File Name: western classical music and gender .zip
- Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
- Classical music
- Explaining Inequalities in the Classical Music Profession
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.
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.
Teaching Silence in the Twenty-First Century: Where are the Missing Women 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. The same can be said of men, to a degree, but this especially applies to women.
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. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice , he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. In language accessible to nonspecialists but informative to specialists, Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel. Both are available in paperback.
Historical surveys of women in music have traditionally focussed on accounts of exceptional women as performers and composers. They are associated with the sizable literature on music as a traditional component of women's socialization and education. As a contemporary category of enquiry, the study of women in music is directly related to women's history, itself one of several scholarly research areas associated with the systematic study of gender. In this context, gender is treated as a socially constructed concept based on perceived differences between the sexes and a primary way of signifying relationships of power. This article focusses on the collective experience of women within Western and non-Western musical traditions.
Keywords: music, performance, musical meaning, gender, sex differences. THREE LEVELS dyad—the speaker and the hearer—but in the Western “classical” art music research/papers/Goebl_etal_S2S2_pdf. Grahn.
Explaining Inequalities in the Classical Music Profession
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. The working lives of musicians are precarious.
Испанская церковь. Беккер отлично знал, что в Испании только одна церковь - римско-католическая. Католицизм здесь посильнее, чем в самом Ватикане.
ГЛАВА 31 Сьюзан вернулась в Третий узел. После разговора со Стратмором она начала беспокоиться о безопасности Дэвида, а ее воображение рисовало страшные картины. - Ну, - послышался голос Хейла, склонившегося над своим компьютером, - и чего же хотел Стратмор. Провести романтический вечер в обществе своего главного криптографа. Сьюзан проигнорировала его вопрос и села за свой терминал.
Дэвид Беккер. - Он пожал ее руку. - Примите мои поздравления, мистер Беккер.
- Джабба сунул в рот кусочек сыра моцарелла. - Кроме всего прочего, вирус просто не может проникнуть в ТРАНСТЕКСТ. Сквозь строй - лучший антивирусный фильтр из всех, что я придумал.
Затем раздался крик: - Нужно немедленно вызвать Джаббу.