Society for Music Theory

Committee on the Status of Women

Activities at SMT Philadelphia, 2001

Thursday, November 8, 2001

8:00-11:00 am: CSW Board breakfast meeting

Friday, November 9, 2001

12:15-1:45 pm, CSW Special Session: Women Composers: A Forum for Work on Analysis and Teaching
Elizabeth Sayrs, Ohio State University, Moderator

Gender, Ideology, and Structure: Pedagogical Approaches to the Music of Karin Rehnqvist
Per F.Broman, Butler University

Hypermeter in Joni Mitchell's "Hejira"
Daniel Zimmerman, University of Chicago

Riding the Valkyrie: (En)countering Wagner in Ingeborg von Bronsart's "Hiarne" (1891)
Melinda Boyd, University of British Columbia

Jazz Vibraphonist Marge Hyams, Improvised Solos 1945
Sandy Schaefer, Chadron State College

Time Management with "Twelve-tone Lizzie": Temporal and Dramatic Design in a Scene frm Elisabeth Lutyens' "The Numbered"
Laurel Parsons, University of British Columbia

Brief abstracts:
This session will focus on analyses of pieces by women composers in different analytic and pedagogical contexts.

Per Broman explores two works by Swedish composer Karin Rehnqvist: Davids Nimm (1983) for three female voices and Timpanum Songs-Herding Calls (1989) for two sopranos and percussion, taking into consideration her arguments in favor of a particular female attitude towards life and composition.

Daniel Zimmerman considers issues of identity as well as the relationship between text, hypermeter and metaphor in Joni Mitchell's 1976 album Hejira.

Melinda Boyd explores the reception of Ingeborg von Bronsart's Hiarne, the first German grand opera written by a woman, in the context of the complex relationship between Hiarne and Wagner's Ring. Bronsart, a pupil of Liszt and married to Hans von Bronsart (one of the staunchest supporters of the New German school), outraged her Hiarne librettists by agreeing with Eduard Hanslick that the Ring was equivalent to "four days of torture" (vier Martertage), yet used several specific overt references to Wagner's Ring.

Sandy Schaefer compares recorded/transcribed solos of jazz vibraphonist Marge Hyams with those of Hampton Norvo and Milt Jackson, specifically Hyams' solos recorded with Mary Lou Williams in 1945.

Laurel Parsons discusses selected twelve-tone music of Elisabeth Lutyens, focusing on the dramatic significance of metric layering in a scene from Lutyens' opera The Numbered.

Saturday, November 10, 2001

12:15-1:45, SMT Committee on the Status of Women, Affiliates Luncheon Meeting

Return to:

Leigh VanHandel, Stanford University/University of Oregon

Revised August 7, 2002