Gender Research in Music Education

1. Editor's Note: What I Did for My Summer Vacation
Elizabeth Gould

Having spent the past academic year in Canada, teaching at the University of Toronto, I've found adjusting to life in the U.S. (or at least Boise, Idaho!) a bit of a challenge. It's true, I fell in love with Canada and Canadians. The country is not at war; most of the people I know there are not interested in imposing their will on anyone. Most significantly, my partner and I actually exist there legally. So this summer, Carol and I decided to vacation (all too briefly) in British Columbia, visiting Vancouver, Victoria, and Revelstoke-ocean to mountains.

Following that feast for heart and eyes, we are back in Boise, preparing to drive to Bowling Green, Ohio for the GRIME meeting and the conference Feminist Theory and Music 7: Crossing Cultures, Crossing Disciplines (July 17-21). Check out the website at http://mustec.bgsu.edu/~ftm7/, fill out the registration form, and plan to attend. Please bring with you (or email me by July 15, as Carol and I are driving) any agendas items you would like to be addressed during the GRIME meeting. I'm looking forward to seeing you!

My travels also have caused me, in particular, to want to increase discussion among GRIME members. In that spirit, I have included in this issue a guest editorial by Roberta Lamb about feminism and music education, and a paper that I presented at the 2000 MENC meeting in Washington, D.C. about the effects of gender research on classroom practices. Please use the editorial and/or presentation as springboards to discuss on the GRIME email listserve any issues that are raised-or other issues that you would like to raise. My hope is to find ways to stimulate discussion among members that will not so much defend our positions, but instead, increase our understanding of who we are and what we do. Please contribute any comments, suggestions, or ideas-all are welcome!

Best wishes for the rest of your summer vacation.

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2. Guest Editorial: Feminist Influences in Music Education
Roberta Lamb

Adapted from an essay originally published in Orbit music education theme issue, vol. 31, no. 1 (Spring 2000) (38-39).

People often ask me what the role of feminist thinking and feminist action should be in music education. This is not an easy question to answer, and yet it is an important question to ask, and even more worthwhile to ponder for the possibilities, and then to try out the theories in practice. Pondering and experimentation take time, effort, and result in failures prior to solutions.

Teachers want the best for and from their students. Musicians want the heights of creative expression to flow through in performance or composition. What a teacher or a student or a musician is changes depending on the cultural and social contexts. Each category of teacher, student and musician is influenced by and/or a product or part of the society in which she/he lives, a society where certain categories of people have more opportunities than others and where certain ways of thinking and doing are more valued than others. When values differ from the dominant position then there is a struggle to express those values or accomplish those goals, whether they be in social or artistic venues. Therefore, the influences of feminisms in music education will likely differ substantially depending on the kinds of musical participation involved in any particular classroom. As teachers/learners, we need multiple strategies and answers to go with multiple questions, because the pedagogical problems we face manifest themselves in many subtle ways.

I offer one possible strategy in brief outline.

The philosophies and politics of feminism(s) make a great difference in the way that I do music education. Like Audre Lorde I find teaching to be about survival (Lorde, 1984, p.88) and artistic work to be a necessity not a luxury (Lorde, 1984, p.36). Like bell hooks, I find that passion has a lot to do with it:

"That's probably what feminism was initially about: How do we make room for self-determining passionate women who will be able to just be? I am passionate about everything in my life--first and foremost, passionate about ideas. And that's a dangerous person to be in this society, not just because I'm a woman, but because it is such a fundamentally anti-intellectual, anti-critical thinking society. I don't think we can act like it's so great for men to be critical thinkers either. This society doesn't want anybody to be a critical thinker. What we as women need to ask ourselves is: 'In what context within patriarchy do women create space where we can protect our genius?' It's a very, very difficult question." (p.39, 1994).

bell hooks' observation that it isn't so great for men either underlines the notion that all people may participate in feminist thinking and action. This is crucial to feminism in any kind of education: feminist thinking provides a means for developing creative and critical spaces for all students and teachers.

From an examination of the interaction of local context, valuing the arts, and a passion for life, I find three broad feminist influences in music education:

1. music history;
2. music is not an absolute knowledge; and,
3. music as a product of identity.

I reflect on many questions, working through provisional answers in my everyday teaching/learning life, through these three areas of music education. Such reflection is a particularly important task, since we are restricted by current school reforms touting excellence as the antidote to diverse student needs, yet with no mention of equity. These provisional answers guide my teaching practice.

Music history, as the first feminist influence: I now recognize that women have a history in music and that it is a complicated one to uncover. Women have been (and are) composers, performers, conductors, teachers, patrons. Women have participated in all manner of musical roles throughout recorded history. This was the most astonishing thing for me to discover as a young musician who had just completed an undergraduate music degree, not knowing that the Chaminade "Concertino" I had performed was by a woman. By habit I turned the name Cecile into Cecil--it could be no other way! The ensuing 25 years revealed to me many of the complications to women's history in music. Family, class, ethnicity/"race", religion, education, location, musical genre, and so forth, are among the many factors, subtle and obvious, that complicate knowing women's history in music. Doing feminist history in music becomes one way of engaging critical thinking and questioning the status quo.

Music is not an absolute knowledge, the second feminist influence: Uncovering what one did not know can be profoundly unsettling, not only to oneself, but to others, because it challenges as culturally determined those commonly held beliefs about the purity of music as an abstract art and a product of talent. This de-centering of the absolute qualities of music means that what counts as music is not so obvious, that theoretical principles about the aesthetics and structure of music must be identified as context-specific and not transcendent. It makes the construction of curriculum more complicated because it is no longer easy to say what music counts as worthy of study--or what music does not count. It means changing expectations of how music is to be taught and what happens in a rehearsal or a performance. It means re-examining the silent precept of musical performance as untheorized practice, that thing musicians do because it is what we do. In the face of this shifting terrain some prefer to hold tighter to older traditions (such as great masterworks, ta's and ti's, singing in head tone, the absolute authority of the music director), as do some state-mandated curricula. I would rather practice a more inclusive, creative thinking and, like Audre Lorde, flourish within the "intimacy of scrutiny" (Lorde, 1984, p.36) of my beloved music in order to find a greater passion and power for living through new knowledge and expectations. It is in this space of shifting positionality, shifting truths, where I look for those practical, teachable moments. I subvert the curriculum by teaching a critique of its content and process, even as I meet the letter of the rubric. As a feminist teacher I point out the contradictions within the curriculum, and the power structure that requires it to be taught.

Music as a product of identity, third feminist influence: Naming the specifics of my self-identification with and in music as a female, as a lesbian, as a white, middle-class person in North America, acknowledging the woman-centered aspects that are central to me, has meant that I've had to acknowledge that all those aspects that are outside my experience could be central to someone else. For example, this means examining the place of "race", class and ability, in addition to gender, in music. At a very basic level, awareness of different identity factors mandates an equal opportunities approach, albeit one that addresses the political questions and power imbalances. It isn't simply a matter of treating everyone fairly or the same. It does require constant examination of cultural values. It does mean recognizing and appreciating differences, seeing the value in treating people differently but fairly, and going further than noting the difficulties when deep-seated and/or unexamined prejudice and beliefs interfere with that fairness (e.g., racism, sexism, homophobia). The interfering beliefs most often relate to that which is outside any individual's personal experience, so these identity-driven issues are not addressed once and forgotten, but become part of an on-going process of scrutiny and learning. For me, such a process means that I ground theory in my experience but do not limit theory by my experience, i.e., my experience is valid rather than eccentric or atypical or not to be considered, but so are the experiences of other. As a feminist, I start my music teaching and learning from where I am but do not limit concepts or practices to that frame. This leads to an expanded concept of praxis that extends beyond knowing what I do and doing what I know.

These three feminist influences in music education draw from my experience as a musician, teacher, and feminist, as well as my knowledge of theory and practice in each of these areas. Each music educator must seek his/her own strategies for challenging the status quo in creative and critical spaces for all students.

Reference List

Gender Research in Music Education, http://qsilver.queensu.ca/~grime/.

hooks, b. (1994). "What's passion got to do with it?" in Outlaw culture: Resisting representations. New York: Routledge.

Lorde, A. (1984). "An interview: Audre Lorde and Adrienne Rich" and "Poetry is not a luxury" in Sister/Outsider. Freedom, CA: Crossing Press.

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3. Member News

3.1 Nora Beck

Nora Beck's novel FIAMMETTA was awarded "Honorary Mention" in the 10th Annual Writer's Digest International Self-Published Books Awards. FIAMMETTA won in the mainstream/fiction category in which there were 370 entries. The judge commended its writing, innovative narrative, and book design. Writer's Digest will run a story on the competition in its August 2003 issue.

Beck also participated in a panel in the first ever Gay and Lesbian Sports Conference held at MIT in March 2003. She spoke about the role of Faculty Athletic Representatives in assuring the welfare of homosexual student-athletes. Beck played varsity basketball at Barnard College way back when.

3.2 Denise Grant

Coordinated by Denise Grant, The University of Toronto Wind Band Teaching and Conducting Symposium is scheduled for July 7-11. It will focus on areas of interest to music educators of all levels, who will examine their role as conductor and educator, experiment with movement and performance dynamics, and exchange thought-provoking ideas with other dedicated music educators. The symposium environment fosters creativity, collaboration, and personal renewal as presenters invigorate and inspire passion for teaching music.

3.3 Julia Koza

Julia Koza's book "Stepping Across: Four Interdisciplinary Studies of Education and Cultural Politics" (New York: Peter Lang Publishing) has recently been published. Koza is donating her royalties to the non-profit watchdog group Citizens for Tax Justice

This book is the sixth in a series that includes:

Greg Dimitriadis: Performing Identity/Performing Culture: Hip Hop As Text, Pedagogy and Lived Practice

Vamsee Juluri: Becoming a Global Audience: Longing and Belonging in Indian Music Television (to be out in July)

Dawn Heinecken: The Warrior Women of Television: A Feminist Cultural Analysis of the New Female Body in Popular Media (to be published in July)

Jennifer Kelly: Borrowed Identities (to be published in November)

Sharon L. Bracci and Clifford G. Christians, eds.: Moral Engagement in Public Life: Theorists for Contemporary Ethics

Julia Koza and Martin R. Garner: Stepping Across: Four Interdisciplinary Studies on Education and Cultural Politics

3.4 Roberta Lamb

Roberta Lamb's chapter, "The Legacy of Ruth Crawford Seeger's Folk Song Collections for Music Education: 'Sounding Apart Together,'" is included in Ruth Crawford Seeger's Worlds: Innovation and Tradition in Twentieth-Century American Music, Ellie Hisama & Ray Allen, editors. Berkeley: University of California Press. (Accepted by editors; submitted to UC Press.)

3.5 Carolyn Livingston

Carolyn Livingston's book, "Charles Faulkner Bryan: His Life and Music," is published by University of Tennessee Press. Bryan (1911-1945) was Tennessee's first composer of art music as well as a music educator and folk music researcher/performer. Readers can find out more by going to the press' website, http://utpress.org/xseacats/ss2003.htm, and by clicking on the title.

3.6 Carol Matthews

"As Dusk in Paradise," Matthews' work for soprano, oboe, and percussion, was premiered April 7, 2003 at the University of Oregon by Ann Tedards, soprano, J. Robert Moore, oboe, and Charles Dowd, percussion. A second performance was presented at Boise State University May 9, 2003. The texts for this work are drawn from the writings of medieval women religious, and focus on the tensions between the soul and God. Also performed at the second concert was Matthews' work, "Snow Walker," scored for flute and marimba, and performed by Imbate (Liana Tyson and Blake Tyson).

3.7 Kathleen McKeage

Kathleen McKeage has completed a survey research project designed to explore the relationship between gender and participation in college instrumental jazz ensembles. Over 600 band students from 15 college music programs participated. The results of the study confirmed that women are under represented in collegiate instrumental jazz and that women quit playing jazz at a higher rate than men. Because experience in instrumental jazz is an important, but often elective, component of secondary instrumental (band) teacher preparation, the study also sought to understand why women chose to discontinue participation in jazz. Several GRIME members facilitated the study in their schools and the project could not have been completed without their help. McKeage has been on leave from the University of Wyoming and has been conducting professional development workshops on improvisation for K-12 teachers.

3.8 Boden Sandstrom

Documentary film, Radical Harmonies, Dee Mosbacher, director, Boden Sandstrom, co-producer, chronicles a women's music cultural movement which resulted in a revolution I the roles of women in music and culture. The movement gave birth to an alternative industry that changed women and music forever. During the early 1970s, a convergence of cultural feminism and the radical politics of lesbian-separatists created the philosophy and space necessary for a new genre of music-Women's Music-to bloom. This music became the embodiment and expression of this woman-to-woman creativity, and expression of a lesbian and/or feminist aesthetic.

Through festival and performance footage, interviews, and archival material, the film delves into the rich and beautiful history of women creating a cultural life based in a commitment to diversity, personal integrity, feminism and women loving women. It opened doors for women musicians, producers, sound and light technicians, and for new women-owned recording companies, such as Olivia Records, as well as women-oriented shows.

Radical Harmonies features early stars of Women's Music, such as Meg Christian, Holly Near, and Mary Watkins, as well as contemporary artists Indigo Girls, Ani DiFranco, Bitch and Animal, and Melissa Ferrick. Additionally, the film highlights the whole infrastructure that made possible the recording, production, and dissemination of the work of these talented performers.

Awards: Audience Award for Best Documentary, 2002 San Francisco International Lesbian & Gay Film Festival.

Order from: www.woman-vision.org. (Professional and library version available in VHS and DVD.)

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4. News of the Profession

4.1 Feminist Theory and Music 7: Crossing Cultures, Crossing Disciplines

Bowling Green State University, July 17-21, 2003. For registration and information, see the web page at http//:mustec.bgsu.edu/~ftm7/. GRIME will meet Saturday during lunch. Saturday night, a panel including Suzanne Cusick, Lydia Hamessley, and Deborah Wong will present remarks in memory of Philip Brett. A sample of presentations follows:

Elizabeth Keathley (UNC, Greensboro), "Castrati at the Movies: In Which Faranelli is Remasculated, and Hedwic cuts down 'Cock Rock'."

Kevin Clifton (University of Virginia), "Queering Inversion in Poulenc's Les Mamelles de Tir?ias."

Claire Detels (University of the Incarnate Word), "'Screeching Figure of Fun'? Images of Brunnhilde from the Second Wave of Feminism."

Ren? Coulombe (University of California , Riverside), "'But You're Just a Girl!': The Construction of Female Heroism and Non-Diagetic Music of Xena: Warrior Princess and Buffy the Vampire Slayer."

Sehvar Besiroglu (ITU TM State Conservatory, Istanbul), "Music, Dance, and Women's Identity in Timurid, Mughal and Ottoman Music."

Sondra Howe (Wayzata , Minnesota), "Women Teaching Music in Sweden , 1850-1950."

Laurie Blunsom (Minnesota State University , Moorhead), "A Boston Woman's Chronicle: Music and Social Ritual in the Diaries of Frances Lang."

Naomi Andre (University of Michigan), "'Blackface', Race, and Gender in Four Operas."

Annie Janeiro Randall (Bucknell University), "The Trouble with Minnie: Puccini's Exotic American Heroine."

Ellie Hisama (Brooklyn College & the Graduate Center , CUNY), "B-Girl Stance in a B-Boy's World: DJ Kuttin Kandi, Hip Hop Activist."

Martha Mockus (SUNY Stony Brook), "The Musical Body Politics of MeShell Ndeg?cello."

Elizabeth Gould (University of Toronto), "Monologue(s) Of Desire: Becoming-Woman as University Band Directors."

Daniel Steven (University of Michigan), "Regarding Glenn: Decoding the Allure of a Musical Deviant."

Nadine Hubbs (University of Michigan), "My So-Called Post-Stonewall Life: Reflections on a Queer Musical Apprenticeship."

Maarja Vigorito (Bowling Green State University), "Essential Differences: Musical Experiences from Beyond the Binary."

4.2 Ethnomusicology in the Schools: Miami 2003

All members of CMS and SEM are invited to join the SEM Education Section as it takes its annual "Ethnomusicology in the Schools" outreach project into the Miami--Dade County Schools during the joint conference in Miami: volunteer to teach at least one class at a public school while at the conference!

You may teach at any level-K-12-and in any facet of the music curriculum-general, band, orchestra chorus. In the past, SEM Education Section volunteers have taught Chinese Luogo music in concert band, Latino dances for elementary school children, music reading for elementary keyboard class, and much more. Share your special expertise with a very excited and eager audience! This outreach project has brought school children into contact with culture-bearers, authors of major teaching texts, and specialists in all areas of world musics.

As a result of past projects, some participants have developed long term professional relationships with schools and individual teachers in addition to establishing a curricular partnership as an ongoing consultant for the school. In other cases, several host teachers have entered graduate study with the SEM volunteer. Your contributions have had a significant impact on the musical lives of both the children and host teachers.

The Miami-Dade County Schools have been asked to provide transportation to and from the host school. In the event transportation plans go awry, several Education Members will have cars in Miami to help in this area. Our local liaison will match you with a host school and teacher and contact you with this information and other details.

If you are interested in participating in the Ethnomusicology in the Schools: Miami 2003, please contact Bryan Burton before September 1.

J. Bryan Burton
School of Music
West Chester University
West Chester, PA 19383
Jburton3@wcupa.edu

4.3 The Effects of Gender Research on Classroom Practices: Simulacrum of Change

Elizabeth Gould

Presented at the meeting of MENC: The National Association for Music Education, Washington, D.C. (Gender Special Research Interest Group), 2000

Gender research in music education has revealed classroom practices that can only be described as, well, gendered. Music education positions at all levels--from pre-school through university--are clearly segregated by gender (Block, 1988; Gould, 1996; Jackson, 1996; McElroy, 1996; McLain, 2000; Weaver, 1994). Performers are similarly stratified by gender in their choices of both instrument and the kinds of music they play (Abeles and Porter, 1978; Coffman and Sehmann, 1989; Griswold and Chroback, 1981; Delzell and Leppla, 1992; Fortney, Boyle, and DeCarbo, 1993; Green, 1997; Tarnowski, 1993, and Zervoudakes and Tanur, 1994). Theory and history courses include almost exclusively the study of men composers. When women composers are studied, they too frequently are approached as if their experiences as composers were the same as those of men--and are then added to the list of men (Lamb, 1987; Lamb, 1991; Lamb, 1995; Morton, 1994). Classroom materials and texts depict men in all kinds of roles making music. When women appear, they are usually depicted in traditional roles: singing or playing the piano (Koza, 1992; Koza 1994). We worry about the lack of men and boys who sing in our choirs--even as we privilege them in a myriad of ways: seating, auditions, classroom interaction, repertoire. Girls mature faster than boys and consequently are generally better singers sooner, perform rhythmic tasks more accurately, and demonstrate more positive attitudes about music, yet our classroom practices reward boys who participate in music, and tolerate girls (Gates, 1989; Koza, 1993; Mizener, 1993; O'Toole, 1993-1994; O'Toole, 1997).

A few of us have speculated about what our classroom practices would be like if they were informed by gender research: egalitarian, student-driven, gender affirmative, musically diverse, creativity-based, and expressively-focused. Some of us have even enacted these dreams (Gould, 1991; Lamb, 1995; O'Toole, 1993-1994; Gould, 1994; Coeyman, 1996). But for nearly all of us, myself included, the effects of gender research on classroom practices have been much more modest. I never use the word "guys" when addressing women or mixed groupings of women and men, always use women's names, and make sure in my classroom that at least one woman speaks for every man who speaks. Whenever possible, I include students in planning courses and in evaluation of their work. For this, I have been described in student evaluations as unprepared and vague about my expectations. More charitable students wish I would just make up my mind and tell them what to do. My students study the music and music educational work of women--from the women's and the students' perspectives--and in this context, study the work of relevant men. I continue to find it difficult, though mostly because of the band's performance level--to program music by women for my band, the members of which, frankly, are most happy with their ensemble experience when I rehearse them as a man--and tell them exactly how, what, and when to play.

All of this is not to imply that I am pessimistic or cynical about the effects of gender research on classroom practices. Nothing else reveals so completely what we are doing in the gendered educational environment, and nothing else makes possible the transformation of this environment. Perhaps its most important effect is that of envisioning transformation. We take what we learn from gender research, and go beyond classroom practices. Go beyond classrooms. We change the environment completely. In the words of Audre Lorde (1983), we forge new tools. "For," as she told us more than 20 years ago, "the master's tools will never dismantle the master's house" (p. 99, emphasis in original). I remind you of this quote, because I believe we may use gender research to this end--to dismantle an educational system so flawed yet so ubiquitous, that we cannot alter it by changing only our classroom practices, however ambitiously; but must, instead envision the effects of gender research that would take its place. To understand better what this might mean, I think it is essential to put Lorde's statement back into its original context.

She, of course, first made her comments at a feminist conference at which she was one of only two women of color who participated. In the course of her presentation, Lorde invoked her status as outsider: "Those of us who have been forged in the crucibles of difference;" and here she mentions difference in being poor, lesbian, black, and older; and goes on to say, that those who are different "know that survival is not an academic skill" (p. 99, emphasis in original). It is not research. Survival is everyday life. Lorde continues, "[Survival] is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those other identified as outside the structures, in order to define and seek a world in which we can all flourish" (p. 99). Here I would ask, as feminist music educators, how have we collaborated with others who are outside of the education structure? Are we really outside? With the gender research now being done, perhaps we finally have the luxury to take a deep breath, and look around at the margins. If we can't see anyone else, is it because we are moving too close to the center?

Lorde finishes her thought by adding that survival "is learning how to take our differences and make them strengths" (p.99). We learn about our differences from gender research, and have worked to make them strengths by changing our classroom practices to demonstrate them. But we are almost hopelessly limited in making substantive progress, because, as Lorde reminds us, we are using the master's tools. We attempt different practices, but they are still classroom practices--necessarily the master's. And they cannot transform the system, because as Lorde argues, "[The master's tools] may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change" (p.99). The reason for this is that they do not necessarily reflect the environment we would have envisioned had this been our house. Lorde adds one last thought: "This fact is only threatening to those women who still define the master's house as their only source of support" (p. 99). Educators at all levels in North America remain overwhelmingly middle class, heterosexual, white, and young. And, I would add, supportive of the system.

While it may appear that she is taking an adversarial position, Lorde is talking about creating a house in which all can flourish. This has not been possible in an educational system defined by its gendered practices. If we want a system in which all can flourish, if we believe that gender research can help us envision this educational system, then I would suggest that we develop new educational practices in an educational system that will benefit all of our students, as well as all of us. These, of course, would be classroom practices that are not classroom practices, in an educational system that is not an educational system. How do we do this? How do we do what is not? How do we step outside the system while remaining a part of it? Well, that is the postmodern question of the millennium, isn't it?

We can begin by both expanding and limiting the metaphors of tools and house, as they are relics of modernism. The educational system has always been more than the structures of schooling and classrooms. It also has always been far less. We can think of it as us; that is, we are the educational system. Us, our students, our interactions. Inherent structures and inevitable content don't have to exist if we don't embody them. What is necessary is all of us learning together, and this constitutes our classroom practices, to again use modern vocabulary. We are the house and our interactions are the tools. Fortunately, none of us are permanent, immortal, or immutable, for that matter. Our words and actions are as ephemeral as air. And as transparent. There is no beginning or end to our teaching, our classes. They have no substance, no form. We embody the work of music education however we envision it. Musicians, researchers, teachers, students. While we live in our work with students, not all of our students live there with us. Our strength is located in difference. We can no longer expect all of our students to learn the same material, perform the same music, all in the same way. We can no longer determine objectives all will meet, evidenced by the criteria we select. We cannot even suggest common strategies for changing these practices.

Consider again Audre Lorde's comments. "The failure," and she identifies this as our failure as academic feminists, "The failure . . . to recognize difference as a crucial strength is a failure to reach beyond the first patriarchal lesson. Divide and conquer, in our world, must become define and empower" (p. 100). We can define only ourselves. But we must define ourselves. Through self-definition, or identity, we claim agency in this postmodern landscape of shifting representations. Modern liberatory agendas may fail because they do not take embodiedness into account (Fay, 1988). They appeal to logic and the system's sense of reason--all students will flourish if we just change our practices--and ignore the physical--survival--pressures that the system faces--all learning must be quantifiable, all teachers must be held accountable. It is not so much that the personal is political anymore. It's that the personal--or political, if you prefer--is all that there is. What I am suggesting is the subject as simulacrum (Rosenau, 1992), in this case, an agent whose model cannot be distinguished from its reality. As simulacrum, our agency is derived from our identity; quite literally, identity as agency. We can empower only ourselves, providing, of course, that empowerment is part of our identity. As Lorde puts it, "In a world of possibility for us all, our personal visions help lay the groundwork for political action" (p. 100).

What we have, then, in this postmodern reading of Audre Lorde, is a landscape of possibilities. Change is not a narrative, a journey, nor even a process, as I have suggested previously. It is us, where we are in this place, with these students, standing on the margins, at the edges, away from the center, because we are different. We participate in gender research and may be denied tenure for it--it's difficult to get it published. We use the research to transform our classroom practices, and are misunderstood by many students and discounted by others. Some students, though few in number, are embodied in transformation, and move our practices farther than we ever imagined. Then they are not our practices anymore. They belong to our students, in fact, they are our students.

What are the effects of gender research on our classroom practices? What do we want from it--for our students and ourselves? How can we use it to remain at the margin? Even one step toward the center obscures the view. We may heighten our self-awareness, become more reflective. What are we doing/saying? Is it what we want to do/say as feminist music educators? How can we learn from our students? How can we better hear them? Remember--it's Calvinball: the only rule is that there are no rules. Students need opportunities to engage their musician-ness. Our classroom practices are not what we do embodied as teachers. They are what our students do in their musical embodiments.

References

ABELES, H. F., & PORTER, S. Y. (1978). The sex-stereotyping of musical instruments. Journal of Research in Music Education, 26, 65-75.

BLOCK, A. F. (1988). The status of women in college music, 1986-1987; A statistical report. In N. B. Reich, (Ed.), Women's studies/Women's status (pp. 79-158). Boulder, CO: The College Music Society.

COEYMAN, B. (1996). Applications of feminist pedagogy to the college music major curriculum: An introduction to the issues. College Music Symposium, 36, 73-90.

COFFMAN, D. D., & SEHMANN, K. H. (1989). Musical instrument preference: Implications for music educations. Update: Applications of Research in Music Education, 7(2), 32-34.

DELZELL, J. K., & LEPPLA, D. A. (1992). Gender association of musical instruments and preferences of fourth-grade students for selected instruments. Journal of Research in Music Education, 40, 930103.

FAY, B. (1988). Critical social science: Liberations and its limits. Ithaca: Cornell University Press.

FORTNEY, P. M., BOYLE, J. D., & DECARBO, N. J. (1993). A study of middle school band students' instrument choices. Journal of Research in Music Education, 41, 28-39.

GATES, J. T. (1989). A historical comparison of public singing by American men and women. Journal of Research in Music Education, 41(1): 28-39.

GOULD, E. S., & WHITEMAN, C. L. M. Critical feminist theory and practice: Roundings, a case study. Paper presented at the meeting of the Feminist Theory and Music One Conference, Minneapolis, MN (Seminar, Gender and Composition).

GOULD, E. S. (1994). Getting the Whole Picture: The View From Here. Philosophy of Music Education Review, 2(2), 92-98.

GOULD, E. S. (1996). Initial involvements and continuity of women college band directors: The presence of gender-specific occupational role models. Unpublished doctoral dissertation, University of Oregon, Eugene.

GREEN, L. (1997). Music, gender, education. Cambridge: Cambridge University Press.

GRISWOLD, P. A., & Chroback, D. A. (1981). Sex-role associations of music instruments and occupations by gender and major. Journal of Research in Music Education, 29, 57-62.

JACKSON, C. A. (1996). The relationship between the imbalance of numbers of women and men college band conductors and the various issues that influence the career aspirations of women instrumental musicians. Unpublished doctoral dissertation, Michigan State University, East Lansing.

KOZA, J. (1992). Picture this: Sex equity in textbook illustrations. Music Educators Journal, 78(7), 28-33.

KOZA, J. (1993). The missing males and other gender issues in music education: Evidence from the Music Supervisors Journal, 1914-1924. Journal of Research in Music Education, 41(3), 212-232.

KOZA, J. (1994). Big boys don't cry (or sing): Gender, misogyny, and homophobia in college choral methods texts. The Quarterly Journal of Music Teaching and Learning, IV-V(4, 1), 48-64.

LAMB, R. (1987). Including women composers in music curricula: Development of creative strategies for the general music classes, grades 5-8. Unpublished doctoral dissertation, Teachers College, Columbia University.

LAMB, R. (1991). Including women composers in school music curricula, grades 5-8: A feminist perspective. In J. L. Zaimont, (Ed.), The Musical Woman, Vol. 3 (pp. 682-713). Wesport, CT: Greenwood Press.

LAMB, R. (1995). Tone deaf/symphonies singing: Sketches for a musicale. In J. Gaskell & J. Willinsky, (Eds.), Gender in/forms curriculum: From enrichment to transformation (pp. 109-135). New York: Teachers College Press.

LORDE, A. (1983). The master's toools will never dismantle the master's house." Comments at The Personal and the Political Panel, Second Sex Conference, October 29, 1979. In C. Moraga & G. Anzald?, (Eds.), This bridge called my back: Writings by radical women of color (pp. 98-101). New York: Kitchen Table: Women of Color Press.

MCELROY, C. J. (1996). The status of women orchestra and band conductors in north American colleges and universities: 1984-1996. Unpublished doctoral dissertation, University of Missouri, Kansas City.

MCLAIN, B. P. (2000, March). Teaching music in the American university: A gender analysis. Poster session presented at the biennial meeting of MENC: The National Association for Music Education, Washington, DC.

MIZENER, C. P. (1993). Attitudes of children toward singing and choir participation and assessed singing skill. Journal of Research in Music Education, 41(3), 233-245.

MORTON, C. (1994). Feminist theory and the displaced music curriculum: Beyond the add and stir projects. Philosophy of Music Education Review, 2(2): 106-121.

O'TOOLE, P. (1993-1994). I sing in a choir but I have no voice!. The Quarterly Journal of Music Teaching and Learning, IV-V(4, 1), 65-77.

O'TOOLE, P. (1997). What have you taught your female singers lately? Choral Cues, 27(2), 12-15.

ROSENAU, P. M. (1992). Post-modernism and the social sciences: Insights, inroads, and intrusions. Princeton: Princeton University Press.

TARNOWSKI, S. M. (1993). Gender bias and musical instrument preference. Update: Applications of Research in Music Education, 12, 14-21.

WEAVER, M. A. (1994). A survey of big ten institutions: Gender distinctions regarding faculty ranks and salaries in schools, divisions, and departments of music. The Quarterly Journal of Music Teaching and Learning, IV/V, 91-99.

ZERVOUDAKES, J., & TANUR, J. M. (1994). Gender and musical instruments: Winds of change? Journal of Research in Music Education, 42, 58-67.

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5. Calls for Papers & Proposals

5.1 International Society for Music Education - ISME

Fourteenth International Seminar by the Music in Schools and Teacher Education Commission (MISTEC), July 5 to 9, 2004, Granada University College of Education, Granada, Spain

The Music in Schools and Teacher Education Commission (MISTEC) invites submissions for papers and workshops for the Fourteenth International Seminar to be held from July 5 to 9, 2004.

The purpose of the seminar is to provide a forum for dissemination of results and implications of recently completed research, as well as demonstrations/discussions of innovative instructional strategies regarding the teaching of music in school settings, and the preparation of music educators.

Papers and workshops will be selected on the basis of clarity of the presentation and on the relevance and originality of the ideas presented.

For this Seminar, papers and workshops are invited which address the broad framework of the MISTEC Vision and Mission statements.

Vision:
There will be music in schools for all children.

Mission:
The mission of the MISTEC is to promote and support:
*Effective Music teacher education and professional development
*Effective teaching and learning in schools through engagement with music
*Understanding and respect for music throughout the world

The mission is fulfilled through activities such as conferencing, disseminating research information, participating in workshops and networking.

In addition, papers addressing the broad themes of the World Conference are welcomed. The main theme for the ISME World Conference in Tenerife is "Sound Worlds to Discover," with these sub-themes:
*A world of sound to know
*A world of sound to create
*A world of sound to interpret
*A world of sound to teach
*A world of sound to feel

While the accepted papers and workshops for the pre-conference MISTEC seminar may not be confined within these themes, and may range over a variety of other topics and themes of interest to those engaged in music in schools and teacher education, those submitting papers and workshop proposals are encouraged to take these themes into account.

Proposals for MISTEC poster sessions may be submitted via the procedures below. Posters will be considered for MISTEC sessions at the World Conference only.

Up to 12 papers and/or workshops will be selected from those submitted, and the authors will be invited to participate in the Seminar as guests of the Commission (room and board for the period will be provided, but not travel costs). All participants should note the dates of the Seminar and should plan to attend for the full period of 4 days in order to participate fully in professional dialogue and debate.

Procedures for submitting papers and workshop proposals are as follows:

1. Papers must be complete, and must not exceed 2000 words, excluding references and footnotes. A word count should be included on the title page. Workshop proposals must provide a description of material to be presented, and must explain the relevance of the workshop to ISME conference themes and to MISTEC.

2. The paper or workshop proposal must be submitted in English, since the formal sessions of the Seminar will be in English. Non-English language issues will be addressed once the selection of papers has been made. Non-English speaking proposers may request linguistic help through our MISTEC 'buddy system'. Should such a paper be considered, an English-speaking 'buddy' will be appointed to work with the proposer and provide support.

NOTE: Although English is the official, working language of ISME, presenters who find English daunting should not be discouraged to submit and are encouraged to consider the possibilities of PowerPoint presentations. There is a good possibility that Spanish translations will be available at the seminar. Papers will be sent to all enrolled participants at least six weeks prior to the seminar.

3. An abstract (of no more than 200 words) must accompany the paper or workshop proposal.

4. If a multiple-author paper, panel or workshop is selected, only one author/presenter will be invited. The other author(s) may attend at their own expense and should contact Chair Minette Mans about this.

5. Papers, workshop proposals, and abstracts must be typed, preferably using Times New Roman font size 12, and single-spaced.

6. At the top of the first page of the paper or workshop proposal and of the abstract, the following information should be included:
        a. Name
        b. Complete mailing address, with FAX number and email address if available.
        c. State whether you are a fully financial member of ISME (2003, 2004)
        d. Native language
        d. The following statement:
"This paper (or workshop proposal) is submitted for consideration for the Fourteenth International MISTEC Seminar, Granada, Spain, July 2004."

7. Submit a one-page curriculum vitae, including the highest academic degree held, current teaching (or other) position, and a bibliography of recent publications.

8. MISTEC Poster proposals should also provide a short description and motivation, should include CV and statement (point 6) and follow the format guidelines above.

9. Please note that papers submitted for the Seminar should not have been previously published or be currently submitted for publication. Papers should contain original data not published, presented, or submitted for presentation at major conferences or symposia. (See, for example, the Code of Ethics for research publication/presentation in the Journal of Research in Music Education.)

10. Decisions concerning the acceptance of papers or workshop proposals rest solely with the MISTEC as communicated by the Chair of that Commission.

11. Submitted materials not meeting these criteria will not be considered by the MISTEC. Manuscripts submitted will not be returned. The Commission reserves the right to publish invited Seminar papers, workshop descriptions, and abstracts.

12. Presenters are requested to submit their paper/workshop proposals by email, preferably in Microsoft Word format, AS WELL AS 1 hard copy manuscript and diskette sent by airmail. Should this not be possible, SIX copies of the 2000 word paper or the workshop proposals, plus the 200-word abstract and the one-page curriculum vitae, must be postmarked AIRMAIL no later than October 1, 2003.

All materials should be sent directly to:
Prof . M. E. MANS
Performing Arts Department
University of Namibia
Private Bag 13301
WINDHOEK
Republic of Namibia
Tel: +264 (61) 206 3896     Fax: +264 (61) 206 3292

email: mmans@unam.na

For further information please write to the Chair of the MISTEC:
Prof. Minette Mans [see above for contact details]

5.2 Sound in the Land

A Festival/Conference of Mennonites & Music
May 28-30, 2004
Conrad Grebel University College/University of Waterloo, Canada

Call for Submissions
Deadline: Sept. 25, 2003

SOUND IN THE LAND, a Festival/Conference of Mennonite-Rooted People and their Music is being planned for May 28-30, 2004 at Conrad Grebel University College, University of Waterloo to celebrate the wide array of Mennonite-rooted music making, from four-part to funk; jazz to 'Just as I Am'; song fest to folk; chamber trio to techno. 'Mennonite-rooted' music refers to music composed/ performed by individuals with Mennonite roots and/or present affiliations. This first-time, multi-genred, interdisciplinary event will bring together composers, songwriters, performing musicians of varied styles, writers, and scholars who wish to contribute musically or verbally/academically via compositions, performances, workshops, creative writings, collaborative works or scholarly papers.

SOUND IN THE LAND will be both a festival with multiple concerts, performances, mini-concerts, workshops, possible jam sessions/reading sessions, and an academic conference addressing issues of Mennonite-rooted peoples and their music making in terms of ethnicity, cultural studies, or musical/theoretical/ historical analysis. Collaborative projects pairing Mennonite composers and creative writers are also invited. Composers/musicians are strongly encouraged to bring along their own performers, especially for jazz/folk/rock submissions, for which limited funds will be provided. Professional musicians & singers will also be hired, determined by scoring needs, budget, & festival performers' participation.

Full-length evening concerts will include music by various selected composers while daytime mini-concerts and workshops, 30 to 45 minutes in length, will involve single or multiple composers/performers. Multi-media and/or collaborative works will also be programmed. Twenty-minute conference papers and readings will be scheduled during daytime sessions, with extra discussion time provided for each presenter.

Please submit an email abstract of no more than 250 words in which you propose a musical composition, performance, mini-concert, workshop, collaboration, piece of creative writing, or academic paper. All composition submissions must include score and tape or CD of proposed work(s). Mini-concert or collaborative proposals must include names of collaborators, titles and timings of proposed pieces, description of the event, and a representative tape or CD of your work. Concert performer applicants must provide a bio citing performance experience and a tape or CD of your work. All abstracts, proposals, inquiries, and communications must be sent to Carol Ann Weaver <caweaver@uwaterloo.ca> (NO ATTACHMENTS PLEASE). Please send scores and recordings via surface mail:
Carol Ann Weaver
Music, Conrad Grebel University College, University Waterloo,
Waterloo, ON N2L 3G6, CANADA.

A committee of musicians & scholars will process submissions. Deadline: September 25, 2003. Further conference information will follow.
(see below for submission categories/procedures)

Suggested Categories for Submissions to SOUND IN THE LAND:
1. Musical compositions by composers of Mennonite background and/or current affiliation (please send scores & tapes/CDs of the music via surface mail)
2. Musical performance - either mini-concert or workshop proposals of Mennonite-composed or arranged music. Workshops may also include jam sessions or reading sessions with performers of similar playing styles.
3. Instrumental or vocal performer, willing to perform new works, &/or perform in 'mostly-Menno' bands with improvised jazz/folk/rock/other (send sample tape/CD of your performing via surface mail)
4. Collaborative works of Mennonite composers & creative writers
5. Creative writing about Mennonites and music - poetry, short story, essay
6. Academic papers in areas such as:
a.      issues of ethnicity within so-called "Mennonite music"Can
b.      analysis of Mennonite music and/or performance practices
c.      historical focus on Mennonite music from any time period
d.      international Mennonite music-making - beyond North America
e.      connections between texts and music - Mennonite voices
f.      Mennonites/music/pacifism - interfaces
g.      where do Mennonite musicians go? - finding places and voices
h.      Mennonite music - postmodern, feminist, cultural studies theories
i.      Gender and sexuality issues within Mennonite music
j.      Mennonite worship music - past &/or current practices
k.      Mennonites and music for children

Send all email submission to: Carol Ann Weaver <caweaver@uwaterloo.ca>
Send all surface mail submissions (scores, tapes, CDs) to:
        Carol Ann Weaver
        Conrad Grebel University College
        University of Waterloo
        Waterloo, ON N2L 3G6
        CANADA
Phone: 519-885-0220x245.

A schedule of registration and accommodation fees and options and will be posted soon. All information about funds for festival/conference performers will also be provided as soon as possible. Early conference registrations will be at a reduced rate if sent by April 1, 2004. Any registrations after this date will require full payment. Feel free to copy this Call for Submissions to any interested persons. As well, send any additional names to Carol Ann Weaver <caweaver@uwaterloo.ca>http://watserv1.uwaterloo.ca/~caweaver/

5.3 A conference entitled MUSICAL COLLABORATION
to be held on Friday 24th and Saturday 25th April 2004 at
Department of Psychology
The Open University

Abstracts should be submitted to D.E.Miell@open.ac.uk no later than 9th January 2004.

Details
Keynote speaker: Prof Keith Sawyer, Washington University, St Louis My talk will begin by presenting a guiding framework for analyzing collaboration in musical groups. I will then connect that framework to collaboration more generally, in classroom group discussion, in creative domains including art and science, and in creative work teams. I make two critical connections: first, that musical collaboration can help us to understand all collaboration, but also that the study of other forms of collaboration can help us to understand musical interaction.

This international conference offers an opportunity to explore the many social processes involved in music listening, creation and performance examining, for example, both novices and professional musicians as they interact musically, as well as considering the communication between musicians and audience. The theme is intended to be broad in scope, and will include research looking at the different ways in which people work together, how collaboration can be facilitated and improved, and how the results of such work can be assessed.

Contributions are welcome from researchers at all levels and are especially encouraged from postgraduate students and researchers early in their careers. In addition to individual papers, symposia and workshops, space and time will be made at the conference for posters to be displayed and viewed.

Please send abstracts for papers, symposia and workshops (200 words) and for posters (100 words) by January 9th 2004 to Dorothy Miell at the address below.

Further Information
For further information about this conference, please contact Dorothy Miell
<D.E.Miell@open.ac.uk> or the conference secretary
<conferences@sempre.org.uk>.

The postal address for correspondence is:
Processes in Collaboration, Communication and Creativity Research Group
Department of Psychology Briggs Building The Open University Milton Keynes
MK7 6AA c"Can

5.4 American Educational Research Association

85th Annual Meeting
Music Education Special Interest Group (SIG) of AERA

Conference theme: "Enhancing the Visibility and Credibility of Educational Research"

San Diego, CA
April 12 - 16, 2004

**NOTE: In recognition of the fact that the AERA and MENC conference dates overlap in 2004, every effort will be made to schedule the AERA Music Education SIG sessions on Monday and Tuesday, April 12 and 13, prior to the beginning of the MENC conference on April 14.

Submission deadline: August 1, 2003

Session format options: Paper reading session; Paper discussion session (roundtable)

Notification of acceptance: November 10, 2003

Membership information for AERA and the Music Education SIG as well as downloadable membership application forms are available at:
http://www.aera.net/member/member.htm

Guidelines for submitting proposals:

AERA will be using a new electronic Annual Meeting management system this year. The system, All Academic Convention , supports web-based electronic proposal submission, peer review, and proposal evaluation. The Online Proposal Submission System will open on June 2, 2003 and can be accessed at the following URL:
http://www.aera.net/meeting

To submit an individual proposal (including a paper with multiple authors), prepare the following for submission to the Online Proposal Submission System:

1. An abstract of 100 to 120 words.
2. A summary of 2,000 words or less (excluding references).
(Complete submission information is available at the online submission site listed above.)

For further information, contact:
Linda Thompson, SUNY Potsdam
Program Chair, AERA Music Education SIG
<thompslk@potsdam.edu>
315.267.3216

5.5 MSA National Workshop 2003: Performance, Aesthetics, and Experience

Friday, 3 October - Sunday, 5 October 2003
School of Music, University of Queensland
Hosted by MSAQ and The School of Social Science, University of Queensland

Planning for the 2003 MSA National Workshop (previously National Study Weekend) is well underway by the MSAQ committee, and Dr Franca Tamisari and Dr John Bradley from the School of Social Science, UQ.

Features of the National Workshop include:
*Keynote speaker: Linda Barwick
*Formal papers, workshops, panel discussions
*Performance and demonstrations
*Publication of refereed proceedings by School of Social Science, MSAQ and University of Queensland Press

The following panel sessions have been proposed so far and expressions of interest are currently being sought. If you wish to be involved in any of these, please email the designated contact person.

*Early music (Denis Collins, denis.collins@uq.edu.au)
*Music and technology (Gavin Carfoot, g.carfoot@griffith.edu.au)
*Queer theory & music (John A. Phillips, jphil@chariot.net.au)
*Women & music (Brydie-Leigh Bartleet, brydie.bartleet@uq.edu.au or
Elizabeth Mackinlay, e.mackinlay@uq.edu.au)

Call for Papers

250 word proposals for formal papers, panel discussions and workshop sessions are due by July 31 and can be sent to:

Samantha Owens
s.owens@uq.edu.au
School of Music
University of Queensland
Brisbane QLD 4072

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6. Calls for Scores

6.1 General call for scores world-wide for the 14th Annual INTERNATIONAL ALLIANCE FOR WOMEN IN MUSIC (IAWM) Concert on 6 June 2004 in Pasadena, California. Featured ensemble will be the Belgium Recorder Ensemble APSARA, a professional ensemble of four players.

Eligibility: Composers must be IAWM members by the time of score submission and be willing to renew the membership in the following year, if they want to be considered for the concert. New members are welcome.

Instrumentation: Composers may submit an anonymous score for consideration that is written for up to FOUR performers. Instruments include: soklein flute, sopranino recorder, soprano recorder, alto recorder, tenor recorder, bass recorder in F, contrabass recorders in F and C. With the exception of the contrabass flutes, multiples of a single recorder may also be employed, as long as four performers are able to play the work.

Anonymous submission. Please check IAWM web page for detailed process.

There is a submission limit of ONE work per composer.
Please send scores by 15 September, 2003 to:

Dr. Maria Niederberger
IAWM CALL FOR SCORES
Department of Music, P.O. Box 70661
East Tennessee State University
Johnson City, TN 37614-0661
(USA)

Complete information: http://www.iawm.org
E-mail Dr. Niederberger: niederbe@mail.ETSU.edu under the heading:
2003 IAWM Scores.

6.2 Invitation to IAWM Composers: Compose and Submit Pipe Organ Scores for The 14th Annual IAWM (International Alliance for Women in Music) Concert in 2004

DEADLINE FOR SUBMISSION: 15 September 2003
General call for scores world-wide for the 14th Annual International Alliance for Women in Music (IAWM) Concert on 6 June 2004 in Pasadena, California. In addition to performances by the Belgium Recorder Ensemble APSARA, there will be pipe organ compositions played by Dr. Frances Nobert. Information on the instrument may be viewed on the web at http://www.ppc.net. (Click on 'Music at PPC' and then under the photo of the organ console.)

Eligibility: Composers MUST be IAWM members by the time of score submission and be willing to renew the membership in the following year, if they want to be considered for the concert. New members are always welcome. IAWM offers many benefits to its composers. For information on becoming a member, please refer to the IAWM web site: www.iawm.org

Deadline: Scores must be received by September 15, 2003.

Instrumentation: Composers may submit for consideration an anonymous score that is written for one organist.

Submission Process:
STEP ONE: CHECK YOUR MEMBERSHIP STATUS OR APPLY FOR A NEW IAWM MEMBERSHIP.
SORRY, SUBMISSIONS BY NON-MEMBERS WILL BE AUTOMATICALLY DISQUALIFIED. IAWM web site: www.iawm.org

STEP TWO: ELIMINATE YOUR NAME FROM THE SCORE AND PROVIDE A PSEUDONYM INSTEAD.
Send 2 identical scores (copies only; no originals, no parts) and a cassette or CD, if possible (a computer-generated tape is acceptable). (Identified scores by name, place, etc. will be disqualified)

STEP THREE: Mark an envelope with your pseudonym. ENCLOSE TWO COPIES OF THE COMPOSER INFORMATION FORM (see below). Second, include a self-addressed business envelope for the IAWM reply.

HERE IS THE INFORMATION NEEDED ON THE FORM:
1. Name of composer (last name, first name)
2. Mailing address (please include country), e-mail address, phone number
(Non US members, please include country code.)
3. Title of work
4. Approximate duration (entire work)
5. Movement names
6. Program notes (no longer than 70 words)
7. Short biography (no longer than 70 words)
8. Include a self-addressed regular envelope for the IAWM reply.
9. Include any additional pertinent information

STEP FOUR
Include a stamped, self-addressed envelope if you wish your submitted materials to be returned. HEED THE DEADLINE: ALL scores must be received by September 15, 2003.

There is a submission limit of ONE work per composer. Please send scores to:

Dr. Susan Cohn Lackman
2126 Mohawk Trail
Maitland, Fl 32751-3943

IAWM Selection Process: The IAWM selection committee will chose works in collaboration with the Frances Nobert, organist, using an anonymous submission process to ensure fairness. Please mark each score and tape or CD with a pseudonym only. Scores that carry the composer's actual name will have to be disqualified.

Composer Responsibility: Composers whose works are chosen for performance are expected to attend the IAWM Benefit Concert in Pasadena, California, in June 2004 when their work will be presented. Travel and accommodations are the responsibility of the composers. All music has to be performance-ready by the time of submission. Scores are the responsibility of the composer. The music may be hand-written if legible. Computer prints are preferable. The main concern is that performers are able to read the music with ease. Illegible music will be disqualified.

Return of Materials: If you would like materials to be returned, enclose an envelope with your return address and sufficient (international) postage or coupons. Sorry, submissions without SASE (self addressed, stamped envelope) or without sufficient postage cannot be returned.

Additional Comments: The work does not have to be previously unperformed to be eligible for the IAWM selection. There are no specifications regarding the length; it is our view that a work of art unfolds in its own time. Since we are trying to represent a number of composers, lengthy pieces will have a smaller chance to be selected. The organizers of IAWM assume sensible care of the submitted materials. They are not liable for lost or misplaced material, however. IAWM also reserves the right to cancel a performance if it is not feasible due to unforeseen events.

Questions and more information: Check http://www.iawm.org;
E-mail Dr. Nobert, fnobert@whittier.edu (Note spelling of nobert with one r.)

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