singer, songwriter, composer, synthesist
An Introduction to Online Resources for Music Research
Course Syllabi:
Archive
of Women & Music Course Syllabi: maintained by Royal Holloway
College (University of London),
including syllabi links for 1996: Tufts University, University of
New Mexico, University of California, San Diego, and University of California,
San Diego; for 1995: University of Oregon, and University of Toronto;
for 1994: California Polytechnic State University, San Luis Obispo,
Hamilton College, Ohio State University, Pomona College, University of
Delaware, University of Guelph, and University of Wisconsin-Milwaukee;
with additional links for: Georgetown University: Medieval Women:
Tradition and Counter-Tradition, Iowa State University: Women's Diaries,
Journals and Letters (English/Women's Studies 345), and University of Pennsylvania:
Sex, Women, and Violence in Medieval Culture.
http://www.sun.rhbnc.ac.uk/Music/Archive/Women/
History
of Women in Music: a syllabus by Professor Ursula Rempel:
(University of Manitoba)
as published in the June 1996 IAWM Journal, pp. 24-27, a study of
the female contribution to the art of music from the Middle Ages to the
present. Emphasis will be placed on the changing roles of, and attitudes
towards, women as composers, performers, teachers, writers, instrument-builders,
patrons, etc. More specifically, study will be conducted within
a historical framework of contexts and perspectives; thus we will
examine the achievements of women musicians in the light of societal expectations,
impositions, limitations and attitudes. While women have always made
music-both in the oral and written traditions-it is the written (notated)
tradition which we will emphasize. Required Text: Women
& Music: A History. Ed. Karin Pendle. Indiana University Press,
1991. A few optional texts (in limited quantities) were ordered:
Historical
Anthology of Music by Women, ed. James R. Briscoe, Indiana U. P., 1987.
This is strongly recommended. Cecilia Reclaimed: Feminist Perspectives
on Gender and Music, eds. Susan C. Cook and Judy S. Tsou, University
of Illinois Press, 1994. The Norton/Grove Dictionary of Women
Composers, eds. Julie Anne Sadie and Rhian Samuel, Norton, 1995.
http://music.acu.edu/www/iawm/syllabi/rempel.html
Multimedia
Development for Music Research and Instruction: Gary Wittlich
and William Tilghman: (Indiana University)
"Course Goal is to become familiar with ways that multimedia resources
can be used in music research and instruction. Course work and requirements
will include individualized coursework for the most part. Primary assignments
will be divided between research and instructional applications in the
form of projects: Research and Instruction." Highly useful
links to Journals, Cook Music Library resources, HTML, resources for multimedia
Web development, search engines, and professional music societies.
http://www.music.indiana.edu/som/courses/u523/u523.htm
Musical
Aesthetics: Jonathan Walker: (School of Music, Queen's
University, Belfast) an outline of "the
aesthetics introductory course I have been teaching since 1992-93 in the
Music Department, Queen's University Belfast. The course is intended
for masters and final-year undergraduate students, and seeks to encourage
a critical approach rather than to provide any definitive answers.
A balance is struck, I hope, between the more philosophical and the more
concretely musical material; I have found each year that the initial bewilderment
of some students, who find the philosophical material utterly foreign,
is soon overcome, and the exams have always passed very smoothly.
Increasingly, I feel that a grounding in these matters is of great value
to those students intending to remain in academia, since many of the present
generation of musicologists now seem bent on becoming amateur philosophers,
with minimal effort, often through the recitation of various post-modernist
mantras; at conferences, every little music-analytic finding is used
as the foundation for a grand, tottering, meta-theoretical edifice.
The language and repertoire of concepts encountered by arts students in
their undergraduate texts (at least in the UK) no longer serves to prepare
them for the material they will typically encounter in the recent journal
literature, so I would suggest that the motivation for having such a course
in arts degree programs is certainly not misplaced (whatever the particular
shortcomings of the course outlined below may be)."
http://www.indiana.edu/~asanl/teaching/walker.html
Teaching
Popular Art: Teaching Non-Western Aesthetics: Crispin Sartwell
(University of Alabama).
"Aesthetics is not that easy to teach. I’m often faced with students who
have very little interest in philosophy or who have very little interest
in fine art or who have very little interest in either. I find that in
a standard aesthetics course, a course in which, say, I work through an
anthology of basic readings in western aesthetics, I can overcome one of
these problems, but not both. If I’ve got a student who’s interested in
philosophy, I can motivate questions about art through that interest; for
example, I can work on the notion of definition, family resemblances and
so on in a way that the student can then apply to other areas. I’ve actually
had the best success teaching aesthetics to art students. Often
they’re resistant to this sort of reflection on what they do; there’s
an initial sense that it’s irrelevant, and then, I think, a fear that too
much reflection might mess up their art. But once they get going,
they’re very excited, and have actual experience that they can feed into
the conceptualities."
http://www.indiana.edu/~asanl/ideas/sartwell.html
Women
in Music: a syllabus by Linda Burian Plaut: (Virginia
Tech), considers the lives and work of
women composers and of women's involvement in other aspects of musical
creativity in classical, jazz, pop, and folk music. Required Texts:
Pendle, Karin, Women & Music, a History; Neuls-Bates, Women
in Music, an Anthology of Source Readings; At least two
CD's or tapes, to be purchased during the semester. Fall 1994.
http://music.acu.edu/www/iawm/syllabi/plaut.html
Women
in Music: a syllabus by Maria Anna Harley: (McGill
University), presents contributions of
selected women to various areas of music (composition, performance and
teaching) in Europe and North America. Discussions and special projects
explore the role of women in Western art traditions, jazz, and folk music--from
Hildegard of Bingen a 12th-century composer-philosopher-artist, to Laurie
Anderson, a 20th-century composer-philosopher-artist. The course
includes listening sessions and meetings with composers and performers.
Required Text: Karin Pendle, ed. Women and Music: A History (Indiana
U.P., 1991). Montreal, Fall 1995.
http://music.acu.edu/www/iawm/syllabi/html
Women
in Music: course Syllabus by Calvert Johnson (Agnes
Scott College): Spring 1996, as
published in the February 1997 IAWM Journal, pp. 24-27 (German Language
Component), discussion of texts and a film reflecting the participation
of German and Austrian women in music from the late Middle Ages to the
present day. Reading and discussion of these primary sources, virtually
none of them available in English, will enhance understanding of the social
roles of women in music, particularly as composers and performers, while
enabling improvement in skills in reading, speaking, hearing, and writing
in German.
http://music.acu.edu/www/iawm/articles/feb97/johnson.html#anchor5424087
Women
in Music: a syllabus by Nancy Uscher (summer 1996), offered by
the University of New Mexico's Women
Studies Program. The class structure
includes some "online" students, course will examine the lives and works
of important women composers and other women musicians from the Middle
Ages to the present within their social, political, economic, and cultural
contexts -- and in relation to their male contemporaries. An introduction
to feminist aesthetics in music will examine issues germane to current
research in the field. Although the course will focus on the Western
art tradition, an overview of women within a diverse range of musical genres
outside of the European tradition - i.e. jazz, popular, and cross-cultural
perspectives -- will be included.
http://www.unm.edu/~jeffryes/music.html
Women
in Music Course Syllabi: (IAWM),
a listing of course syllabi on the IAMW web server and Other Resources.
http://music.acu.edu/www/iawm/syllabi/syllabi.html
Dr.
Judith A. Coe
Assistant Professor of Voice and Commercial Music
Coordinator of Voice
Music & Entertainment Industry Studies Department
Arts Building 288H
Campus Box 162, P.O. Box 173364
Denver, Co 80217-3364
Phone: 303-556-6013
Fax: 303-556-2335
last modified 11/25/03