{"id":276,"date":"2018-01-31T23:21:44","date_gmt":"2018-01-31T22:21:44","guid":{"rendered":"https:\/\/site.uit.no\/mgb-conference\/?page_id=276"},"modified":"2018-03-16T23:07:59","modified_gmt":"2018-03-16T22:07:59","slug":"abstracts","status":"publish","type":"page","link":"https:\/\/site.uit.no\/mgb-conference\/abstracts\/","title":{"rendered":"Abstracts"},"content":{"rendered":"

\u201cA stage animal\u201d \u2013 Agata Zubel \u2013 Polish soprano and composer<\/strong><\/p>\n

Katarzyna Bartos, Karol Lipinski Academy of Music in Wroc\u0142aw<\/em><\/p>\n

Agata Zubel (*1978) is a composer and vocalist. In primary and secondary music school she was learning to play percussion. That experience shaped her way of thinking of music \u2013 taking care of timbre, rhythm and emotions. During the time she was studying composition at Karol Lipi\u0144ski Music Academy in Wroc\u0142aw, Poland, she started performing her own pieces. Soon other students of composition saw how great her talent is asked her to sing their music. Then she decided to study also at the Vocal Faculty at her alma mater. Now she is said to be one of the best composers of young generation, as well as one of the best performers of contemporary music. Many of her compositions are first performed by her. Although she was trained to sing bel canto, she is performing pieces that require usage of extended vocal techniques and therefore she is called a Cathy Barberian of her generation. This contemporary way of singing is seen mostly in her own pieces (e.g. Parlando <\/em>or Not I<\/em>) as well as experiments of her duo Elettro Voce (with Cezary Duchnowski). She gave concerts all around the globe, in such countries as e.g. USA, UK, Russia, Germany or Korea and sang on numerous recording, mostly of contemporary music. Her great career is a proof of her amazing talents but also great management skills.<\/p>\n

In my paper, I would like answer the questions: what makes her unique and which aspects helped her to become such a well known person. Therefore I will present her biography and achievements as a performer. I will analyze her personality, especially the stage one (seen by her way of performing and musical choices). I will also present the changes in Polish society that could have influenced her life and career. I will show her achievements from a wider perspective by talking on history of female composers at Karol Lipi\u0144ski Music Academy in Wroc\u0142aw, as she is the third generation of them. Lastly I will present some fragments of her performances and critics’ opinions.<\/p>\n

My aim is to talk about Zubel, because I think she is truly unique personality in contemporary music and a great role-model for young women.<\/p>\n

 <\/p>\n

Specific projects or gender mainstreaming? Discourses within a Swedish culture organisation with an outspoken gender-equality ambition<\/strong><\/p>\n

\u00c5sa Bergman & Cecilia Bj\u00f6rck,\u00a0University of Gothenburg,<\/em><\/p>\n

The lack of female representation in various music practices has attracted attention in research since the 1970s (Bayton 1989, Whitely 2000, Leonard 2007). In this presentation, based on a study of a culture organisation with an outspoken gender-equality ambition, focus is directed towards what ideas on music, gender, feminism and equality are articulated by different actors within the organisation. The preliminary result shows a negotiation taking place regarding what activities should be organised in relation to the stated ambition. While some actors promote specific gender-equality projects, others advocate that all music activities be permeated by a gender-equality perspective, and while some actors propose that gender equality should be considered in relation to a broader diversity work, others point to the risk that gender issues might be neglected when several equality aspects are lumped together.<\/p>\n

Bayton, Mavis (1998). Frock rock: women performing popular music<\/i>, Oxford: Oxford Univ. Press.<\/span><\/p>\n

Leonard, Marion (2007). Gender in the music industry: Rock, discourse and girl power<\/i>, Aldershot: Ashgate.<\/span><\/p>\n

Whiteley, Sheila (2000). Women and popular music: Sexuality, identity and subjectivity<\/i>, London: Routledge.<\/span><\/p>\n

 <\/p>\n

The performing body, the place and the gaze \u2013 subject conception in vocal education <\/strong><\/p>\n

Carina Borgstr\u00f6m K\u00e4ll\u00e9n,\u00a0Academy of Music and Drama, University of Gothenburg,<\/em> Birgitta Sandstr\u00f6m, \u00a0Stockholm University of the Arts<\/em><\/p>\n

This presentation focuses on subject conception in music in relation to the performing body, the stage as a place for learning and the scrutinising gaze of the beholder. Specifically, vocal education in preparatory and in higher music education are problematised. Contexts that from a gender perspective have an unbalanced representation. Taking an intersectional point of departure, the objective is to highlight and discuss subject conception in relation to inclusion and exclusion in vocal teaching and learning. Parallels are drawn to dance education, since also dance has an unbalanced representation. A meta-analysis based on three completed studies in music and dance education is underpinning the presentation. The studies are produced in Swedish upper secondary schools and in higher music education.<\/p>\n

The result verifies the body of previous research suggesting that subject conception in vocal and dance education is based on performing arts traditions, rather than on pedagogical\/didactical traditions. Another finding is that the educational background of vocal and dance teachers is similar and essential for how subject conceptions are constructed. Knowledge is often produced based on a master-apprentice ideal, and discussion about tradition and quality risks stagnating. The result also indicates that in vocal training, as well as in dance classes, settings where the body is the instrument, the teachers\u2019 gaze and bodily displayed multimodal language have a governing function. Further, the results indicate that an imaginary stage and the gaze of an imaginary audience are present and taken for granted in the classroom, and they are used as tools for learning. The interplay between the performing body, the classroom as a stage and the scrutinising gaze, from the teacher and from an audience, is thereby internalised and bodily displayed by the student, i.e. the body, the place and the gaze are understood as a hub for learning.<\/p>\n

 <\/p>\n

What does the \u2018feminist eye\u2019 in musicology have to say about \u201cNew music\u201d?<\/strong><\/p>\n

Martina Bratic,\u00a0University of Graz<\/em><\/p>\n

Music is almost universally regarded as cultural agency that reflects, mediates and constructs social relations and social realities. Our internalized notions about gender, about identity and the self, as well as about sexuality and desire, were in the past 30 years thoroughly discussed within the field of feminist musicology.<\/p>\n

However, even then were these issues mainly debated in connection to what could be called \u2013 pre-20th<\/sup> c. <\/em>classical music, with its predetermined form and principles. And what about the more systematic scrutiny of the New-, contemporary classical music, in that sense? How is gender, identity, or the self, to be read and understood in the post-Schenkerian musical organisations; in those \u2018organisms\u2019 that do not operate with elements of the \u2018ideal structure\u2019? My presentation will focus precisely on those relations: relations between the \u2018old\u2019 and the \u2018new\u2019 sound, and between the \u2018early\u2019 and the \u2018new\u2019 procedure in the feminist musicology research.<\/p>\n

 <\/p>\n

Towards a\u00a0gender conscious<\/em>\u00a0and\u00a0norm creative<\/em>\u00a0opera performance \u2013 a singer\u2019s perspective\u00a0<\/strong><\/p>\n

Tove Dahlberg, Lule\u00e5 University of Technology<\/em><\/p>\n

In my profession as an opera singer, gender practice in performance has affected my work aesthetically, how I have been positioned as a woman and what the preconceptions about performance are. I have performed the role of \u201cCherubino\u201d in several productions of\u00a0The Marriage of Figaro\u00a0<\/em>(W.A. Mozart, 1786).\u00a0<\/em>Using this experience as foundation and in dialogue with gender theory and norm criticism, I am currently conducting artist-led laborations together with a director and a pianist, singing and acting scenes from five roles, both male and female, from\u00a0The Marriage of Figaro<\/em>. Through these experiments, we detect tools and approaches for\u00a0gender conscious<\/em>\u00a0and\u00a0norm creative\u00a0<\/em>opera performance that could be of use for other opera singers. We also articulate unspoken codes regarding how singers are gendered by the repertoire and the expectations on performance. During the presentation, I will show examples of my own work towards an opera performance beyond the gender norms.<\/p>\n

 <\/p>\n

The (female) situated musical body<\/strong><\/p>\n

Cecilia Ferm-Almqvist,\u00a0\u00a0Lule\u00e5 University of Technology<\/em><\/p>\n

Linn Hentschel,\u00a0Ume\u00e5 University<\/em><\/p>\n

The starting point for the presentation is constituted by experiences of using Simone de Beauvoir\u2019s philosophy aiming to describe and understand the becoming of musical women in Swedish schools. Earlier research conducted outside the area of music shows that Beauvoir\u2019s theories can help to explain \u2013 and provide means of change for \u2013 situations where there is a risk that traditional gender roles will be conserved. A majority of gender studies in the field of music education are based on the performative theory of Judith Butler. In comparison, de Beauvoir states that repetitions and habits are stratified in the body as experiences, and that human beings are able to make choices in a situation. The presentation will be an opportunity to discuss and reflect upon girls\u2019 experiences of sex and gender in music educational settings. Philosophical concepts and practical examples from finished and on-going research will be related to throughout the reflective discussion.<\/p>\n

 <\/p>\n

Musical \u201cQuality\u201d Over Gender Equality?\u00a0<\/strong>When Culture Clashes with Law<\/strong><\/p>\n

Tami Gadir, University of Oslo<\/em><\/p>\n

My proposed presentation addresses the disparities between the legal and the cultural: on the one hand, equality legislation enacted through formalised workplace policies; on the other, the everyday cultural and political attitudes inscribed into musical practices. I use the case of Musikkfest<\/em>, Oslo, and a recent history of gender equality in Norway, to show how the rhetorics of postfeminism, individualism, and meritocracy affect musicians who are not male and not white. This aligns with current, global, populist backlashes against so-called political correctness. I further critique the profoundly gendered ideas of \u201ctalent\u201d or \u201cskill\u201d in the discourses of music practitioners. Providing further examples of DJs from around the world, I show how such paradigms currently dominate music cultures as much as they do world politics. Overarchingly, I critique the ways that such paradigms are woven into musical aesthetic judgements that, in effect, validate discriminatory practices.<\/p>\n

 <\/p>\n

\u2018Genderfication\u2019 and musical gentrification in higher music education<\/strong><\/p>\n

Siw Graabr\u00e6k Nielsen,\u00a0Norwegian Academy of Music<\/span><\/em><\/p>\n

Music education has a long history of producing and reproducing gendered practices. However, it was not until the 1960s that an interest for this topic became noticeable within music education research, and from the end of the last century, there has been a rapidly growing interest in gender studies related to music education. The rationale for this development seems to be based on a growing awareness on emphasizing democracy in future music education and the importance of securing access to equal educational possibilities and resources for all <\/em>students regardless of gender or social class. This paper explores genderfication and musical gentrification in higher music education. Based on an extensive survey of all master\u2019s and PhD theses written in music academia in Norway, from the first thesis in 1912 and until 2012, the paper presents findings regarding how the uptake of popular music in Norwegian music academia is shown to be strongly gendered. In other words, it looks into the aspects of gender visible in the extensive survey mentioned above, or what can be termed the genderfication <\/em>of popular music academisation in Norway. The empirical exploration is conducted against a theoretical backdrop building on Bourdieu\u2019s theories of masculine domination, and in particular, on his ideas on how this phenomenon is manifested in the educational field. Within this world of ideas, social order is always considered as gendered and masculine domination is a normalised situation. Thus, the framework allows for looking at the Norwegian music academia as a particular social space in which gender relations and hierarchies are produced, and to describe how this genderfication is intertwined with processes of musical gentrification.<\/p>\n

 <\/p>\n

Gendered agendas and the presence of women in our Nordic music history<\/strong><\/p>\n

Camilla Hambro,\u00a0\u00c5bo Akademi University<\/em><\/p>\n

When reading music history books at our schools and universities, the presentness of the past and the pastness of the present are striking in their recycling of yesteryears canons: Women composers seem like sleeping beauties noting their music with invisible ink. Even if our Nordic countries are model regions for equal rights and opportunities, several of our women composers and musicians lie in oblivion, rest and neglect. What do the actions and roles of our 19th<\/sup> century women composers have in common? Under what conditions did they compose and perform music? Aiming at addressing how the situation has arisen historically, the foci of the presentation are threefold: (1) Societal expectations towards women\/composers and originality concepts. (2) Gender and genius, music criticism and historical gender roles as represented by music criticism. (3) Past and present attempts by musicologists and musicians at affirmative action on behalf of women in Nordic music history.<\/p>\n

 <\/p>\n

A Woman Leader on the Bandstand: <\/strong>Mrs Wilf Hamer and the Performance of Gender<\/strong><\/p>\n

Laura Hamer & Mike Brocken,\u00a0Liverpool Hope University<\/em><\/p>\n

From 1936, when she replaced her late husband (Wilf), through to the late 1950s, Mary Hamer led the house dance band at the Grafton Rooms, one of Liverpool\u2019s most successful ballrooms. By concentrating upon both \u2018sweet\u2019 dance music and the sub-genre of \u2018Old Time Dancing\u2019 (re-popularising Victorian and Edwardian dances in the process), Mrs Wilf Hamer and her Boys \u2013 as the band was called \u2013 became one of the most popular dance bands in Liverpool. However, due to a complex web of issues, she is now little more than a footnote of popular music history. This paper interrogates how Mary Hamer, as a rare female leader of an otherwise all-male band, performed her gender upon the bandstand. We also critique the gender questions which we must pose for ourselves as we conduct this ongoing research project.<\/p>\n

 <\/p>\n

New Directions: (Re-)Articulating Gendered Identity Through Musical and Non-Musical Means<\/strong><\/p>\n

Kai Arne Hansen,\u00a0University of Oslo<\/em><\/p>\n

In pop music, gendered identities are performed and constructed through both musical and non-musical means. Gendered meanings are entrenched in our responses to musical codes, as well as in the sociocultural associations of particular styles and genres. Simultaneously, pop artists express \u201cwho they are\u201d off-stage as much as on-stage, which is becoming an increasingly important point for investigation in our contemporary time of media convergence. I take these observations as points of entry for investigating the gendered prejudices and stereotypes related to the boy band format, which are largely based in gendered hierarchies of \u201chigh\u201d and \u201clow\u201d popular culture and \u201cvalued\u201d and \u201cdevalued\u201d forms of musical labour. Through an interdisciplinary and multimedial approach, I look at how past boy band members reconstruct their identities in ways that intersect notions of gender, age, sexuality, and ethnicity. Ultimately, I attempt to elucidate how perceptions of gender influence the creation of pop texts as well as our experiences of them, which in turn should offer valuable insights into the structuring power of gender norms and how it operates in popular culture. <\/span><\/p>\n

 <\/p>\n

Explicit Content!! What did the PMRC do for us: Feminism\u2019s Backlash and Sexual Violence in Heavy Metal<\/strong><\/p>\n

Rosemary Lucy Hill,\u00a0University of Leeds, UK and Heather Savigny, De Montfort University, UK<\/em><\/p>\n

\u201cCole Porter\u2019s \u2018the birds do it, the bees do it,\u2019 can hardly be compared with WASP, \u2018I f-u- c-k like a beast.\u2019 There is a new element of vulgarity and violence toward women that is unprecedented.\u201d (Mrs Baker, Record Labelling senate hearing)<\/p>\n

The PMRC became a symbol of \u2018moral outrage\u2019 that was directed at the music industry; they are widely condemned as proponents of censorship and infringers of civil liberties. However, one of their key thrusts was that heavy metal promotes sexual violence against women. Their Parental Advisory stickers were intended to enable parents to help children choose \u2018safe\u2019 music and to reduce the spread of damaging musical content. However, this clearly has not happened: we still see the Parental Advisory stickers on \u2018Explicit\u2019 content and the stickers have become a badge of honour. Moreover, we still do not see outright bans on explicit sexual violence against women in lyrics and artwork.<\/p>\n

Using critical discourse analysis of the hearing transcript and subsequent newspaper and magazine articles, we examine how the reaction to the members of the PMRC, and the discourses around violence and freedom of speech, served to shape an atmosphere in which critiquing violence against women in metal was derailed. We regard this as an opportunity missed. For, subsequently, metal studies has primarily been concerned with the PMRC in terms of Satanism and suicide, rather than examining the allegation of violence against women. We argue that the PMRC opened up a space where the cultural rejection of sexual violence towards women was possible. However, we also contend that cultural and media discourses at the time served to function as a \u2018backlash\u2019 against the perceived successes of women (and feminism); and one way that this was played out was through discursively legitimating sexual violence against women.<\/p>\n

 <\/p>\n

The Gatekeeper Gap: Crunching New Numbers and Searching for Solutions to the U.K.\u2019s ongoing gender imbalance in Music Creation<\/strong><\/p>\n

Emma Hooper,\u00a0Bath Spa University<\/em><\/p>\n

A mere 14% of professional composers and songwriters in the UK are female (PRS, 2017b). This paper almagamates new data produced through partnerships with the Performing Rights Society (PRS), The World is Listening (women in music organisation), UK festivals, and dozens of interviews along with numerous secondary sources to cross-check demographic and economic details in an effort to shed light on the potential cause(s) of this ongoing imbalance in the face of notable social effort. It is concluded that, while female-focused initiatives such as the Women Make Music fund or Sweden\u2019s new all-female festival do succeed in drawing in and up-skilling female music-makers, there is significant potential for impact at the gate-keeper level, specifically in breaking through \u2018boys\u2019 club\u2019 networking patterns. \u201cWe need to stop thinking that women are automatically supportive of other women, and openly discuss how male directors and male heads of arts organisations can own opportunities to enact feminism.\u201d (PRS, 2017a: 13)<\/p>\n

PRS Foundation 2017. Women Make Music Evaluation 2011-2016.<\/em> Available at:\u00a0http:\/\/www.prsformusicfoundation.com\/wp-content\/uploads\/2017\/03\/PRS-Foundation-Women-Make-Music-evaluation-report-2017-FINAL.pdf<\/a>. Accessed: 27 August 2017.<\/p>\n

PRS Foundation and The World is Listening 2017. New Data Report<\/em>. Unpublished.<\/p>\n

 <\/p>\n

Gendered instrumentation in the Eurovision Song Contest. The Nordic Paradigm?<\/strong><\/p>\n

Bjarne Isaksen,\u00a0University of Troms\u00f8 – The Arctic University of Norway<\/em><\/p>\n

The Eurovision Song Contest (ESC) is one of the world’s biggest television event, and has since its start been a show case for music, trends, ideas and styles. The competition can thus be an indicator for both how the different nations choose to market themselves, and how the European music industry in total sees itself.<\/p>\n

According to World Economic Forum’s annual Global Gender Gap Report (2013) the Nordic European countries stand out as the best removing obstacles holding women back and overall be gender equal societies. Despite this equality in society in general, these countries by no means stand in front when dealing with gendered instrumentation in ESC. The Nordic countries\u2019 use of female musicians are very limited in both numbers and possible instruments. Other European countries seems to be much more gender equal oriented in this field.<\/p>\n

This paper will discuss the ESC in the Nordic region as a possible mirror of society regarding gender equality on and off stage through Giddens\u2019 concept of discursive versus practical consciousness.<\/p>\n

 <\/p>\n

Musical Treatment of Superheroes: Male vs. Female<\/strong><\/p>\n

Maddi Krafve,\u00a0University of Oregon<\/em><\/p>\n

With an ever-increasing demand for equal gender representation in film, it has never been so necessary to expose damaging gender roles. The superhero genre, as one of the most popular and influential film genres, is especially apt for such investigation. Many studies have examined gender in film music; however, in the superhero genre, gender-related studies have been primarily confined to visual representation. Musical Treatment of Superheroes: Male vs. Female<\/em> attempts to bridge this gap by analysing the themes of Batman and Wonder Woman. For each of these heroes, two television episodes and two movies were chosen with careful attention to the gender of the composers, and are the basis for a discussion on how film scores have evolved to better represent gender in the superhero genre. This essay therefore analyses the works of Danny Elfman, Angela Morley, Shirley Walker, and Rupert Gregson-Williams \u2014 timelines ranging from 1979-2017 \u2014 in an effort to identify exactly how audiovisual cues play into the gender of each superhero.<\/p>\n

 <\/p>\n

Sonic Values: Narratives of Masculinity in the Music Classroom<\/strong><\/p>\n

Ingeborg Lunde Vestad & Eirik Asker\u00f8i,\u00a0Inland Norway University of Applied Sciences<\/em><\/p>\n

Musical sound plays a major role in conveying narratives that represents not only generic or stylistic conventions as such, but is also associated with deep-seated socio cultural values.\u00a0The main argument in this paper is\u00a0that teaching\u00a0children and youth about\u00a0the relationship between sound and socio-cultural values\u00a0can bring about a better understanding of the musical and social messages that music can convey. The article provides close readings of\u00a0two contrasting musical examples\u00a0where sound arguably contributes to forming narratives of\u00a0\u201cold\u201d music, in this case, Alf Pr\u00f8ysen\u2019s song \u2019N\u00f8tteliten’ (1955), and social stereotyping in Promoe\u2019s song\u00a0\u2018Svennebanan\u2019\u00a0(2009). Questions of masculine representations will form an analytical framework for both readings.<\/p>\n

 <\/p>\n

Do male musicians really make better music?\u00a0<\/strong>Gender bias and the concepts of ‘quality’ and ‘relevance’<\/strong><\/p>\n

Henrik Marstal, Rhythmic Music Conservatory Copenhagen<\/em><\/p>\n

This presentation will reflect on the concepts of ‘quality’ and ‘relevance’ in relation to gender bias in popular music culture. It is usually assumpted that the curation of music among, for instance, A & R’s, festival arrangers and radio programmers, holds a neutral bias concerning these two concepts.<\/p>\n

This view, however, needs to be challenged in order to create a more stable gender balance. This is due to the fact that both concepts indeed are gender biased, since the gender of the creating and performing musicians in question very often plays a specific although often unacknowledged role in the processes of curation.<\/p>\n

Drawing on Marion Lenoard’s Gender in the Music Industry. Rock, Discourse and Girl Power<\/em> (2007) and Mary Celeste Kearney’s Gender and Rock<\/em> (2017), the presentation will present and discuss possible reasons for this gender bias and suggest some methods to make the curation of music more gender sensitive in the future.<\/p>\n

 <\/p>\n

Lett \u00e5 v<\/strong>\u00e6<\/strong>re rebell i kjellerleiligheten din: <\/strong>The sexist in the basement of Norwegian hip hop<\/strong><\/p>\n

Kate Maxwell,\u00a0University of Troms\u00f8 – The Arctic University of Norway<\/em><\/p>\n

Rap and hip hop are no strangers to the political, or of taking the side of \u2013 or being \u2013 the underdog. In Norway, the rise to popularity of Karpe Diem, a hip-hop duo who flout their Norwegianness against their perceived status as \u2018outsiders\u2019, has progressed hand in hand with the rise of immigration and the far-right party gaining political strength. Yet a multimodal analysis of hip hop songs by Karpe Diem and Lars Vaular shows that their societal and political criticism is charged with sexist undertones.<\/p>\n

Using the concept of \u2018flow\u2019, understood in both the hip-hop and philosophical senses, this paper will investigate the extent to which these artists conform to the historically gendered nature of hip hop. What happens when these songs are regarded with the female gaze? Can \u2018flow\u2019 itself be re-gendered such that hip hop artists can continue to make a political stand without being (unwittingly) sexist?<\/p>\n

 <\/p>\n

Romantic Muses: Feminized Labor in Composition<\/strong><\/p>\n

Solveig Mebust,\u00a0University of Minnesota\u00a0<\/em><\/p>\n

Of all laborers contributing to musical cultures, least attention is paid to real-life muses, despite the ubiquity of mythological ones. Norwegian women Nina Grieg and Gjendine Sl\u00e5lien became muses for the composers Edvard Grieg and Julius R\u00f6ntgen, producing so-called inspiration by providing creative materials freely. Drawing critically on Danish singer Julius Steenberg\u2019s 1892 text Muser og Sirener<\/em>, I interrogate the role of romance and sexuality in creative production; the ethics of musical quotation and corruption; and, most importantly, how \u201cfeminized labor\u201d contributes to musical production. Labor is \u201cfeminized\u201d when wages associated with women\u2019s work are suppressed, when there is an expectation of freely provided domestic and sexual labor, and when labor markets are subject to gender-based discrimination and coercion. Both Sl\u00e5lien and Nina Grieg were accomplished musicians, but their labors have been eclipsed by the male composers who used them \u2013 in short, they are nineteenth century muses.<\/p>\n

 <\/p>\n

Do musical instruments have gender?\u00a0<\/strong>Historical connotations in the preference of musical instruments<\/strong><\/p>\n

Lise Karin Meling,\u00a0University of Stavanger<\/em><\/p>\n

This paper will focus on the gendered connotations of musical instruments, with a special focus on the piano<\/i> as a gendered instrument. Why is the piano considered the most appropriate instrument for women in the 19th<\/sup> century? The paper will be based on sources such as etiquette books as well as Norwegian literary sources and references from the 19th<\/sup> century. In addition to the historical conditions, this paper will also include other more practical or pragmatic reasons for the choice of keyboard instruments being the most appropriate for women, such as the cultural perspective, where the image of the piano playing young woman became a symbol of the whole 19th<\/sup> century\u2019s ideas, such as the bourgeoisie, virtuous conduct, and cultural formation. The piano was significant for the female performer but had larger ramifications that the single performer: it was a cultural phenomenon in the domestic art and the domestic culture.<\/span><\/p>\n

 <\/p>\n

Defining and practising intersectionality in music festivals<\/strong><\/p>\n

Miranda Moen,\u00a0Norwegian University of Science and Technology<\/em><\/p>\n

My open discussion paper will address Norwegian intersectionality and diversity practice within music. People with disabilities are less visible in society \u2013 including music arenas such as festivals. Society lacks perspectives on disability, as they do in diversity and intersectional philosophies more generally.<\/p>\n

How can diversity and intersectionality theory and policy translate into action? Linked to this, how can do we make disability as visible an issue as gender in Norway?<\/p>\n

The Norwegian report to Stortinget \u201cCulture, inclusion and participation\u201d (2011-2012), highlights the democratic value of accessible culture as its opening statement. [1] It further states how participation in culture is a way of belonging in society, and defines inclusion as \u201cremoving barriers preventing access to culture\u201d (Kulturdepartementet 2011-2012).<\/p>\n

In the discussion, I will provide insight into contemporary activities aimed at making the Norwegian live music sector disability-accessible. An exemplary case is the Kongsberg Jazzfestival, where festival-goers in wheelchairs were removed for so-called security reasons. My analysis of the case deals with the aftermath, media coverage and arguments following the incident. The incident was reported by the festival attenders to the Equality and anti-discrimination ombudsman (LDO) in 2015. However, LDO and even Likestillingsnemda rejected the report, stating \u201csecurity comes before discrimination\u201d (Kvistum 2017).<\/p>\n

As in the Stortingsmelding on culture and inclusion, participants in the Norwegian music industry mostly have good intentions – yet do not always enact such intentions. My paper analyses the actions of the players involved and implications of these actions, as well as how the involved majority players respond and react.<\/p>\n

The discussion will offer some possible definitions of equality, diversity and intersectionality, and how cultural spaces can be at the forefront of diversity and intersectional practices in society.<\/p>\n

[1] The report defines the meaning of culture in this context, as \u201cthe different activities within culture.\u201d<\/p>\n

Kvistum, Ivar (2017). Sikkerhet trumfet diskriminering.<\/em> Handikapnytt.no. Hentet \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 19.01.2018 fra https:\/\/www.handikapnytt.no\/sikkerhet-trumfet-diskriminering\/<\/a><\/p>\n

Kulturdepartementet (2011-2012). Kultur, inkludering og deltaking<\/em>. Meld. St. 10 2011\u20132012. Oslo: Kulturdepartementet. Hentet 19.01.2018 fra https:\/\/www.regjeringen.no\/no\/dokumenter\/meld-st-10-20112012\/id666017\/sec1<\/a><\/p>\n

 <\/p>\n

Mary Lou Williams at the Crossroads: Intersections of Race, Gender, Nation<\/strong><\/p>\n

Gayle M Murchinson,\u00a0The College of William and Mary, Williamsburg, Virginia<\/em><\/p>\n

Jazz pianist Mary Lou William\u2019s career from 1946 to 1954 provides an instructive pedagogic paradigm regarding music and gendered jazz performance, canonicity, and negotiations of difference. Canonically and historiographically, jazz critics privilege virtuosity and discographical positivism. This ignores African American cultural aesthetics and values, which approach music as communal and experiential, and also excludes women from the jazz canon. My study focuses on Williams\u2019s late 1940s Girl Stars recordings and those from the two years she spent in London and England. Using selected Girl Stars recordings, I show how\u00a0\u00a0 to assess jazz performance with contemporary criteria used by musicians (male and female) themselves. Recordings and Williams\u2019s own experience provide information about music, (im)migration, and the reception of jazz post-W.W. II.\u00a0 They illustrate how Williams negotiated race, gender, and power relations with respect to fellow musicians and white male power figures (managers, major booking agencies, immigration authorities, club owners, and critics).<\/p>\n

 <\/p>\n

The intersection of gender and class in secondary school music education <\/strong>in Sweden\u00a0<\/strong><\/p>\n

Mikael Persson, The\u00a0Royal College of Music, Stockholm<\/em><\/p>\n

In this presentation, I will discuss how different structural positions concerning gender and class may affect the students\u2019 participation in musical activities in secondary school music education in Sweden. The research is part of my, soon to be finished, doctoral thesis in music pedagogy. The design could be described as a case study in which the cases represents differences regarding to social class. Each case has been analysed to find similarities and differences regarding what positions boys and girls accomplish in the classroom. My contribution to the discipline will primarily be to address the question of how differences in the students\u2019 socioeconomic background, social class, intersects with gender, an intersection rarely addressed in music pedagogical research. I also hope to create a foundation to discussion differences created by the increasing segregation of the school system and the individual music teacher\u2019s possibilities to compensate for the effects of this segregation.<\/span><\/p>\n

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Between \u2018hypermasculinity\u2019 and transgressive gender constructions: the recent balancing of gender in Scandinavian Extreme Metal music<\/strong><\/p>\n

Peter Pichler,\u00a0Graz<\/em><\/p>\n

Since 2014, there is an own peer-reviewed journal on \u2018Metal Music Studies\u2019, and cyclic conferences and publications prove the emergence of a new discourse in cultural studies of popular music. Yet, this discourse of research on Heavy Metal Music lacks contributions from the perspective of cultural history, especially on gender and its balancing in Metal culture. In my talk, I want to show how in recent times, most of all in Scandinavian Extreme Metal culture, a growing dynamic of gender roles has appeared. There is a growing number of bands and solo-artists (i.e. Arch Enemy, Myrkur) with women as aggressive and guttural-style singers in Death and Black Metal; on the other hand, still the myth of the \u2018Northern Viking\u2019 and his \u2018hypermasculinity` is prevailing. I want to give a culture-historical interpretation of the recent trends of diversification and balancing of gender in Northern European Extreme Metal culture and how they matter to academia and culture in general.<\/p>\n

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The Voice beyond Gender Connotation-<\/strong>Vocal Compositions by Dieter Schnebel<\/strong><\/p>\n

Nadine Scharfetter,\u00a0University of Music and Performing Arts Graz <\/em><\/p>\n

At the point of time when singers start their vocal studies, they are assigned to vocal registers that include specific parameters such as vocal range, voice characteristics, etc. Gender studies in musicology have criticised the assignment to a vocal register, since it is based on the singer\u2019s sex only and not on physiological properties of the voice. Therefore, for a singer, performing music inevitably includes performing gender. However, the German composer Dieter Schnebel wrote vocal compositions (e.g. \u2018Maulwerke f\u00fcr Artikulationsorgane und Reproduktionsger\u00e4te\u2019, \u2018dt 31,6 f\u00fcr 12 Vokalgruppen\u2019) without assigning female and male singers to vocal registers that I am going to discuss in my presentation.<\/p>\n

The purpose of my presentation is twofold: On the one hand, I want to raise society\u2019s awareness for gender issues concerning vocal studies and vocal compositions. On the other hand, from a musicological perspective, I will discuss vocal compositions beyond gender specific vocal connotations.<\/p>\n

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I\u2018m not a woman – I\u2018m not a man – I am something that U never understand. Anti-normative desire and cross-dressing in music fandom<\/strong><\/p>\n

Carla Schriever,\u00a0University of Oldenburg<\/em><\/p>\n

When late music icon Prince appeared on TV, wearing high heels and make-up in the early 80s he started to influence a broad range of adolescent teenagers. Thirty years later mostly heterosexual men assemble in the fandom around Prince. Academics focusing on aspects of gender and society saw particular potential in this practice as the subversion of heteronormative dressing techniques. In my 2-year case study I focused on the cross-dressing potential of the artist compared to the gender self-identification of his fans. This can be visualised as a social practice and leads to questioning the implication the fandom in all its different aspects (e.g. non-normative desire) had on the participant\u2019s identification with the social standardisation of masculine gender roles and their belonging to a male fandom object.<\/p>\n

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The Forgotten Female: <\/strong>Twentieth Century Irish Art Music and the Cultural Politics of Revival<\/strong><\/p>\n

Orla Shannon,\u00a0Dublin City University<\/em><\/p>\n

Women\u2019s narratives in twentieth-century Irish art music have been perpetually neglected to the extent that their music is routinely labelled in discourse as \u2018forgotten\u2019. \u00a0Unlike their male counterparts, an all-female program is a rare anomaly in current concert-going practices. The 1916 Rising centenary concert series, \u2018Composing the Island\u2019 (National Concert Hall Dublin, 2016), provides a recent example of such gender disparity in Ireland. The project, which sought to promote all Irish composers from the era, was criticised for its insufficient inclusion of women composers in its program. Thus, it is clear that the unequal representation of male and female composers in the past has facilitated a culture which hinders the circulation of women\u2019s works to this very day warranting the need for scholarly attention.<\/p>\n

This paper will examine Irish composer Ina Boyle (1889\u20131967) in an effort to uncover why her musical identity remains marginalised from the canon of Western art music. By combining the methodologies of feminist musicologists Marcia J. Citron and Susan McClary, the paper will consist of three parts: an evaluation of Boyle\u2019s biography in context of the socio-political upheavals of her time; the deconstruction of political ploys at work in ongoing revivalist processes; an evaluation of the composer\u2019s creative contribution to vocal music from a performer\u2019s perspective. In this way, the ultimate aim of the presentation is to rationalise Boyle\u2019s status as a \u2018forgotten female\u2019 and to provide a case study on the rehabilitation of women in the canon of Irish art music.<\/p>\n

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Phulisa4Girls \u2013 Empowering South African middle school girls in at-risk areas through music and dance activities<\/strong><\/p>\n

Gareth Williams, Nelson Mandela University Port Elizabeth<\/p>\n

Michael Strobelt, University of Troms\u00f8 – The Arctic University of Norway<\/p>\n

Schools in the Missionvale District of Port Elizabeth face severe challenges with regard to student learning conditions. These are mainly due to health and nutrional problems and the socio-economic situation in the area. The target group in this project are girls, who, in addition to the structural challenges, more than boys seem to suffer under the disruptive learning environment in the classroom. Through staging the musical Phuhlisa (1985), based on traditional South African music, the participants aim at creating an arena where girls can assert themselves and experience a positive personal development. The project is a collaboration between UiT, Nelson Mandela University and schools in the region. It involves researchers from music education, health and educational technology. The theoretical background is critical and humanizing pedagogy (Freire 1970, Salazar 2013)
\nResults – among others participation, changes in motivation, health and school performance \u2013 will be monitored by a specially designed app.<\/p>\n

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Understanding the position of men in a gender unequal screen <\/strong>composition industry<\/strong><\/p>\n

Catherine Strong,\u00a0\u00a0RMIT University\u00a0Melbourne<\/em><\/p>\n

Women film and television composers sit at the intersection of two industries \u2013 music and film – that are well recognised as being extremely imbalanced in terms of gender, with men being far more likely to participate and succeed in these areas. In Australia, only 13% of film and television composers who are members of the Australian Performing Rights Association (APRA) are women, compared with 21% of APRA members more broadly. This paper uses the results of research commissioned by APRA, to examine men and women\u2019s perceptions of the industry, and to map their career trajectories.<\/p>\n

It will be shown that men and women have very different perspectives on the significance of gender in this field, with women being acutely aware of the disadvantages their gender produces, while men are far more likely to see the industry as a meritocracy, or to see gender discrimination as minimal. The idea that women compose a different type of music to men (and that this is suited to film and television made by women) was expressed often, and reveals an essentialist approach to gender by those in this industry. Making men more aware of the hurdles faced by women in establishing their careers, and challenging the preconceived notions of the type of music women are capable of creating will be discussed as some of the possible ways forward suggested by this research.<\/p>\n

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The Female voice of the Garcia School.\u00a0<\/strong>Research on opera vocal techniques from a gender perspective<\/strong><\/p>\n

Ingela T\u00e4gil, Linnaeus University<\/em><\/p>\n

This three-year international post-doc project (2015\u201318) is founded by the Swedish Science Council. The purpose is analysing gender aspects in opera vocal technique and determine how the dominance of the male vocal aesthetic in opera may affect female voices. Despite his aim to improve male voices Manuel Garcia (1805\u20131906) and his successors had greater success with female singers. To find out why, and if his vocal techniques may be useful today I have conducted vocal experiments together with seven professional sopranos. Main research questions: How do Garcia\u2019s techniques coup de la glotte <\/u>(hard tone onset), lateral breathing support <\/u>(high breathing) and voix blanche (high larynx position)<\/u> affect female voice progression? How may female opera singers use these vanished techniques today?<\/em> The theoretical frame-work is the ongoing gender discussion, aspects of female opera singing in a male defined world, conducted originally mainly by Susan McClary and Carolyn Abbate.<\/p>\n

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A Norwegian girl choir\u2019s place in the life story of immigrant girls<\/strong><\/p>\n

Silje Valde Onsrud,\u00a0Western Norway University of Applied Sciences<\/em><\/p>\n

I\u2019m collecting life stories of young immigrant girls in Norway, who have in common that they have been participating in a girl choir during their childhood. They have been singing Norwegian folk music, classical music, church music, songs from films and musicals. They have been learning song techniques, exercises, ways to behave, ways to move their body and ways to perform girlhood. Through a narrative inquiry, this paper will discuss:<\/p>\n

How does the experience of singing in a girl choir fit into the girls\u2019 life stories? How are the experiences made meaningful through the ways they describe them? <\/em><\/p>\n

The discussion will explore how gender, ethnicity, religion and social position effects the girls\u2019 experience of the girl choir. The study aims to give new insights into how music educational practises are experienced differently for different people. In a broader sense, it can give insights to how immigrant girls with different backgrounds experience leisure time activities offered in the Norwegian society.<\/p>\n

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Gender hierarchies and stereotypes in music education: <\/strong>Male adolescents\u2019 narratives about their choral participation in Music Secondary Schools<\/strong><\/p>\n

Antonis Ververis,\u00a0Aristotle University of Thessaloniki<\/em><\/p>\n

The purpose of this study was to investigate the phenomenon of low boys\u2019 participation in choirs of Music Secondary Schools in Greece.\u00a0 The participants were 17 boys, high school students and alumni of two Music Secondary Schools, where the researcher worked as a teacher. The aim of the researcher was to explore the meanings that boys assign to their activities, such as participation in school music ensembles, which led to the adoption of qualitative research methods according to the interpretivist tradition.\u00a0 Consequently, within a period of four years (two academic years at each school) with daily contact and interaction with children, as well as semi-structured interviews with each one separately, a large amount of qualitative data was collected.<\/p>\n

A very consistent pattern observed among boys was the tendency to underestimate any music activity committed by girls (listening and musical taste, choice of instrument, singing activities), since, according to the boys, girls’ choices lack the element of agency.\u00a0 Moreover, the boys seem to avoid choirs, since participating in an orchestra and playing a musical instrument are activities of higher social status, compared to participating in choirs and singing respectively.<\/p>\n

These findings are consistent with the basic theoretical proposition of the study, according to which gender is an analytical category socially constructed, with evaluative and certainly not neutral character, which legitimises and reinforces existing hierarchies. Thus, any music activity performed by girls automatically acquires low status, and conversely, boys avoid low status activities which are considered as less masculine. The fact that these activities are chosen less from boys, results in their further feminisation and consequently degradation, perpetuating a vicious circle.<\/p>\n

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Music, politics and emotions in feminist activism<\/strong><\/p>\n

Ann Werner,\u00a0Linnaeus University<\/em><\/p>\n

\u00c5sa Bergman & Cecilia Bj\u00f6rck,\u00a0 University of Gothenburg<\/em><\/p>\n

This paper presents the theory and outlines for a study on how music is used, experienced and articulated as political and emotional by feminist activists. Focus is on feminist music activists involved with organizations working for feminist, queer and anti-racist equality and justice in and outside music. This paper is based on the application and is the first step of a larger research endeavor exploring music\u2019s role in feminism and activism, aiming to look into how music is experienced as emotional and as political action (see also James 2015).<\/p>\n

Starting points are taken in feminist theories of culture, emotion and political action (Ahmed 2004, 2010, Hemmings 2012), cultural studies of music and style (Whiteley 2000, Leonard 2007) and musicological understandings of music as resource for protest (DeNora 2001, Hennion 2015). Thus, symbolic, political and emotional dimensions of music\u2019s importance for feminist activism can be analyzed to further our understanding of the connections between politics, emotion and music, in feminist music activism today in particular.<\/p>\n

Ahmed, Sara (2004). The cultural politics of emotion<\/em>, Edinburgh: Edinburgh University Press.<\/p>\n

Ahmed, Sara (2010): The promise of happiness<\/em>, Durham: Duke University Press.<\/p>\n

DeNora, Tia (2001): \u201cAesthetic agency and musical practice: New directions in the sociology of music and emotion\u201d, In Patrik N. Juslin and John A. Sloboda (eds.), Music and emotion: Theory and research,<\/em> Oxford: Oxford University Press, 161\u2013180.<\/p>\n

Hemmings, Clare (2012): \u201cAffective Solidarity: Feminist Reflexivity and Political Transformation\u201d, Feminist Theory<\/em>, 13(2), 147-161.<\/p>\n

Hennion, Antoine (2015): The Passion for Music: A Sociology of Mediation<\/em>, Aldershot: Ashgate.<\/p>\n

James, Robin (2015). Resilience & melancholy: Pop music, feminism, neoliberalism<\/em>. Winchester, UK: Zero Books.<\/p>\n

Leonard, Marion (2007): Gender in the music industry: Rock, discourse and girl power<\/em>, Aldershot: Ashgate.<\/p>\n

Whiteley, Sheila (2000): Women and popular music: Sexuality, identity and subjectivity<\/em>, London: Routledge.<\/p>\n

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Past the Point of Representation: New Agendas in Research on Music and Gender<\/strong><\/p>\n

GeMus: Gender and Music Network Panel
\nAnn Werner, Linnaeus University, Sweden<\/em>
\nTami Gadir, University of Oslo, Norway<\/em>
\nSam de Boise, O\u0308rebro University, Sweden<\/em><\/p>\n

Gender inequalities have long been documented within and across different music spaces. Yet whilst there has been an emphasis on equality as an issue of quantitative representation, or \u2018more equal\u2019 numbers of binary genders, inequalities still persist.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Furthermore, intersectional feminist critiques have indicated that quantitative, binary measures tend to privilege white, cisgendered bodies, whilst post- and de-colonial approaches have argued that radically reforming patriarchal and colonial institutions, including greater appreciation of geopolitics, mean thinking beyond issues of quantitative representation within institutions.<\/p>\n

This panel aims to demonstrate how emerging work within cultural and gender studies can help to develop new questions around aesthetics and music practice, in tandem with analyses of intersectionally gendered inequalities. Through exploring the affective dimensions of gender, ontological questions of gendered subjectivity(\/ies) and the gendered structuring of material music environments, it aims to offer affirmative strategies for studying, analysing and transforming gender inequalities in relation to music.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Posters<\/h2>\n

Is There a \u00abMale Gaze\u00bb in Music?<\/b><\/p>\n

Rebecka Ahvenniemi, University of Bergen, The Grieg Academy<\/p>\n

Several artistic disciplines, such as visual arts and literature, have been subjected to a feminist critique in the 20th century. The concept of a \u00abmale gaze\u00bb was taken into use by the film critic Laura Mulvey 1975. Mulvey raised the question whether aesthetic ideals, for example the posture of a woman presented on a picture, were formed by males.<\/p>\n

Music as an artistic expression is still considered to some degree autonomous with respect to its aesthetic standards, uninfluenced by the gender and social background of the composer. In this poster I wish to raise the question what kind of norms, or \u00abgaze\u00bb, that are present in musical composition. Today about 16% of the Norwegian composers are women. The question about \u00abmale gaze\u00bb is important both from the perspective of gender equality and democracy in a wider sense. Who is given access to music as an art form, and on what premises?<\/p>\n

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Collecting, researching, supporting and teaching in the field of music and gender. The Research Centre for Music and Gender <\/em>in Hanover, Germany<\/strong><\/p>\n

Maren Bagge,\u00a0Hanover University of Music, Drama and Media<\/em><\/p>\n

For more than 10 years, the Research Centre for Music and Gender <\/em>in Hanover (Germany) has been researching, supporting, promoting and teaching music-related gender issues, as well as collecting related material.<\/p>\n

Key objectives include:<\/p>\n