Gender, Professionalism and the Musical Canon

Citron, Marcia J.

doi:10.1525/jm.1990.8.1.03a00050

Cited by 15 publications

(12 citation statements)

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“…Women faced this disadvantage because education was usually only provided for men in European patriarchal society. 105 Second, women composers rarely got their music published.…”

Section: Reitsma a New Approachmentioning

confidence: 99%

“…Citron states this was a reality because publishing houses did not want to risk losing money since music written by women was not very popular. 106 Third, women in most cases were denied musical employment. In the European patriarchal society, women were expected to become submissive wives and devoted mothers.…”

Section: Reitsma a New Approachmentioning

confidence: 99%

“…107 Those women who were employed musically were usually part of the social elite. 108 The fourth reason Citron states is many women "have felt compelled to conceal their femaleness and assume authorship under a neutral or masculine identity." 109 Women could either use a pseudonym, use their own name, use their maiden name, or remain anonymous.…”

Section: Reitsma a New Approachmentioning

confidence: 99%

“…117 According to Citron, all of these five factors have prevented any attempt to integrate women's musical work into the male-homogenous canon. 118 With her methodological approach, Marcia J. Citron also made great advances in the field of feminist musicology during the feminist academia boom. She took a more careful route in her feminist research than did McClary.…”

Section: Reitsma a New Approachmentioning

confidence: 99%

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A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron

Reitsma¹

2014

jmo

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Part of the Musicology Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees.

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“…Women faced this disadvantage because education was usually only provided for men in European patriarchal society. 105 Second, women composers rarely got their music published.…”

Section: Reitsma a New Approachmentioning

confidence: 99%

Section: Reitsma a New Approachmentioning

confidence: 99%

Section: Reitsma a New Approachmentioning

confidence: 99%

Section: Reitsma a New Approachmentioning

confidence: 99%

See 2 more Smart Citations

A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron

Reitsma¹

2014

jmo

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“…Music -and here I refer to academic or experimental music -has also received attention in recent years. Particular attention has been given to the study of gendered roles, expectations, possibilities and differences for musicians (Spiegel 1981, McClary 1991, Citron 1993, Sayrs 1993/1994, Macarthur and Poynton 1999, Hisama 2001, Dibben 2002, McClary 2002, Macarthur 2002, O'Neill 2002. This, then, is also intersected with the technology aspect in the study of computer music compositions (McCartney 1995, Simoni 1995, Dusman 2000, McCartney 2000.…”

Section: Background and Related Workmentioning

confidence: 99%

On gender in new music interface technology

Essl

2003

Org. Sound

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Gender is a category that is mostly unexplored in the field of new music interface technology. This paper explores some aspects of gender within the field. First, it studies the academic literature of the last five years with regard to the gender of the participants and the gender awareness of its content. Men are found to outnumber women in the field. The inspection of the literature shows a marked absence of documented gender awareness in the field. Then, the paper explores gender in new music interface technology performances of the last five years: two by male and two by female performers. It is discussed how they individually and in their cross-relationship speak to gender constructions. The analysis suggests that female performances seem to speak to gender issues whereas male performances seem to show an absence of gender as category. Finally, a further device is contrasted with these performances. I suggest that this technology is of particular interest for the artistic exploration of gender by making the body the recipient of performance.Organised Sound 8(1): 19-30 

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Clara Wieck Schumann: Art of Preluding Mo-Ah Kim pf CD Baby 2353004X, 2019 (1 CD: 35 minutes). $21.69 - Clara Schumann: Romance – The Piano Music of Clara Schumann Isata Kanneh-Mason pf, Jonathan Aasgaard cond. Royal Liverpool Philharmonic Orchestra Decca 4850020, 2019 (1 CD: 76 minutes), $13.95

Martins

2023

Nineteenth-Century Music Review

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Philharmonic Orchestra, form part of a welcome re-appreciation of Clara Schumann's work as performer, composer and educator. 1 These discs contribute richly to the serious, sustained effortspurred on by the two-hundredth anniversary of Schumann's birth in September 2019to expand our understanding of her work through dialogues across performance, musicology and pedagogy. This allows us to learn more about Clara Schumann and to understand the vital role she played in the development of pianism, with its multifaceted richness, in European classical music.Clara Schumann was the daughter of Friedrich Wieck (1785-1873, originally a household tutor who, despite being mostly self-taught in music, 2 developed a highly sophisticated pedagogical system for teaching piano), and Marianne Wieck, née Tromlitz (1797-1872, a soprano soloist and pianist with the Leipzig Gewandhaus). We cannot determine how much Marianne Wieck's skills in both areas of piano and singing might have influenced the young Clara, as the Wiecks divorced when she was only four and a half years old, andin accordance with Saxon lawher father became her sole legal guardian from when she was five. 3 However, we do know that the importance of piano tone, especially the 1 For more on Clara Schumann's role as an educator see Natasha Loges, 'Clara Schumann's Legacy as a Teacher',

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Gender, Professionalism and the Musical Canon

Cited by 15 publications

References 0 publications

A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron

A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron

On gender in new music interface technology

Clara Wieck Schumann: Art of Preluding Mo-Ah Kim pf CD Baby 2353004X, 2019 (1 CD: 35 minutes). $21.69 - Clara Schumann: Romance – The Piano Music of Clara Schumann Isata Kanneh-Mason pf, Jonathan Aasgaard cond. Royal Liverpool Philharmonic Orchestra Decca 4850020, 2019 (1 CD: 76 minutes), $13.95

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