50:525:121 27766 Gender in Music for Honors College
FALL 2003 Julianne Baird
MW 1:20- 2:40
Fine Arts Building Room 215

Email: jbaird@camden.rutgers.edu
Telephone: 856-225-6210
Office hours: MW 12-1:00 pm and Mondays 9-10


This course will examine the role of gender in music, including its effects on music history, analysis, and performance. In addition, the study of selected musicians and the impact of social and cultural conditions affecting those musicians will be examined. Members of the class will be expected to read and listen to all assigned materials and to participate in the discussion of specific topics as outlined in the syllabus. In addition to weekly assignments, there will be two projects--- a larger term project (30%--15% presentation--15% paper) which is subsequently presented as a paper, and a smaller topic (20 minute) presentation (no paper) on a 20-21st century topic (10% of the grade) The final, which will consist of a listening (I.D) exam will be worth 40%. Attendance is mandatory and will effect your grade. (3 missed classes max.)

Tentative Course Schedule

Wednesday, September 3

I. .Discussion of the Syllabus and Course Requirements

II. Assignment of Mini topics for presentation (Sept 8) by the Students

Individual Mini- Topics to be discussed from Hans Eysenck, Genius: The Natural History of Creativity.

Each Student reads his/her section for oral report on Short Topics for 9/8 (below)

  • Popular Concepts of Genius 11-13
  • Genius and Heredity 13-17
  • Genius and Socio-Economic Status 126-127
  • Agreement on who is a Genius 26-31
  • Genius and Madness 17-19
  • The Growth of a Concept 12-13
  • Genius and Gender (127-130)
  • the Season of Birth p. 144-146
  • Genius as Eminence or Fame (19-23)
  • The Age Factor-138-144
  • Genius and Fraud 154-157
  • The Empirical Quest 23-26 ;
  • Other Feature of Genius 39-40
  • Genius and Zeitgeist 41- 43;
  • Genius and the Problem of Continuity p. 31-36 (and Lifespan)
  • Creativity as trait and achievement p. 36-38
  • Motivation and will 146- 154)


Introduction to Gregorian Chant and Music of the Medieval Era;

How to Download Electonic Reserve Materials

Power Point Demonstration on Women Composers


Required Reading
:

Monday, September 8th

Making Music in Convents
Music of the Church/Monastery and Convent: Gregorian Chant

Student Mini-presentations from Eysenck: The Natural History of Creativity

Required Reading:

  • Yardley : “Ful wel she soong the service dyvyne. pp “The Cloistered Musician in the Middle Ages” (paper reserve)
  • Coldwell: Secular Musicians in Medieval France pp. (paper reserve)

Listening:

Film: Ordo Virtutem

Topics for Discussion

  • The political and social climate in different parts of Europe at different times, and its influence on the ability to engage in sacred music making.
  • The possible effect of musical notation and need for formalized training on activities as performers and composers
  • Which of the divine services differed between monastery and convent.
  • What advantages might a woman from a wealthy family gain upon entering a convent?
  • In what ways does Hildegard’s music differ from Gregorian chant?
  • What were the two stereotypes of women as promoted by the church?

Monday, September 15

Secular Medieval Music and Courtly Love:
Music of the Troubadours and Trobaritz

Topics for Discussion

  • The political and social climate in different parts of Europe at different historical periods, and its influence on the ability of women to engage in secular music making.
    • What level of education was the noblewoman afforded in medieval France?
    • Was there a prejudice against women making music at this time?
  • The stylized language of the trobairitz.
    • What sorts of texts are written by troubadours and trobairitz.
    • Similarities and differences


Required Reading:

Listening:

Comtessa de Dia, A Chantar
Maroie de Dregnau de Lille, Mout m'abelist quantje voirevenir
Dame Margot and Dame Maroie, Je vous pri Dame Maroie
Blanche de Castille, Amours u trop tart me sui pris
A chanter m’er Comtessa de Dia
Kalenda Maya
Film on Hildegard

Wednesday, September 17

Women's Renaissance in Music: Greater or fewer freedoms?

Reading:
Joan Kelly-Gadol: "Did Women have a Renaissance in Music?" (electronic reserve)

Topics for Discussion

  • What was happening in society and politics that might have inhibited women as creative artists in music?
  • Contrast Capellanus with Castiglione.
  • Does lack of physical evidence imply inactivity?
  • How and why did marginalized women find ways to be creative?
  • What impact did the new humanistic concept of genius have on women as creators of artistic works?
  • How important were women as patrons of music?

Listening:

  • Luzzaschi/ Forms Frottole, madrigal/ motet mass
  • Music of Abusers and Wife murderers: Tromboncino and Gesualdo
  • Forms: Mass Motet/Frottola/ Madrigal

Film: Isabella D’Este

Monday, September 22

Introduction to the Baroque:
Claudio Monteverdi, Giulio Caccini and daughter Francesca Caccini

Forms to be studied: continuo/ ground bass/ forms/ opera

PAPER TOPIC: Francesca and Giulio Caccini and the Advent of Opera)

Reading for the Class:

Topics for Discussion

  • What impact did the evolution of music drama have on women as performers
  • What social and political changes facilitated the increased activity of women as musicians and composers
  • Women in musical families: What advantages/disadvantages did they have?

Wednesday, September 24

The Cantata

PAPER TOPIC: Were these the Women Who Had it ALL?--Barbara Strozzi, courtesan and published composer

Required Reading:

Film: The Honest Courtesan

Topics for Discussion:

  • What was the significance of private versus public Music Making?

Suggested Reading:

  • Linda Phyllis Austern, Sing again Syren: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature.” Renaissance Quarterly 42 (1989) 420-48.
  • Rosand, Ellen. “The Voice of Barbara Strozzi”, Women Making Music, ed. J.M. Bowers and J. Tick; p. 168-190.Champagne-Urbana, Ill.: University of Illinois Press, 1986. ISBN 252012046 (paper reserve)
  • Beth L. Glixon “Private Lives of Public Women: prima Donnas in Mid-Seventeenth-Century Venice, Music and Letters 76 (1995) 509-31 (Paper or E reserve)
  • Glixon, Beth L. “New Light on the Life and Career of Barbara Strozzi.” The Musical Quarterly 81 1997 , 311-335.
Monday, September 29

LISTENING:
The Class will be divided into Three Groups--Each one will listen to one of the following operas and report on it to the rest of the Class. Expect to play for the class 2-4 excerpts from the opera

Suggested Reading:

  • McClary, Susan Feminine Endings Chapter 2 "Constructions of Gender in Monteverdi's Dramatic Music" pp. 35-52 (paper reserve)

Montevedi: L’Incoronazione di Poppea
Purcell: Dido and Aeneas-- (Mark Morris Dance Group)
Monteverdi Orfeo

Topics for Discussion:

  • What kinds of women were represented in these 17th century operas?
  • What kinds of men?
  • What stereotypes are found?
  • What effect, if any, does the use of castrati have on our perceptions of characters?
  • What impact would this practice possibly have on female performers and performances?


Wednesday, October 1

Viewing of the Film: Farinello

Monday, October 6

"Warbling Eunuchs"
“Presentation of Music and the Life of The REAL Farinello (Carlo Broschi)

Required Reading:

  • Harris, Ellen, “Twentieth-Century Farinelli, “The Musical Quarterly 2/2 81 (1997) 180-189.

Suggested Reading:

  • John Roselli, “The Castrati as a Professional Group and a Social Phenomenon, 1550-1850,” Acta Musicologica 60 (1988) 143-179.
  • Joke Dame, “Unveiled Voices: Sexual Difference and the Castrato,” in Phillip Brett, Elizabeth Wood, and Gary C. Thomas, eds., Queering the Pitch: The New Gay and Lesbian Musicology (New York and London: Routledge, 1994, 139-153
  • Thomas McGeary, “Warbling Eunuchs”: Opera, Gender, and Sexuality on the London Stage, 1705-1742,” Restoration and Eighteenth Century Theatre Research 7 (1992), 1-22

Topics for Discussion:

  • What kinds of women were represented in these 18th-century operas?
  • What effect, if any, does the use of castrati have on our perceptions of characters?
  • What impact would this practice possibly have on female performers and performances?
  • What was the role of the Impresario in Scheduling and Paying the Diva/Divo
  • What was the role of the high voice in relation to uncastrated male artists in Baroque Opera "Castrato," in The New Grove Dictionary of Music and Musicians.
Wednesday, October 8
William Carr, pianist---
FREE Wednesday Concerts
for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm
Wednesday, October 8

PAPER TOPIC:
Bizet’s Carmen (Venus) versus Azucena (Witch)
Depictions of Female Stereotypes in Opera—

Musical/Dramatic Renditions of Female Stereotypes:

The Witch --Berlioz Symphonie Fantastique/ Azucena( witch gypsy mad)
The Mad Woman --Lucia’s Mad Scene and Purcell Mad Songs
The Virgin --Carissimi Jepthe
The Gypsy --Carmen
Nymphomaniac --Salome-
Medea--Witch
Virgin Mary --Pergolesi's Stabat Mater)
Eve--Haydn
Berlioz: Symphonie Fantastique
Machaut/ Troubadours . . .Courtly Love

Monday, October 13

The Right Place at the Right Time

PAPER TOPIC:
Venice and The Extraordinary Education of Orphaned Girls :
The Venetian Ospedali

Required Reading:

Music of Vivaldi/ and Hasse

Topics for Discussion:

  • What impact of women's education have on their participation in music?
  • Was there a specific musical style engendered by composers writing for the girls of the Venetian ospedali?
  • What was the definition of 'private vs public performance" with regard to the Ospedali orphans?
  • How did the Venetian system of social welfare insure that orphans were not abandoned?
  • What level of prestige did the Ospedali bring to Venice?
Wednesday, October 15
Seraphim String Quartet---
FREE Wednesday Concerts
for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm
Wednesday, October 15

Baird LECTURE: IL TROVATORE

Topics for Discussion:

  • Discuss the Verdian stereotypes of soprano Leonora and tenor Manrico (high voice!) versus the low voice attributes of Conte di Luna and Azucena.


Monday, October 20
Film of Il Trovatore
Tuesday, October 21
7:00 pm

at the
Academy of Music
in Philadelphia, PA


Guiseppe Verdi's
Il Trovatore

Il Trovatore in Philadelphia

Attendance is REQUIRED!
Transportation is PATCO High Speed Line or Private Carpool
(Note: The last stop of the PATCO Speedline brings you directly to the West side of the Academy of Music in Philadelphia.
See map: 15th-16th and Locust Streets)

EARLY STARTING TIME: 7:30 pm ----- You should be there by 7:00 pm
-- If you are late OCP does not permit late entrance to the theatre until after the FIRST ACT!
Wednesday, October 22

"Unseam'd Shakespeare" - Dr. Baird and Richard Store, Lute
FREE Wednesday Concerts
for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm

Required attendance ---class cancelled

Monday, October 27

Female Musicians in the Domestic and Public Spheres

Required Reading:

Suggested Reading:

  • Julia Eklund Koza, “Music and the Feminine Sphere: Images of Women as Musicians in Godey’s Lady’s Book, 1830-1877" Musical Quarterly 75 (1991): 103-29.
  • Burgan, Mary. "Heroines At the Piano: Women and Music in Nineteenth-Century Fiction." In The Lost Chord: Essays on Victorian Music, ed. Nicholas Temperley, 42-67. Bloomington: Indiana University
    Press, 1989. {ML285.4 .L68 1989}
  • Leppert, Richard. Music, sexism and female domesticity in Music in Image p. 28-50 (electronic reserve)
Wednesday, October 29
Rieko Aizawa, piano--Sonatas by Ludwig van Beethoven
FREE Wednesday Concerts for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm
Wednesday, October 29

Gender in Mozart Operas

PAPER TOPIC:
Gender in Mozart Operas: Don Giovanni


Don Giovanni: Rapist or Seductor/ Elvira: Honorable Woman or Stalker?


Film: Peter Sellars “Don Giovanni”

Monday, November 3

Robert and Clara Schumann

PAPER TOPIC:

Robert Schumann encouraged his wife's composition and contacted publishers for her, but his creative work took priority over hers and when he died she became the “the vessel of his music. Was her career thwarted or created thereby?

Required Reading:

Wednesday, November 5

Mark Kramer--jazz piano, bass and drums
FREE Wednesday Concerts for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm

Wednesday, November 5
Film on Clara Schumann

Film: Spring Symphony
Monday, November 10

Felix and Fanny Mendelssohn

PAPER TOPIC:
When Abraham the patriarch of the Mendelsssohn family died –Felix (the brother) as was custom assumed head of the family of his siblings and mother. Although Felix had published his sister’s Fanny’s youthful compositions under his own name he (at age 38) sought to deny the publication of her works. Set the stage for this drama.

Required Reading:

Suggested Reading:

  • Neuls-Bates, Carol (ed) Women in music : an anthology of source readings from the Middle Ages to the present . New York : Harper & Row, 1986. Women as Concert Artists and in Opera p. 89- 130 (paper reserve)
  • Citron, Marcia J. “Women and the Lied 1775-1850” in Bowers, Jane. Women making music : the western art tradition, 1150-1950. and Judith Tick Urbana : University of Illinois Press, c1986. Camden ML82.W67 1986 (electronic reserve)

Film: Peter Ustinov’s Mendelssohn OPB Wisconsin PTV / 117 Minutes.

Hensel and Schumann

Topics for Discussion:

  • How were the musical lives of these two women different?
  • What effect did their relationships with their musical partner/sibling have on their creative output?
  • What significance did their different social situations have on their careers?
  • What role did literature, and the blurring of distinctions between the arts play in the changing view of women in music?
  • Beethoven: did his shadow fall differently over women creative artists than over men in the 19th century?

Wednesday,
November 12th

RUTGERS-CAMDEN

FREE WEDNESDAY CONCERT @ 11:40 am - 2:20 pm at the Walter Gordon Theater
Madrigal Festival at the Rutgers- Camden
FREE Wednesday concerts on Campus for Extra Credit-Plus Concert Report /
Music of G.F. Handel/ Dr. Julianne Baird, soprano, Philomel Baroque and Arco Argento (Rutgers Camden Student String Group)

view and listen to performances from previous Madrigal Festivals

CLASS CANCELLED: REQUIRED ATTENDANCE AT MADRIGAL FESTIVAL

Monday, November 17
Monday November 17 Peter Ustinov Mendelssohn Film
Wednesday,
November 19

Seraphim String Quartet
FREE Wednesday Concerts for Extra Credit-Plus Concert Report
Location: Rutgers-Camden - Fine Arts Building, Mallery Room
Time: 12 noon - 1:00pm

Wednesday, November 19
Catch Up
Monday, November 24

Female Genres: Nocturne and Romance

PAPER TOPIC:
Chopin and the Nocturne: Chopin was criticized in his time for his “feminine side” Discussing the Nocturne (piano genre) place in context

Required Reading:

Topics for Discussion:

  • Was the "sensitive artist" equivalent to a "feminized male?
  • Why is genre a key issue in looking at the works of women composers?
  • Is there a feminine aesthetic in Music? If so, define.
  • The emerging importance of the piano in the musical
    lives of women.

 

Wednesday,
November 26


Thanksgiving Recess
Monday, December 1 3 Short (20 minute) Topics
Wednesday,
December 3
3 Short (20 minute) Topics
Monday, December 8 No Class
Wednesday,
December 10
CLASSES END
Friday, December 19 Final Examination: FRIDAY, 9 am - 12 noon
   

 


Go to Julianne Baird's home page: http://juliannebaird.camden.rutgers.edu

Last updated November 17, 2003