Assignment 6 - Hauck2

Women Composers in North American School Music: Two Centuries of Shifting Socio-Cultural Attitudes:

Women Composers in North American School Music: Two Centuries of Shifting Socio-Cultural Attitudes A Research Proposal by Megan Hauck, MU765

Background:

Background Interest in Women’s Roles in Music How is this shift reflected in the classroom? The Lessons of Repertoire Selection Perceptions of Women’s Musical Abilities “I once thought that I possessed creative talent, but I have given up this idea; a woman must not desire to compose-not one has been able to do it, and why should I expect to? To believe that would be arrogant …” – Clara Schumann

Rationale:

Rationale Considering the effect of repertoire on students’ beliefs, music educators should be especially concerned with the prejudices they may be perpetuating through the invisibility of women composers.

Research Questions:

Research Questions What amount of performance repertoire is composed by women? How do directors and students perceive the musical abilities of women? How do female directors and female students perceive their own musical abilities? Do directors consider gender when selecting repertoire? How do directors and students perceive the amount of performance repertoire composed by women? How do directors and students evaluate their own knowledge of women composers?

Old Prejudices – Literature Review:

Old Prejudices – Literature Review Textbook Studies – Zaimont (1987), Baker (2003), Pool (1979) The Perpetuation of Prejudices “Conspiracy of Silence” (Gates, 1994) The Myth of Only Male Musical Creativity (Gates, 1994) Lack of Role Models (Gates, 1994) Societal Views (Cant, 1990)

Gender Bias and Repertoire Selection:

Gender Bias and Repertoire Selection Repertoire Selection as a Vehicle of Cultural Awareness and Personal Beliefs ( Apfelstadt , 2000; Baker, 2001) Old prejudices are present in our classrooms partly due to the perpetuation of the cycle of ignorance through the use of biased curricular materials and repertoire selection. The ignorance of women composers in repertoire selection. ( Apfelstadt , 2000; Forbes, 2001) Gap in the Research: Effects of Repertoire Selection on Student Self-Beliefs

Participant Selection and Methodology:

Participant Selection and Methodology Five randomly selected choirs with female directors who performed at their respective MENC 2010 or 2011 State Conferences: Directors and students Quantitative Methodologies Survey – Open-Ended Questions (Students and Directors) Interview – Developed from Survey Results (Directors Only)

Expected Findings:

Expected Findings The amount of performance repertoire by women composers may be drastically less than by male composers. Directors may believe they perform a higher amount of repertoire by women composers than they actually do. Directors with lower musical self-beliefs may have a lower amount of repertoire by women composers. A positive relationship may exist between levels of student and director musical self-beliefs.

Bibliography:

Bibliography Allen, Sue Fay, and Kathleen Keenan-Takagi. “Sing the Songs of Women Composers,” Music Educators Journal, 78(1992): 48-51. Apfelstadt, Hilary. “First Things First: Selecting Repertoire,” Music Educators Journal, 87(2000): 19-22, 46. Baker, Vicki D. “Inclusion of Women Composers in College Music History Textbooks,” Journal of Historical Research in Music Education, 25(2003): 5-19. Bowers, Jane and Judith Tick, ed. Women Making Music: The Western Art Tradition, 1150-1950 . Chicago: University of Illinois Press, 1987. Budiansky, Stephen and Timothy W. Foley. “The Quality of Repertoire in School Music Programs: Literature Review, Analysis, and Discussion,” Journal of the World Association for Symphonic Bands and Ensembles, 12(2005): 17-39. Cant, Stephanie. “Women Composers and the Music Curriculum,” British Journal of Music Education, 7(1990): 5-13. Citron, Marcia J. Gender & the Musical Canon . Chicago: University of Illinois Press, 2000. Citron, Marica J. “Women and the Western Art Canon: Where are We Now?” Notes , 64(2007), 209-215. Cusick, Suzanne G. “‘Eve …Blowing In Our Ears’? Toward a History of Music Scholarship on Women in the Twentieth Century” Women & Music, Annual(2001): 125-41. Forbes, Guy W. “The Repertoire Selection Practices of High School Choral Directors,” Journal of Historical Research in Music Education, 49(2001): 102-121.

Bibliography (cont.):

Bibliography (cont.) Gates, Eugene. “Why Have There Been No Great Women Composers? Psychological Theories, Past and Present,” Journal of Aesthetic Education, 28(1994): 27-34. Hagaman, Sally. “Feminist Inquiry in Art History, Art Criticism, and Aesthetics: An Overview for Art Education” Studies in Art Education 32(1990), 27-35. Harding, Sandra. “Just Add Women and Stir?” in Missing Links. Edited by Gender Working Group of the United Nations Commission on Science and Technology for Development. ITDG Publishing, 1995. Howe, Sondra Wieland. “Reconstructing the History of Music Education from a Feminist Perspective” Philosophy of Music Education Review 6(1998), 96-106. Koza, Julia Eklund. “Picture This: Sex Equity in Textbook Illustrations,” Music Educators Journal, 78(1992): 28-33. Lamb, Roberta Kay. “Including Women Composers in Music Curricula: Development of Creative Strategies for the General Music Class, Grades 5-8”. Educat.D. diss., Columbia University directors College, 1987. In Dissertations & Theses: Full Text [database on-line]; available from http://www.proquest.com.ezproxy.bu.edu (publication number AAT 8721136; accessed April 10, 2011). Lamb, Roberta Kay. “The Possibilities of/for Feminist Music Criticism in Music Education” British Journal of Music Education 10(1993), 169-180. Lindeman, Carolynn A. “Teaching About Women Musicians: Elementary Classroom Strategies,” Music Educators Journal, 78(1992): 56-59. Marshall, Kimberly, ed. Rediscovering the Muses: Women’s Musical Traditions . Boston: Northeastern University Press, 1993. McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 2002. Morton, Charlene. “Feminist Theory and the Displaced Music Curriculum: Beyond the “Add and Stir” Projects.” Philosophy of Music Education Review 2(1994): 106-121. Pendle, Karin. Women & Music: A History. Bloomington: Indiana University Press, 1991. Pool, Jeannie G. “America’s Women Composers: Up from the Footnotes,” Music Educators Journal, 65(1979): 28-41. Reames, Rebecca R. “High School Directors’ Description of Appropriate Literature for Beginning High School Choirs,” Journal of Research in Music Education, 49(2001): 122-135.