Gender and Music

Las nuevas realidades abiertas en los mercados han sido una posibilidad de desarrollo personal y social para grupos particularmente desfavorecidos, cuyas condiciones estructurales han pesado a la hora de adoptar decisiones y provocar su promoción personal como artistas, poniendo en valor habilidades fuertemente culturizadas que se convierten en mecanismos óptimos de valoración externa, pero sufriendo también el “peso de la tradición”. Nuestro propósito es analizar el modo por el que los contenidos culturales de los géneros se convierten, en un contexto de mundialización de las artes escénicas, en bienes patrimoniales para la inserción en determinados nichos del mercado de trabajo flamenco. Nos centraremos en las “lecturas femeninas del arte” que se están haciendo en el flamenco, entendidas aquéllas como estrategias de desarrollo por parte de sus protagonistas.
El texto explora la construcción del “don artístico” como valor (generación y género), los límites de “ser mujer”: la profesionalización histórica de las flamencas, las nuevas generaciones de flamencas: una redefinición del “arte” como vía para el desarrollo profesional, el derecho a ser incluidas, la superación de las fronteras étnicas, la redefinición de la familia como grupo de trabajo y el tratamiento de las relaciones interpersonales, finalizando con el paso de “objeto de deseo” a “objeto de comercialidad” y la construcción del cuerpo: estética y disciplina.

El presente trabajo reúne las principales reflexiones realizadas durante el II Simposio Internacional de Mujeres Directoras, que tuvo lugar los
días 19, 20 y 21 de octubre de 2018 en el Teatro Solís y en la Torre de las
Telecomunicaciones de Antel, en Montevideo. El evento fue organizado por la Orquesta Filarmónica, a cargo de la maestra Ligia Amadio, junto con el Departamento de Cultura de la Intendencia de Montevideo (IM).
Algunas de las principales temáticas abordadas fueron la segregación horizontal y vertical de las mujeres en la música, el acoso laboral y el acoso sexual, la discriminación de género en el ámbito musical a partir de la construcción cultural de sonoridades y roles asociados a un espacio público masculinizado. En relación con esto último, se
expusieron barreras en el desarrollo de las carreras vinculadas a los trabajos de cuidados y doméstico, realizados principalmente por las mujeres en las sociedades actuales.

This paper examines research by Susan O’Neill and Michael Boulton which sought to determine whether English boys’ and girls’ preferences for learning to play a musical instrument were a function of gender-stereotyped associations. Many studies carried out in the United States from the late 1950s to the early 1990s imply a strong correlation between gender and instrument preferences; however, these were performed on adolescents and adults when gender stereotyping is known to already affect behaviour. O’Neill and Boulton therefore
focussed on primary school children in England to determine whether stereotypes were an influence prior to adolescence and if the experience of the United States was mirrored in
England. Their research confirmed that pre-adolescent boys and girls also have distinctly different preferences for musical instruments and that gender-stereotyping may play a role.
Other factors, like the sound of the instrument and degree of difficulty. were revealed.

This paper also seeks to examine whether children in Trinidad and Tobago have preferences congruent with their English and American counterparts, from which it may be inferred that
similar stereotyping exists. The genders of participants, 19 years and younger, in the biennial Music Festivals of 2010 and 2012 were examined in four of the instrument categories studied by O’Neill and Boulton. The results showed similar trends in all but one instrument category, however, gender-stereotyping as a factor could not be confirmed.

Un recorrido sintético por la historia de las mujeres profesionales en el flamenco escénico, sus trayectorias en el siglo XX y el anuncio de un futuro que ya es presente: "Las mujeres del flamenco no se limitan a perfeccionarse en su oficio para mantener la tradición; también se interesan por la creación, tejen ideas y las llevan a escena. Artistas que cuestionan el flamenco "seguro" y se posicionan en un territorio entre la pertenencia y la ruptura. Así se define el flamenco de esta centuria, que ya es conocida como "el siglo de las flamencas".

Bu çalışma, Türk musiki geleneğinde ve bu geleneğin önemli bölümünü oluşturan Osmanlı saray çevresinde kadının yerini ve musiki kimliğini, yazılı ve görsel belgelere dayanarak incelemeyi amaçlamaktadır. Çalışmanın ilk bölümünde genel olarak Türk toplumlarında kadın ve musiki ilişkisi incelenmektedir. Arkasından Osmanlı toplumunda ve özellikle saray çevresinde, kadın bestekârlığı ve kadın bestekârların Türk musikisindeki yeri ele alınmakta ve kadının musiki kimliğini ve kadın bestekârlığını anlamak için özellikle saray ve çevresinde musiki eği-timi almış ya da icra etmiş önemli kadın bestekârların musiki kişiliği incelenmektedir.
This study aims to examine the women and her musical identity in Turkish musical tradition and in the Ottoman Court which constitutes its the most important part by means of written and visual documents. In the study's first part, it has been examined in general sense the relationship of women and music in Turkish societies. Later, it deals withs the importance of women musicial identity and women musicians in Ottoman society, court and Turkish musical tradition. In addition, to undestand the women's musical idendity in Ottoman society, the study attempts to examine the musician identity of some women composers and musicians who had performed music or had been trained in the court and its circle.

In her poem Biography, a reflection on the process of writing about the life of the poet H.D., Barbara Guest explores some of the complexities and ambiguities of the biographer's role. In particular, she focuses on that intertwining of narratives which is especially apparent when women undertake the task of reconstructing the texture and patterning of the interwoven threads (private and public) of another woman's life. Biography, she reflects, is a 'dubious route' . The intertwining of narratives confronts the biographer most tangibly when the subject is alive and participating in the reconstruction of her life. In this case, the positioning of the biographer in relation to the subject is wrenched out of the realm of the purely theoretical and into a series of negotiations and renegotiations as the biographical process itself becomes constructed into the subject's narrative. My experience of working on a biography of the Australian pianist, Nancy Weir suggests that this continual renegotiation of the biographer's position vis-à-vis the subject is a source not only of some potential pitfalls for the biographer, but is also a useful tool in the exploration of women's knowledges and experiences. The focus of this paper is on biography as a process, with particular emphasis on the transmission of experience from one generation of women to another. It also gives some background on Nancy Weir herself and the genesis of the biographical project on which I am working together with a number of other women researchers and film makers.

McKay, Belinda. ‘Engendering Music: Nancy Weir and Musical Biography.’ In Kay Ferres, ed. Coastscripts. Brisbane: AIWRAP, 1995. Pp. 27-42.

KEYNOTE ADDRESS by Dr Razia Sultanova,  at the WOMEN AND MUSIC SYMPOSIUM, 21-23.05.202,  Bursa Uludag University State Conservatory, Turkey
Female performance in traditional societies has always been a phenomenon that presented a real challenge for women singers. It is common for famous female performers to have had a difficult but remarkable destiny. In Central Asia, the female role in society is mostly associated with the fulfilment of family duties and childbearing commitments. However, we can find a number of cases of famous women-singers, who on their path to success, recognition and fame, each had to overcome the limitations imposed by traditional societies in profound ways. Four prominent Central Asian female singers of the 20th and 21st century form the focus of my presentation: Berta Davydova (1922-2007, Uzbekistan), Munojan Yulchieva (b.1960 in Uzbekistan), Jamala (b.
1983 in Kyrgyzstan) and Manizha (b.1991 in Tajikistan). Bringing attention to performers of both classical and popular genres of music, I am going to demonstrate that any genre featuring female performances has its particular challenges and demands and that in order to achieve a successful career, women singers have always needed to take a risk. All four women had entered the hall of fame in the history of music with their outstanding destinies as celebrated musical performers. Their background - always controversial - was the reason for developing their singing career. All four have achieved fame thanks to their determination and dedication to singing and hard work, but they have had to overcome many difficulties arising from their national conservative surroundings. Therefore, their popularity and victories are to be recognised as heavily contextual. Whether by their own will or by force, those women had entered music history as heralds of changing societies, entering the strictly gender-biased area of performance, that had previously belonged to male singers. The 21st century has proven that Central Asian women-performers can go even further, shedding light upon and exposing current social conflicts and prejudices through their musical performance, as is seen in this day and age, in the Eurovision song contest, which as a globalised product of modern media, has become an arena for Central Asian young female pop singers Jamala and Manizha. These women form their authentic image by contributing to the broader social and political history of their nations.
What are the features of traditional societies in the past and present? Why is being a female performer is very difficult in those societies? Why do women performers become the centre of social key problems? In this presentation, I will exemplify those questions and their effect on world cultures.

This special issue – guest edited by Dr. Catherine Strong and Dr. Sarah Raine – focuses on Gender Politics in the Music Industry. It contains seven special issue articles, one open section article, and six book reviews.

Kara Attrep examines venues owned and curated by female proprietors; Toby Bennett analyzes discourses on gender inequality in contemporary UK music industries; Cecilia Björck and Åsa Bergman pay attention to the representation of women at jazz festivals in Sweden and the US; Helen Reddington sheds light on gender aspects in studio work via the concept of ventriloquism; Cécile Navarro explores the glocal intricacies of gender politics in music on the example of the Urban Women Week festival in Senegal; Charity Marsh analyzes the potential of community-based arts projects to challenge the gendered power dynamics of the music industries; Caroline O'Sullivan presents an ethnographic research on the dance and indie scenes in Dublin in the pre and post Social Media era.
In the open section of this issue, Adrian Sledmere attempts to deploy the Gothic in relation to Amy Winehouse. The review section consists of reviews from Liam Alan Maloy, Verónica Dávila, Nabeel Zuberi. Derek B. Scott, Nicholas P Greco, and Laura Niebling.

Research on creative workers speaks to the relative lack of job opportunities available, the role that changing production logics play in shaping such opportunities, and gender disparities in success. Tracking the 22,561 hits found on Billboard’s mainstream charts, we examine various factors that may spur or hamper the success of female recording acts. We find that the expanding logic of decentralized production eliminates the negative effect of concentration on the success of female acts and that the presence of successful female acts in one period bodes well for subsequent female acts, until a glass ceiling of sorts is reached.

Abstract
The article analyses of the representation of men and women in the casts of the Bienal de Flamenco 2014 and its comparison to three other data sources from the late nineteenth century up to the early twenty-first century. The evidences of patterns and trends studied reveal the
continuity of a sexual division and a heavily male-dominated job market, both in the arts and Among technical professionals of flamenco.
The essential characteristics of the lower margin of the occupation of women, and even their practical exclusion of certain tasks of flamenco, are described through charts and graphs.
The article provides statistical data about the distribution of flamenco artists and flamenco technicians, differences between census offers and performing demands, sex distribution of the interpretive subgenres (singing, dancing, guitar-playing, vocals, palms and rhythm,
percussion and other instrumentation), performing hierarchies (holders, secondary or special guests and collaborators), and four other technical fields of direction, creation, additional technics, and production.
Keywords: Flamenco, Sexual Division of Labor, Festivals, Labor Market, Art, Bienal de Flamenco of Seville, Andalusia.

El artículo presenta el análisis de representación de hombres y mujeres en los elencos de la Bienal de Flamenco de Sevilla del año 2014, y su comparación con otras tres fuentes de datos desde finales del siglo XIX hasta los inicios del siglo XXI. Las pautas y tendencias obtenidas
demuestran la continuidad de una división sexual y un mercado de trabajo fuertemente masculinizados, tanto en el ámbito artístico como entre los profesionales técnicos del flamenco.
Las características esenciales del menor margen de ocupación de las flamencas, e incluso su práctica exclusión de determinadas parcelas laborales, se describen a través de tablas y gráficos. La tabulación estadística permite conocer la presencia de artistas y técnicos y las
diferencias entre ofertas censales y demandas escénicas de hombres y mujeres en el flamenco, así como la distribución por sexos de los subgéneros interpretativos (cante, baile, toque, coros, jaleos, palmas y compás, percusión y otra instrumentación), las jerarquías escénicas que
permiten diferenciar titulares, secundarios o acompañantes e invitados o colaboradores especiales, y cuatro campos agregados de dirección, creación, técnicas complementarias y producción.
Palabras clave: Flamenco, sexo, división del trabajo, festivales, mercado de trabajo, arte, Bienal de Flamenco de Sevilla, Andalucía.

We can distinguish two major phases in the use of a certain mourning motif in pre-revolutionary and revolutionary Greek folk songs examined: the first and oldest concerns Ottoman (including Albanian) personalities, mourned by their familiar female figures (wife, mother, etc.); in the second phase the pattern "passes" into Greek hands, to emphasize the loss of great heroes (such as Markos Botsaris and Odysseas Androutsos) not only from female but also from male lips. We can also identify a third phase of "de-escalation" of mourning from the historical-war context, through its use in family and pastoral songs. In terms of gender approach, in the non-Greek context, only in one case, laments are "masculine"; in most cases what comes out of a woman's lips are "tears and laments", while in three cases, laments have been described as "feminine". In one case the mourners' laments are "black", while the Turkish concubines (hanums) emit "Turkish laments". A Greek mother's tears are described as masculine". These differences give us information about the perceptions of each peoples about the opposite sex, the foreigner and in general the otherness and need to be studied in more detail.

Resumen
El artículo aborda la figura de la cantante argentina Ramona Galarza (1940), quien fue relevante en la difusión nacional –e internacional– del cancionero popular litoraleño durante la década de 1960. El trabajo se focaliza en la discografía grabada para el sello Odeón en Argentina entre 1958 y 1969. El análisis de las distintas materialidades de los discos (visual, sonora, discursiva) descubre la construcción deliberada de una imagen pulcra, urbana y estilizada de la artista por parte del sello grabador. Se observan así diversas estrategias comerciales concretadas bajo la lógica de la industria cultural, producidas en dos sentidos. Por un lado, un blanqueamiento de la música litoraleña y del chamamé, baile asociado a la clase humilde y vinculado a un ambiente de desorden y promiscuidad. Catalogado peyorativamente por las clases medias/altas de este período como “música de sirvientas”, se requirió una “higienización” para habilitar mayores índices de aceptación social y consumo. Por otro lado, el mecanismo del “adecentamiento” se advierte en la intención de transmitir un modelo de mujer apoyado en arraigadas estructuras de género, eliminando toda conflictividad social y reafirmando los roles tradicionales de la mujer como hija, esposa y madre.
Palabras clave: chamamé, música popular, adecentamiento, industria cultural, estudios de género. 

Abstract
This paper presents an approach to the study of Argentinean singer Ramona Galarza (1940), who was relevant for the national and international diffusion of the litoraleña popular music in the 1960s. It focuses on the Odeon records in Argentina between 1958 and 1969. From the analysis with a gender perspective of the different features of the LPs (visual, sound, cover texts) a deliberate construction of a neat, urban and stylized image of the artist by the recording company was found. Numerous “decent-making” and commercial strategies are observed under the logic of the cultural industry produced in two senses. First, the “whitening” of the litoraleña music and chamamé dance, which was associated with the working class and pejoratively categorized as "servant music" by the middle or higher classes of this period and linked to a disorder and promiscuity atmosphere. Hygienism was required to enable higher rates of social acceptance and consumption. Second, the “decent-making” strategy can be seen in the transmission of a model of women that is based on the entrenched social gender structures, disregarding social conflicts and reaffirming the traditional roles of women as daughter, wife and mother.
Keywords: chamamé, popular music, hygienism, cultural industry, gender studies.

This research is focused on three Istanbulite composers, Leyla
Hanımefendi, Nazife Aral-Güran, and Yüksel Koptagel, who lived
and produced in consecutive and overlapping periods, from the
Tanzimat Era of the Ottoman Empire to the Turkish Republic of
the 1980s. It explores the composers’ productive and creative
conditions through the socio-political environments of their
times, their familial and educational backgrounds, and the social
spaces in which they lived and worked.
The institutionalisation of Western music and the education
thereof occupy a significant place in understanding the composers’
relationships with Western music, the bonds they established
with polyphonic music, and the development of their musical
personalities as a consequence of their education, resultant from
the opportunities provided by such developments.
This study conjointly examines herstory and music historiography
by employing alternative materials and creating its own narrative.

In this article the fgure of Miriam (iterpreted as an archetype of a woman-musician) and the musical aspects depicted in the Book of Exodus 15:20–21 are discussed in detail. Both subjects are put into a broad cultural perspective including selected Old Testament passages, literary and archaeological/iconographic sources from ancient Israel/Palestine, Egypt and Mesopotamia from the timeframe XIV/XIII BC - VI/V BC. Comparative materials were selected on the basis of the following criteria: relationship between prophecy and music, as well as connections between women and singing (šîr), playing the drums (tōp) and dancing (māḥôl).

Una diversidad de estrategias han convertido a las mujeres flamencas en silenciadas (y no "silenciosas", como postulan ciertas opciones sexistas). Desde una crítica al etnocentrismo y el esencialismo, nuestro artículo se detiene en los obstáculos particulares y las mixtificaciones del presente que se proyectan hacia el pasado en relación con los papeles de las mujeres flamencas, desde la transmisión a la división de la ejecución musical por razón de sexo o su presencia secundaria respecto a los hombres, en base a oposiciones binarias. Género y etnicidad como factores de desarrollo son expuestos para analizar el caso de las mujeres gitanas en el flamenco, en relación con la revalorización de ciertos contenidos culturales de la etnicidad, el "saber hacer", la dicotomía público/privado, el papel de "las maestras", la instrumentación, los tipos de voz o el habitus dancístico.

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«NUEVAS INTÉRPRETES PARA NUEVOS TIEMPOS»
LA INCORPORACIÓN DE INTÉRPRETES FEMENINAS A LA BANDA SINFÓNICA MUNICIPAL DE MADRID (BSMM)
ZOILA MARTÍNEZ BELTRÁN

Desde su fundación en 1909 la Banda Sinfónica Municipal de Madrid (BSMM) no solo ha sido contribuidora activa en la arena cultural, sino también testigo de los cambios sociales y políticos que se han ido produciendo a lo largo de los ciento diez años que cumple en este 2019.
La inserción laboral de las mujeres a ámbitos tradicionalmente masculinos ha sido una de las novedades sociales más reseñables del siglo pasado reflejada en el seno de la banda de la que, desafortunadamente, no se ha realizado ningún estudio hasta la fecha .
Además, se trata de una cuestión trasversal que también atañe a lo educativo y no solo a lo laboral. Desde el siglo XIX hasta mediados del XX las asociaciones entre instrumentos musicales y género han sido una constante que ha determinado la enseñanza musical y el acceso al trabajo por parte de intérpretes femeninas. De hecho, desde las instituciones musicales se restringía el acceso a las mujeres al área de solfeo, piano, canto y arpa por lo que quedaban excluidas del resto de especialidades (viento, percusión etc.) .
No sorprende, por tanto, que la primera mujer integrante de la BSMM fuera la arpista M.ª del Milagro García en torno a 1950. Entonces y sobre todo a partir de los años ochenta, con la transición democrática, entraron paulatinamente mujeres intérpretes de instrumentos de cuerda y después, viento. Esto reflejaba no solo el cambio laboral, cultural y social sino también de óptica educativa producida en esas décadas.
Por tanto, el objetivo de la comunicación será, precisamente, recoger los testimonios de algunas de esas intérpretes, aún hoy integrantes de la BSMM, a fin de actualizar la urgente laguna respecto a esta cuestión. Con ello se tratará de reflexionar sobre los motivos de su escalonada llegada a la banda, sus condiciones laborales y lo que significó su acceso a una agrupación históricamente masculina.

Sento na cadeira e deixo sair o ar. Propus para Flora que nesta edição da linda cada um de nós, Luciano e eu, escrevesse um texto separado – o duo virando unos. Fiz esta proposta porque quero escrever sobre uma reflexão que está em processo, a partir da pratica artística e investigativa sobre a temática de música, gênero e feminismos gestada em colaboração com diversas mulheres. O tema é denso, as construções que faço aqui não são conclusivas, e a escrita mistura o trabalho acadêmico e a criação artística. A produção reflexiva no campo de música, gênero e feminismos demonstra a existência de um campo de estudos extremamente abrangente, com uma trajetória já construída e que, no entanto, ainda precisa de maior visibilidade. Lendo a bibliografia sobre música e gênero, é muito direta a percepção de que música é um campo construindo sobre relações de poder e sobre regras patriarcais: os homens são mais valorizados e ocupam as posições de protagonismo, onde quer que a gente possa observar. Muitas vezes ouvi a seguinte frase: é que as mulheres produziram menos, portanto são menos conhecidas. Não se trata da existência ou não de uma produção: se trata de ter oportunidades, visibilidade e voz. É possível consultar line up de festivais, programação de bienais, programas de concertos realizados por orquestras, programação de festivais, número de professoras mulheres em cargos de universidades, conferencistas convidadas para eventos, regentes de orquestras, obras de compositoras em currículos de universidades, número de alunas matriculadas em cursos de música, técnicas de áudio contratadas, número de instrumentistas em bandas seja de que gênero for; e observar que em nenhum destes lugares a representatividade de mulheres chega sequer à metade em relação aos homens. Com isto, percebemos a ausência de modelos onde espelhar-se: qual a compositora ou a arranjadora ou a instrumentista incrível que é a inspiração para sua carreira, por exemplo? Incluo aqui a reflexão sobre repertórios porque eles são a linha mestra na maioria dos cursos tradicionais de música, responsáveis pela aquisição e perpetuação de modelos.

Today we take remixing, DJ culture and dance club culture for granted. They have become an inextricable part of the modern urban scene and music’s mainstream pop-culture. However, it was only a few decades ago when early DJs broke new territory with what they were doing. Hidden away in obscure underground clubs in New York City back in the late 1960s/early 1970s, dancefloor music and the DJ were regarded nothing more but strange novelties belonging to a thriving subculture that was yet too small to be noticed.

Turn Up The Bass is a book about this new genre of dance floor music that emerged from the DJs’ turntable experimentations in underground clubs in New York City between the late 1960s and early 1980s. Exhaustively researched, the author walks us through the pioneering days of a fresh, new musical style. In the first part of the book, Klein examines the complex interaction of music, dancers and DJ, sheds light on how technical developments and new DJing techniques influenced the formation of a new, distinct style, and how the art of remixing, new recording formats and the establishment of record pools all of a sudden turned the DJ into one of the most important figures in the music industry, who had the power to shape the musical taste of millions.

In the second part of Turn Up The Bass, Klein breaks down the sound of New York City’s dance clubs into every single element and thus allows us a glimpse into how the DJ makes our bodies move. What musical characteristics define underground dance music recordings? What are the musical roots of underground dance music recordings? What instruments are used? How are they used? What is the formal musical structure of dance floor songs? How do dance floor songs of that time work with the concepts of tension-release and musical spacing? More than 50 transcribed examples of music and references to corresponding audio tracks make it easy for the reader to follow Klein’s astute observations.

Neste artigo pretendo mostrar como duas musicistas brasileiras: Helza Camêu (1903-1995) e Joanídia Sodré (1903-1975)[1] tornaram-se compositora e maestrina, respectivamente, nos anos 1930, no Rio de Janeiro. Quais configurações sociais viabilizaram o acesso dessas mulheres à composição e à regência, até então, duas atividades restritas aos homens? Embora tenham começado a carreira como pianista nos anos de 1920 no Rio de Janeiro, elas não prosseguiram como concertista, então um espaço de consagração feminina, basta mencionar as duas principais pianistas brasileiras Guiomar Novaes (1894-1979) e Magdalena Tagliaferro (1893-1986) que concomitantemente construíam uma carreira internacional[2]. Joanídia estreou como maestrina em 1930, sendo provavelmente a primeira mulher a realizar o feito de reger uma orquestra sinfônica no Teatro Municipal. Helza, por sua vez, estreou como compositora em 1934, tendo sido talvez uma das poucas, senão a única mulher a ser laureada (1936 e 1943) em concu...

This article discusses the role of rock musicking as a medium for family relationships. Drawing on qualitative data from interviews with women who self-identify as rock music lovers, it analyses intergenerational rock musicking processes and informal learning. Music, together with other activities, aesthetic materials, technologies and narratives, is an essential element in family relationships and part of the parenting cultural toolkit, both for fathers, as the daughters remember and describe them, and for the mothers themselves. For women rock fans who become mothers, rock music articulates more empowering versions of maternal subjectivities, and specific settings – such as car journeys – can constitute “music asylums”. Taking two dyadic family relationships (father-daughter; mother-children), I argue that family and domestic spaces are relevant when analyzing everyday rock musicking.

The article analyses of the representation of men and women in the casts of the Bienal de Flamenco 2014 and its comparison to three other data sources from the late nineteenth century up to the early twenty-first century. The evidences of patterns and trends studied reveal the continuity of a sexual division and a heavily male-dominated job market, both in the arts and among technical professionals of flamenco.The essential characteristics of the lower margin of the occupation of women, and even their practical exclusion of certain tasks of flamenco, are described through charts and graphs. The article provides statistical data about the distribution of flamenco artists and flamenco technicians, differences between census offers and performing demands, sex distribution of the interpretative subgenres (singing, dancing, guitar-playing, vocals, palms and rhythm, percussion and other instrumentation), performing hierarchies (holders, secondary or special guests and collaborators), and four other technical fields of direction, creation, additional technics, and production.

An updated version of this article appeared as Chapter 2 and 3 of Hannah Bosma's doctoral dissertation The Electronic Cry: Voice and Gender in Electroacoustic Music (2013). The whole dissertation or the separate chapters can be downloaded for free via http://hdl.handle.net/11245/1.400268

The first part of the article begins with a discussion of the musical material under research. Thereafter follows an elaborate overview of the number of male and female composers, vocalists and recorded voices in several series of CDs of electroacoustic and computer music. The gendered roles of the live, pre-recorded and synthesised voices are discussed and the musical couple of the male composer and the female vocalist emerges. The second part touches upon several issues raised by the results of part one: the roles of the performer and the composer, (dis)embodiment, femininity and technology. This is a preview into some of the remaining research. In section 2, other music than the CD series of section 1 is discussed as well. The gender patterns are interpreted in a broader context. The role of the female vocalist is many sided. Cyborg voices relate to old patterns as well as new possibilities.

Doctoral dissertation, University of Amsterdam, December 2013. Download a digital copy at http://hdl.handle.net/11245/1.400268

The voice provides an entrance to discuss gender and related fundamental issues in electroacoustic music that are relevant as well in other musical genres and outside of music per se: the role of the female voice; the use of language versus non-verbal vocal sounds; the relation of voice, embodiment and gender; the vocal persona; the listener’s position; issues of authorship; ‘écriture féminine’ or feminine style. A number of electroacoustic compositions is compared to discern patterns with regard to the gender of the composer, the gender of the vocalist and the (non)linguistic character of the gendered vocal sounds. These patterns function as a reference for further close analysis of individual pieces, such as Jean-Claude Risset’s ‘L’autre face’ (1983), Wende Bartley’s ‘Ellipsis’ (1989-1993), Milton Babbitt’s ‘Philomel’ (1963), Lars- Gunnar Bodin’s ‘Anima’ (1984), Alejandro Vinao’s ‘Hildegard’s Dream’ (1994), Luciano Berio’s ‘Thema (Omaggio a Joyce)’ (1958), Paul Lansky’s ‘as it grew dark’ (1983), Larry Austin’s ‘La Barbara: The Name, The Sounds, The Music’ (1991), Christian Marclay’s ‘Maria Callas’ (1988), Gilius van Bergeijk’s ‘Een Lied van Schijn en Weezen’ (1993), Charles Dodge’s ‘Any Resemblance is Purely Coincidental’ (1980), Vivian Adelberg Rudow’s ‘With Love’ (1986), Anne La Berge’s ‘Drive’ (2003), Alison Isadora’s ‘Native Tongue’ (2001), and more, each framed within a specific theoretical approach. Gender stereotypes are found more in traditional concert stage settings; while the gender breaches occur when the technology has influenced ontological and institutional musical changes (related to composition, concert performance, score, concept of the musical work, media, musical genres and (inter)disciplinarity).

Ei, quantas compositoras vocês estudam na faculdade? E quantas compositoras vocês já tocaram? " A pergunta se repete semestre após semestre nas minhas aulas do curso de graduação em música onde trabalho, e com certeza não sou a única a perguntar isto aos alunos em universidades do Brasil. Não vale falar apenas sobre intérpretes ou cantoras, mas compositoras, criadoras ou artistas que tocam sua própria obra. Lucy Green lembra das diferentes concepções sobre as mulheres no campo da música, observando que as mulheres educadoras e interpretes estariam mais próximas de um suposto conceito de feminilidade, enquanto que as mulheres compositoras e improvisadoras estariam mais distantes deste conceito, por uma suposta maior proximidade com o trabalho intelectual. Se por um lado os currículos de universidades ainda não questionam, em sua maioria, estes paradigmas de invisibilidade e pensam que só ensinam o que há de importante para ser aprendido, por outro lado existem redes e teias que tramam outras histórias, e lidam, de diferentes maneiras para mostrar que um outro panorama é possível. Pensar em invisibilidade significa pensar em estratégias de poder, entender que alguns conhecimentos e atores são mais válidos que outros, algumas formas de pensar são mais adequadas que outras ao momento de se decidir o que vai fazer parte do cânone e o que não vai. Olhar para os próprios privilégios custa mais do que se imagina. A realidade não é igualitária: nas universidades temos muito mais professores homens do que mulheres, nos concursos e festivais o número de homens ainda é esmagadoramente maior, nas programações de concertos idem, será que não está na hora de se perguntar quem e o que segue validando este sistema e pensar que pode ter alguma coisa errada? Ainda que as regras não sejam declaradas e colocadas nas portas dos lugares, elas existem e são tácitas, e é impossível pensar que, em 2017, a não participação de mulheres em uma determinada área da música possa ser creditada apenas à sua falta de interesse no tema, como andou sendo aventado em alguns eventos de porte nacional. Todos estes elementos precisam com certeza de uma discussão muito maior e mais aprofundada, mas que não faz parte do escopo deste trabalho, neste momento. Compreender a situação a partir das teorias feministas traz luzes importantes para o problema, mas entender as epistemologias feministas significa entender que não se trata apenas de oferecer uma visão compensatória da história, mas buscar estratégias de pensamento que possam lidar a partir de outras lógicas e outras lentes, menos tacitamente excludentes, como lembra Margareth Rago.

The Sufi brotherhood of the whirling dervishes (tariqat mevleviya) was founded in Konya by the son of Jelal od-Din Rumi, called "Mevlana", in 1273.

In this episode of "Bonum est" we listen to the dance ceremony sema of the whirling dervishes, which has been composed by Dede Efendi in makam sabâ.

1. Buhurizade Mustafa Itrî (1640-1712)
- Nâ't-ı Mevlânâ makam rast
Hafız Kâni Karaca, zang
2. Nay taksim sabâ
Ömer Nasuhi Coşkun, ney
3. Tamburi Büyük Osman Bey (1816–1885)
- Sabâ Peşrev
Ömer Nasuhi Coşkun, ney
4. Hammamizade İsmail Dede Efendi (1778-1846)
- Sabâ ayin-i şerif

Hafız Kâni Karaca en Sadettin Heper, küdüm. Ulvi Erguner, Niyazi Sayın, Akagündüz Kutbay, ney. Cüneyt Orhon, kemençe. Mesut Cemil, violoncello