Confronting Canonicity And Promoting Diversity: Gender And Contemporary Concert Programming

“该项目旨在挑战古典音乐音乐会节目中的性别不平等，并调查频繁的象征主义和方便节目（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徒，而忽视了大量女性音乐的存在。”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，所有多产的女作曲家开始更频繁地出现在古典音乐节目中，她们都欢迎这种改变，不再是男性重量级人物在古典经典中占据压倒性地位。女性作曲家在古典音乐节目中的重要地位早就应该得到重视。人们普遍认识到需要使业绩多样化；这很容易陷入对少数女性作曲家的象征主义和圣徒化的领域，比如上面提到的那些，而忽略了女性多年来对作曲的绝大多数贡献。虽然看到一场展示芭芭拉·斯特罗齐（Barbara Strozzi）的快乐的音乐会令人振奋，但通常情况下，这样的节目只是一场表演，被塞进了一个更传统的节目季，在这个季节里看不到一位女性作曲家。然后是非芭芭拉·斯特罗齐的问题；那些没有有幸与男性作曲家联系在一起的女性作曲家，他们已经在西方经典中得到了巩固。本文将探讨两个关键领域：需要将女性作曲家包括在一个不那么象征性的时尚古典节目中，以及包括各种女性作曲家而不是少数几个。以这项研究为基础，本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。将创建三个案例研究，与多恩基金会的大使合作，探索设计多样化和性别平等的音乐会节目的良好做法。不可低估的是，这项研究将对整个文化部门产生影响，因为它将为组织在规划音乐会季节时解决自身性别失衡问题提供策略。这也将为今后在古典音乐演奏中避免符号化和普遍多样性的研究提供依据。本研究将包括两种主要方法：基于文本和先前相关项目分析的主题相关问题的探索，以及合奏的案例研究，以创建解决古典音乐节目中性别平衡的实用策略。正如多恩对2020/21音乐季的分析所发现的那样，这项研究是迫切需要和早就应该进行的；全世界只有11.45%的音乐会上出现了女性的作品。必须进行全面调查，探索导致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，提供摆脱这种厌女模式的策略。i)引言（2000字）ii)对演奏女性音乐的态度变化(15000字

"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