Confronting Canonicity And Promoting Diversity: Gender And Contemporary Concert Programming

克拉拉·舒曼，范妮·门德尔松，希尔德加德·冯·宾根：“这个项目旨在挑战古典音乐音乐会节目中的性别不平等，调查频繁的象征性和便利性节目(同样的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，她们忽视了流通中的少数女性音乐之外的大量女性音乐。”谢天谢地，所有多产的女性作曲家都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大量表演相比，这是一个可喜的变化。女性作曲家在古典音乐节目中的重要地位早该出现了。人们普遍认识到需要使表演多样化；这很容易滑入象征性的领域，对少数女性作曲家进行推崇，比如上文提到的那些人，而忽视了女性多年来对作曲做出的绝大多数贡献。虽然看到一场展示芭芭拉·斯特罗齐喜悦的演唱会令人振奋，但通常情况是，像这样的节目只是一场表演，进入一个没有女性作曲家的更传统节目的季节。然后我们有了非芭芭拉·斯特罗齐的问题，即没有与已经在西方经典中站稳脚跟的男性作曲家联系在一起的女性作曲家的问题。本文将探讨两个关键领域：需要将女性作曲家纳入古典节目中不那么象征性的时尚，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，该项目将提出一些策略，供组织和乐团使用，以确保女性作曲家的节目多样化。将与Donne基金会的大使合作，创建三个案例研究，以探索在规划多样化和性别平等音乐会节目方面的良好做法。不可低估的是，这项研究将对整个文化部门产生影响，因为它将提供战略，各组织可以用来解决自己在规划演唱会季节时的性别失衡问题。这项研究将包括两个主要方法：基于文本和对以前相关项目的分析来探索与主题相关的问题，以及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Donne对2020/21年度演唱会季节的分析所发现的那样，这项研究是迫切需要的，也是早就应该进行的；在全球演出的演唱会中，只有11.45%的音乐会包含了女性的作品。必须进行充分的调查，以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编程的剧团合作，为摆脱这种歧视女性的模式提供策略。Draft Structurei)绪论(2,000字)II)改变对表演女性音乐的态度(15,000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