Adding to the Narrative: Intersectional Feminist Critical Curatorial Practices in Classical Vocal Music Performance
(2022)
author(s): Shanice Skinner
published in: KC Research Portal
Diversity and inclusion within Western art music have become topics of elevated importance in in recent discussions. To create enduring results regarding these matters, there needs to be a commitment to in-depth study of practices that will produce visible change. This is one of the goals of my research, in which I tackle issues of representation by focusing on Black women composers and their absence from the canon as overlooked and marginalized artists. It is well known that women have been denied many opportunities throughout history; as composers, many experiences crucial to professionalism were not always available to women, including music education in composition, the publication and circulation of their works, not being hired as conductors, or receiving reviews from influential critics. These opportunities and resources dwindled further if a woman was also a person of colour. Thus, in order to ensure their inclusion within the canon, these underrepresented identities demand and require unique recognition.
I have examined the issue of neglected women of colour composers in classical music from an interdisciplinary standpoint, utilizing the methodologies of history and experimentation to form an “intersectional feminist critical curation” framework. This framework implements knowledge from intersectional feminist theory and music curation practices in order to answer following questions: “What is the impact on new audiences of diverse backgrounds experiencing classical music through an intersectional feminist curatorial framework?”, "Can classical music be an effective device for messages of social and political change?", and “What is the impact on myself as a classical vocalist and a Black woman to implement an intersectional feminist curatorial framework within my musical study and performance?”. The overall goal of this research was to discover an effective way forward to achieving diversity in classical music for underrepresented groups. Drawing from this study, I have created a digital performance project entitled “The Narrativity Sessions,” which functioned as an experiment utilizing this knowledge of intersectional feminist theory and praxis fused with select critical curation strategies applied to my own artistic practice as a classical singer. The outcome was a novel artistic practice that can contribute to creating innovative and artistically fulfilling performances while simultaneously advancing diversity and inclusion in the classical music sphere for audiences, performers, and composers alike.
Angelical music XVI-XVIII centuries music from the New World
(2020)
author(s): Carlotta Pupulin
published in: KC Research Portal
CARLOTTA PUPULIN
Baroque Harp
Supervisor: Dr. Inês de Avena Braga
Title: Angelical music for a New World
Research question: How did music develop in Hispanic America between the XV-XVII centuries?
Musikhistorie eller historier om musikere? – Potentialet i akademisk musikhistorie og analyse, på folkemusikuddannelsen.
(last edited: 2022)
author(s): NNH
This exposition is in progress and its share status is: visible to all.
Fra ansøgningen:
Projektet skal generere ny viden indenfor de to fag, men også under en mere overordnet overskrift a la
“Hvad er status på den akademisk forskning i folkemusikkens historie i Danmark?” En undersøgelse af dette vil skabe et overblik over feltet, som både studerende og underviserer kan drage nytte af i fremtiden.
Folkemusikhistorie: Der er brug for en konkretisering og afgrænsning af a) hvad der er vigtigt at vide indenfor dansk folkemusiks historie og vægtningen mellem fokusset på enkelte musikere og større sociale strømninger, b) hvor højt forholdet mellem historisk (før 2000) og aktuel folkemusik (efter 2000) skal vægtes, også med hensyn til relaterede genrer som World Music og c) laves et reelt overblik over status på forskningen i Danmark anno 2020.
Folk music analysis: Her er der et behov for at afdække nødvendigheden og rollen analyse skal spille. Historisk har musikalsk analyse primært beskæftiget sig med at afdække strukturer i musikken, men ikke sammenholde denne med det omkringliggende samfund. Efter Theodor W. Adorno begyndte denne type analyser i 1930’erne, og Susan McClary
opdaterede analyserne i 90’erne, og disse er benyttet på klassisk og rytmisk musik, er det værd at afdække værdien af denne type analyse for folkemusikerer.
For mig at se er det en vigtig prioritering for SDMK at være med til at udvikle disse undervisningsområder da det viser en seriøsitet omkring uddannelsen og folkemusikken generelt, samtidig med at det styrker uddannelsens profil og elevernes udbytte af undervisningen. Den nye viden skal naturligvis være tilgængelig for andre undervisere og lægge grunden for videre udvikling.