (Indiana U-P) may organise that meeting. Is there anyone else who would like to help?
Humboldt-Universität au Berlin
Lectures, seminars,discussions, concerts– By women & men for men & women
Featured speakers include Annegret Fauser (London/Berlin), Nanni Drechsler (Karlsruhe), Susan Cook (Univ. ofWisconsin), Peter Franklin (Oxford), Christina Zech (Freiburg).
GRIME member Margaret Myers (Göteborg, Sweden) will present “Musicology & the ‘Other’- European Ladies’ Orchestra.”
Registration & information:
Univeristy of Western Ontario
18-19 October 1996
Guest speakers include Tom Regelski, Carol Richardson and Eleanor Stubley. These GRIME members are presenting papers:
Charlene Morton, “Music Education in Computer-Based Curricula: Mind/Body or Mind/Machine Synchronicity?”
Carol Beynon, “Crossing Over from Music Student to Music teacher: Negotiating an Identity”
Mary Hookey, “Critical Thinking as a Focus in an Undergraduate music education Course for Non-Music Majors”
Karen Frederickson, “Beyond Critical: Metacognition for Teacher Training”
Carol Richardson, “The Roles of the Critical thinker in the Music Classroom”
Eleanor Stubley, “Critical Thinking or Thinking Musically?: Defining Musical Performance as Subject Matter ”
Information on this conference will be available sometime in the autumn and should be included in the November newsletter. The organisers suggest that a January deadline for submission of proposals is likely.
Michael Tippett Centre
Bath College of Higher Education
July 4-6, 1997
Call for papers
The organisers are seeking papers on gender issues in relation to music education. The terms of the debate are to be interpreted broadly including issues relating to girls and boys, women and men involved in learning or teaching any kind of music. The educational setting may be formal or informal, individual or group, from nursery to university, inside or outside any institutional context. Central questions will include how gender features in music educational practices and how they are constructed, perpetuated or challenged through music education. Interpretations of these questions and relevant alternative perspectives will also be welcome.
Proposals for Music, Education and Gender Conference–
Abstracts of c 200 words should be sent by January 13, 1997 to:
Dr Lucy Green
Institute of Education
University of London
Bedford Way, London WC1H 0AL
Further information and registration forms from:
Bath College of Higher Education
Newton St. Loe, Bath BA2 9BN
Kansas City, MO.
The following sessions/papers/posters were presented by GRIME members:
Betty W. Atterbury–1. Teacher Preparation in Special Education and Music Mainstreaming; 2. Get Ready, Get Set, For ‘Total Inclusion’; 3. Assessing the National Standards in Real Classrooms
Virginia Caputo–1. Modulating Identities
Joyce Eastlund Gromko–1. Qualitative Changes in Preschoolers’ Invented Notations Following Music Instruction; 2. A Theory of Symbolic Development in Music
Donna Brink Fox–1. National Standards and the College Methods Class: Getting the Keys
George N. Heller–1. A William Billings Singing-School Celebration; 2. Strategies for Teaching Toward the Standards in College Methods Classes
Roberta Lamb–1. Modulating Identities
Danette Littleton–1. Recent Development in Early Childhood Music Research
Carolyn Livingston–1. Stories, Legends and Poems in the Elementary Classroom
Marie McCarthy–1. Multicultural Dance Traditions in the General Music Class
Kimberly McCord–1. The History of Women in Jazz-A Multimedia Presentation
Eleanor V. Stubley–1. Modulating Identities
Susan M. Tarnowski–1. Transfer of Elementary Music Methods Course Materials and Methods into an Early Practicum Experience; 2. Building Your Undergraduate Teaching Portfolio
Kari K. Veblen–1. Curiosity and Connections: Integrating Across the Curriculum
Vivian Velasquez–1. A Study of Preschool Children’s Singing and Home Musical Involvement
Molly Weaver–1. Socialization of First-Year Music Majors: Case Studies of Relationships Between Performance-Based Aural Musician-ship and Socio-Musical Self-Esteem; 2. Music Teacher Self-Assessment: A Practical Ap-proach.
Sondra Wieland Howe–1. “William Billings:
American Composer”; 2. “American Music Textbooks in the Mason-McConathy Collection.”
The following MENC session summaries and reviews were received from GRIME members:
The History of Women in Jazz – Kimberly McCord
16 important women instrumentalists or groups in the history of jazz:
1. Lil Hardin Armstrong
2. Mary Lou Williams
3. Mary Osborne
4. Valaida Snow
5. Ina Ray Hutton and Her Melodears
6. Ada Leonard and Her All-American Girl Band
7. The International Sweethearts of Rhythm
8. Barbara Carroll
9. Marian McPartland
10. Melba Liston
11. Ann Patterson’s Maiden Voyage
12. Toshiko Akiyoshi
13. Maria Schneider
14. Terri Lyne Carrington
15. Carla Bley
16. Jane Ira Bloom
Books about Women in Jazz
American Women in Jazz by Sally Placksin
Stormy Weather by Linda Dahl
The International Sweethearts of Rhythm by D. Antoniette Handy
Madame Jazz by Leslie Gourse
Women in Jazz television series with Carmen McRae and Marian McPartland
“International Sweethearts of Rhythm” by Greta Schiller and Andrea Weiss
“Tiny and Ruby Hell Divin’ Women” by Greta Schiller and Andrea Weiss
“Jazz Women, Foremothers”- Rosetta Records, Inc.
“Piano Legends” hosted by Chick Corea-VAI Jazz Video
Toshiko Akiyoshi Jazz Orchestra “Strive for Jive”-View Video Jazz Series
Forty Years of Women in Jazz-Stash Records
The Women, Classic Female Jazz Artists 1939-52 BMG Music
I am glad to answer questions for people interested in more detail.
University of Northern Colorado
I should have known by the strength of the wind that blew me out of the doors of the Kansas airport onto the sidewalk outside, that MENC Kansas City was to be a boisterous exper-ience. My anticipation of the conference events was due, in part, to the fact that not only was it the first time I had attended the gathering, it was a venture away from the anthropological terrain I have recently moved into from music and music performance.
I was very pleased to participate in a panel on issues of identity and music education organized by Roberta Lamb and Eleanor
Stubley. They had proposed the idea to criti-cally address the ways identity modulates in music education in a shifting and open-ended way according to varying contexts. As my interest lies in the links between education, anthropology, music and questions of learn-ing, I was pleased to have the opportunity to engage with music educators in discussions of power, gender, and the politics of culture.
Apart from our panel, however, the number of sessions at the MENC that addressed these issues was disappointingly minimal. It clearly signalled for me that the predicaments evident in debates in social science circles that I am familiar with, were only beginning to be explored at this conference. Indeed, I became increasingly concerned by the fact that there were so few panels that addressed gender issues in a critical way in such a large organization.
Thus I concluded from my brief, but event filled, weekend at the MENC that critical issues that all music educators are faced with each and every day of their professional lives, are only beginning to make inroads at this conference. There was a greater emphasis placed on solving the practical problems of everyday classroom teaching. The convention hall space attested to this emphasis. It can only be described as filled to excess with displays of teaching manuals and other materials, instruments, computer applications for music classrooms, and various other merchandise directed at educators. The few publishers in attendance offered new classroom teaching publications, scores, and so on. There were few publications from outside of music education. While it certainly provided fodder to think through the ways that the identity of ‘music educator’ is constructed in a particular manner according to established norms and values, it was surprising nonetheless.
In our session titled Modulating Identities, Roberta Lamb’s paper on “music education trouble” explored the process of negotiation that one is implicated in when located in an institution that regulates the norms of the way the category “music educator” is defined ac-cording to a predominantly white, middle class and heterosexual model. Roberta’s paper was particularly insightful because of the personal location from which she spoke to issues con-cerning the interaction through music that creates self or identity, including lesbian identity. Her “performance” of the paper made her point regarding the modulation of identities particularly clear, both visually and aurally.
Eleanor Stubley explored the ways that cul- ture is interwoven through various kinds of musical activity and the ways that the fluid relationship between self and other in musical experiences unfolds. In a beautifully articu-lated way, Eleanor made the point, through her ethnographic research, that identity is not bounded and demarcated in a closed sense; rather music both enables and blurs the boundaries betweeen identities of self and other, unfolding in the space between the two locations.
In a session on multiculturalism in music education, Estelle Jorgensen adapted some of Paolo Freire’s theories of education to make several points, including that music education needs to offer universal hope for students across cultures. While the term “universal” remains problematic in light of theoretical critiques from poststructural and postmodern theorists interested in questions of univer-sality in light of decentering power and authority, as an anthropologist, I was interested in the way the concept of culture had been used.
It seems to me that the trenchant critique of a modernist notion of culture as a bounded, isolatable unit that has occurred in the dis-cipline of anthropology over the past several decades remains problematic for issues of multiculturalism and music education. Specifi-cally, my concern is that multi-culturalism continues to be linked to notions of spatiality. That is, rather than concep- tualizing culture in terms of relationships and power, culture remains as a “thing.” Rather than explore music as a way to transcend “place” and understand culture as a zone of contestation, culture seems to remain anchored by place and location.
In the second paper, Anthony Palmer pro-vided the audience with a sociobiological model to approach questions of multi-culturalism. His account of species evolution, to make the point, it seemed to me, that people are much more alike than different, drew its conclusions in a roundabout way. Using a “scientific” model to bolster his argument, while leaving issues of racism, gender, culture and power intact, remained difficult for this writer.
The question period following each of the papers was lively. A connection between the argument presented in Palmer’s paper and Philip Rushton’s work was pointed out, and a challenge regarding the way Freire’s theories had been used, was raised. While I felt the queries from the audience were intended to open up discussion of critical issues presented in the papers, this was not as successful as it could have been.
In keeping with the theme of modulating identities, as an anthropologist/cultural theorist/ethnomusicologist, my personal experience at the MENC was invigorating and difficult at once. While it was a revelation for me to hear the diverse ways people in the organization are conceptualizing and approaching issues pertaining to gender, culture and education, it is clear that there is much more work that can be done. Identity, culture, gender, race, power, and community, are some of the terms that are contested and struggled over in the context of music edcuation. The relationship between these issues and concerns with schooling and curriculum are integral to questions of learning and need to be explored further in future conferences.
Many thanks to Margaret Myers who put together a well-organised conference! !
Abbreviated abstracts from programme–
(A * indicates GRIME member)
Susan Borwick (Wake Forest University, Winston-Salem, USA): Rethinking “Quality” in Analytical Pedagogy: The values of truth, honest investigation, and wholesomeness of exploration-rather than transcendency-govern quality in both music and the teaching of musicial analysis. Placed within the context of the transitory nature of musical quality, the paper explores music classrooms in phases 1, 2, 3, 4, and 5 of Peggy McIntosh’s interactive phases of curriculum revision.
Marcia J. Citron (Rice University, Houston, USA): Gender and Analysis: Cecile Chaminade’s Piano Sonata, op. 21: This paper discusses the use of gendered analysis of the first movement of Chaminade’s Piano Sonata in the university undergraduate environment.
*Barbara Coeyman (West Virginia University, USA): Feminist Pedagogy as Process: Applications to Undergraduate Music History: This paper promotes a view of feminist pedagogy which focuses on process rather than on content, considering HOW we teach in a feminist environment in music rather than WHAT we teach.
Beverly Diamond (University of York, Toronto, Canada): Feminism in the Music School: Strategies for Confronting our Critics: This paper offers a personal perspective on strategies which can be used (and taught) to confront people (both men and women) who, unconsciously and unmaliciously in most cases, render feminist approaches marginal in the Music School.
David J Hargreaves (University of Goteborg, Sweden): Gender and Computers in Music Education: an Anglo-Swedish Study: Gender differences in the use of and attitudes towards music technology was studied in both British and Swedish schools. This paper describes the results with respect to computer access and use, activities on computers, and computer self-esteem in music education, and compares the cultural and educational contexts in which they must be evaluated.
Marcia Herndon (University of Maryland at College Park, USA): Basic Assumptions: Canon or Cauldron?: This paper adresses the question, “Is there a western music canon?” If there is a canon, is it limited to art music? The cauldron of culture can be seen as a witches’ brew or as a cauldron for the identification of assumptions that are no longer valid as we approach the next millenium.
*Regina M. E. Himmelbauer (Conservatory in Eisenstadt, Austria): Education as Means of Gender Politics: a Call for Action: This paper discusses possible approaches to dealing with disadvantages for women in music in the particular case of the education of music teachers.
Jarna Knuuttila (University of Joensuu, Finland): Reproduction of the Gender Hierarchy in the Case of Amateur All-Girl Rockbands in Finland: This article is part of a study on adolescent girls playing rock music in amateur all-girl rock bands in Finland and shows how the gender system manifests itself in the case of these bands.
Ellen Koskoff (Eastman School of Music, Rochester, USA): Is Female to Male as Postmodern to Modern?: Implications for Ethnomusicology: This paper traces the parallel histories of feminist and postmodern thinking about music and points out that although feminist theoretical analysis may have been a primary catalyst for postmodernist approaches in music, its status, link that of “women” in Sherry Ortner’s model is still undervalued.
*Roberta Lamb (Queen’s University, Kingston, Canada): “To Be The Woman That I Am”/”You Are Not Your Own Self”: Women’s Contradictory Experiences of Mentor/ Apprentice Pedagogy in Music: This paper documents characteristics of selected experiences with mentors as described by 36 women musicians. Nearly all the participants identified both positive and negative qualities in the mentor/apprentice model of pedagogy, with those qualities centreing around the place of power, authority and self-awareness.
Richard Leppert (University of Minnesota, USA): The Sonoric Body: Socio-Sexual Harmony – Acts of Vengeance: This paper develops from recent research on the history of the human body, in specific relation to music’s role as an agent in the production of society and culture. Representations project the female body as the object of male desire and the transfixed gaze, at the same moment the female body is theorized as deserving of, and made subject to, violent male revenge. What is expecially striking about these representations is the defining role assigned to music in this socio-sexual history.
Sarah Maidlow (Oxford Brookes University, UK): The Experiences, Attitudes and Expectations of Student Musicians: from a Feminist Perspective: The research has developed from my interest in the paradox between girls’ overwhelming success in formal music education and women’s continued low profile in almost every branch of the various music professions.
Helen Metzelaar (Amsterdam School of Music, Netherlands): Women and Class in the Netherlands in the Nineteenth Century: I have examined a number of arenas in Dutch music and their relation to gender: music in the homes, the collegia musica, music organizations, the status of dilettantes, the rise of professional women musicians, the development of music schools and women’s admission to Dutch orchestras. One of the most important factors in dealing with artistic expression and the conditions that shaped it is social class.
Pirkko Moisala (University of Turku, Finland): Gender Music Education and Music Experience: This paper examines differences in the ways men and women study, make, and consume music and describe their musical experiences. The emphasis is on music education.
*Mary Natvig (Bowling Green State University, USA): Towards a Feminist Pedagogy of Music History: This paper applies Riane Eisler’s partnership model in the lecture hall and rehearsal room to show a quite different model for teaching.
Karin Pendle (University of Cincinnati, USA): Other Others: An Approach to the Music of Modern African-American Women: The first part of this presentation is theoretical, and represents on while musicologist’s attempt to understand the artistic products of another race, one which lives in her own country and is nevertheless separated from her by colour and culture. In the second part I apply the theory of Signifyin(g) to the works of selected twentieth-century African-American women composers.
Eva Rieger (University of Bremen): Music and Gender in Hollywood Film: This paper develops some possibilities for teaching on the basis of interpreting musical expression and touches the feminist debate as to whether music tends to act as a sonic representation of the male observer’s eye and ear, or whether music “opens up a sonic and interpretative underworld” (Abbate).
*Natalie Sarrazin (University of Maryland, College Park, USA): The Order of Things “Teachable”: Music, Method, Canons, Gender and the Shaping of Western Pedagogical Thought: This paper explores the historical nature of pedagogical ordering into forms of method and curriculum, implications of this structured thought and method for gender exclusion and the effects of developing a pedagogy which attempts to modify the canon with respect to multicultural music education and gender paradigms.
Margaret Lucy Wilkins (University of Huddersfield): There are no women composers, there will never have been any and possibly there never will be” (Sir Thomas Beecham): What kind of victory has it been when half the potential players have not had the opportunity to participate?
Götegorg conference abstract submitted by GRIME members–
Charlene A. Morton (OISE, Toronto, Canada): Music Educators as “Housekeepers of Emotion”: The Gender Politics of School Music’s Feminized Location
Few educators have not made use of music’s capacity to nourish student self-esteem and school spirit in general. Elementary school music, in particular, offers what popular psychology calls “positive stroking”. Whether through songs that can rescue troubled souls from childhood misunderstandings or through musical events that can calm restless bodies in adolescent turmoil, educators in all disciplines exploit the emotional sustenance of music. Furthermore, when called upon to activate music’s charms, music educators find satisfaction in their obligation to provide emotional sustenance for others through musical events. By providing emotional sustenance, they also find a justification–albeit a tenuous one–for music education. Drawing upon Sandra Lee Bartky’s phenomenological study “Feeding Egos and Tending Wounds”, this paper will argue that no reconceptualization of any philosophy of music education will secure music education unless we analyse the feminized role of music educators as “housekeepers of emotion” within the masculinist framing of knowledge in the curriculum. Furthermore, in keeping with Bartky’s assertion that many feminist thinkers overestimate the efficacy of female nurturance, this paper will examine the form emotional sustenance takes in school music activities and how it serves to exacerbate instead of strengthen the status of music education in the curriculum.
This column features information submitted by GRIME members regarding WWW sites on the internet. Please respond with your ideas!
GRIME-L is the Gender Research in Music Education listserv. Use GRIME-L to make direct contact with other members, post and request information, etc. Roberta Lamb is the list manager, with Karen Frederickson (Queen’s U) as alternate manager. Anyone interested in gender issues in any aspect of music education may subscribe to this list, i.e., it is not limited to GRIME members only. On the advice of our computing services techinicians, the list is maintained as a ‘private’ one. This should help avoid ‘flaming’ or abusive postings. If you are not currently on GRIME-L and would like to join, please send an email request to <firstname.lastname@example.org>
We should have news about a College Music Society listserv focusing on women, music, and gender issues in post-secondary education for our autumn newsletter–watch for it in this column or on the GRIME-L listserv.
Sharon Shafer: Trinity College, Washington, D.C. presented an evening of original works by Sharon Shafer on March 21, 1996 in cele-bration of Women’s HistoryMonth. The con-cert included the premier of “Trinity Rag,” and “The Lady with the Red Guitar,” a work fea-turing improvised dance. On March 27, Shafer’s “Night Thoughts” for Violin and Piano was premiered at the college, and on May 1 she conducted the Trinity Community Chorus in a performance of her composition “Sketches on Natasha’s Words.”
(questions or more info: 202-884-9252-new office phone no. or <email@example.com>
These GRIMErs sent in email postings of research interests; some were distributed at the MENC conference meeting:
8.2 Elizabeth L. Keathley: ways women in fin-de-siecle Vienna proposed & contested the terrain of musical modernisn as librettists,performers, patrons, educators, critics, etc. My paper at Feminist Theory & Music 3 was on the patronage relationship of Alma Mahler and Arnold Schoenberg; AMS paper explored the collaborative relationship of Marie Pappen-heim and Arnold Schoenberg in the creation of the monodrama “Erwartung” (1909), and reinterpretted the work from a feminist perspective. I am ABD at the SUNY-Stony Brook.
8.3 Andra McCartney: I do research about women composers’ use of technology & feminist aesthetics in soundscape composition. My web page– http://www.finearts.yorku.ca/andra/ andra.html –follow the research link for more information.
8.4 Charlene Morton: The Feminized Location Of School Music And The Burden Of Justification, dissertation. Focuses on the centrality of gender in the distortion & displacement of school music programs. My 1st objective is to illuminate the necessity of an explicit project to realize the significance of the feminized location of music education. My 2nd objective is to articulate & then locate this project within a larger socio-political context that challenges epistemological hierarchies & traditional interpretations of knowing & being manifest in a curricular bias for intellection & against corporeality. In addition to revisiting familiar strategies such as developing agency and differentiating initiatives that work from those that do not, I explore the concept of nonduality as a potential source of pride for music educators, & underscore the relevance of broader curricular and socio-cultural challenges to improving the curricular status of music education.
CONGRATULATIONS, CHARLENE, ON SUCCESSFULLY DEFENDING YOUR DISSERTATION THIS JUNE!!!!!!!!
8.5 Lillian H. Studt: I am generally interested in women in “hard-core” &/or “punk” music. Also feminist literary theory, especially that which engages with issues around female desire such as semiotics & concept of female subjectivity.
8.6 Molly Weaver is chair-elect of the MENC Social Sciences SRIG. “A Survey of the MENC South-ern Division: Gender Distinctions Regarding Faculty Rank and Compensation in Institutions Granting Doctoral Degrees in Music Education.” Survey of music education faculty characteristics at 15 MENC South. Div. schools. “Issues of Equity in Music Education.” A presentation designed to introduce under-graduate music education majors to issues of culture, ethnicity, exceptionality, gender, language, professional status, race, religion, sexual orientation, and socioeconomic status in the context of music teaching and learning.
(reprinted from Western news, 29 March 1996, p.14) submitted by Carol Beynon
Three members of the Faculty of Education will be developing materials to support gender equity in education.
Professors Carol Beynon, Rebecca Coulter and Helen Harper recently were awarded a $30, ooo grant by the Ontario Women’s Directorate for the project entitled “Gender Equity in Pre-Service Education: Educating the Educators.”
The University of Western Ontario profesors will develop materials to be used in teacher education programs across the province that will enable teacher educators, both professors in faculties of education and associate teachers in schools to address 2 issues in gender equity.
The first issue is that of relationships of power in the classroom, both between teachers and students and between associate teachers and student teachers.
“While students and student teachers are acutely aware of the power and authority that teachers and professors hold over them, the latter do not think of their relationships with students in terms of power,” says Dean of Education Allen Pearson, “As gender is one of the important factors in determining relative power, the project will develop materials in print and video form that inform participants in teacher education–pre-service students, education professors and associate teachers–of the gendered nature of power and authority relations.”
The second issue that the project will focus on is bias. Materials, print and video, will be developed to enable participants in teacher education to analyse curriculum materials, teaching practises and school structures for explicit and implicit gender bias and inequities. The overall aim of the project is to improve and strengthen pre-service teacher education with respect to issues of gender equity.
The Faculty of Education’s partners in the project are: The Board of Education for the City of London; the London and Middlesex County Roman Catholic Separate School board; the Middlesex County Board of Education, the Ontario Teachers’ Federation; and the Students’ Council of the Faculty of Education.
Through these partnerships, associate teachers, equity officers, OTF representatives and education students will be involved in the development of the materials which will be available for use throughout Ontario and Canada.
The Ontario Women’s Directorate, in partnership with the Ontario Association of Deans of Education, have approved three projects on gender equity in education. Besides the project at Western, there also will be projects at Laurentian University and the University of Ottawa.
Rosemary Evans, editor. The most recent edition includes an interview with Adrian Jessett on “How do you get boys to sing?”, “Song texts and gender issues” by Heather Brewster, responses from high school girls to ‘International women’s week and music’, “Getting into Jazz”, CD and music reviews, and course outlines. Subscription (3 issues per year) is [sterling]9. Contact the editor at: MGEN, PO Box 14, Manchester, UK M23 ORY or by email <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 (500-900 words). If the newsletter gets thicker, the postage cost goes up. Submissions may be made by regular mail, FAX 613-545-6808;
or email <email@example.com>.
Deadline for the Autumn issue:
15 November 1996.
Reports on conferences not included in this issue would be welcome for the November issue, particularly the recent qualitative research in music education conference, IAWM conference and CMS institute. We would also welcome more on practical issues of addressing gender issues in teaching/ learning settings of all kinds.
My apologies for the delay in getting the June issue out–strictly a case of having too much work to do in too little time.