TEXTS:
Jezic, Diane Peacock, and Elizabeth Wood.  Women Composers:   The Lost Tradition Found, 2nd. ed.     New York: The Feminist Press at the City University of New York, 1994
 
McClary, Susan.  Feminine Endings:  Music, Gender and Sexuality.  Minnesota: University of Minnesota  Press, 1991.
 
COURSE OBJECTIVES:  MUH 5000 is a survey of the contributions of women composers from antiquity through the present.  It is designed to cover the following areas:
 1.  Issues in feminist musicology
 2.  The historical context of women in music
 3.  The style and output of selected significant women composers

COURSE PROCEDURES:  Class sessions will be devoted to lecture, discussion, and demonstration of musical examples by sound recordings, videotapes, and musical scores.  Students will be expected to read the appropriate sections of text and reserve materials before lecture sessions.  Course content will not follow the text exclusively, and will contain information which is not in the text; therefore, regular attendance will be necessary for comprehension of the subject matter and will be required.
 Two exams will be given during the course, amid-term and a final.  Exams will consist of announced essay questions and listening examples.  Listening selections will be made available on cassette tapes and will be placed on reserve in the Department of Music office.
 In addition, students will be required to submit a research project, 12-15 pages in length, dealing with some aspect of women composers and their music.  This paper may be historical, analytical, or a combination of both.  Papers will be graded on content, bibliographic form and documentation, and clarity and quality of writing.  The topic of the project must be approved by Dr. Keaton.   The final grade will be determined by the average of the two exam grades and the grade on the research project.  Class participation and preparation may also be considered in the final grade.

Grading scale: 93-100 = A,  90-92 = A-, 87-89 - B+, 83-87 = B, 80-82 = B-, 77-79 = C+, 70-76 = C, 67-69 = C-, 66-67 = D+, 63-65 = D, 60-62 = D-, 59 or below = F

CLASS SCHEDULE
Week 1:   Introduction and rationale.  Context of historical musicology.  Women in the Western musical tradition.   (McClary, ch.1 and 3; Jezic and Wood, Introduction)

Week 2:    Issues in feminist musicology -- Gender issues and music.  (McClary, ch. 2, 4, and 5; van der Velt)

Week 3:    The Western musical canon and its ongoing reassessment.   (Citron, ch. 1 and 6)

Week 4:    Medieval music: Hiledgarde and the Trobaritz tradition (Jezic and Wood, Part One)

Week 5: Late Renaissance/Early Baroque: Francesca Caccini, Barbara Strozzi, Isabella Leonarda, Elisabeth-claude Jacquet de la guerre (Jezic and Wood, Part One; McClary, ch. 2)

Week 6: Classical Period: Anna Amalia, Princess of Prussia; Anna Amalia, Duchess of Saxe-Weimar; Maria Theresia von Paradis (Jezic and Wood, Part Two; McClary, ch. 3)

Week 7:   Early Romantic Composers:   Louise Reichardt, Fanny Mendelssohn Hensel, Clara Schumann, Josephine Lang, Pauline Viardot-Garcia (Jezic and Wood, Part Three)

Week 8:   MID-TERM EXAM DUE The turn of the century: Cecile Chaminade, Lili Boulanger, Rebecca Clarke (Jezic and Wood, Part Four)

Week 9:   The turn of the Century, cont.: Amy Marcy Cheney Beach, Ethel Smyth (Jezic and Wood, Part Four)

Week 10: Twentieth-Century composers: Germaine Tailleferre, Ruth Crawford-Seeger, Elizabeth Lutyens (Neuls-Bates, ch. 48-49)

Week 11:    Twentieth-Century composers, cont.: Nancy van de Vate, Janika Vandervelde, Judith Lang Zaimont, Barbara Kolb, Pauline Oliveiros (Neuls-Bates, ch. 50; Jezic and Wood, Part Five; McClary, ch. 5)

Week 12:  Twentieth-Century composers, cont.: Ellen Taaffe Zwillich, Joan Tower, Shalumat Ran (Neuls-Bates, ch. 52; Jezic and Wood, Part Five)

Week 13:   Twentieth-Century composers, cont.: Meridith Monk, Laurie Anderson (McClary, ch. 6)

Week 14:   FINAL EXAM DUE   A reconsideration of the canon and gender issues in music.
 

 BIBLIOGRAPHY

Barkin, Elaine.  "either/other," Perspectives in New Music XXX/2 (1992), 206-233.

Citron, Marcia J.  Gender and the Musical Canon.  New York: Cambridge University Press, 1993.

Cohen, Aaron I., ed.  International Encyclopedia of Women Composers, 2nd ed.  New York: Books and  Music, USA, Inc., 1987.

Cusick, Suzanne.  "Feminist Theory, Music Theory, and the Mind/Body Problem," Perspectives of New  Music XXXII/1 (1994).

Guck, Marion.  "A Woman's (Theoretical) Work," Perspectives of New Music XXXII/1 (1994).

Higgins, Paula.  "Women in Music, Feminist Criticism, and Guerrilla Musicology:   Reflections on Recent  Polemics," 19th-century Music XVII/2 (1993), 174-192.

Hixon, Don L. and Don A. Hennessee.  Women in Music: An Encyclopedic Biobibliography, 2nd ed.  New  Jersey: The Scarecrow Press, Inc.  1975.

Jezic, Diane Peacock, and Elizabeth Wood.  Women Composers:   The Lost Tradition Found, 2nd. ed.     New York: The Feminist Press at the City University of New York, 1994

Kielian-Gilbert, "Of Poetics and Poiesis, Pleasure and Politics -- Music Theory and the Modes of the  Feminine," Perspectives of New Music XXXII/1 (1994).

LePage, Jane Weiner.  Women Composers, Conductors and Musicians of the Twentieth Century: Selected  Biographies.  3 vols.  London: The Scarecrow Press, Inc., 1988.
 
McClary, Susan.  Feminine Endings:  Music, Gender and Sexuality.  Minnesota: University of Minnesota  Press, 1991.

_____.  "Paradigm Dissonances: Music Theory, Cultural Studies, Feminist Criticism," Perspectives of New  Music XXXII/1 (1994).

_____.  "A Response to Elaine Barkin," Perspectives of New Music, XXX/2 (1992), 234-239.

Neuls-Bates, Carol, ed.  Women in Music: An Anthology of Source Readings from the Middle Ages to the  Present, rev. ed.  Boston: Northeastern University Press, 1996.

Neuls-Bates, Carol and Adrienne Fried Block.  Women in American Music: A Bibliography of Music and  Literature.  Connecticut: Greenwood Press, 1979.

Reich, Nancy B.  Clara Schumann: The Artist and Woman.  Cornell: Cornell University Press, 1985.

Sadie, Julie Ann and Rhian Samuel, ed.  The Norton/Grove Dictionary of Women Composers.  New York:   W.W. Norton & Co., Inc., 1994.

Sayrs, Elizabeth.  "Deconstructing McClary: Narrative, Feminine Sexuality, and Feminism in Susan McClary's Feminine Endings," College Music Society Symposium XXXIII/XXXIV (1993/94), 41-55

Smyth, Ethel.  The Memoirs of Ethel Smyth, ed. Ronald Crichton.  New York: Viking Penguin, Inc., 1987.

Solie, Ruth A., ed.  Music and Difference: Gender and Sexuality in Music Scholarship.  Berkeley: The  University of California Press, 1993.

_____.  "What Do Feminists Want?  A Reply to van den Toorn," The Journal of Musicology IX/4 (1991),  399-410.

Stewart-Green, Mireiam.  Women Composers: A Checklist of Works for the Solo Voice.  Boston: G.K. Hall  & Co., 1980.

van de Vate, Nancy.  "Gender Issues in Music: a Composer's Perspective."  MS of paper given at the College  Music Society International Conference, Vienna, 1997.

van den Toorn, Pieter C.  "Politics, Feminism, and Contemporary Music Theory," The Journal of   Musicology IX/3 (1991), 275-99.
 

TOPIC:  Due within one month of the first day of class.  Your topic should ideally have some relevance to your major field of study, although this is not a requirement.  A voice major, for instance, may choose to study the vocal works of a particular composer; or perhaps a single major work or group of works, such as opera, mass, or art song.

CONTENT REQUIREMENTS:  All papers must include a title page and bibliography.  The required length will be announced in your course syllabus.  All papers are required to include at least six sources, one of which must be from The New Grove Dictionary of Music and Musicians.  The main text will be typed, double-spaced.  A generalized summary of form follows:

NOTES: ALL SOURCES, NOT ONLY DIRECT QUOTATIONS, ARE TO BE ACKNOWLEDGED IN YOUR PAPER.  In general, each paragraph in a formal research paper should have a note acknowledging its source, unless the information is strictly your own, as in an introduction or summary.  If the information in a paragraph is taken from two or more sources, each must be acknowledged (though only a single source is necessary for each idea).

 To acknowledge the source of your information, cite the author's last name and the page(s) from which the information was taken.  The note will be enclosed in parentheses and will be located immediately following the sentence or paragraph in which the information was presented.  For example, to acknowledge information found in The Classic Style by Charles Rosen, on pp. 250-252, use the following form:

 ...the use of a double ending of the exposition of the first movement of K.491 (Rosen, 250-252).

 If there is more than one source by the same author in your bibliography,  distinguish among the sources by including the date of publication.    For example, if you used four sources in your bibliography by Charles Rosen, and this particular idea was taken from a source published in 1986, use the following form:

 ...of K.491 (Rosen, 1986, 250-252).

DIRECT QUOTATIONS: Direct quotations of more than a line or two should be set off from the text by single spacing and an indentation of five spaces from both right and left margins.  Avoid too heavy a reliance on short quotations; these are almost always better paraphrased.
 

MUSICAL EXAMPLES/ILLUSTRATIONS:  Each example should follow its reference in the text, where practical, and should be numbered, identified as to its source (work, movement, and measure number in the case of a musical example; bibliographic source or model in the case of an illustration).   The identification should precede the example, which should be set off by triple spacing.  Be sure to leave adequate room to paste in the example.  For example:
 

 Ex. 1.  Bach, Goldberg Variations, var. 3, mm.9-11.
 
 
BIBLIOGRAPHICAL ENTRIES:  Entries should be single-spaced, and arranged in alphabetical order.  Cite the author's last name first, then first name (in the case of multiple authors, subsequent names should be arranged with the first name first, then last name).  The first line will not be indented, and all subsequent lines will be indented by five spaces.  You should include in your bibliography all works which are cited directly in your text, and also any source which has been helpful when consulted, whether it was directly cited or not.   Follow the following formats:

A.  For a book:

Staler, Ilona.  Music in the Middle Ages, 2nd. ed., tr. Francesca Scala.  New York:  W.W. Norton & Co.,  1940.

B.  For an article in a reference work:

O'Clytemnestra, Ema.  "Dufay," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols.,  ed. Eric  Blom.   London:  St. Martin's Press, Inc.  1958, II, 793-795.

C.  For an article in a periodical:

Quayle, J. Danforth.  "The Castratoe in 18th Century Opera:  an Overview,"  Modern Music III/1   (Jan.  1926),  3-9.

 Note that books are to be underlined (or italicized, if you are working with a word processor with that capability), while sections of books are placed in quotation marks.  This same principle holds when referring to musical works:  large works are to be underlined, while sections of those works are placed in quotation marks.  For example, a reference to "Eusebius" from Schumann's Carnaval.

DUE DATE:  ALL PAPERS WILL BE DUE WITHOUT EXCEPTION ON THE DATE SPECIFIED IN YOUR SYLLABUS.  Late papers will be penalized by one letter grade per week.