Women In Music, according to other people

This weekend I had the wonderful pleasure to attend the MENC Eastern Division Conference in Baltimore Maryland.  Since I would be missing classes to attend this conference (the last of 3 this semester), I made a point to attend some sessions that could apply to my courses this semester.  One particular session was "Beyond Clara Schumann - Bring women composers into your general music classroom).  I was really excited for this:  A practical application to my learning and my future teaching!  Unfortunately, this session was not what I expected, and left much to be desired. There was no practical application or teaching techniques, but more like a condensed version of our WIM class (Which is not to say it is a bad class at all! - just I felt I had already gotten this instruction.)  In this hour-long mini-course, the presenter discussed a few "Firsts" in American Women composers, performers, and conductors.  I'll be discussing a few of them in class, but I will address these fascinating women in the group posts in the next couple days. (For now- Sleep!)

From Carmina Burana to Glee: Gender and Sexuality in Choral Music

As the WCC Music Ed Lab continues its theme of "Gender and Music", Dr. Regina Carlow presented to the student body yesterday on the presence of gender stereotypes in choral music today.  Though my paper for this class focuses on gendered stereotypes in instrumental music, there were several overlapping themes.  One theme, of course, is the male presence in music to begin with.  Though it has been established that most composers and *famous* performers (whether it be conductors, instrumental, or vocal musicians), are men, there is always that stigma that being in music is effeminate or "gay."  This is further instigated in public schools, as more often than not extra-curricular music programs, or even music classes/ensembles within the school day, compete with sports and other activities deemed more "appropriate" for the male sex.  (This will be revisited).
A social stereotype that seems slightly less of an issue, mainly because we either don't come across it or question it often, are cross-gendered voicing.  Dr. Carlow describes her tenure as conductor of a Gay and Lesbian Mixed Chorus and their production of "Little Shop of Horrors".  Breaking from the norm, the role of Dentist was played by a woman.  As this culture was a very progressive one, there was very little controversy surrounding this cross-gendered role. (separate from a 'pants role')

Why is there such controversy about cross-gendered roles?  Does gender dictate musicality in certain roles?  Is there something inherent or biological that gives better insight to musicality depending on the role? Or are we missing out on new musical perspectives due to social stigmas?

Does gender stereotyping of instruments start in elementary school?

So I figured out my actual idea for my term paper for Women in Music.  Last week, Dr. Harold Abeles from Teacher's College of Columbia University came in for the day to present to the Music Education department.  The lecture he presented described his research on gender-crossing on instruments in public schools, (i.e., girls playing trumpets and boys playing flutes.)  As I had lunch with Dr. Abeles, I was fortunate enough to learn more about his studies and how, through a series of interviews conducted across 100 public schools (I'm pretty sure middle-high schools), he could quantify how many students were playing instruments outside of the 'norm' for their gender.
Most likely everyone knows this about me, but I fit into this "gender-crossing" stereotype.  I started playing trombone in 4th grade, and became a good musician because of it, possibly because now I was 'special.' (I was a dramatic middle-schooler, but that's another story.)

We saw reactions from adolescent boys and girls about gender-crossing instrumental performances. My question is- is that because all we have experienced are men playing trumpet and women flute, or could it be much deeper into a child's perception of music?  I could understand if people thought the trombone sounded masculine because it sounded "powerful", but then who is to say power is to be associated with men?

I am researching this topic in conjunction with my honors contract for Critical Pedagogy III this semester.  For Women in Music, I will be looking into what others have to say on the subject, besides Dr. Abeles.  For Critical Pedagogy, I will be conducting a small study with the students at my practicum site.

I don't think I've ever been this excited for a research project- it is not just that it is a topic I am interested in, or that I find applies to me; it's a topic I really want to know the answer to!

But I think I've found a 'niche'.  I just recently decided my goal for grad school is to get into Teacher's College, which I actually did not know Dr. Abeles was a member of the faculty until I looked it up for the benefit of this blog, and have been strongly considering studying this concept further.

:-)

Commentary on Chapter 1

Ok- so instead of writing notes on this book in outline format (like I am prone to do), I am going to write a commentary. This will result in less fluid thought transitions, but maybe you are all sick of the norm. All the following is copied straight out of my Evernote (If you don't know what that is, GET IT. www.evernote.com) So, read along, folks!

Socrates thought music in the Mixolydian and "intense Lydian" modes were associated with women and goddess worship would give rise to "drunkenness, softness, and sloth" Well... I don't know if that's entirely true, but Lynrd Skynrd doesn't help my case any... http://www.youtube.com/watch?v=-Du-CWASm20

(Note to self- learn how to embed youtube videos)

But the Phrygian harmony? I can totally tell this piece will start riots.http://www.youtube.com/watch?v=aYi1ExWbwoA Silly Greeks.

But here's my thing with Die Zauberflöte, and many other operas with this problem. Are the evil female roles composed with "tonal instability" (4) because they are female, or because they are evil? I have no problem with Mozart creating that air of uncertainty if it is effective (which it certainly is), but Pamina's arias seem sane http://www.youtube.com/watch?v=PtG5A1WFYWI

I find it funny nowadays the three main topics of music are God, drugs, and girls (and by girls I mean sex.) However, it seems a shame that musical theorists in the past feel any music meant for women were not only weak and instable, but could not have anything at all do do with men.

I don't know about you, but after reading about it, I HAD to look up Langue D'amour. http://www.youtube.com/watch?v=H_2g8a9DnWU

Here is my take on composers who are women vs. Women Composers. Much like the rise of female CEOs, they are not known as Female CEOs, they are just the boss. Our culture now is changing, to a point where it is extremely difficult to decipher the gender of a composer of a contemporary piece. While I will be interested to discover in this class the context in which female composers were limited in writing, I feel this should no longer be the case: we are in a completely different culture.

I think the entire purpose of this course (either why it is offered ANYWHERE or why I personally am taking it) is because we as a culture have not actually changed our teaching styles. We keep looking back to the past and drawing from there to create a future. A separate course on Women in Music is a band-aid to the problem, whereas the entire approach to Musicology needs to be redefined so all is incorporated. (But wait... that's a blog for another class...)

Maybe a lunch break, then on to Chapter 2...

Starting out the new Semester!

Well, here goes this blog! (I am aware this doesn't actually count as a post.)