File Name: western classical music and gender .zip
- Classical music
- Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
- Gender and Music Composition: A Study of Music, and the Gendering of Meanings
Historical surveys of women in music have traditionally focussed on accounts of exceptional women as performers and composers.
This article examines the prejudices that women continue to experience in the field of composition in the twenty-first century. More specifically, it analyzes the host of factors that may be responsible for this reality from three perspectives: the notion that the language of modernist music is a gendered discourse, the role of precedent in the acceptance of women composers, and the role of societal stereotypes. Finally, it offers suggestions for overcoming the obstacles that prevent contemporary women composers from receiving due recognition. Keywords: music , women composers , stereotypes , Catherine Parson Smith , sexual linguistics , modernism , prejudices. In September , I sat excitedly in my very first seminar in upper-level composition. Only after proving my proficiency in counterpoint, orchestration, set-theory, and harmony was I allowed to enter this final course, and so it was with great anticipation and pride that I awaited the words of the award-winning Master Teacher assigned to pass on to us his pearls of wisdom.
Eftihia Victoria Arkoudis. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre , Emmett Curtis Goods. Folk-song to formal performance: Interpreting the songs of Jean Ritchie for voice recital , Julianne E. Mindfulness for Musicians: Bringing sport psychology and mindfulness-based therapies to the practice room and the concert stage , Lauretta M. How does the pronunciation of native languages affect beginning singers?
Towards a Meaningful Instrumental Music Education. Methods, Perspectives, and Challenges View all 21 Articles. Institutions that teach Western classical music in higher education in the West have been increasingly reliant on international students from Asia, particularly China, to fulfill recruitment targets. This article examines research in music performance tuition and the general higher education literature on pedagogy for international students. After demonstrating that Asian musicians feel the presence of a covert racial and cultural prejudice caused by assimilationist values in both Western classical music and in higher education, it reviews various approaches to teaching international students in higher education and brings this into dialogue with research on music performance pedagogy. Identifying various pitfalls of attempting to promote a greater awareness of students from different backgrounds, such as stereotyping and the indiscriminate use of racialized discourses, it argues nonetheless that a greater sensitivity to cultural difference is needed in music performance tuition. By reconsidering through an intercultural lens what teachers currently do and their beliefs about music and teaching that they transmit to their students, music education research can play an important role in breaking down assimilationist attitudes to the performance and teaching of Western classical music.
Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
Classical music is art music produced or rooted in the traditions of Western culture , including both liturgical religious and secular music. While a more precise term is also used to refer to the period from to the Classical period , this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods. The term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. European art music is largely distinguished from many other non-European classical and some popular musical forms by its system of staff notation , in use since about the 11th century. Western staff notation is used by composers to indicate to the performer the pitches and durations for a piece of music.
In this study claims that music communicates gendered meanings are considered, and relevant literature is reviewed. We first discuss the nature of meaning in music, and how it is constructed and construed. Examples of statements of gendering in the literature are cited, and the problems identified by writers who have questioned their validity are considered. We examine the concepts underlying terminology that has been used in inconsistent and contradictory ways. Three hypotheses are posed, and tested by means of two listening tasks.
Gender and Music Composition: A Study of Music, and the Gendering of Meanings
A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music—the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints.
Inequalities in the classical music profession have come on the agenda in recent years. In the UK, there have been a range of initiatives that promote women, musicians with disabilities, as well as black and minority-ethnic players. These findings raise the question of why inequalities are ongoing, especially if we consider that cultural and creative workers have the most liberal and left-wing views compared to all other industrial sectors. By drawing on wider research on the working lives of artists and creatives, this contribution provides an important, broader cultural industries perspective that allows us to understand some of the dynamics that perpetuate gender, racial, and class inequalities in the field of classical music.
Стратмор невесело улыбнулся: - Наконец ты поняла. Формула Цифровой крепости зашифрована с помощью Цифровой крепости. Танкадо предложил бесценный математический метод, но зашифровал .
Он посмотрелся в зеркало. Вид был такой, будто он не переставая рыдал несколько дней подряд. Беккер вытер лицо рукавом пиджака, и тут его осенило.
Пошел к черту. - У меня неотложное дело! - рявкнул Беккер. Он схватил парня за рукав. - У нее кольцо, которое принадлежит .
К несчастью, это был самый надежный способ собрать в шифровалке всех сотрудников Отдела обеспечения системной безопасности. После таких экстренных действий на главном коммутаторе раздавался сигнал общей тревоги. Проверку шифровалки службой безопасности Хейл допустить не. Он выбежал из помещения Третьего узла и направился к люку.
Понятно. Она получит ваше письмо утром. - Спасибо, - улыбнулся Беккер и повернулся, собираясь уходить.
- Хейл - это… Сьюзан замерла.
Я не такой дурак, как вы думаете, - бросил Хейл. - Я воспользуюсь вашим лифтом. Сьюзан пойдет со. А вы останетесь.
Так, значит, вы не по поводу моей колонки. - Нет, сэр. Казалось, старик испытал сильнейшее разочарование.