Class Introductions

1. Introductions
2. Discussion of Paper Topic

The Woman Creator

Issues:
Fertile Soil for "Genius"and "Creativity
Eysenck, H.J. Genius: The Natural History of Creativity: Chapter One: "The Nature of Genius"
Battersby, Christine. Gender and genius : towards a feminist aesthetics" London : Women's Press, 1989.

Objectives of a bibliography of an extraordinary women:
Solie, Ruth A. Review: Nancy B. Reich Clara Schumann: The Artist and
the Woman. 19th Century Music vol 10 1886-86 pp. 74-80. Gender and the Musical Canon:
Citron, Marcia J. Gender and the Musical Canon. Cambridge University Press, 1993 Chapter One "Creativity"

Success as a Creator
Block, Adrienne Fried. "Why Amy Beach Succeeded as a Composer: The Early Years." Current Musicology 26 (1983), 41-59.

McClary, Susan. Feminine Endings. Minneapolis: University of Minnesota Press 1991. Chapter One
This is the Class Textbook

Hildegard von Bingen

Guest Lecturer Dr. Lange of Youngstown State University

Readings:
Holloway, Julia Bolton. "The Monastic Context of Hildegard's Ordo
Virtutum." in The "Ordo virtutum" of Hildegard of Bingen : critical
studies edited by Audrey Ekdahl Davidson,
Kalamazoo, Mich.: Medieval Institute Publications, Western Michigan
University, 1992.

Bent, Ian and Pfau, Marianne. "Hildegard von Bingen." New Grove
Encyclopedia of Music and Musicians. Ed. Stanley Sadie. 2nd ed. London"
Macmillan 2001. Pp. 493-499

Film: Title Hildegard of Bingen, "Ordo virtutum" (in English and Latin) Publisher Petri/Visser (Amsterdam) via Qualiton Imports (New York) 1997 (69 min. 30 sec - 1/2 in. videocassette

Film: Radiant Life: Meditations and Visions of Hildegard of Bingen

Free Concert
Philadelphia Baroque, a new French Baroque chamber music at Temple University's Rock Hall at 3 p.m
includes music of Elizabeth Jacquet de La Guerre, and others

Topic 1: Isabella D'Este: Linda Sowers
3 Short Topics PATTY VESPER (Girl Groups in Transition, OPIE MESSINGER (Women Jazz Instrumentalists)

Newcomb, Anthony. " Courtesans Muses or Musicians: Professional Woman Musicians in Sixteenth Century. " P. 90-115 Italy, in Bowers, Jane. Women making music : the western art tradition, 1150-1950 / edited by Jane Bowers and Judith Tick Urbana : University of Illinois Press,
c1986. Camden ML82.W67 1986 (on electronic reserve)

Readings: Prizer, William F. "Isabella d'Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara JAMS 38 (Spring) (on electronic reserve)
1985, 1-33

Reading: Joan Kelly, "Did Women Have a Renaissance?" in Renate Bridenthal Becoming Visible HQ 1588 B 43 1987 (on electronic reserve)

Film: Isabella d'Este: First Lady of the Renaissance

Questions for Discussion
1)Did women have a Renaissance in music?
2 ) the political and social climate in different parts of Europe at different times, and its influence on the ability of women to engage in music making, sacred or secular
3) the possible effect of musical notation, and the consequent need for more formalized training, on women's activities as performers and composers,
4)What was happening in society and politics that might have inhibited women as creative artists in music?
5) How and why did marginalized women find ways to be creative?
6) What impact did the new humanistic concept of "genius" have on women as creators of artistic "works?"

Early Baroque (Erasing the Boundaries Between Public and Private Performance Traditions)
Topic 1.) Francesco Caccini Peggy Gorman
Topic 2.)Barbara Strozzi
Topic 3.) Early Opera Heroines

READINGS:
Glixon, Beth L. "Private Lives of Public Women: Prima Donnas in Mid-Seventeenth Century Venice." Music and Letters 76 (1995), 509-31

Rosselli, John "From princely service to the open market: Singers of Italian opera and their patrons, 1600-1850" Cambridge Opera Journal.

Rosand, Ellen. "Barbara Strozzi, virtuotissima cantatrice: The Composers's Voice", JAMS XXXI, 1978 p. 241-281

Zeitlin, Judith T. Francesca Caccini: "A Soprano Subjectivity: Vocality, Power, and the Compositional Voice of Francesca Caccini" in Crossing boundaries : attending to early modern women / edited by Jane
Donawerth and Adele Seeff ; Newark [Del.] : University of Delaware Press London : Associated University Presses, c2000 (on reserve)

Post, Jennifer. Erasing the Boundaries between Public and Private in Women's Performance Traditions from Cook, Susan C. (ed) Cecilia reclaimed : feminist perspectives on gender and music / edited by Susan
C. Cook and Judy S. Tsou ; foreword by Susan McClary. Urbana : University of Illinois Press, c1994. Van Pelt Library ML82 .C42 1994

Discussion points:
1.) What impact did the evolution of music drama have on women as performers?
2.) What social and political changes facilitated the increased activity of women as musicians and composers?
3.) How important were women as patrons of music?
4.) Women in musical families: what advantages/disadvantages did they have?
5.) What kinds of women were represented in these 17th-century operas?

Free Concert
Tempesta di mare: St Marks Church
215-339-4067

Baroque: Education of Extraordinary Musical women: Venetian Ospedali and Court of Louis XIV

Topic 1: Elizabeth Jacquet de la Guerre: Famous women composer at the Court of Louis XIV Dominick Rota

Topic 2: The Education of Extraordinary Women: The Venetian Ospedali: Opie Messenger

Reading:
Berdes, Jane L. "Anna Maria della Pieta: The Woman Musician of Venice Personified" in Cook, Susan C. (ed) Cecilia reclaimed : feminist perspectives on gender and music / edited by Susan C.
Cook and Judy S. Tsou ; foreword by Susan McClary. Urbana : University of Illinois Press, c1994.

E. Borroff: "An Introduction to Elisabeth-Claude Jacquet de La Guerre" (Brooklyn, ny, 1966) (on reserve)

Discussion Points
1.) Discuss women's education and the impact on their participation in music?
2.) Was the issue of youth chastity and secretiveness in the Popularity of the Venetian Ospedali
3.) Of what importance is the familial role model?

Topic 1: The Rise of the Divas in Handel Opera: Faustina Bordoni Hasse and Francesca Cuzzoni:
Qiana Murray: Divas

Topic 2: The Role of the Impresario in the Creative and Hiring Process Kerry Meehan:

Lecture 8 p.m. Round table discussion: Tamara Woitas, Andrew Willis and Julianne 'Baird: "Traditions of Women's Performances of Schubert's Die Winterreise."

Rosselli, John "The Opera Industry in Italy from Cimarosa to Verdi The Role of the Impresario." Cambridge University Press 1984

Reading: "Francesca Cuzzoni and Faustina Bordoni: The Rival Queens" in LaRue, C. Steven. Handel and his singers : the creation of the Royal Academy operas, 1720-1728 Oxford : Clarendon Press ; New York : Oxford University Press, 1995. (electronic reserve0

Dean, Winton/Vitali, Carlo "Francesca Cuzzoni " New Grove Encyclopedia of Music and Musicians. Ed. Stanley Sadie 2nd ed. London" Macmillan 2001. p. 794-796.

Dean, Winton. "Faustina Bordoni (Hasse) " New Grove Encyclopedia of Music and Musicians. Ed. Stanley Sadie. 2nd ed. London" Macmillan 2001. p. 894-895

"Singers and the Creative Process." Hurley, David Ross, Handel's muse : patterns of creation in his oratorios and musical dramas, 1743-1751 Oxford ; New York : Oxford University Press, 2001. pp. 250-265

Discussion points:
1.) What kinds of women were represented in these 18th-century operas?
2.) 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?
3.)What was the role of the Impresario in Scheduling and Paying the Diva
4.)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.

Free Concert at Rutgers-Camden, FA Bldg, Mallery Room
Women Singing Men's Music

Performance of Schubert's Die Winterreise with Dr. Andrew Willis

Power and Class:
Critical Perception and the Woman
Composer: Fanny Hensel (Mendelssohn and Clara Schumann): Issues of Class and Necessity

Topic 1.) Clara Schumann: Isabel Dawson
Topic 2.) Fanny Mendelssohn Hensel: Jim Talib

Citron, Marcia J. "Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer. Current Musicology 37/38 (1984) 9-17 Electronic 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

Reich, Nancy B. "The Power of Class: Fanny Hensel" Mendelssohn and His World ed . R. L. Todd Princeton 1991. 86-99 (electronic reserve)

Burton, Anna M, MD, "A Psychoanalyst's View of Clara Schumann from Psychoanalytic Explorations in Music: second series / edited by Stuart Feder, Richard L. Karmel, George H. Pollock. Madison, Conn. :
International Universities Press, c1993. P. 97-113. (electronic reserve)

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. Electronic Reserve

Schumann, Robert. "Review of Clara's Music" September 12, 1837 Neue Zeitschrift für Musik (electronic reserve)

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

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

October 29st

Chopin the Nocturne and Feminine in Music: Patty Vesper

8. p.m. Performance of "Jane Austen Songbook" Theresa Klinefelter, piano: Julianne Baird Soprano

Kallberg, Jeffrey, Chopin at the boundaries : sex, history, and musical genre. Cambridge, MA: Harvard University Press, 1996.
ML410.C54 K16 1996 (electronic reserve)

Kallberg, Jeffrey. The Harmony at the Tea Table: Gender and Ideology
in the Piano Nocturne. Representations Summer 1992 p. 102-133
(electronic reserved)

Discussion Points:
1.) Was the "sensitive artist" equivalent to a "feminized male?
2.) Why is genre a key issue in looking at the works of women composers?
3.) Is there a feminine aesthetic in Music?
4.) The emerging importance of the piano in the musical lives of women.

Female Musical Genres:
Topic: The Mad Scene in Opera: a female genre Tamara Woitas

SHORT TOPICS: James Gerety (Blues Singers of the 20's and 30's) Peggy Gorman, (Madonna) Tina Cressman: (Ruth Crawford Seeger); Linda Sowers: (Women's changing role in rock since the 1960's)

Readings: McClary, Susan. Feminine Endings. Minneapolis: University
of Minnesota Press 1991. Chap. 4: "Excess and Frame: The Musical Representation of Madwomen."

Rosand, Ellen. "Operatic Madness: A Challenge to Convention." Music and Text: Critical Inquiries, ed Steven Paul Scher, 241-287. NY" Cambridge University Press, 1992.

Pitfalls facing the modern woman conductor?

Bizet's Carmen
Topic 3) Jan Le Cates: Viola
Short Topic) Jim Talib: Women in Rap
Ellen Taafe Zwillich and Joan Tower: Success as a 20th and 21st Century Composer.

Reading: Ellen Taafe Zwillich See: (Neuls-Bates, ch. 52; Jezic and Wood, Part Five)

Topic 1.) Gender in Mozart Operas Don Giovanni and Cosi: Jim Gerety
Topic 2.) Constanze Mozart: Tina Cressman
McClary, Susan. Georges Bizet, Carmen. Cambridge: New York: Cambridge
University Press, 1992. ML 410. B62 M25 1992

Short Topic

Qiana Murray (Women in gospel) Jan Le Cates Viola ( Chen LI Chinese) Kerry Meehan: Contemporary Women Conductors; Isabel Dawson : 1960's African American Classical composers
Nichols, Janet. Women Music Makers: An Introduction to Women Composers. New York: Walker, 1992. [Describes the lives and accomplishments of ten women composers who challenged opposition because of their gender, including Barbara Strozzi -- Fanny Mendelssohn Hensel -- Clara Schumann -- Ethel Smyth -- Amy Beach -- Florence Price -- Vivian Fine -- Joan Tower -- Ellen Taaffe Zwilich -- Laurie Anderson.]

Nochlin, Linda "Why have there been no great women Artists ND 1460. W 63 1999.

Music and the Lady: Domestic Music of the Late 18th Century and early 19th century: the treatment of music in the novels of Jane Austen. Dr. Lange (visiting lecturer)

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

Piggott, Patrick, The innocent diversion : a study of music in the life
and writings of Jane Austen. London : D. Cleverdon, 1979.

Topics for Discussion:
1.) The emerging importance of the piano in the musical lives of women.
2.) How did the role of women in music reflect the changing
intellectual climate of the Enlightenment?