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:
- S.G.
Cusick, “Thinking from Women’s Lives:”Francesca Caccini after
1627,” MQ 77 (1993), 484-507 (electronic reserve)
- S. G. Cusick:
‘Of Women, Music and Power: a Model from Seicento 281-304 Florence’
(paper reserve)
Suggested Reading:
- Roselli,
John. "From Princely service to Open Market: Singers of Italian
Opera and their patrons." Part I (electronic reserve)
- Roselli,
John. "From Princely service to Open Market: Singers of Italian
Opera and their patrons." Part II (electronic reserve)
- Musicology
and Difference, ed. R. Solie (Berkeley, Los Angeles, and London,
1993) 484-507 (paper Reserve)
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
|