Confronting Canonicity And Promoting Diversity: Gender And Contemporary Concert Programming

面对正统性并促进多样性：性别与当代音乐会节目安排

• 批准号: 2749863
• 金额: --
• 依托单位: The Open University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2749863
• 关键词: Confronting; Canonicity; Promoting; Diversity; Gender

"The project aims to challenge the gender inequality of classical-music concert programming andinvestigate the frequent tokenism and convenience programming (where the same few women appearin concert programmes), which is leading to the canonisation of a handful of women composers thatignores the vast collection of women's music that exists beyond the few in circulation."Clara Schumann, Fanny Mendelssohn, Hildegard von Bingen. All prolific female composerswho are thankfully beginning to appear more frequently on classical music programmes - awelcome change from the overwhelming number of performances of the male heavyweightsof the classical canon. The significant inclusion of women composers in classical musicprogramming is long overdue. There is a general sense of the cognizance of needing todiversify performances; which very easily slips into the realm of tokenism and canonisationof a select handful of female composers, such as those mentioned above, while ignoring thevast majority of contributions women have made to composition over the years. While it isuplifting to see a concert showcasing the delights of Barbara Strozzi, it is often the case thatprogramming such as this would be one performance, shoe-horned into a season of moretraditional programming where there is nary a female composer in sight. We then have theissue of the non-Barbara Strozzi's; the women composers who have not had the boon ofbeing associated with male composers who are already cemented in the western canon.This paper will explore two key areas: the need for female composers to be includedin a less tokenistic fashion in classical programming, and for the inclusion of a variety ofwomen composers rather than a select few. Using this research as a foundation, this projectwill put forward strategies that organisations and ensembles can use to ensure a diverseprogramme of women composers. Three case studies will be created, working withambassadors of the Donne Foundation, to explore good practice in programming diverseand gender equal concert programmes. What cannot be underestimated is the impact thisresearch will have on the cultural sector in general, as it will provide strategies thatorganisations can use to address their own gender imbalance when programming concertseasons. It will also provide a basis for future research on avoiding tokenism and generaldiversity in classical music performance.This research will consist of two primary methods: an exploration of issues relating tothe topic based on texts and analysis of previous related projects, and case studies ofensembles to create practical strategies to address gender balance in classical musicprogramming. As discovered in Donne's analysis of a 2020/21 concert season, this researchis sorely needed and overdue; works by women were included in only 11.45% of concertsperformed worldwide. A full enquiry must be made to explore the reasoning and historicalprecedent that contribute to this gender imbalance, which can then inform, in collaborationwith ensembles committed to inclusive programming, strategies to move away from thismisogynistic model.Draft structurei) Introduction (2,000 words)ii) Changing attitudes to performing women's music (15,000 wor

“该项目旨在挑战古典音乐音乐会节目中的性别不平等，并调查频繁的象征性和便利节目（同样少数女性出现在音乐会节目中），这导致少数女性作曲家被封为圣人，而忽视了大量的女性作曲家。存在于少数流通领域的女性音乐。”克拉拉·舒曼、范妮·门德尔松、希尔德加德·冯·宾根。值得庆幸的是，所有多产的女性作曲家开始更频繁地出现在古典音乐节目中——与古典经典中男性重量级人物的压倒性表演相比，这是一个可喜的变化。早就应该将女性作曲家大量纳入古典音乐节目中。人们普遍认识到需要使表演多样化；这很容易陷入象征主义和对少数女性作曲家（如上面提到的那些）的经典化的领域，而忽视了多年来女性对作曲做出的绝大多数贡献。虽然看到一场音乐会展示芭芭拉·斯特罗齐 (Barbara Strozzi) 的魅力令人振奋，但通常情况下，像这样的节目只是一场表演，被硬塞进一季更传统的节目中，看不到任何一位女性作曲家。然后我们就有了非芭芭拉·斯特罗齐的问题；本文将探讨两个关键领域：女性作曲家以不那么象征性的方式纳入古典音乐编排的必要性，以及包括各种各样的女性作曲家，而不是精选的少数。以这项研究为基础，该项目将提出组织和乐团可以使用的策略，以确保女性作曲家的多样化计划。将与多恩基金会的大使合作创建三个案例研究，以探索策划多样化和性别平等音乐会节目的良好实践。不可低估的是这项研究将对整个文化部门产生的影响，因为它将提供组织在规划音乐会季节时可以用来解决自身性别失衡的策略。它还将为未来关于避免古典音乐表演中的象征主义和普遍多样性的研究提供基础。这项研究将包括两种主要方法：基于文本和对先前相关项目的分析来探索与主题相关的问题，以及对合奏的案例研究制定实用策略来解决古典音乐节目中的性别平衡问题。正如多恩对 2020/21 音乐会季的分析所发现的那样，这项研究是迫切需要的，也是早就该进行的；全球音乐会中只有 11.45% 收录了女性作品。必须进行全面调查，探索造成这种性别失衡的原因和历史先例，然后与致力于包容性规划的团体合作，制定摆脱这种厌恶女性模式的策略。结构草案 i) 简介（2,000 字）ii)改变对表演女性音乐的态度（15,000 世界