No CrossRef data available.
Article contents
INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE
Published online by Cambridge University Press: 06 March 2020
Abstract
The collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.
- Type
- RESEARCH ARTICLES
- Information
- Copyright
- Copyright © Cambridge University Press 2020
References
1 Strong, Catherine and Cannizzo, Fabian, Australian Women Screen Composers: Career Barriers and Pathways (Melbourne: RMIT, 2017)Google Scholar. Available at http://apraamcos.com.au/media/research/2017_Australian_Women_Screen_Composers-Career_Barriers_and_Pathways.pdf. Cooper, Rae, Coles, Amanda, and Hanna-Osborne, Sally, Skipping a Beat: Assessing the State of Gender Equality in the Australian music industry. (Sydney: University of Sydney Business School, 2017)Google Scholar. Available at: https://sydney.edu.au/content/dam/corporate/documents/business-school/research/women-work-leadership/skipping-a-beat.pdf.
2 Ange McCormack, By the Numbers 2018: The Gender Gap in the Australian Music Industry. Available at: www.abc.net.au/triplej/programs/hack/by-the-numbers-2018/9524084. Music Victoria, ‘Women in the Victorian Contemporary Music Industry’, Music Victoria, 2015, www.musicvictoria.com.au/assets/Women%20in%20the%20Victorian%20Contemporary%20Music%20Industry.pdf.
3 Sally Blackwood, Liza Lim, Peggy Polias, and Bree van Reyk, ‘Opera and the Doing of Women’, Performing Arts Hub, 2019, https://performing.artshub.com.au/news-article/opinions-and-analysis/performing-arts/blackwood-lim-polias-and-van-reyk/opera-and-the-doing-of-women-257968.
4 Liza Lim, ‘Luck, Grief, Hospitality – Rerouting Power Relationships in Music’, Keynote for ‘Women in the Creative Arts’ conference, ANU, 11 August 2017. Available at https://lizalimcomposer.files.wordpress.com/2017/08/1-final_lim_rerouting-power-anu-keynote.pdf; Cat Hope, ‘All Music for Everyone: Working Towards Gender Equality and Empowerment in Australian Music’, Limelight, www.limelightmagazine.com.au/features/limelight-in-depth-cat-hope-all-music-for-everyone/.
5 Keychange PRS Foundation, Keychange Manifesto: Recommendations for a Gender Balanced Music Industry. Available at https://keychange.eu/wp-content/uploads/2018/11/1052-keychange-A5-v15-web.pdf.
6 Convened in 2017 by Natalie Williams at the Australian National University and in 2018 by Cat Hope at Monash University.
7 Phoebe Green, ‘In Summary: Gender Diversity in Music and Art Conference, Perth’, Resonate, 16 August 2019, www.australianmusiccentre.com.au/article/in-summary-gender-diversity-in-music-and-art-conference-perth.
8 Cook, Nicholas, Beyond the Score: Music as Performance (New York: Oxford University Press, 2013)Google Scholar.
9 A key international trigger for renewed efforts towards gender diversity in music was Ashley Fure's 2016 project, GRID: Gender Research in Darmstadt. Available at: https://griddarmstadt.files.wordpress.com/2016/08/grid_gender_research_in_darmstadt.pdf.
10 Bennett, Dawn, Macarthur, Sally, Hope, Cat, and Goh, Talisha, ‘Creating a Career as a Woman Composer: Implications for Music in Higher Education’, British Journal of Music Education 35/3 (2018), pp. 237–53CrossRefGoogle Scholar.