In this issue:

1.  1996 Directory

2.  Annual GRIME Meeting

3.  Upcoming Conferences

3.1  Gender Studies & its significance for musicology

3.2  Critical Thinking in Music

3.3  Feminist Theory and Music 4

3.4  Music, Education and Gender Conference

4.  Conference Reviews

4.1  MENC

4.1.2  There's No Place Like...Kansas: Personal Reflections on the Music Educators National Conference, Virginia Caputo

4.2  Conference on Music, Gender and Pedagogics

5.  WWW (World Wide Web)

6.  GRIME-L

7.  GRIME Members' Music

8.  GRIME Members' Research

3.3  Feminist Theory and Music 4

Information on this conference will be available sometime in the autumn and should be included in the November newsletter. The organisers suggest that a January deadline for submission of proposals is likely.

3.4  Music, Education and Gender Conference

Michael Tippett Centre

Bath College of Higher Education

Bath, England

July 4-6, 1997

Call for papers

The organisers are seeking papers on gender issues in relation to music education. The terms of the debate are to be interpreted broadly including issues relating to girls and boys, women and men involved in learning or teaching any kind of music. The educational setting may be formal or informal, individual or group, from nursery to university, inside or outside any institutional context. Central questions will include how gender features in music educational practices and how they are constructed, perpetuated or challenged through music education. Interpretations of these questions and relevant alternative perspectives will also be welcome.

Proposals for Music, Education and Gender Conference--

Abstracts of c 200 words should be sent by January 13, 1997 to:

Dr Lucy Green

Institute of Education

University of London

Bedford Way, London WC1H 0AL

Further information and registration forms from:

Jo Glover

Bath College of Higher Education

Newton St. Loe, Bath BA2 9BN

England

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4.  Conference Reviews

4.1  MENC 17-20 April 1996

Kansas City, MO.

The following sessions/papers/posters were presented by GRIME members:

Betty W. Atterbury--1. Teacher Preparation in Special Education and Music Mainstreaming; 2. Get Ready, Get Set, For 'Total Inclusion'; 3. Assessing the National Standards in Real Classrooms

Virginia Caputo--1. Modulating Identities

Joyce Eastlund Gromko--1. Qualitative Changes in Preschoolers' Invented Notations Following Music Instruction; 2. A Theory of Symbolic Development in Music

Donna Brink Fox--1. National Standards and the College Methods Class: Getting the Keys

George N. Heller--1. A William Billings Singing-School Celebration; 2. Strategies for Teaching Toward the Standards in College Methods Classes

Roberta Lamb--1. Modulating Identities

Danette Littleton--1. Recent Development in Early Childhood Music Research

Carolyn Livingston--1. Stories, Legends and Poems in the Elementary Classroom

Marie McCarthy--1. Multicultural Dance Traditions in the General Music Class

Kimberly McCord--1. The History of Women in Jazz-A Multimedia Presentation

Eleanor V. Stubley--1. Modulating Identities

Susan M. Tarnowski--1. Transfer of Elementary Music Methods Course Materials and Methods into an Early Practicum Experience; 2. Building Your Undergraduate Teaching Portfolio

Kari K. Veblen--1. Curiosity and Connections: Integrating Across the Curriculum

Vivian Velasquez--1. A Study of Preschool Children's Singing and Home Musical Involvement

Molly Weaver--1. Socialization of First-Year Music Majors: Case Studies of Relationships Between Performance-Based Aural Musician-ship and Socio-Musical Self-Esteem; 2. Music Teacher Self-Assessment: A Practical Ap-proach.

Sondra Wieland Howe--1. "William Billings:

American Composer"; 2. "American Music Textbooks in the Mason-McConathy Collection."

The following MENC session summaries and reviews were received from GRIME members:

The History of Women in Jazz - Kimberly McCord

16 important women instrumentalists or groups in the history of jazz:

1. Lil Hardin Armstrong

2. Mary Lou Williams

3. Mary Osborne

4. Valaida Snow

5. Ina Ray Hutton and Her Melodears

6. Ada Leonard and Her All-American Girl Band

7. The International Sweethearts of Rhythm

8. Barbara Carroll

9. Marian McPartland

10. Melba Liston

11. Ann Patterson's Maiden Voyage

12. Toshiko Akiyoshi

13. Maria Schneider

14. Terri Lyne Carrington

15. Carla Bley

16. Jane Ira Bloom

Books about Women in Jazz

American Women in Jazz by Sally Placksin

Stormy Weather by Linda Dahl

The International Sweethearts of Rhythm by D. Antoniette Handy

Madame Jazz by Leslie Gourse

Videos

Women in Jazz television series with Carmen McRae and Marian McPartland

"International Sweethearts of Rhythm" by Greta Schiller and Andrea Weiss

"Tiny and Ruby Hell Divin' Women" by Greta Schiller and Andrea Weiss

"Jazz Women, Foremothers"- Rosetta Records, Inc.

"Piano Legends" hosted by Chick Corea-VAI Jazz Video

Toshiko Akiyoshi Jazz Orchestra "Strive for Jive"-View Video Jazz Series

Recordings

Forty Years of Women in Jazz-Stash Records

The Women, Classic Female Jazz Artists 1939-52 BMG Music

I am glad to answer questions for people interested in more detail.

Kimberly McCord

University of Northern Colorado

970-351-2653

e-mail KIMBERL678@AOL.com

4.1.2  There's No Place Like...Kansas: Personal Reflections on the Music Educators National Conference, April, 1996. - Virginia Caputo

Opening Thoughts

I should have known by the strength of the wind that blew me out of the doors of the Kansas airport onto the sidewalk outside, that MENC Kansas City was to be a boisterous exper-ience. My anticipation of the conference events was due, in part, to the fact that not only was it the first time I had attended the gathering, it was a venture away from the anthropological terrain I have recently moved into from music and music performance.

Sessions:

I was very pleased to participate in a panel on issues of identity and music education organized by Roberta Lamb and Eleanor

Stubley. They had proposed the idea to criti-cally address the ways identity modulates in music education in a shifting and open-ended way according to varying contexts. As my interest lies in the links between education, anthropology, music and questions of learn-ing, I was pleased to have the opportunity to engage with music educators in discussions of power, gender, and the politics of culture.

Apart from our panel, however, the number of sessions at the MENC that addressed these issues was disappointingly minimal. It clearly signalled for me that the predicaments evident in debates in social science circles that I am familiar with, were only beginning to be explored at this conference. Indeed, I became increasingly concerned by the fact that there were so few panels that addressed gender issues in a critical way in such a large organization.

Thus I concluded from my brief, but event filled, weekend at the MENC that critical issues that all music educators are faced with each and every day of their professional lives, are only beginning to make inroads at this conference. There was a greater emphasis placed on solving the practical problems of everyday classroom teaching. The convention hall space attested to this emphasis. It can only be described as filled to excess with displays of teaching manuals and other materials, instruments, computer applications for music classrooms, and various other merchandise directed at educators. The few publishers in attendance offered new classroom teaching publications, scores, and so on. There were few publications from outside of music education. While it certainly provided fodder to think through the ways that the identity of 'music educator' is constructed in a particular manner according to established norms and values, it was surprising nonetheless.

In our session titled Modulating Identities, Roberta Lamb's paper on "music education trouble" explored the process of negotiation that one is implicated in when located in an institution that regulates the norms of the way the category "music educator" is defined ac-cording to a predominantly white, middle class and heterosexual model. Roberta's paper was particularly insightful because of the personal location from which she spoke to issues con-cerning the interaction through music that creates self or identity, including lesbian identity. Her "performance" of the paper made her point regarding the modulation of identities particularly clear, both visually and aurally.

Eleanor Stubley explored the ways that cul- ture is interwoven through various kinds of musical activity and the ways that the fluid relationship between self and other in musical experiences unfolds. In a beautifully articu-lated way, Eleanor made the point, through her ethnographic research, that identity is not bounded and demarcated in a closed sense; rather music both enables and blurs the boundaries betweeen identities of self and other, unfolding in the space between the two locations.

In a session on multiculturalism in music education, Estelle Jorgensen adapted some of Paolo Freire's theories of education to make several points, including that music education needs to offer universal hope for students across cultures. While the term "universal" remains problematic in light of theoretical critiques from poststructural and postmodern theorists interested in questions of univer-sality in light of decentering power and authority, as an anthropologist, I was interested in the way the concept of culture had been used.

It seems to me that the trenchant critique of a modernist notion of culture as a bounded, isolatable unit that has occurred in the dis-cipline of anthropology over the past several decades remains problematic for issues of multiculturalism and music education. Specifi-cally, my concern is that multi-culturalism continues to be linked to notions of spatiality. That is, rather than concep- tualizing culture in terms of relationships and power, culture remains as a "thing." Rather than explore music as a way to transcend "place" and understand culture as a zone of contestation, culture seems to remain anchored by place and location.

In the second paper, Anthony Palmer pro-vided the audience with a sociobiological model to approach questions of multi-culturalism. His account of species evolution, to make the point, it seemed to me, that people are much more alike than different, drew its conclusions in a roundabout way. Using a "scientific" model to bolster his argument, while leaving issues of racism, gender, culture and power intact, remained difficult for this writer.

The question period following each of the papers was lively. A connection between the argument presented in Palmer's paper and Philip Rushton's work was pointed out, and a challenge regarding the way Freire's theories had been used, was raised. While I felt the queries from the audience were intended to open up discussion of critical issues presented in the papers, this was not as successful as it could have been.

To Conclude:

In keeping with the theme of modulating identities, as an anthropologist/cultural theorist/ethnomusicologist, my personal experience at the MENC was invigorating and difficult at once. While it was a revelation for me to hear the diverse ways people in the organization are conceptualizing and approaching issues pertaining to gender, culture and education, it is clear that there is much more work that can be done. Identity, culture, gender, race, power, and community, are some of the terms that are contested and struggled over in the context of music edcuation. The relationship between these issues and concerns with schooling and curriculum are integral to questions of learning and need to be explored further in future conferences.

Virginia Caputo

Ottawa, Ontario

May, 1996.

4.2  Conference on Music, Gender and Pedagogics, Goteborg, Sweden 26-28 April 1996

Many thanks to Margaret Myers who put together a well-organised conference! !

Abbreviated abstracts from programme--

(A * indicates GRIME member)

Susan Borwick (Wake Forest University, Winston-Salem, USA): Rethinking "Quality" in Analytical Pedagogy: The values of truth, honest investigation, and wholesomeness of exploration-rather than transcendency-govern quality in both music and the teaching of musicial analysis. Placed within the context of the transitory nature of musical quality, the paper explores music classrooms in phases 1, 2, 3, 4, and 5 of Peggy McIntosh's interactive phases of curriculum revision.

Marcia J. Citron (Rice University, Houston, USA): Gender and Analysis: Cecile Chaminade's Piano Sonata, op. 21: This paper discusses the use of gendered analysis of the first movement of Chaminade's Piano Sonata in the university undergraduate environment.

*Barbara Coeyman (West Virginia University, USA): Feminist Pedagogy as Process: Applications to Undergraduate Music History: This paper promotes a view of feminist pedagogy which focuses on process rather than on content, considering HOW we teach in a feminist environment in music rather than WHAT we teach.

Beverly Diamond (University of York, Toronto, Canada): Feminism in the Music School: Strategies for Confronting our Critics: This paper offers a personal perspective on strategies which can be used (and taught) to confront people (both men and women) who, unconsciously and unmaliciously in most cases, render feminist approaches marginal in the Music School.

David J Hargreaves (University of Goteborg, Sweden): Gender and Computers in Music Education: an Anglo-Swedish Study: Gender differences in the use of and attitudes towards music technology was studied in both British and Swedish schools. This paper describes the results with respect to computer access and use, activities on computers, and computer self-esteem in music education, and compares the cultural and educational contexts in which they must be evaluated.

Marcia Herndon (University of Maryland at College Park, USA): Basic Assumptions: Canon or Cauldron?: This paper adresses the question, "Is there a western music canon?" If there is a canon, is it limited to art music? The cauldron of culture can be seen as a witches' brew or as a cauldron for the identification of assumptions that are no longer valid as we approach the next millenium.

*Regina M. E. Himmelbauer (Conservatory in Eisenstadt, Austria): Education as Means of Gender Politics: a Call for Action: This paper discusses possible approaches to dealing with disadvantages for women in music in the particular case of the education of music teachers.

Jarna Knuuttila (University of Joensuu, Finland): Reproduction of the Gender Hierarchy in the Case of Amateur All-Girl Rockbands in Finland: This article is part of a study on adolescent girls playing rock music in amateur all-girl rock bands in Finland and shows how the gender system manifests itself in the case of these bands.

Ellen Koskoff (Eastman School of Music, Rochester, USA): Is Female to Male as Postmodern to Modern?: Implications for Ethnomusicology: This paper traces the parallel histories of feminist and postmodern thinking about music and points out that although feminist theoretical analysis may have been a primary catalyst for postmodernist approaches in music, its status, link that of "women" in Sherry Ortner's model is still undervalued.

*Roberta Lamb (Queen's University, Kingston, Canada): "To Be The Woman That I Am"/"You Are Not Your Own Self": Women's Contradictory Experiences of Mentor/ Apprentice Pedagogy in Music: This paper documents characteristics of selected experiences with mentors as described by 36 women musicians. Nearly all the participants identified both positive and negative qualities in the mentor/apprentice model of pedagogy, with those qualities centreing around the place of power, authority and self-awareness.

Richard Leppert (University of Minnesota, USA): The Sonoric Body: Socio-Sexual Harmony - Acts of Vengeance: This paper develops from recent research on the history of the human body, in specific relation to music's role as an agent in the production of society and culture. Representations project the female body as the object of male desire and the transfixed gaze, at the same moment the female body is theorized as deserving of, and made subject to, violent male revenge. What is expecially striking about these representations is the defining role assigned to music in this socio-sexual history.

Sarah Maidlow (Oxford Brookes University, UK): The Experiences, Attitudes and Expectations of Student Musicians: from a Feminist Perspective: The research has developed from my interest in the paradox between girls' overwhelming success in formal music education and women's continued low profile in almost every branch of the various music professions.

Helen Metzelaar (Amsterdam School of Music, Netherlands): Women and Class in the Netherlands in the Nineteenth Century: I have examined a number of arenas in Dutch music and their relation to gender: music in the homes, the collegia musica, music organizations, the status of dilettantes, the rise of professional women musicians, the development of music schools and women's admission to Dutch orchestras. One of the most important factors in dealing with artistic expression and the conditions that shaped it is social class.

Pirkko Moisala (University of Turku, Finland): Gender Music Education and Music Experience: This paper examines differences in the ways men and women study, make, and consume music and describe their musical experiences. The emphasis is on music education.

*Mary Natvig (Bowling Green State University, USA): Towards a Feminist Pedagogy of Music History: This paper applies Riane Eisler's partnership model in the lecture hall and rehearsal room to show a quite different model for teaching.

Karin Pendle (University of Cincinnati, USA): Other Others: An Approach to the Music of Modern African-American Women: The first part of this presentation is theoretical, and represents on while musicologist's attempt to understand the artistic products of another race, one which lives in her own country and is nevertheless separated from her by colour and culture. In the second part I apply the theory of Signifyin(g) to the works of selected twentieth-century African-American women composers.

Eva Rieger (University of Bremen): Music and Gender in Hollywood Film: This paper develops some possibilities for teaching on the basis of interpreting musical expression and touches the feminist debate as to whether music tends to act as a sonic representation of the male observer's eye and ear, or whether music "opens up a sonic and interpretative underworld" (Abbate).

*Natalie Sarrazin (University of Maryland, College Park, USA): The Order of Things "Teachable": Music, Method, Canons, Gender and the Shaping of Western Pedagogical Thought: This paper explores the historical nature of pedagogical ordering into forms of method and curriculum, implications of this structured thought and method for gender exclusion and the effects of developing a pedagogy which attempts to modify the canon with respect to multicultural music education and gender paradigms.

Margaret Lucy Wilkins (University of Huddersfield): There are no women composers, there will never have been any and possibly there never will be" (Sir Thomas Beecham): What kind of victory has it been when half the potential players have not had the opportunity to participate?

Götegorg conference abstract submitted by GRIME members--

Charlene A. Morton (OISE, Toronto, Canada): Music Educators as "Housekeepers of Emotion": The Gender Politics of School Music's Feminized Location

Few educators have not made use of music's capacity to nourish student self-esteem and school spirit in general. Elementary school music, in particular, offers what popular psychology calls "positive stroking". Whether through songs that can rescue troubled souls from childhood misunderstandings or through musical events that can calm restless bodies in adolescent turmoil, educators in all disciplines exploit the emotional sustenance of music. Furthermore, when called upon to activate music's charms, music educators find satisfaction in their obligation to provide emotional sustenance for others through musical events. By providing emotional sustenance, they also find a justification--albeit a tenuous one--for music education. Drawing upon Sandra Lee Bartky's phenomenological study "Feeding Egos and Tending Wounds", this paper will argue that no reconceptualization of any philosophy of music education will secure music education unless we analyse the feminized role of music educators as "housekeepers of emotion" within the masculinist framing of knowledge in the curriculum. Furthermore, in keeping with Bartky's assertion that many feminist thinkers overestimate the efficacy of female nurturance, this paper will examine the form emotional sustenance takes in school music activities and how it serves to exacerbate instead of strengthen the status of music education in the curriculum.

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My apologies for the delay in getting the June issue out--strictly a case of having too much work to do in too little time.

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