CONTENT TARGETS WORK: A PRACTICAL EXAMPLE OF CHANGING BEHAVIOURS AND PROCESSES IN PROGRAMMING WOMEN COMPOSERS

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 38-48
Author(s):  
Naomi Johnson ◽  
Matthew Dewey
Keyword(s):  
Women Composers ◽  
Classical Music ◽  
Gender Representation ◽  
Gender Imbalance ◽  
Women's Music ◽  
Music Programming

AbstractIn September 2015, ABC Classic set a target of 5 per cent women composers on air as the beginning of a push to combat serious gender imbalance in the works broadcast on the network. This target has gradually changed broadcast culture, encouraging content makers to champion women's music and allowing for major programming events and goals, and it has led to an increase of women composers broadcast from 2.2 per cent in 2015 to 9.9 per cent in the 2018/19 reporting cycle. This article examines our journey over this time, arguing for targets as a means to enact change and establish concrete outcomes. It explores the ways in which a target has encouraged us to consider gaps in the content offered along with new opportunities to present music by hitherto under-represented composers. It also reflects on the work ahead, acknowledging the ongoing importance of targets in moving towards better gender representation in classical music programming.

Research-to-Resource: Programming Ensemble Literature Composed by Women

2018 ◽  
Vol 36 (3) ◽  
pp. 51-54 ◽  
Author(s):  
Vicki Baker ◽  
Carter Biggers
Keyword(s):  
Fundamental Solution ◽  
Music Composition ◽  
Women Composers ◽  
Wind Band ◽  
Selection Process ◽  
Future Generations ◽  
Gender Representation ◽  
Gender Imbalance ◽  
Gender Parity ◽  
Repertoire Selection

Research has indicated that a gender imbalance exists in the field of music composition. This inequitable distribution is clearly demonstrated in a state-mandated repertoire list in which women represent 3% of the wind band composers and 12% of the choral composers (all voicings). Ensemble directors are in a position to affect a change by purchasing, performing, and promoting works by female composers, thus increasing their visibility and creating a demand for women’s publications. Intentional programming of works by female composers is an important factor in equalizing the gender representation of composers on a concert program. Lists of women composers and their works are readily available online, simplifying the repertoire selection process. Ensemble directors can also play a role in inspiring future generations of female composers, which is a fundamental solution to achieving gender parity.

Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music

2018 ◽  
Vol 12 (4) ◽  
pp. 477-507
Author(s):  
MARIAN WILSON KIMBER
Keyword(s):  
Women Composers ◽  
Symphony Orchestra ◽  
American Music ◽  
Professional Status ◽  
White House ◽  
Women's Music ◽  
National League

AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Miami, Chautauqua, and Chicago, the latter played by members of the Women's Symphony Orchestra. White House appearances by Amy Beach helped emphasize the League's professional status, and the nationalistic tone of its publicity, urging audiences to “Buy American” during the Depression, worked to distract from age-old assertions of women's lack of creativity. However, the musicales for Roosevelt, who received the composers socially rather than as paid professionals, reinforced women's domestic position, and financial restraints limited most League programming to the genres typically associated with female composers. Despite its separation from a male mainstream, the NLAPW was nonetheless a significant force in promoting women's music in the 1930s.

scholarly journals Women of American Chamber Music

2019 ◽  
Vol 4 ◽  
Author(s):  
Laena Batchelder ◽  
Class of 2019
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Women Composers ◽  
Classical Music ◽  
String Quartets ◽  
Death Valley ◽  
Current Status ◽  
Violin Sonata ◽  
Program Notes ◽  
History Of

On February 20, 2019, Laena Grace Batchelder, with her colleagues, performed a recital of three chamber pieces by American women composers. The first was Amy Beach’s Violin Sonata played with Mr. Edward Newman. The other two pieces were string quartets performed by the Uproar String Quartet, which included Batchelder’s fellow TCU students: Manuel Ordóñez, Ashley Santore, and Manuel Papale. They played Missy Mazzoli’s Death Valley Junction and Jennifer Higdon’s An Exaltation of Larks. In addition to the performance, Batchelder researched the current status of women in classical music, the history of American female composers, and the three composers she programmed and their pieces. From this research, she wrote detailed program notes for the audience to read.

scholarly journals Examining gender imbalance in chemistry authorship

2020 ◽  
Author(s):  
Adam D. Cotton ◽  
Ian B. Seiple
Keyword(s):  
Gender Gap ◽  
Population Data ◽  
Confidence Score ◽  
Data Driven ◽  
Gender Representation ◽  
Gender Imbalance ◽  
Editorial Boards ◽  
Significant Variability ◽  
Strong Trend ◽  
Binary Gender

AbstractThe gender gap in chemistry has been the topic of much debate, with many perspectives stating that the field has improved, and outdated sexist views are behind us. While these views are common, we wanted to assess the accuracy of these comments from a data-driven perspective. In this study, we use PubMed to obtain the names of first and last authors for every paper published since 2005 across 15 journals. Each name was cross-referenced with a name-based gender API to give a predicted binary gender and a confidence score based on population data. We show that historically there has been an extensive overrepresentation of men in both first and corresponding authorship, and that there is no strong trend towards parity since 2005. We demonstrate that papers with female corresponding authors have more equitable gender representation of first authors. Finally, we find that there is significant variability among journals in the gender make-up of their editorial boards. We hope this analysis spurs creative discussions on how we can improve equitable gender representation in chemistry publications.

FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 21-29 ◽  
Author(s):  
Talisha Goh
Keyword(s):  
Women Composers ◽  
Art Music ◽  
New Music ◽  
Music Criticism ◽  
Special Issue ◽  
Music Festivals ◽  
Women's Music ◽  
Music Making ◽  
Feminist Musicology ◽  
Feminist Aesthetics

AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.

Gender, Representation, Experience: The Case of Village Performers in Java

2008 ◽  
Vol 26 (2) ◽  
pp. 140-167 ◽  
Author(s):  
FELICIA HUGHES-FREELAND
Keyword(s):  
Everyday Life ◽  
Gender Representation ◽  
New Order ◽  
Gender Ideologies ◽  
Gender Representations ◽  
Women’S Experiences ◽  
Performance Culture ◽  
Women's Experiences ◽  
Points Of View

This article explores how gender representations are deployed in anthropological analysis with reference to female performers (ledhek) in rural Java during the last decades of Suharto's New Order Indonesia (1966–1998). 1 It shows how the negative ascriptions given to ledheks were consistent with state promulgated gender ideologies in Indonesia, and explores the women's experiences in performances and everyday life. This different standpoint allows us to understand their dancing from the performers’ points of view, rather than from that of official state endorsed ideas of acceptable performance culture.

Sign in / Sign up

Export Citation Format

Share Document