English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

University of Windsor, Ontario 11-12 March 1994 Prompted by a recent spate of publications and by several similar conferences in the United States, the Windsor conference offered a unique look at the Canadian experience of women composers, past and present, and provided in addition an object lesson in interdisciplinary cooperation. Conference speakers came from across Ontario and beyond, and members of the audience came from as far away as Texas and the United Kingdom, The Conference kick-off was a Friday night concert by the Windsor Symphony honouring one of ihegrande dames of Canadian music, Barbara Pentland. Two of Pentland's larger works were featured: the well-known Symphony for Ten Parts and the contemporary, but lesser-known, Concerto for Piano and Strings, with the solo part played by Philip Adamson, a faculty member at the University of Windsor. Preceding the concert were brief talks on Pentland's piano music by Thora duBois, a Canadian-born pianist now teaching at Oklahoma State University, and on preparing Pentland's works for performance by Susan Haig, Music Director of the Windsor Symphony. The main sessions of the Conference began on Saturday morning with two groups of papers, one by scholars and a second by practising composers. The opening session was titled "The Other Side of Silence: Issues in Women's Music." Virginia Caputo, a doctoral candidate in social anthropology at York University, discussed the creation of "canons of masterworks" and the gender bias inherent in this process. Marie-Therese Lefebvre, professor of music at the Universite de Montreal and author of La creation musicale des femmes au Quebec (1991), outlined the work of a number of younger Quebec women composers. While noting that music itself is without gender, she proposed a definition of "feminist music" as music associated with feminist texts or used in combination with other media (dance, painting) to give symbolic representation to women's issues. Geraldine Finn, professor of cultural studies at Carleton University, suggested that the social organization of musical activity in Western culture reflects a deep-lying power structure which works to subordinate women. She noted that the first half of Collins Encyclopedia of Music includes among its entries the names of over a hundred and twenty women, but half of these are in fact the names of operas and nearly a third more are sopranos (no competition there). The handful of composers listed are all hyphenated: "pianist-composer," "soprano-composer," etc. Elaine Keillor, pianist-scholar and professor of music at Carleton University, asked "Are we really 'minorish'?" She pointed out that gender-based labels attached to cadences, themes, and other musical procedures have little purpose other than to perpetuate sexual stereotypes. The second session, titled "Ourselves, Our Work: The Composer's Perspective," presented a fascinating variety of views and experiences. Carol Ann Weaver, professor of music at the University of Waterloo, exposed the paradox of women composers who are hesitant about creating "consciously feminine" music while their male colleagues have no qualms about expressing their feminine side. …

canadian university music review

With a Song in Her Heart: A Celebration of Canadian Women Composers Through Performance and Discussion: University of Windsor, Ontario, 11-12 March 1994