GRIME Newsletters
GENDER RESEARCH IN MUSIC EDUCATION
NEWSLETTER v 2 n 2 (November 1993)
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MEMBERSHIP This is the last free newsletter. (See GRIME MEETS) We now have a list of 100 interested people. Roberta can no longer pay for these numbers herself or put it through the School of Music. Please send your membership fee ASAP. Anyone who has not paid by 31 January 1994 will be removed from the mailing list, then an up-to-date directory will accompany the next newsletter, V3,N1. Note: mail is slow-- it can take two weeks to reach Kingston. Membership is $3.00 (US, UK or Canadian currency acceptable). Make cheques payable to Queen's University. Send cheques, names and 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 Do you know someone who would be interested in joining this network? Spread the word that there is a forum for gender issues in music education and it's a bargain! |
In this Issue:
2. GRIME Meets, FEMINIST THEORY II 1993
3. GRIME Project, by Julia Eklund Koza
4.2 NWSA
4.4 Colloquium for Teachers of Elementary Music Methods
4.5 CMS Institute for the Study & Teaching of "Women & Music"
4.6 Toward Tomorrow: New Visions for General Music
4.7 CMS Symposium on Music & Gender
5. Research-In-Progress & Classroom Practices
6. Book Reviews
6.1 Sex Differences in Cognitive Abilities
6.2 The Quarterly
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GRIME will hold its 1994 meeting at the April MENC conference in Cincinnati, OH. Send agenda items to Roberta Lamb or Julia Koza. Since a time and place has not been confirmed before this newsletter was printed, all those who send in their $3.00 will receive advance notification by mail. Otherwise, look for an announcement on the notice boards (It worked in New Orleans in 1992!).
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2. GRIME Meets, FEMINIST THEORY II 1993
Our meeting was attended by 8 people. There would have been more, but unfortunately a technology panel involving some GRIME members was scheduled simultaneously. We discussed the history of and future options for the organization, as well as briefly introducing ourselves to each other.
The decision to initiate a $3.00 membership fee was agreed to by all present. This will fund two newsletters per year, as long as they are no longer than 4 pages. (See MEMBERSHIP) Roberta will continue to edit the newsletter & be in charge of membership. We also agreed to maintain our grass-roots, unaffiliated status in order to accommodate the widest possible membership and that our annual meetings would be held alternately at the Feminist Theory or MENC conferences. Letters were read from members not at the conference.
Information from other conferences was shared. (See Music-Gender-Education) The "Pilot Pack for Better Balance" from the UK Women in Music was inspiring. We talked about producing a similar project through GRIME, but decided to start with a smaller project, a bibliography of sources we could make available for cost of production plus postage. Julia volunteered to edit this bibliography as the first GRIME project. (See GRIME Project)
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3. GRIME Project, by Julia Eklund Koza
We frequently receive inquiries from teachers who are looking for exemplary curricular materials. To facilitate sharing ideas, I have agreed to collate a collectively gathered GRIME bibliography of materials that pertain to gender and music education. This bibliography will have two parts: 1) an annotated list of sex-equitable teaching materials, including sources that help reinscribe women into music history. We are looking for materials that are suitable for use in preschool, elementary or secondary school curriculum. 2) an annotated list of published and unpublished research on gender and music education.
If you have materials you would like to share, please send me the following information for each source: 1) A bibliographic entry for the source (Chicago style if possible, but don't let concerns about doing things the 'proper' way deter you from dropping me a line); 2) A sentence or two telling what the source contains, including whether curricular or research, and why it is useful; 3) The age level for which it is designed (P=preschool, M=middle school, H=high school, U=university); 4) your name and affiliation.
Example of a book entry in Chicago style: Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
Example of an article entry in Chicago style: Palmquist, Jayne E. and Barbara Payne. "The Instrumental Library: Works by Women." Music Educators Journal 78 (March 1992): 52-55.
This will be GRIME's first project. All who contribute will be listed as co-authors. Send your ideas to: Dr. Julia Eklund Koza, Dept. of Curriculum & Instruction, University of Wisconsin-Madison, 225 N. Mills St., Madison, WI 53706, USA.
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Send in summaries (~ 500 words) of conferences relevant to GRIME members.
4.1 MUSIC-GENDER-EDUCATION (Bristol Univ., MARCH 26-28) by Christiane Pace, Chair, WIM Education Committee & Conference Co-ordinator
The conference offered a varied and rich programme, bringing together primary school teachers, university lecturers, teacher trainers, arts organisations, inspectorate and curriculum setting bodies. Music Inspector Marjorie Glynne-Jones and Professor June Boyce Tilman were among those featured in the plenaries. The Bristol U. Music Dept. presented a concert of women composers; there were workshops on women in jazz, Egyptian music, South Asian music, and Jewish music. The twelve papers covered issues ranging from gender roles within the prescribed delivery of music in schools; the role of feminist theory in music education; and, how to achieve a more balanced and empowering graduate level course.
As well as providing a valuable opportunity for making contacts, networking and exchanging ideas, the conference launched the pilot pack, "Better Balance," a 45 page loose-leaf packet coordinated with the British National Curriculum, compiled by the Pilot Pack Working Group of the WIM Education Committee with contributions from many WIM members of materials and resources for effecting more balance in the delivery of music education at all levels. These materials include bibliography, discography, song/ vocal and instrumental music lists, listening lessons, games to address unconscious bias, and classroom projects. All materials can be photocopied for class use.
Discussion groups based on the three tiers of education (primary, secondary, and higher) led into the final plenary exchange between delegates a panel representing key aspects of music education. The aim of this sessions was to identify strategies for change and share the positive points culled from the groups' discussions. This plenary would have made a fly on the wall say, "These people mean business."
WIM was identified as the umbrella organisation to seek funding for and set up a Project Development Committee to organise a working conference, establish regional networks, consult with women from different ethnic backgrounds, promote alternative ways, strategies and materials of teaching music, as well as promote INSET type opportunities for raising awareness of gender issues.
Among several Action Points, the conference identified lobbying as a major need: organisations and bodies involved in music education, especially those setting exams and syllabuses; inspecting and validating bodies; music and arts festivals; publishers; broadcasters; orchestras; opera companies; etc.
Another Action Point states that resources need to be available at a regional level. The "Better Balance" pack will reach a final version after feedback and contributions from delegates; thereafter it will be available in ways being negotiated by the contributors and the WIM Pilot Pack Working Group.
A final, important Action Point states that there should be biennial conferences on gender and music education issues in order to maintain momentum, disseminate knowledge and monitor progress.
One outcome since the conference has been that contact has been made with the National Curriculum Council (the central body that prescribes music delivery from 4 to 14) to consider input into the Further Non-Statutory Guidance for Music. Another most satisfactory outcome has been the publication of many of the conference papers (including those by Carol Costley, Helen Simpson, June Boyce Tilman, Lucy Green and Roberta Lamb) in the November issue of British Journal of Music Education. Look for this issue for some good curriculum projects as well as theoretical issues. [Ed. note: BJME is the first music education research journal to offer an issue focused completely on gender issues. As well, this was the first academic conference to focus totally on gender issues in music education.]
4.2 NWSA (WASHINGTON, DC) by Sharon Shafer
The National Women's Studies Association 1993 Conference, "Reweaving Women's Colors: Scholarship, Curriculum & Our Lives," was held in Washington, DC, June 16-20. There were four plenaries (Putting Women on the National Agenda, Making/Breaking Paradigms, Women's Lives/Women's Stories, Beyond Political Correctness), a daily film series, and two outstanding concerts by "Saffire and the Uppity Blues Women," and "The Reel World String Band."
Two panel presentations dealt specifically with gender issues in music: Feminist Perspectives on Opera and Women's Lives in Music. The first included two papers: Elizabeth L. Keathley (SUNY-Stony Brook), "Cosi Fan Tutti as a Gender Tract of Enlightenment Ideology;" and Juanita Karpf (Univ. of Georgia), "The Empowerment of Women: Feminist Implications in Richard Wagner's Music Drama, The Ring of the Niebelung."
My participation in the second panel included a lecture-recital, "From Sappho to Mozart's Sister; From Blues to Ragtime and Cowboy Songs,"featuring music ranging from Elisabeth Jacquet de la Guerre and Francesca Caccini to the words of Sappho set by Undine Smith Moore; Sadie Koninsky's "Eli Green's Cake Walk" (the earliest known cake-walk); the earliest known classical piano solo by an African American, Estelle D. Ricketts; and songs by Billie Holiday.
Other panelists were Victoria J. O'Reilly and Geneva Perry. O'Reilly gave an excellent summary of the participation of women in all female orchestras, 1870 - mid-1940s, including women in jazz orchestras and bands of the 1930s and 1940s. Geneva Perry, former member of The International Sweethearts of Rhythm, talked about her experiences with that band toward the end of its existence and her lifelong work in music education. It was fascinating to hear her reminisce (Undine Smith Moore convinced her she could major in music at Virginia State U.). Perry worked in jazz clubs, as a classically-trained musician, and devoted herself to classroom teaching. Although now retired, she is active in environmental issues in the Washington, DC area.
The NWSA conference promoted dialogue between women of diverse races, ethnicities and sexual orientations, although the scheduling and session locations often worked against this purpose. The conference site was in three hotels several blocks apart. Fifteen to seventeen sessions were scheduled simultaneously. No time was left for networking or even a scheduled lunch break. In general, the entire conference was well-organized from registration to the Membership Assembly meeting.
The 1994 NWSA Conference will be held at University of Iowa. This will undoubtedly be a more comfortable place for the dialogue begun with the new Governing Council and NWSA president Vivien Ng (U. of Oklahoma).
4.3 FEMINIST THEORY II (EASTMAN SCHOOL OF MUSIC) by Roberta Lamb
If you can go to only one conference a year, this is the one you shouldn't miss! Feminist Theory & Music II: A Continuing Dialogue (June 17-20) was almost twice as large as the first. Although the majority of sessions focused on musicology & music theory, there were more music education-related sessions than the first year-- even the GRIME meeting was on the programme! Themes repeating throughout the conference were music, gender & performance (borrowed from Judith Butler), violence in music, & the gendered body in music. Race/ethnicity & sexual orientation were addressed specifically, also. Feminist Theory & Music III will be held at UC-Riverside in 1995.
The summaries here are only of the music education sessions.
"Women in jazz: Contemporary pianists," Laura Caviani and Kari Veblen* (both U. of Wisconsin), examined how musicians structure improvisation and the cultural context of teaching, learning and creating jazz. Caviani and Veblen interviewed Marian McPartland, Joan Wildman, and Eliane Elias. They found that all three do collaboration in their work and are inspired by the arts, even though each woman approached creativity quite differently. Caviani demonstrated the different jazz styles at the piano. We received a great hand-out, with bibliography and discography that might be available if you write to Veblen. Caviani's transcriptions are included on the hand-out.
!= [Not equal]: Feminism, tuning and theory pedagogy," David L. Code (Western Michigan University) addressed the gendered terms of music theory in regards to tuning and temperament through feminist theory to demonstrate the exclusive ideologies involved in the (non)teaching of tuning in beginning theory. This sophisticated analysis questions why we organize music theory as we do. Code thought he might be an SNAT (sensitive new age theorist).
"Lying between the sheets: Exposing 'cock'-rock to the curriculum," Janika Vandervelde and John Welcke (Minnesota Center for the Arts), asked 'how can we justify using 'cock'-rock as topics for study in public school classrooms and institutions of higher learning?' Vandervelde and Welcke teach in an arts school where the forms of music are clearly separated by sex: female music students are most likely to study classical and the male students rock. Students discussed 'cock'-rock in a music/social studies seminar, later composing their own music. The examples shared at the conference were male examples based on 'early ejaculation syndrome' and a 'seduction fantasy.' For some of us this was a disturbing session in that the issue of violence represented within the music was not addressed, although very apparent.
"Gendered Images & Images of Gender in the Interactive Classroom," Virginia Caputo*, Andra McCartney*, Karen Pegley*, and Austin Clarkson, (all from York U., Ontario) organized an excellent panel on music technology as gendered. Caputo's presentation framed the questions and made links with the others. She notes that technology is not neutral, that music educators are faced with addressing 'malestream' knowledge and confronting balances of power. McCartney interviewed five women electroacoustic composers in regards their education as composers, finding that all placed value on women role models and collaboration, attended to gender symbolism, & used a wide variety of compositional technology. Pegley's research found students differed by sex in use of music technology: boys preferred competition and computers; girls collaboration and 'learning the old way.' She notes that the structure of this music tech programme values self-direction but not cooperation. Pegley concludes non-sexist teaching is inadequate; we need to be anti-sexist. Clarkson focused on receptive listening in the middle school and gendered images in aesthetic experience (conscious and unconscious).
Julia Koza* and I shared a session at 9 AM Sunday! In "Music for red-blooded men," Koza examined choral methods texts published between 1982-92, finding they were little different from those published at the beginning of the century in their limitation of gender discussion to the absence of males in singing ensembles. She demonstrated through numerous examples that these texts are both misogynistic and homophobic, grounded in essentialist assumptions based on binary constructions. "In the midst of a mentor muddle" was my presentation of a work-in-progress that explores contradictory issues pertaining to women's experiences of the mentor/ apprentice model of music education, work that is very hard to present because of the sometimes disturbing revelations and resonances (Write me if you are interested in this study). [Ed. note: * indicates GRIME member]
4.4 Colloquium for Teachers of Elementary Music Methods (July 24-27) by Kari Veblen
This conference was organized by Nancy Boone (Middle Tenn. SU) and Mary Goetze (Indiana U) and held at Mountain Lake, VA, the turn-of-the-century resort featured in the movie "Dirty Dancing," inspiring a most relaxed, congenial conference. Gender issues were discussed formally and informally as over 100 participants shared their experiences teaching music methods. This colloquium was the second in a continuing series; I recommend it to all interested GRIMErs.
4.5 CMS Institute for the Study & Teaching of "Women & Music" (July)
Did anyone attend? We would like a conference report.
4.6 Toward Tomorrow: New Visions for General Music (Sept 30-Oct 2)
by Kari Veblen
Music educators from 43 states met to envision the future of general music teaching at MENC's Society for General Music's leadership symposium in Reston, VA. The format provided presentations and reflection/discussion groups at five levels- early childhood, elementary, middle school, college/continuing education. Session topics included new structures for education, learner modalities, music and cultural diversity, technology, assessment, integration of the arts & other subjects, musical diversity.
We represented a full spectrum of viewpoints, but all agreed that new educational structures and ways of teaching are needed. Gender concerns were not specifically addressed but did permeate discussions. After two days of passionate, lengthy debate, preliminary recommendations were advanced to be published for MENC. Sandra Stauffer (U of Arizona), Society for General Music Chair and other organizers are congratulated for a provocative and lively conference.
4.7 CMS Symposium on Music & Gender (Oct 14)
Did anyone attend? We would like a conference report.
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5. Research-In-Progress & Classroom Practices
Share a summary of your current work, whether in the classroom or as a researcher! Ask for help locating resources. Ask for respondents to research questions. Tell us what works . . . with your students, administrators, colleagues. Etc., etc. Contribute to this column!
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6.1 Sex differences in cognitive abilities, 2nd ed. Diane F. Halpern. Hillsdale, NJ: Lawrence Erlbaum Assoc, 1992. 308 pp. $25.00. Reviewed by Laree Trollinger
Diane Halpern sums up the status of research regarding sex differences and cognition in a highly readable, thoroughly researched volume which should be read by all educators, male and female. Hers is a voice of clarity, fairness, and questioning, on a topic that she states is a hot issue in contemporary psychology. Reading her book, one can find many insights regarding music education, and be spurred on to answer the many unanswered questions that burst forth.
Halpern reviews the controversy of nature-nurture, which, by the end of the book is seen to be inextricably interwoven. Reviewing research from a wide variety of disciplines, she sets forth the current status of knowledge, showing how influences from the environment have direct effects on changing the bio-chemistry of an individual, thus entwining with and at times, interfering with paths toward cognitive achievement.
Meta-analysis is an intricate, complex system of analyzing analyses, which has been used increasingly during the last decade in order to integrate studies which deal with a particular topic. Halpern reviews many studies of this type, serving to show how reliance on singular studies may skew one's thinking: results often lose their significance through meta-analysis, or gain new significance.
Music educators have not as yet used meta-analysis to re-examine the large body of research that has taken place. In fact Halpern writes that the study of cognitive differences with regard to music has been minimal. However, her writing concerning cognitive abilities in music serves, once again, to show some of the digression in thinking between psychologists and musicians with regard to musical abilities. For example, the ability to locate high & low notes on a staff (a visual-spatial ability) is often viewed as a test of musical ability. Aurally oriented, musicians would tend to consider one's ability to perform what these symbols code a truer test of music cognition.
6.2 The Quarterly by Doree Pitkin
"Gender Issues in Music Education" is the title of a special forthcoming thematic issue of The Quarterly Journal of music Teaching & Learning. Dr. Julia Koza, member of The Quarterly's National Board of Editors serves as Guest Co-Editor for the special issue.
Although decisions regarding manuscripts for the issue are incomplete, the following have been accepted: Dr. Judith Delzell (Ohio S.U.)- Variables Affecting the Gender-Role Stereotyping of high School Band Teaching Positions; Dr. Vicki L. Eaklor (Alfred U)- The Gendered Origins of the American Musician; Dr. Julia Koza* (U of Wisc.-Madison) - Big Boys Don't Cry (Or Sing); Dr. Roberta Lamb * (Queen's U)- Aria Senza Accompagnamento; Patricia O'Toole* (U of Wisc.-Madison)- I Sing in a Choir, But I Have No Voice; Dr. Laree Trollinger* (Kutztown U of Penn)- Gender Research in Music Education, A Review; Dr. Molly Weaver* (U of W. Virginia)- Survey of Big 10 Institutions: Gender Distinctions Regarding Faculty Ranks & Salaries in Schools, Divisions & Departments of Music. [Ed. note: * indicates GRIME member]
The Quarterly (refereed, Dr. Manny Brand, ed.) publishes ideas of interest to all involved in teaching and learning of music. We invite GRIME members to subscribe to The Quarterly and to consider it as a possible publisher of new manuscripts. In addition, we welcome ideas for later special issues. Subscriptions $26, The Quarterly, University of N. Colorado, School of Music, 123 Frasier Hall, Greeley, CO 80639. For additional info, call 303-351-2254 during the morning hours.
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Council for Research in Music Education is sponsoring Qualitative Methodologies in Music Education Research Conference, May 19-21, 1994 at the School of Music, University of Illinois at Urbana-Champaign. Completed papers, proposals for papers and/or poster sessions, reports on research-in-progress, methodological issues are welcomed. Proposals should be submitted not later than January 15, 1994. For more information contact: Qualitative Methodologies Conference c/o CRME, School of Music, University of Illinois at Urbana-Champaign, 1114 W. Nevada St., Urbana IL 61801. [Ed.note: Why are there no women among the 11 persons listed under 'feature presentations"?? A good question for each of us to ask CRME.]
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Tenure-track at the rank of assistant professor. Doctorate; music education; evidence of successful initiation of a programme of scholarly research and publication is required. Duties: teaching undergrad. courses in mus.ed.; interest in organization of undergrad mus.ed. programme; experience in some combination of basic musicianship, choral conducting, &/or performance expertise in brass or strings. Salary commensurate w/rank and experience.
Appointment date July 1, 1994. Closing date January 31, 1994.
Letter of application with CV, one representative article and three letters of reference should be sent to: Dr. Alfred Fisher, Director, School of Music, Queen's University, Kingston, Ont. K7L 3N6. Phone 613-545-2066; FAX 613-545-6808.
In accordance with Canadian Immigration requirements, this advertisement is directed to Canadian citizens and permanent residents. Queen's University has an employment equity programme and encourages applications from all qualified candidates, including women, aboriginal peoples, people with disabilities, and visible minorities. Queen's University is willing to help the spouse of a new appointee to seek suitable employment.
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This organization seeks to redress the imbalance in the contribution of women to the world of music. They act as a network of members; have a regular newsletter; produce concerts, workshops, articles; lobby; have a travelling exhibition with displays and audiotapes; sponsor special events. Membership is [[sterling]]5-15, depending on income. Contact: Women in Music, Battersea Arts Centre, Lavender Hill, London, UK SW11 5TF. Phone: 071-978-4823.
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10. GRIME Newsletter, Roberta Lamb, Ed.
Share the wealth and frustration)! Bring your GRIME ideas to MENC! Please submit letters, conference summaries, book reviews, etc. to the newsletter (~ 500 word limit). Submissions may be edited for length. Goal for publication of Vol. 3, No. 1 is May; send your newsletter contributions by mid-April, 1994.
Back issues of GRIME (V.2, N.1; GRIME memo; V.1, N.1) newsletter are available as a complete package for $3.00.
PLEASE! DON'T FORGET TO SEND IN YOUR $3 GRIME MEMBERSHIP!!!
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