WIMUST Conference eBook Fiuggi, 5 - 6th July 2013
FONDAZIONE ADKINS CHITI: DONNE IN MUSICA
FIUGGI 5th and 6th July 2013 EUROPEAN MEETING FOR
WIMUST (Women in Music Uniting Strategies for Talent)
Index 1. Greetings 1.1 Silvia Costa, Rapporteur EUP for Creative Europe
1.2 Silvana Denicolò, Councillor, Latium Region
1.3 Elisa Costantini, Councillor, City of Fiuggi
2. Presentation by Patricia Adkins Chiti and Moderators 2.1 Patricia Adkins Chiti, President of Fondazione Adkins Chiti: Donne in Musica
2.2 Gigliola Zecchi Balsamo, Vice President of Fondazione Adkins Chiti: Donne in Musica 23 2.3 Carole Kost, International Honour Committee, Fondazione Adkins Chiti: Donne in Musica 24 3. Presentations by the participants 3.1 Cyprus
Theodora Constantinou, European University
3.2 Czech Republic
Lenka Kilic, Hudbaby
Anne Maria Vang, Kvinder I Muzik, Copenhagen Anne Kierulff, IMPRA
Sanna Ahvenjarvi, NaMu
Joanna Bruzdowicz, Rencontres Internationales Musicales En Catalogna
Sophie Lacaze, Plurielles 34
Geneviève Mathon, designated by Plurielles 34, France, Scholar in Residence 2013 38
LeileiTian composer, China but resident in France 3
Gudrun Metting, GEDOK
Alona Epstein, Israeli Women Composer Forum
Dafina Zeqiri, Neo Musica
Pinuccia Carrer, Conservatorio Giuseppe Verdi
Vilma Campitelli, designated by Parnaso, Bari Italy, Visiting Scholar 2011/12
Antonella Barbarossa, Conservatorio di Vibo Valentia
Orsola Bollettini, CEVEDIM, Parnaso Donne in Musica, Bari
Sara Torquati, composer, teacher and organiser
Teresa Procaccini, composer in residence, 2013
Elisabetta Capurso, Foundation’s representative in Regional Women’s Committee
Roberta Quattrociocchi, Librarian, Fondazione Adkins Chiti: Donne in Musica
Viola De Sando, European Press Officer, Fondazione Adkins Chiti: Donne in Musica
Albena Petrovic-Vratchanska, Cid-Femmes, Euterpe o Le forum Femmes et Musique du Luxembourg au Cid-femmes 60
Annette Kruisbrink, Tera de Marez Oyens Foundation
Mihaela Vosganian, Asociatia Romana pentru Femei in Arta 4
Voyna Nesic, Udruzenje Zene u muzici Kragujeva
Gotzone Higuera, Asociación Mujeres en la Música
Cristina Alcalá Galiano, Evterpe Mujeres y Musica
Alexandra Nilsson, KVAST- Association of Swedish Women Composers
Suzanne Persson, Evterpe
Biggi Vinkeloe, IMPRA
Selen Gulun, Bilgi University, Turkey, Resident Scholar in Fiuggi in 2011
3.17 United Kingdom
Margaret Lucy Wilkins, Women in Music -UK
Joan Cartwright, Women in Jazz South Florida
This eBook collects all the documents and contributions presented on the 5-6 th July 2013 during the meeting of the WIMUST (Women in Music Uniting Strategies for Talent) network in Fiuggi. WIMUST â€“ financed by the European Commission â€“ is coordinated by the Italian Fondazione Adkins Chiti: Donne in Musica in order to promote equal opportunities in the music field. The WIMUST meeting gathered women composers, musicians and musicologists from all over the world, who reinforced the network mission: stop gender discriminations and inequalities by raising visibility for women creating music in all genres, from classical music to rock music.
Participants at the WIMUST Conference, Fiuggi 5-6th July 2013
1. Greetings 1.1 Silvia Costa, Rapporteur EUP for Creative Europe I am delighted to be here with you again and to announce the printing of a book which this foundation has researched and written underlining the actual lack of legislation to protect and support women artists in all fields including women composers and creators of music. Europe (Council, Commission and Parliament) discusses the future growth of a Creative and Cultural Europe capable of building a better society but documents already in circulation suggest that many organisations have not included lack of access by women to decision making positions in the fields of art and culture as one of the greatest challenges for gender equality and mainstreaming today. Even though each EU country has a desultory number of documents (proposals, papers, guidelines, laws) referring to gender equality, few of these mention “culture”, “women artists” or “performing arts”. The word “woman” is absent from 99% of all documents referring to Cultural Policy. I continue to insist that specific support is needed to tackle the under-representation of creative women and female artists in the cultural and creative sectors as well as the lower circulation of their works inside and outside the Union, caused by specific obstacles and hurdles faced by them in their professional careers and also by the paucity of women occupying executive positions in the upper echelons of cultural institutions. The EUP March 2009 Resolution on Equality of Treatment and Access for Men and Women in the Performing Arts notes that “whereas inequalities in career prospects and opportunities between women and men in the performing arts are very much present and persistent…the mechanisms which produce these gender inequalities should be seriously analyzed…… (and encourages) Member States to produce comparative analyses of the current situation in the performing arts in the various countries of the Union, to draw up statistics in order to facilitate the design and implementation of common policies and to ensure that the progress achieved can be compared and measured”. To date no country in the EU has undertaken the “comparative analyses” called for. Mapping and measurement create a baseline and from there one must generate the will for change. One must look at the existing situation and how it can be affected and then establish a plan and a timeline for that change to happen. Goals must be set, which can be evaluated and measured. Top management must be engaged with the process, so that it is disseminated to all levels and responsibility and commitment are created. For this reason, together with Patricia Adkins Chiti and the Fondazione Adkins Chiti: Donne in Musica we have decided to start by mapping all the existing legislation. Thank you and Good Work! Silvia Costa,Member of European Parliament from July 2009, “Rapporteur” for the EUC’s Creative Europe legislation, Vice-Chair of Delegation for relations with Iraq, Member of Committee on Culture and Education, Member of Committee on Women's Rights and Gender Equality. She initially worked with newspapers, magazines and television programmes and edited 'Il Popolo'. She was National coordinator of the youth section of the Christian Democracy Women's Movement; national press and communications officer for the Christian Democrat party and a member of national leadership, national events officer for the Italian Popular Party and member of the PPI national executive; member of Rome city council and Lazio regional councillor for education, educational rights and training. The Honourable Mrs Costa was a Member of the Italian Chamber of Deputies for three parliamentary terms and sat on Committees for internal affairs, for culture, science and education, radio and television and was Under Secretary for universities, scientific research and technology, and a member of the national committee for gender equality and chair of the national commission for equal opportunities. Successively she was chair of the European advisory committee on equal opportunities, head of the EU delegation to the annual session of the UN Commission on the Status of Women, member of the National Council for Economy and Labour; she coordinated the working party for
women and immigration, and co-founded the 'Telefono Azzurro' for missing children. She was a director of the Fondazione Adkins Chiti: Donne in Musica. email@example.com
1.2 Silvana Denicolò, Councillor, Latium Region Humanity Needs Women (and Music!) The composition of the Regional Parliament of Lazio, where I am a member, is a clear example of this missing potential: this region has about 5 million inhabitants, an approximate half of which are women, but in our Regional Parliament there are only 10 women out of 50 members (20%). In our Commissions, where most of the work of the regional deputies takes place, the 8 Presidents are all men, and there is only one female vice-president out of 16. It is easy then to connect the situation in our society with the institutional one: how can our reality change if those who are in charge for laws and policy addresses are so sharply unbalanced – in gender’s equality – towards men? And how can “equal opportunity” issues become popular if not sponsored by those who live inequality in their lives? According to the Consulta Regionale per le Pari Opportunitàof Lazio (The Regional Council for Equal Opportunities), Italy is not progressing in the International ranking list for gender equality, on the contrary, the situation has been getting worst in the past few years. And here is where culture is the key, because change has to be pursued starting children. Humanity nowadays badly needs women’s participation, made of Talents Skills Positive thinking Solidarity Imagination Inclusive modalities Women composers have the possibility of playing a prime role in this, and to pave the way to a new society (that is highly needed). The struggle for the rights of those who are not “the weak ones”, but are simply kept out of the main scene (women, but also children, the elderly, the poor, the “different” – and musicians often fall in that category too!) is a long and a difficult one. An unbalanced society, too much centred on male-adult-wealthy-conservative-mainstream persons, is missing potential and capability of evolving. Briefly, those who cannot have a full range of rights will always be the unexploited (cultural, but also economical) potential of humanity. My three nieces, aged 15, 13 and 11 play clarinet and horn in a youth orchestra directed by a woman. They live in a small village of 1,500 inhabitants on the Alps, where the importance of women and music (and their interaction) is clearly a matter of fact. Music is life, just like maternity, they are the sound of universe that echoes in our ears from time immemorial. Silvana Denicolò, Regional Councillor, Latium Region, originates from a tiny village in the Dolomites, Livinallongo, but has been living in the Roma area for almost forty years. She currently lives in Ostia Lido (the seaside of Rome). She has been working as an international market analyst for twenty years, first with the Sydney-based market research firm Spectrum Group Aust. Ltd., then with the UK consultancy group Cinema Next Ltd. Silvana has been an activist with the MoVimento 5 Stelle (5-Star Movement) since 2008 and was elected in M5S’s party list in the Consiglio Regionale (Regional Parliament) of Lazio in February 2013. She is one of the seven M5S Councillors within the 50-member Regional Parliament of Lazio Among the various activities carried out as a M5S activist, a considerable amount of her time has been dedicated to culture and equality between genders. firstname.lastname@example.org
1.3 Elisa Costantini, Councillor, City of Fiuggi It gives me great pleasure to welcome you all in Fiuggi. I am pleased to participate also this year at this important international meeting, which makes us proud of the constant work of the Fondazione Adkins Chiti: Donne in Musica. It is a part of our essential patrimony and fundamental for our local culture as well as being an incredibly strong force promoting Italian citizenship and culture worldwide. Thanks to its international activities and resonance, together with its constant work to safeguard, the foundation is the central engine of an international network that enhances the musical female genius, promotes young talent and preserves a great heritage. The Foundation represents an important added value for every new initiative undertaken. The WIMUST project represents a rare and extraordinary architecture to give talented women composers and musicians many opportunities for meetings, study, performances and international networking. WIMUST also represents for us an occasion that enforces our own cultural identity and confirms our centuries old participation in music performance and production. WIMUST will encourage us to continue along these lines thanks to the happy and ongoing relationship with such a dynamic and prestigious Foundation. Finally, I want to thank Miss. Patricia Adkins Chiti: her endless enthusiasm and generous passion are a precious resource for us all. Elisa Costantini,graduated from the "La Sapienza" University in Rome in "International Cooperation and development sciences" (2012) and from the University of Perugia in "International Relationsâ€? (2009), She is an expert in the analysis of institutional and cultural factors, the planning and management of specific cooperation initiatives and peace plans, andin administrative procedures in the field of Public Administration, citizenship, diplomacy and of human rights. Elected City Councillor in Fiuggi (Italy) in 2010, she is directly responsible for: youth policies, cultural twinning, and institutional coordination of the committees for democratic participation. preparation of cultural cooperation and youth programmes at European level. Since 2011 she is a member of the Executive Council of E.H.T.T.A. (European Historic Thermal Towns Association), a European Cultural Itinerary since 2010. In 2013 she obtained a master's degree in European Project Management at the Innovation Business School in Bologna. She currently collaborates with the "Adkins Chiti: Women in Music Foundation " for various cultural projects.
2. Presentation by Patricia Adkins Chiti and Moderators 2.1 Patricia Adkins Chiti, President of Fondazione Adkins Chiti: Donne in Musica Presentation WIMUST Programme, Research, Outreach, Activities 2012/2013 Good Morning - Welcome back to Fiuggi and to Donne in Musica. It’s good to see you all again together with many new guests, friends who have been in our International Honour Committee sometimes for many years. I thank our Mayor and City Council who continue to support the Foundation which is very important in these difficult economic times. It is a privilege to have our meetings here in the Town Hall and in the Civic Theatre. Greetings to our dear and long standing friend, Silvia Costa, Rapporteur for Creative Europe at the European Parliament – she is working day and night to include women in the new legislation for European Culture and Creativity and fights on our behalf every day. I’m also happy to have met and invited here another very energetic woman politician, Silvana Denicolò, from our Regional Council. She too is very militant on behalf of women. Thank you for being here today. Last but not least, thank you Elisa Costantini, City Councillor for Youth, Sport and International Events – I appreciate the time you take to follow our work. As I began to prepare my notes I realised that in the last year so many things have happened that it would take an entire morning to describe everything that has made us (staff, directors, consultants) realize just how important and exciting this network is and how essential our mission is – a never ending mission embracing all age groups, all kinds of music and in most parts of the world. Every time we hear of someone’s wonderful first performance we are as excited as they are. You can imagine our joy when we learned that of the twelve new works that were given performances with orchestra this year (choices made by our Reading Commission as the result of January’s international call) ten were first performances. We are happy when we receive new books which are dedicated to, or talk about contemporary women and when new scores or CDs arrive. (Thank you Teresa Procaccini for having brought some copies of your book for anyone who would like to have them). Last year saw a growing number of enquiries from conductors and musicians who came to Fiuggi to read and choose scores. So please continue to send your music. Our cataloguing continues daily and the news of closure of other libraries of women’s music makes our work even more essential. Thanks to the generosity of many of you we sent cases of books, cds and music to five music schools in Serbia (the second time we have done this) and know that these gifts were appreciated. We have had sad moments too: Irma Ravinale, composer, musician and teacher died in Rome on the 7th April last. Many of you will remember her from our meetings in 2011 and 2012. In an interview a few years ago in which she was asked “how and when she composed” Irma replied: “like a salaried worker, in the morning, in the afternoon and even throughout the night if necessary. Sometimes in order to complete an idea a great deal of time is necessary, but the time is never wasted” and then she added, “the composer, the artist, works alone. Otherwise she doesn’t work”. She was an active member of the Women in Music movement from 1979 onwards and a Member of our International Honour Committee and we shall do everything so that her music will continue to live, witness to her talent and excellence. She was also one of the few Italian women to arrive at the top of the musical tree, an Academicof Santa Cecilia and recipient of many important prizes including the President’s Prize in 2009 (the first time in Italian history that a composer had received such an honour).
The Foundation has received in donation all of her music and will publish a book with her biography, complete list of works and an analysis of her musical production. Thanks to you all we know, first hand, what is happening in many parts of the world (I tracked down Selen Gulun in May since she never answered her email and found her protesting in Taksim) and then, just a few days ago we received a tragic letter from another Turkish composer, Ayse Onder: “………. my father, Selim Önder (88) lost his life. His death was caused by the inhumanly massive amounts of tear gas spread around Taksim. The effects of the tear gas pushed this 88-year-old man with a heart condition towards respiratory failure and ultimately triggered his heart attack. It is clear that neighbourhood residents, passersbyon the way home or going to work, people out to buy bread, returning from Friday prayers …… these citizens were not even considered, not valued. The tear gas didn't just affect those in the streets, however. It also affected us inside our home. My father was hit both when he was passing by chance and necessity through Taksim on the way home (on the afternoon of May 31) and also when he opened the window to pray when the police attacked the tent city in Gezi Park, pushing him into respiratory failure. With the conditions in our neighbourhood, I ran to a group of police and told them I have an 88-year-old father with heart problems. How he will walk on these streets? How he will get home?? We can't even breathe in our homes. I asked them please to stop the tear gas attacks, saying these are human beings in front of them. One policeman told me not to try to awaken their empathy, and another told me that actually I was correct but they had to follow their orders. He was sent to the hospital due to respiratory failure, suffered a heart attack, and passed away on June 16th, a Fathers' Day gift from the government and the police force…So now we are left without a father, and my mother has no husband. But there is a fire inside of us, unmitigated, growing greater and greater each and every single morning. “ All of us present today, representing women composers in all kinds of music and in every part of Europe (and beyond) are part of a European Commission recognised network – something we should exult in and be proud of. On the 31st June 2013 our network included 51 European women in/and music organisations in 31 countries of which 18 within the EU: Austria, Belgium, Cyprus, Czech Republic, Denmark, Finland, France, Germany, Italy, Luxembourg, Netherlands, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and the United Kingdom. Furthermore there are organisations working for women in music in Turkey, Serbia and Switzerland. Let me begin by setting out the aims for WIMUST and then continue by telling you what has been achieved. In your folders you will find the work list that will be undertaken this year. (a) Promotion of music in all forms composed and created by women (b) Circulation of information about living European women composers and creators of music to political decision makers, media, music practitioners and stakeholders (festivals, orchestras, training establishments, unions, music libraries etc.) (c) Organisation of an Annual meeting of European women in/and music organisations to stimulate capacity development, political strategies and programmes (d) Organisation of three-month residencies in Fiuggi, for European women scholars (musicologists, researchers) designated by network organisations to research, update and disseminate information about European women composers (e) Organisation of residencies for composers designated by network organisations who present a new work to schools and cultural centres in Italy (f) Investigation of mechanisms producing inequalities and statistics regarding programming of women’s music by publicly funded institutions (g) Updating of women composer data banks and music archives for a European Yearbook of Women Composers
(h) Advocacy, communication and promotion of slogan: “Culture development needs women and music”. Work undertaken in 2012: 1. Listing of concrete examples of discrimination and circulation of findings to organisations in the network. As confirmed in interviews on Facebook with women composers the major problems continue to be (a) Lack of juries reading scores and when these exist, lack of women in the reading commissions, (b) Lack of circulation for new music scores by women and (c) The high costs required by Performing Rights Organisations for the performance of contemporary music. This means that new music is not “read” unless the author is part of an “old boys” network or has a particularly influential publisher or record company willing to “contribute” to production and programmes. (d) “Harassment” is common throughout the entire music business but rarely made public. (e) Lastly, few female artistic directors running major festivals and orchestras: many of those involved are administrators not musicians reading scores. 2. We collected documents from every EU country referring to legislation for women in the arts and especially music. These will be published at the end of this year in a book, in three languages, for the European Parliament, thanks to the Hon. Silvia Costa who invited us to complete this research and who will present the book. In 2012 a number of countries projects took off highlighting inequalities for women in music: France (in particular H/F, the festival Nuits Sonores and the European Festival Laboratory), “Speed-dating” for women composers in Austria (through MICA): a new law in Italy insisting on 50% of women in all boards (Legge Golfo - Mosca); research undertaken in Sweden by the Ministry of Culture with KVAST; the “Equality Pact” introduced by the music industry in Great Britain. 3. An open letter was written to 1000 European Orchestras and jazz festivals informing them of WIMUST and offering musical scores. There have been replies from 1 percent (10 organisations out of 1000) in the course of the year. À call for specific works was sent to the entire women in music network. 252 scores arrived from 24 countries and of these 12 received first performances in 2012. Another 12 were programmed in March 2013 and the remainder has been “promised” performances later this year. 4. Dissemination of all materials, through our Press Officers, pertaining to WIMUST to music stakeholders and practitioners in our data banks. Of these Music Information Centres or Composers’ Societies should be starting points when searching for music by women. However, their data banks are usually incomplete. The most widely read international music magazine, “Musical America” ran several stories and the International Music Council of UNESCO and European Music Council carried reports in their journals reaching well over 60 thousand readers. 5. The Foundation produced a long series of concerts in different parts of Italy, often in collaboration with Italian women in music associations, where we presented music by 70 women composers including 28 works that were commissioned or invited. 6. An essential part of WIMUST work was the designation of resident scholars, composers and musicians who came to live and work in Italy. Final choices for 2012 resulted in invitations for scholars and composers from Serbia, England, Italy, Austria, Denmark, and Portugal. These Residencies allowed scholars and composers to interact and work together. Trans-national mobility for practitioners and musicians encourages an exchange of ideas and underlines what European citizenship really means. Residencies are unique opportunities for women musicians and scholars and requests are arriving from composers and scholars in countries without a women in/and music organisation.
This is a part of the programme me which we shall endeavour to continue in the future given its uniqueness and originality. For composers WIMUST represents a concrete opportunity to have their music heard in another country. “Incontri con le Compositrici” presented new works from composers Ana Seara, (Portugal), Eufemia Mascolo (Italy), Ana Bofill (Spain) Angela Montemurro (Italy), Rachael Forsyth (England), Lisbeth Diers (Denmark), Joanna Bruzdowicz (Poland), Ludmilla Yurina (Ukraine), Artemia Aifottiti (Cyprus), Lenka Kelic (Czech Republic), Sanna Ahvenjarvi (Finland), Albena Petrovic Vratchanska (Bulgaria and Luxembourg), Cruz Lopez de Rego Fernandez (Spain), Sonia Bo and MariaCristina de Santi (Italy). New works for Italy and programmed in “Donne in Jazz” included those by Iva Bittova (Czech Republic), Bjork (Iceland), Joanna Bruzdowicz (Poland), Cinzia Gizzi (Italy), Eleni Karaindrou (Greece), Rachel Portman (UK), Erika Zoi, Ludovica Manzi , Francesca and Federica Badaloni, and Joy Grifoni (Italy). 7. Lastly we reprinted the original booklet for WIMUST for circulation to other European music stakeholders. Brochures in English, Italian and Greek were printed upon request from countries in the network. If music is not heard it does not exist. If it is not performed composers cannot mature their own voices. Interaction of women music professionals with others from different European countries, and successive “professional spin offs” (i.e.further opportunities to present their own music) encourages greater mobility for them all. Music has to be heard. It is useless to continue to talk about women composers, or carry out research into their numbers and repertoire if their music is not programmed and I confirm that concerts and special presentations and conferences are a direct and practical way of developing an audience for new music of all kinds and of sharing information. I am aware that many composers would prefer to be programmed by orchestras rather than by chamber ensembles and it is for this reason that we are insisting in our advocacy to orchestras and major festivals. At the same time it is important, to reach a large and differentiated public through concerts in alternative settings and by reaching out to the youngest members of our society. Apart from the very interesting growth in Women in/and Music organisations (today there are 51 organisations in Europe alone) the enormous and ever growing number of names for women in our data banks, and for whom we have full information (biography, lists of works, recordings, prizes, and performances) deserves attention. Interestingly a very dynamic sector of growth is that for “alternative music” which is everything apart from “art music”, electronic music and jazz. The sector includes performer-composers, song-writers, composers writing for publicity, cinema and television, and “improviser-composers” (creating “impro music”“synth-pop” and “Cross-Arts performance”). The WIMUST network and programmedconsolidated during 2011 and 2012 has been carried forward at local, national and European levels even though the active participation by individual women in music organisations has not been as energetic or as effective as we all hoped in 2011. This is probably due to the underfunded nature of each organisation’s activities. I appreciate that running an organisation with voluntary staff is a nightmare. Professional and personal involvements conflict with agendas set up by individual committees and as musicians we appreciate that any activity bringing us income and visibility (not necessarily in this order) will come before any well meant promise or work list set up by an individual association. However, we must take heart and realise that, around the world, there are thousands if not millions of non-profit volunteer organisations that manage to carry out a considerable amount of advocacy for their members. I am thinking
particularly of the “Women’s Institutes” in Great Britain, the “Girl Guides” in many European countries, and the thousands of local associations working for greener streets, bike or car sharing. How do they manage? Firstly by building up the membership whether they are meeting on a regular basis or working over the internet and secondly by having a larger running committee than they might consider useful. If it is impossible to find one person to work on a website in their spare time, they divide the work to be done into three or four sections and find volunteers for each section. Our initial experience was that while we had to pay a webmaster to set up the site and a graphic designer for the sections, successively (for many years) we had volunteers who were inserting materials as and when they could. Even today when our Foundation has to run a “mass mailing” – we divide the work into sections and each of us involved in the sending, finds herself with a “reasonable amount of work”. I would be hesitant to ask any of our staff to do all the “mass mailing” alone. How can WIMUST and the Women in Music network help your organisations? 1. by the presentation of WIMUST at the highest possible national political and institutional levels together with your organisations: in 2013 there will be public presentations of WIMUST in the United Kingdom and Denmark. We had no further input from organisations in Sweden, Germany, France or Turkey about possible presentations in their countries. If there are proposals for these they will have to be taken into consideration for 2014. 2. Through the ongoing updating and collection of biographies and lists of works and contacts for living women composers and creators of music leading to the completing of the Online Encyclopaedia and the preparation of a first Online Yearbook by the 15th January 2014. Here I wish to publicly thank every working with and for the Foundation (librarians, archivists, secretariat, volunteers, friends, artists, composers, musicians, press officers, technicians, printers, webmaster,) and the resident scholars. 3. Through the delivery of the results of this ongoing gender mainstreaming project to all relevant stakeholders (ministries, equal opportunity commissions, professional institutions, music centres, youth organizations, culture specialists, educational institutions) and through the collection and preparation of materials to produce quantitative and qualitative studies on women composers and practitioners. 4. Through these unique Annual General Meetings with scholars, composers and musicians arriving from different European countries (and extra European countries) representing an association in the International Honour Committee. They give us an opportunity of better knowing our community and exploring how each participating organisation works and gives ideas while using those of others in its own work to contribute to its success and the growth of its membership. There is another way in which we can help each other and that is by talking more openly about “Discrimination, harassment and coercion”to which all women musicians and women composers in particular are subjected. Coercion, which is something we shall be talking about later on during this Annual General Meeting, is a growing business practice in the audio-visual and media production sectors, (in the field of commercial music and in some areas of art music) where composers are required to assign the copyright in their music (the so-called "publishing rights") as a pre-condition of being granted a commission and performance. I am so concerned about this aspect of professional life for women that during my recent visit to the European Parliament to consolidate arrangements for the presentations of WIMUST in England and Denmark, I met the General Secretary of ECSA (European Composers and Songwriters Association), like us a European network with 48 affiliated organisations. They were present at our WIMUSTpresentation at the European Parliament last year and are concerned about a copyright system that takes greater care of the rights owners (editors, publishers, media) than of the creators. We at the Foundation are concerned that the pinpoint on which every other activity in the musical world
rests, the work of the author, is not the central point of the new European legislation for a new Cultural and Creative Europe. Ergo, we have decided to organise, together, a Workshop on 13th November in the Parliament entitled “In need of Key Changes”: A Composers’ Symposium on the challenges facing Contemporary Music.This will help the creation of a common platform, engaging the European Parliament in talks over the working conditions of today’s composers and the necessity to safeguard, empower and sustain their positions within the European cultural/world heritage, for the sake of EU competitiveness as well as the future of creativity. This “meeting of two networks” will give us a chance to publish a brochure to be entitled “Worst Practices Around” setting out the ways in which women artists are constantly subjected to discrimination, harassment, lack of transparency and coercion. Two words on this year’s programme: We have planned the sessions so that each of you has a chance to speak in at least one. Those of you representing organisations that have been here before (2011 and 2012) should not tell us again about your own organisation since we have also printed your reports in the General Report for 2012 which is available for perusal. You are here to contribute to the ongoing work and advocacy that we are carrying forward at the highest institutional level possible in Europe. For this reason, while we are happy to have your latest news, please try and stay in line with the session in which you are speaking. I conclude by setting out what we consider essential elements of all Cultural Policies: Equality: In decision-making positions in the arts, in remuneration and social conditions (which does not rule out specific measures for women such as child care); Diversity: Freedom of expression, including those with differing values and opinions; acknowledging the differences among women rather than treating them as a homogeneous group; support for the existence of specific institutions; Recognition: this refers to both the cognitive realisation and the emotive respect of women’s rights as human rights; of women’s achievements through funding, prizes, continued training, prestige; portrayal of women in the media; Transparency: in political processes, production and dissemination of information (including research), nomination and decision-making processes; Productivity: with a strong relationship to economic development, to be reconciled with societal needs, emphasis on individual creativity/talents as opposed to pure market demands. Thank you again for all being here – it is wonderful to see you all again.
“WORST PRACTICES AROUND – Discrimination, Harassment and Coercion” It is largely understood within the musical world that “talent alone is not sufficient for the success of a professional career”. Notwithstanding the adoption of the Universal Declaration on Cultural Diversity by UNESCO (2001) and the European resolutionson the Status of Artists (2007), or that of the 10 March 2009 on equality of treatment and access for men and women in the performing artsnothing has changed. The statutes of artists are still being endangered and questioned every day, whilst equal opportunities in the performing arts are far from being a reality and the materials collected hitherto expose some of the worst practices regarding working conditions for women composers in every field and the necessity to safeguard, empower and sustain their positions within the European cultural/world heritage, for the sake of EU competitiveness as well as the future of creativity. There is an on-going increase in the number of women entering and working in the various professional fields in the sector and, quite clearly, they would be helped and sustained by a major understanding of the impetus for equal opportunities implicit in the Treaty of Amsterdam. The rights of women composers and creators of music are consistently subjected to gender based discrimination and the noticeable absence of information about their contribution to music (past and present) shows that current education is neither multicultural, nor in conformity with Article 27 of the Declaration of Human Rights. Equality between women and men is a core issue in changing societies, as the 5th European Ministerial Conference on Equality between Women and Men (2003) emphasised. According to the White Paper on Intercultural Dialogue, 2008, gender equality is a crucial element of democracy and an integral part of human rights while sex-based discrimination is an impediment to the enjoyment of human rights and freedoms. The 1995 UNESCO World Commission for Culture and Development identified the relationship between gender and culture as essential for development. As the International Music Council of UNESCO has constantly underlined: It is a universal human right to make and have one's own music. Policies for equal opportunities are acknowledged in the general labour market, but are not applied to the arts and culture. Creative activity and its complex relation to society is poorly recognized and accommodated by cultural policy and the encouragement of women even less so. Respect for women’s human rights is also the non-negotiable foundation for any discussion referring to cultural diversity. Diversity, in the widest sense, is an integral part of all artistic processes. Even though women make up 52,32% of the total European population, their access to decision making positions in many fields, include those of the performing arts, is still very strictly limited. Current market philosophies value products in terms of their commercial appeal and as less public funding is available, and alternative funding lacking, so the range of challenging musical experiences in every community diminishes. Composers and music creators submit scores to artistic directions, organisers, recording companies and radio stations in the hope that these are read by peers. Unfortunately the majority of these depend upon suggestions from others – music publishers, external consultants, colleagues. The result is that very rarely is a new work from a woman accepted as underlined in the study “Secret agendas in Orchestra programming”. . For six months before the Annual General Meeting in July 2013 we circulated a series of statements regarding Discrimination, Harassment and Coercion (discussed and put together during the Annual General Meeting in 2012) to nearly 600 women composers. They commented on these and added further worst practices. Before the AGM in 2013 representatives of 55 women in music organisations completed a work sheet putting the above mentioned “worst practices” into an order of importance. Further “worst practices” collected during these meetings and afterwards will be included. I am setting out below the listing of as of today's date:
WORST PRACTICES AGAINST WOMEN IN MUSIC ORIGINAL TEXT PREPARED WITH THE COMMENTS FROM 600 EUROPEAN WOMEN COMPOSERS VOTED (IN ORDER OF IMPORTANCE) BY 55 WOMEN IN MUSIC ORGANISATIONS Programmers try to meet public expectations – they need to sell tickets. Artistic or Programming committees have little knowledge of women composers whether from the past or the present. Ergo The general public is unaware that there are so many women writing music. Decision makers are mainly men. As confirmed by the French Culture Ministry, 98% of all public funding for music goes to works by male composers, 94 % of all conductors are male and 86% of all training institutions are directed by men. The majority of conductors are men: they say they know nothing about women composers, alive or dead, and don’t believe that there are many. They also just don’t want to be bothered to learn about music by composers who can guarantee nothing in return for a performance Even with a woman heading an orchestra or a festival, the amount of women's music being programmed doesn't rise. Perhaps they are concerned that if they do promote women they will be considered "feminists" or “out of touch". Professional incompetence of programmers: Many directors are where they are because of political influence, backing by record companies or publishers, prestige in fields other than music, old boys’ network. Some are not trained musicians, cannot read scores and must, therefore, depend on others for decisions: administrators and artistic directors do not realize that there must be an adequate representation of women at all levels and in all institutions. Women teaching music history in training institutions (and schools) don’t include the names of women composers in their lessons. Composer “gatekeepers” only promote their own students or composers who offer them programming opportunities elsewhere. They do not consider works representing different musical aesthetics. “Equal Opportunities” is not something that interests them (men). Men don’t appreciate concerts with women-only programmes, but have no objection to all male composer concerts Orchestras have insufficient time for the rehearsal of new repertoire and on the whole dislike playing contemporary works and this affects all composers and above all women. Very few women are published, and thus do not have publicity and promotion. Programmers are influenced by publisher's recommendations Conductors prefer to programme composers who can offer them “podium exchange” and accept women’s music only for personal reasons The amount of contemporary music being programmed is less than it was thirty, fifty and seventy years ago so the lack of possibilities for new works forces women composers, in particular, to write for smaller ensembles, thereby finding themselves “out of the running” when an orchestra is looking for larger scale works. Even more critical in this regard is that women composers do not have a chance to develop their skills through hearing performances of their music, especially large-scale works. Public-conscious programmers and organizers continue to think of composers as men in the same
way surgeons or judges are thought of as men. Unless a composer has a full-time position as an employee at a university (or even working for a coffee bar or playing regularly in a hotel), she generally functions as a freelancer seeking commissions or—in most cases pay-to-maybe-win—opportunities. In this way she receives no legal form of protection against age discrimination Some festivals only accept proposals from managers, agencies, record companies or publishers who offer to pick up some costs for a performance. Women composers do not have a champion (women in music organisation and/or lobby) in many countries Many women conductors never present music by women for fear of being considered “feminists” and are as ignorant as men are when it comes to repertoire Women composers face discrimination/envy from composers who are artistic directors (especially from the older generation). Jazz Festivals and Clubs are in male hands and it’s a long hard fight to get the right openings and gigs: there is a general feeling that women are not as good as men. Gender Studies in Universities can be detrimental when teaching music history giving information about the music composed by women. Often the professors are not musicians, have not studied composition and have no idea that all musical composition (written or on a computer) is a craft which has to be learned, put into practice and then refined through experience and public performances. Programming depends on “back scratching” and women do not or cannot cope with this. There’s a culture of youth driving the marketplace….there’s something more sexy, appealing, or exciting about young talent which can make a better sell in publicity materials, on stage, at the donor’s reception, or in the grant proposal and in less philanthropic endeavors, helps bring in more money. Some opportunities list no age restriction but discriminate in private….ageism is a subtler form of discrimination. This, added to the ongoing discrimination against women as creators and composers of music means that women suffer twice as much. The limit of 39 years of age is set in order to give more chances to the young generation of composers but this is not the best way of introducing young talent to the field and is discriminatory for those who are 39 + Music Information Centres often don’t appear to be interested in what women are doing and don't invite them to send in curricula or professional materials. There are no public or private juries to appraise scores for commissions and so choice is very much a personal one. Some composers believe that there are almost always juries of some kind, but they generally consist of peer groups whose members rarely disagree with one another If you look elsewhere, I’m sure you’ll find other opportunities. Words no one wants to hear when applying for an opportunity for which they otherwise qualify except for one thing: they are too old. Those in hiring positions at networks, ad agencies etc are younger these days and prefer working with their own generation rather than with musicians with longer track records and a wider range of experience. Songwriters get radio play or television coverage if they sign the Performing Rights Forms with everyone else involved in the project including the sound engineer. Signing on to PRS is not always useful: often your local PRS doesn't find information about performances given elsewhere in Europe. The returns earned are less than the annual costs of
belonging to the PRS society. This is also true for membership of some music unions/organisations. Further comments from European Composers, Songwriters and creators of every kind of music and who are represented by 51 legally constituted and affiliated organisations within the Women in Music Network Coercion is nasty busy and very difficult to combat and in the end means that many composers just don’t work. It's also difficult for publishing companies who are not in business with those commissioning a new work. Composers are often put into a position where they can’t assign their music to the publisher they normally work with – this means that either you accept the offer coming from a producer, network or agency, or you simply don’t work. There are producers who invite composers to take a lump sum for the writing of a work but refuse to let the composer have any performing rights. If you don’t accept you don’t get the job. “There was a producer who wanted my music, offered me a lump sum but then said that I wouldn’t be earning residuals or PRS in any way – and he was representing an international project which would have meant returns from all over the world. It was a difficult decision to make but I said no – he quickly found someone else which means that he didn’t really need MY music – a very hurtful experience”. If a publisher is handling a catalogue on behalf of a broadcaster or production company, his primary loyalty inevitably lies with the broadcaster, rather than with the composer. When there are writings about, reviews of, books about music, it is extremely rare that the writing is about women musicians. There aren’t any famous Women Composers (Hildegard of Bingen, Clara Schumann, Nadia Boulanger, Dame Ethel Smyth etc) in Music History School programmes When there are discussions about role models and sources of inspiration on the internet, there’s almost never any female composer, songwriter or author mentioned. The Rhythmic Music Conservatory in Copenhagen has now nearly only male students, and the few female students haven’t got many chances to mirror themselves in female role models among the teachers. The Danish magazine”Jazz special” has no female critics and the same is true of every other Jazz magazine in Europe and we’re in 2013….. Copenhagen Jazz Festival 2013 has a few female singers and almost no female instrumentalists in their huge programme. This year’s Montreux Jazz Festival had only 4 female performers and no composers and say they hadn’t any idea that there were jazz composers………..have they never done any research? "The British Prom concerts have some jazz evenings and even though I conduct my own band and work regularly as a conductor in recording sessions I have heard that it wouldn't look right to have a woman conducting a jazz concert for the Proms........" People in general have a fixed idea about what a composer should be or look like, and a female figure doesn't fit that common image of a great composer. So people tend to unconsciously reject woman composers before even listening to their music, which is a kind of psychological prejudice. Because of this, inevitably women composers get less chances to be acknowledged in the first place no matter if they are really good or not. A female composer who is looked upon (by men) as very attractive (or sensual/sexy) almost always has a problem of getting the same respect as a male composer. The traditional picture of the women composer is a man-like woman with a mustache and strong glasses - a strange creature. This leads to other extremes – half-naked pictures of artists or
songwriters who sell themselves with a very sexy look at any price. None of this is good. One problem is the “names” of “great masters”. Discover a couple of measures written down by Beethoven as a child, and the musical world will pay attention. Discover an orchestral piece written by a (so far) little known woman, and the reaction of the musical world is “is it better than one of Beethoven’s symphonies? If not, why should we care about such a discovery”? Female composers rarely obtain status as a "genius" in the same way in which male composers do. One problem is the neglect of statistical facts in common perception. If people were informed more often and more intensely about facts like “95 percent of all university professors in the field of XYZ are male”, more people might ask “why is this so”? “xx percent of all conductors are male in country abc, and xxxxx percent in country def”, “what might be a reason for the difference”? As long as the juries and persons in groups deciding on commissions and prices are mostly men there will never be fair and non-discriminating decisions made concerning women. Injuries and cultural institutions there are still a majority of men making decisions about grants, scholarships, commissions etc When the Spanish PRS Society had a female director (a composer) she insisted on “blind score reading commissions” with the result that over 50% of the works chosen were by women – she had a hard time and as soon as they could a man took over! Constant discrimination against women composers produces unstable economic and social situations for them, poverty in old age. In Italy we have figures for the earnings of independent artists including women composers and most of them have earnings below national poverty level. Conductors, artistic directors, managers, agencies, record companies, publishers and musicologists are ignorant about the women composersregarding both their historic and contemporary production. There are editors, programmers, conductors... who consider the music written by women and the music written by unknown men in the same strange category Okay, let’s assume that most men in the music business are ignorant – but it's amazing how they keep their jobs and power with this lack of interest in what the other half are doing. Women composers are not sure enough of themselves to promote their compositions and they really need help. By the time you’ve received 20 rejection letters or emails from publishers you wonder why you were ever considered a talent. There are more young women than young men producing music when they’re at school but then they’re not encouraged to continue and look at their talent as a future possible lifetime engagement – they are told they should study other things. We need more young women in the composition classes. Women teaching instrumental repertoire in training institutions (and school) don’t include women composers in their programs, lectures and performances. Guidance repertoire to be played in conservatoires rarely includes women composer’s works. Instrumental teachers don’t even bother to find out if there is contemporary or historic music by women. They rely on what publishers are producing for the 2nd or 4th grade. In general, the audience applauds the music it likes, without giving importance to the sex of the author. Programmers, publishers etc. don’t work in this way. "We're only interested in promoting 'great' music!" is a good excuse not even to read a score by a woman (do you think they know how to read a score??)
The hierarchal valuation/appreciation of different musical styles/esthetics undermines folk music and to some extent jazz music. The jazz-scene is mostly run by men so that doubles difficulties for women. The folk music-scene is more equal (at least in Sweden), but is still not seen as “cultural” as for example classical music. So women engaged in folk music don’t receive benefits from gender institutions and other organizations supporting women. There are still directors, agencies, producers and organizers who believe that women can’t play (or shouldn’t play) electric bass, electric guitar or conduct an orchestra. Many musicians don’t know there are women composers On their résumés, many musicians – male and female –omit women musicians with whom they performed, unless the woman musician is more famous than they are. Male music professionals always have the last word and never defend women. As a jazz musician it’s hard on many levels. There are many ´female´ players who have given up, because it was too hard to fight discrimination on a daily basis. As a flautist there is no problem because this is perceived as a ´female´ instrument. When I say I am a saxophonist, I am asked if it is not too hard to blow, to handle. And how I can put up with my male colleagues.... Often I have to ask a male colleague to tell everyone else in the group what I want them to play since they don’t even listen to me. As a jazz musician you are supposed to be a singer, a pianist, a violinist..... not a drummer, bassist, saxophonist.... The Real Book, the jazz players' bible and reference book for songs, contains extremely few compositions by women..... "The worst thing of all in the field of jazz is to not be very young anymore, not to go in dressed in a miniskirt and lots of red lipstick without wrinkles – men can look like slobs and its okay.!" Any woman in Jazz who wants to make a good and long career ends up by starting her own band – otherwise you never get a chance of conducting or leading. Festival and club programmers fail to consider that women make up at least half of the audience and have a right to see people of their own gender performing and creating music. Women composers are rarely, if ever, recognized for their contribution to film. Cyndi Lauper is the first woman to receive a Tony Award for Best Score for the film “Kinky Boots” (2013). Male politicians only come to concerts when a famous performer is present. Celebration of events for women always take place without the presence of male politicians who make promises to women before election and afterwards nothing. Most male politicians have no knowledge of art or culture, especially of music and know nothing about women. Female politicians are often not much better – some have got where they are because they adopt masculine ways of behavior and thinking. The trouble in the Czech republic is "being scared to be called a feminist". This word has a pejorative meaning, that the women would like to be the same as man. They do not and cannot be the same, but would like to have and need to have the same opportunities and appreciation as the men have. Some men still think that women are unable to create a work of the same quality as a man because of her lower intelligence, or lack of the "right hand brain" logic. Often women’s music is considered “second class merely because it’s written by a woman. Women have faced the reality of discrimination in the moment when they would like to or already
have children. Society does not help to make their decision easy. There are almost no part-time jobs, maternity payments are low, but the biggest trouble is that nobody in the field (writing for television, advertising or films) accepts a mother with small children - because they might be ill often, she has to take them to the kindergarten etc..... and yet creativity and motherhood is an essential part of a womanâ€™s life and soul. Sexual harassment has been going on for years in the music business. Women have to be so strong that sometimes they just
Even now, women are harassed and have a difficult time with men promoters and men "calling the shots" or "making the choices." Sometimes, even when a woman composer feels she has the trust and confidence of a male promoter or agent, the male promoter many times wants something else, not her music. Women are the largest group of tax payers in Europe (53.2%) so why are governments allowing the music industry to programme, produce and commission 98% of everything being heard from men? Isnâ€™t there any woman politician prepared to ask why every Resolution in the European Union referring to Equality is being overlooked ??
Patricia Adkins Chiti, Scientific director of the WIMUST programme, musicologist, musician, founder and president of Fondazione Adkins Chiti: Donne in Musica was born in Great Britain and educated in Germany, Switzerland and Italy. Apart from a long international career as a singer with major opera houses, symphony orchestras and festivals and collaboration with many important composers who dedicated works to her voice, she has been an Italian State Commissioner for Equal Opportunities, for Musicology, and for the Performing Arts, and was also on the Board of the International Music Council of UNESCO. She has worked with many European Governments and Research centres, including UNESCO’s Office for South East Europe, the International Music Council, the European Music Council, researching and producing “white papers” and books regarding women composers and creators of music. She has participated as an expert in many EUC projects including “Gatekeepers”, “Women and Media in Europe”, and “ExTra”and is consultant and lecturer for universities and institutions in Europe, the Americas and Arab world. She commissions music (over 25 works per year), produces festivals and symposiums, undertakes musicological research, superintends a library and archives and supplies music materials to schools in need with the project “Music for the Mind”. She has written books and over 500 scholarly articles about women in music. In 2004, she was nominated Cavaliere Ufficiale of the Italian Republic, for her services to music and for women in the arts. email@example.com
2.2 Gigliola Zecchi Balsamo Vice President of Fondazione Adkins Chiti: Donne in Musica Thank you Patricia, I am delighted to be here with you again and see that it is my duty and great pleasure to introduce some of the “New Entries” for our WIMUST programme. As you heard when Patricia Adkins Chiti spoke, the original network of women in music organisations participating in WIMUSThas grown during the last two years and we feel that you will all want to know something about the “new guests” who are with us this year. The new organisations within our International Honour Committee are. Association Plurielles 34 from France Neo Musica, Kosovo Tera de Marez Oyens Foundation, Netherlands But we are also welcoming back to Fiuggi two other organisations which were founding members of our International Honour Committee nearly twenty years ago: Frau Musica Nova, Germany Evterpe, Sweden And then with great pleasure we welcome to this meeting two organisations from different parts of the world, organisations that have been members of the International Honour Committee for many years: Israeli Forum of Women Composers, Israel Women in Jazz South Florida, USA. Each representative is here to tell us something about the association she represents, their work, their membership, the difficulties and the successes. So welcome to Fiuggi. Europe (Council, Commission and Parliament) is discussing the future growth of a Creative and Cultural Europe capable of building a better society but documents already in circulation suggest that many countries and institutions have not included the lack of access by women to decision making positions in the fields of art and culture as one of the greatest challenges for gender equality and mainstreaming today. I continue to insist that specific support is needed to tackle the under-representation of creative women and female artists in the cultural and creative sectors as well as the lower circulation of their works inside
and outside the Union, caused by specific obstacles and hurdles faced by them in their professional careers and also by the paucity of women occupying executive positions in the upper echelons of cultural institutions. Thank you and Good Work! Gigliola Zecchi Balsamo, Vice President of Donne in Musica, lived and worked in the world of banking for over thirty five years and was the first woman director within the Italian banking System (Responsible Servizio Relazioni Esterne e Marketing, Responsible Servizio Estero e Responsible Rapporti Istituzionali di Banca Intesa). She is also a Commendatore of the Italian Republic. Previously she worked as a Parliamentary interpreter in English, French and German. Since 2003 she devotes her time to voluntary work: Fondazione Risorsa Donna; Progetto MusicaEuropa/World Youth Orchestra, Progetto Club Itaca Roma. Until 2010 she was on the Board of the La Fenice Theatre in Venice and is now a member of the Board for the Civic Teatro in Reggio Emilia.
2.3 Carole Kost International Honour Committee, Fondazione Adkins Chiti: Donne in Musica I am delighted to be here with you again and see that it is my duty and great pleasure to moderate this session. This morning we heard many complaints about the active discrimination of women’s music by their non-inclusion in curricula. I would like to quote from the “Worst Practices List” Women teaching music history in training institutions (and schools) don’t include the names of women composers in their lessons. Maybe is interesting to think about the presence of women’s music in the Conservatory, when the teacher ( women or men) doesn’t introduce women’s music to their students - Guidance repertoire to be played in conservatoires never includes women composers’ works. In the instrumental programmes you can’t find any music by women. There should be “musical repertory catalogues” for women composers for each instrument Another question is the choice of instrument. Are there some instruments more typical of women or men? Piano, trumpet. The Rhythmic Music Conservatory in Copenhagen has now nearly only male students, and the few female students haven’t got many chances to mirror themselves in female role models among the teachers. There aren’t any famous Women Composers (Hildegard of Bingen, Clara Schumann, Nadia Boulanger, etc) in Music History School programmes. We in Italy are lucky in that (probably due to Donne in Musica’s work for the last 35 years) we do have many conservatories where the director is both a woman and a composer. There are now as many women as men teaching composition – however, whether or not they all give as much space to female as to male music is something that we would have to research. There is also no doubt that we should be thinking about catching our audience as young as possible. When Composers talk about a public it is always about an adult group paying to listen to their music but in reality this has never been the case in music history. A great deal of music (by both men and women) that has been passed down to us over the centuries, was in fact written for festivities, birthdays, street parties, and in many parts of the world composers and
creative performers continue to “improvise, create and conjure up” new works for all sorts of events and social happenings which are far removed from concert halls. Children are not only our future but they are possible composers, musicians, members of a public, live long learning addicts and everything we can do to pass on the magic of music, will be well done. Children don’t care whether the music they listen to is old or new, famous or unknown, by men or by women and, according to recent EUC surveys endorsed at the recent European Music Council Meeting in Glasgow, most of the great general public (absent from formal concerts) is also waiting to be “captured”. We look forward to our speakers this morning. Carole Kost,Friend of the Foundation and member of the International Honour Committee, born in the USA is a language teacher working at the Chamber of Deputies and at the Senate and now resident in Fiuggi. She has been closely associated with the Fondazione Adkins Chiti; Donne in Musica since the early nineties. She followed the first “Fiuggi Festivals” and was a member of the staff running the Foundation’s enormous Jubilee Programme in the year 2000. She has helped to take care of all the Foundation’s visitors and artists.
3. Presentations by all present, in alphabetical order 3.1 Cyprus Theodora Constantinou European University Reaching out to children as early as possible Good afternoon everybody. I would like to congratulate the foundation and especially Patricia Adkins Chiti for the activities and the strong wheel of carrying out this programme. I am here as a representative of the European University but I work for the Ministry of Education of Cyprus. I am the inspector for music in primary education of Cyprus. I have to point out that the person who got me involved in the programme is a man. Mr. Yiannis Miralis, a member of the music staff of the European university, asked for collaboration with the department of primary education concerning the work of women composers. We accepted and made a plan about the activities which will take place during the next academic year. I don’t want to give the impression that achieving co-operation between such large organizations, a university and a ministry, is very easy, but Cyprus is a very small place and there is always a person in a key position that can be useful. In our case that person was me. The opportunity given to me to participate in this annual meeting is very important, because in Cyprus we are working on new music curriculum and new books and music material is being produced. So, all the knowledge I get from the project, will be useful during the preparation of the new music books for primary school. The main objective of the collaboration between the EUC and the Department of primary education is to reach children as soon as possible, to achieve best results in two main areas of concern: 1st area has to do with helping children to get a general knowledge of women composers’ work (especially Cypriots in this phase), and 2nd area has to do with helping them become positive and curious about music and especially composition Just to help you gain an overall idea of how the music lesson is in the primary schools of Cyprus, I am giving you some information about timetables, children’s participation and teachers. All the following statements are outcomes of my 20 years teaching experience, of colleagues’ experience and from my observations of music teachers’ lessons for the last four years: All children in primary school (aged from 6-12) attend music for two periods (40 minutes) per week. •The music lesson is combined by activities that develop listening, performing, improvising, composing •Listening, Performing, Improvising and Composing are the main areas of the New Music Curriculum for all the levels of compulsory education (5-18 years old) •Children have the opportunity to participate in music groups (choir, orchestras, school bands, smaller groups) •Children love music lesson •They are creative •They adore participating in composition and improvising activities
•Girls are more creative as far as composition is concerned (always talking about ages of primary school) •Teachers often organize composition activities, but the examples used, are taken from the males’ repertoire •The same happens when organizing listening activities •Books and other music material ( cds, DVDs, scores) include mostly males’ work •The situation is similar in secondary education
It is obvious that children, boys or girls, in young ages start from the same point and they have equal opportunities as far as music is concerned, in their school life. So it is of great importance to broaden their musical minds with knowledge of the work of women composers. What happens after school? •Percentage of men participating in music groups, orchestras, bands, performing, conducting, is bigger than women's •Percentage of women working in institutions, in places concerning music is equal or even higher than men Examples: European university: 11 women and 10 men in the music department Ministry of education: Inspectors for music: only women the last 7 years in primary education, only women the last 15 years in secondary education Music Teachers: 65-70% women in primary education Why is this happening? Which are the factors that keep girls back from being musically active? The factors are too many but I list only few: •Teachers: They affect children in a positive or negative way •School mechanisms: Not enough information from the school when the child is changing level about all its capabilities and talents (i.e. from primary to secondary) •Family and social environment: “Girls must find a job with a good timetable, so as to be able to take care of their family and to have a respectful salary”. •Boys have more freedom to choose their studies I think that this phenomenon could become a subject for research or for sociological analysis. Reaching to the last part of my presentation, I will give you a brief description of the activities that we intent to apply in the schools about women composers: •Four Cypriot women composers will be involved in the programme in four different primary schools •Step 1: Children will get to know all four of them and will listen to extracts of their work. Also they will get familiar with the procedure each of them follows when writing music, how inspiration or musical knowledge is used etc. •Step 2: Children work on particular parts in school (making graphic or conventional notation when listening, playing instruments along with the extracts, making music on the same subject that the composer chose) •Step 3: Co-operation between composers and children, for the creation of new pieces. The composers will write pieces which can be played with the musical instruments which are used in primary school, in the range of children’s voices, some parts may be children’s work •Step 4: Presentation of the project in each school, concert with participation of children and other musicians if needed •Step 5: Bringing the project and the outcomes in the community, publicity
Final step: Evaluation. We will evaluate if we were successful in achieving our goals in the two main areas of concern (children should get a general knowledge of Cypriot women composers, become positive and curious about composition). According to the evaluation outcomes, we will plan our action for next year. Coming to the end, I want to refer to the importance of giving children opportunities for gaining global music understanding, including womenâ€™s music. I underline the importance of the work done by the foundation for giving us knowledge of the work of women composers. European University Cyprus, Theodora Constantinou, Inspector for music in primary schools started her teaching career in 1989 and has taught music to children from six to twelve years old for twenty years working in different types of schools in urban areas and cities and has a rich musical background. She studied music in her own country and at the Kingston University in London and has a special interest in traditional music and the way in which this can be taught and transmitted to children. She writes music, mostly songs, and some have been awarded prizes. She also cooperates with a theatrical group writing music for plays. Because of her interest in composition she has introduced compositional activities wherever she has taught. Since 2009 she is in charge of Music Teaching in Cypriot primary schools and coordinates the new music books for primary schools. For â€œDonne in Musicaâ€? she is working with the European University to introduce activities from WIMUST into Cypriot primary schools. firstname.lastname@example.org
3.2 Czech Republic Lenka Kilic Hudbaby HUDBABY is a group of five women composers – Jana Bařinková, Markéta Dvořáková, Lenka Kılıç, Kateřina Růžičková and Petra Šuško. The group was founded in 1997 in Brno by the occasion of one of the concerts of the Exposition of New Music Festival – that year dedicated to the women composers. Since thenHUDBABY had organized many common concerts at Czech Republic and Germany, by the festivals of contemporary music. The group had published two CD´s (in 2003 and 2009). There is no organization exclusively related to the women in music in Czech Republic. There is no festival, no concert series, no competition or agency for promoting only the women in music. In the music magazines one can seldom find articles dedicated to the women in music (they are three magazines for classical music in Czech Republic – Harmonie and Hudební rozhledy. HIS Voice had published few years ago a whole issue dedicated to the women in music, but none of the Czech composers, nor HUDBABY were mentioned even with one sentence). Time to time one can hear a radio programme in the classical radio station Vltava related to the women composers. As well as few of the diplomas at the three musicologist departments in Prague, Brno and Olomouc or at the Music Academies in Prague and Brno are related to the women composers. But the number of girl and boy students at music school is relatively equal. The Kapralova Society in Canada (founded and leaded by the Czech origin Karla Hartl) is the only organization (settled in Canada!!!) which cares the women composers, particularly promotes the music of the first professional Czech composer Vítězslava Kaprálová. The subject of promoting women in music has not been opened and one can still face ignorance, contempt or disparagement. Still there are more than 120 women composers living and officially registered on the web page of the Czech music centre (Hudební informační centrum, Prague, director: Miroslav Pudlák). Some are world famous artists such as Magdalena Kožená, Eva Urbanová, Iva Bittová, Ivana Loudová, Sylvie Bodorová, Beata Hlavenková, and Zuzana Lapčíková among others. What is the situation for equal opportunities for women in the Czech Republic? At the conservatories and music universities the number of girl and boy students is relatively equal. When I studied time after time I had to face the reality, that my place is in the kitchen not over the score, but this was very rare and at that time I was the only girl in the class, now this is different, since many girls are studying composition, even one can find girls studying conducting, mostly choral conducting. They are studying horn, contrabass and other, for women unusual instruments. Very rarely are women composers taught even though the situation is much better now, as many years ago. They are many CD´s and books about women composers available, so the choice is up to the teacher. The trouble starts after the school. Not so much for musicians, but for composers. All of them (man and woman) have to find a job, to earn money to live so that there is no time, or very little time for composing. If somebody orders or asks new composition, the composer does it usually free of charge; the only income can be performing rights after the music has been played. Very few composers are lucky enough to compose the music for theatre, film, or commercial, so that they can live from this money. The usual practice is reciprocity. I will offer this job to you; you will do the same for me. Without a good friend, or recommendation it is out of question to be played in the contemporary music festival, or by the orchestra.
An unknown composer of any age has almost zero chance to be played, to hear hers or his own music on stage. But how to become known, if my music is not played to the public? On the programmes of usual concerts, there is almost no contemporary music. One can hear it only at the contemporary music festivals and mostly – they are always the same names existing. The only solution is if the composer she or he is a musician as well and organize her or his own concerts. Composers have almost no chance to get some creative scholarship or grants. The small amount of money, which goes to culture in general in Czech republic, is mostly given to the musicians – instrumentalist, who in most cases are somehow known already and have concerts, recordings, so that they are already somehow earning the money anyhow. A composer while working on a composition is not paid but moreover has to face reality, that in most cases the composition will not be played at all. This is the same for both men and women. The situation of Czech culture is disastrous and the worst is contemporary music. It is a miracle, when the organizer gets some money and such organizations as OSA – The Composers Protecting Union – promotes the pop singers and their own high members. The composers associate in different groups to have chance to be played and to receive some alms for their concert. A lonely wolf – composer – has no chance of being played on the concert or in the radio. Cultural education in elementary schools and high school is almost zero; the families do not bring children to the theatre, for concerts. Very few activities are related for cultivation of children and to develop their creativity and sense for art. The majority of people race to live without high level culture, without art in life. Czech society is quite conservative and masculine; one must face the prejudices being a women composer. Even though there are many good women composers and musicians, still their music is sometimes not considered intellectual enough, or does not have the same value as that composed by the man. The heads of the music festivals, music centres, philharmonics, television and radio are from 99% men. There is a similar situation in universities, the amount of the woman and man teacher at the highest level is not the same. The rare exception is the recently new director of the Brno Philharmonic - a woman!!!!! an ex-head of the culture department of Czech television in Brno. To promote women only in festivals or special concerts has two sides. The good one is that the women need and deserve a special attention while being ignored for such a long time. The organizations related to the women in music can help the women not only for their promotion but to share the same problems, interests, values and like this support each other. The other side is the prejudices from the Czech society. The women promoting women are called feminist in the worst possible meaning. The masculinely dressed women, hating men, who try to be equal to men, to erase them from the world. The society does not understand, that the point is not being equal to the men, this is not possible, but to have equal chances, appreciation in the society, same salaries. Because the men are not secure with their masculinity anymore and because the women in male organisations behave like men to be equal, it will take a lot of effort to change this point of view. We should come out with what is different between both sexes and how can each sex be useful to the society with its specifics. The trend of unisex or that the men are behaving as women and the women behaving as a men leads to nowhere. The change has to come from both sides – from the statesman as well as from the normal people. If you go through Czech parliament – they are very few women sitting there, two or three in the leading positions – and very often they are centres of jokes, that they are not good. The syndrome of the man as a breadwinner of the family is another factor (the salaries of the man in Czech Republic is usually 30% higher than that of the women in the same position). This comes from the history and unfortunately women themselves are somehow given to understand this situation and accept it, or do not fight against it.
How we can change the general view of the role of the women in society with such attitudes? Maybe by promoting women artists in media through the use of testimonials who are already famous people. Maybe to organize concerts not only of women (so asnot to behave exactly as “macho” organizers), but women and men together – equal. This might be better accepted than women to women ghettos. The key thing to me seems that the people should realize that spiritual work (science, art, music) has the same value; in fact this is as valuable as material stuff, even though one cannot touch it. The creativity of the human soul, the spiritual gifts and talents are given from God to us, to spread a light, beauty, love and happiness. Until people will realize this simple fact, there will be no place for appreciation of art and artists. The people will remain stuck in their materialistic "prosperity", unhappy, ill and exhausted. HUDBABY - Lenka Kiliç, composer, musicologist and music journalist, graduated from the Masaryk University in Brno in Musicology and in 2003 presented her doctoral dissertation on Galina Ustvolskaya. In 1997 she completed composition studies at the Janácek Academy of Performing Arts in Brno with František Emmert, presenting her orchestral work Kvítí milodějné (A Love Awaking Flowers) and the thesis “Silence in music”. Her works have been performed in FORFEST in Kroměříž, Mladé Pódium in Karlovy Vary, Gegenwelten in Heidelberg, Moravian Autumn, Komponistinnen und Ihr Werk in Kassel, Neue Musik Termine in Köln, Hudební současnost in Ostrava, Setkávání nové hudby plus in Brno and Pohyb, zvuk, prostor in Opava. She works as composer and music supervisor with many Czech theatres including productions for the Husa theatre of Cirkus aneb Se mnou smrt a kůň. Her music has been presented and broadcast in the Czech Republic, Germany, the Netherlands, Australia, Canada and the USA. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com
3.3 Denmark Anne Maria Vang Kvinder I Muzik, Copenhagen Thank you so much for the invitation to this very important meeting. Itis a great experience and a big pleasure for me to be able to inform you about The Danish Women in Music and our work. Women in Musik was founded 1980 after The United Nations Women Conference in Copenhagen. We arrange work-shops, concerts and publish news to our members four times a year about women’s activities in Danish music life. Until 2009 we published an annual publication with articles, interviews, reviews and discussions. That publication is now replaced and put on to the internet. We call it”Kaliope's Hjørne”corner. Besides that we have an archive with special attention to Danish music and musicians. It contains books,music, articles and sound recordings. At our homepage, besides our own information, we make advertisements for concerts arranged by other female organisations, theatre, dance and literature. I stayed in Turkey for 6 years. In that period I studied the language and culture, and besides that, I taught Turkish girls music and performed nightly at the best restaurants. Back in Denmark I wanted to use my knowledge about the Middle Eastern culture. I therefore, went to places where foreign people came to get some help with papers and other practical things. Sometimes these places arranged some parties, and there I found a treasure. At these occasions I met many female, clever musicians and composers, and we started to make concerts with them within the framework of our organisation. These concerts have been very popular, and have contributed to women’s integration in Danish society. During the years we have been supported by the Danish government, which has made us able to arrange concerts especially first performances. Because of the crisis and the political lack of interest for culture we have got a very small amount of money for 2013 on certain conditions, which means, that we for that small amount must arrange 6 concerts. The government encourages us to do some fund raising, but lots of organisations do the same, so we have had a very difficult time. As a result of the politics we have been forced to make the following decision. We will not arrange any concerts in 2014, but use the year to make a documentation of the very unique research which has been undertaken, especially by a member of the board, Professor Inge Bruland. The documentation will be given to the Danish Royal Library. Kvinder I Musik, Anne-Marie Vang, singer, musician, music teacher and former director of a large music school in the suburbs of Copenhagen. From 1993 – 1999 she lived in Turkey, where she taught music to Turkish girls and also performed nightly at the best restaurants with an international programme. As a member of the board of the Danish Women in Musicorganisation, she works to promote and mainstream female, talented composers and musicians coming from different ethnic backgrounds in order to gain visibility for their work in Danish society, and to accomplish full integration. She also promotes Turkish culture in Denmark. firstname.lastname@example.org
Anne Kierulff IMPRA I talked just after Anne-Marie Vang, Kvinder I Musik DK, who reviewed the Danish situation overall, so I have concentrated on a few topics below, that especially tell us about the situation for women in the jazzand-so-on field, composers as well as improvising and performing artists. The Rhythmic Music Conservatory in Copenhagen has now nearly only male students, and the few female students haven’t got many chances to mirror themselves in female role models among the teachers, as there are no female teachers permanently employed at the conservatory. The Copenhagen Jazz Festival 2013 has just a few female singers and almost no female instrumentalists in their huge programme… Anne Kierulff,composer, songwriter and singer, related to jazz, is extremely active in her own country and abroad, and has released three CD recordings with her own compositions and a new album is on its way. She was also nominated for a Danish Jazz Grammy / Music Award 2006, in the category Jazz Vocal Release of the Year, for her album” Beneath the Rising Moon”.She performs regularly in concerts in Denmark, within clubs and festivals all over the country; and also sings in many clubs and festivals in the rest of Europe, above all in Norway, Poland, Hungary, France and Spain working with a great number of Danish jazz musicians, as well as Swedish, Norwegian, American, Lithuanian and Hungarian performers. She completed her musical training at The Rhythmic Music Conservatory of Copenhagen (1987 – 1991) and was IMPRA’s representative at the WIMUST meeting in 2012. email@example.com
3.4 Finland Sanna Ahvenjarvi NaMu Where do the girls disappear? - What can we do so that the girls do not disappear? I have been teaching composition for children and youth regularly since 2004. I have taught composition in the following institutions: The music institute of Jokilaaksot since 2008 (where I currently have a position as a teacher of music theory and composition) Merikanto music institute 2010-2011, Oulu Conservatory 2005-2010 and the Lapland school of Music in Rovaniemi 2004-2005. In the following chart you can see how many composition students I have had in each institution, how many of them were female and how many were male students. I have also marked, how many of them have continued to professional music studies. Institute
Number of Number of Number of male Former students female students students students now in academic music studies
The music institute of since 2008 Jokilaaksot
1 female 3 male
Lapland school of 2004-2005 Music in Rovaniemi
3 female 4 male
1 female 1 male
Altogether I have had over one hundred composition students. About 78 percentage of the students have been girls. In 2003-2004 the Association of Finnish Music Schools (SML) and the Finnish Music Information Center (FIMIC) organised aâ€?Composer in music schoolâ€? -project. There were about 15 music schools involved from all over Finland. Each music school chose itself a composer-in-residence, who taught in the music school composition, arranging, improvisation and also composed pedagogical material for the ensembles of the music school. I was the composer-in-residence in the Lapland school of Music in Rovaniemi. On that year I had nine composition students. All of them would have wanted to continue composition lessons after this one year, but the music school was not able to finance the lessons. Out of these nine students, one of them continued to study privately with me in Oulu, which is 200km from Rovaniemi where she was living. After the year she applied for professional composition studies. She was accepted and since then she has completed a degree on composition. After the year in Rovaniemi I taught composition for children and young people in Oulu Conservatory for 4,5 years. I had many students who were very committed to composing. The teaching of composition was discontinued
because of the financial cutbacks of the city of Oulu in 2010. I tried to hold on to the students in Oulu once in a while, but it faded away slowly since it was not very regular. I already lived in Haapajärvi, which is 160km from Oulu. There were two very talented 13 years old girls, who were left without teaching and guidance. I have been wondering how good they would have become with a regular teaching. In Merikanto music school there a one year project was organised in 2010-2011. We have plans to continue this project. In the music institute of Jokilaaksot I have position as a teacher of music theory and composition. This spring a female student of mine and my husband, who had studied with us for eight years, applied and got a study position in musicology at the University of Jyväskylä, Finland. The regular and patient work pays dividends. As you can see from my experiences composition is not taught regularly in many music institutions for children and young people. The music institute of Jokilaaksot is rare music school in Finland which offers for the students the possibility to study composition regularly (a private lesson once a week or once every two weeks). But a change for the better is coming... The nationwide recommendations for the contents of music theory and solfege have been renewed in spring 2013. There is a recommendation to give a stronger emphasis on composing, arranging and improvisation in the music theory and solfegestudies. This means that the music schools have now stronger interest to hire professional composers to teach composition. At the moment the applicants for composition studies in the Sibelius-Academy are mostly male. My experience is that girls can have a very strong interest in composition if they are given the possibility. What we will hopefully see in the future is, when the teaching of composition in music schools is increased, that there will be more female applicants applying to academic composition studies. I end my lecture with the words of the daughter of a Finish female composer, Lotta Wennäkoski. Lotta had had a discussion with a male composer colleague about some compositional topics. Lotta’s daughter commented after their discussion:” Is it possible that the men can also compose?” Sanna Ahvenjärvi,composer,graduated in 2005 from the Mozarteum University with a “Magistra der Künste” in Composition, working with composer Adriana Hölszky. In 2002 she graduated with in Music Theory at the Oulu Conservatory, with Vesa Valkama. She has received grants from Austria, Finland, Germany and Luxemburg and her music has been performed by the Mozarteum Orchestre Salzburg, Oulu Symphony, Duo Gelland, Stadler Quartett of OENM, Bodø Sinfonietta, at the Stockholm New Music, Båstad Kammarmusik, at the “Uuden musiikin lokakuu”, GegenWelten and at the Komponistmöte Nordkalotten festivals. Since 2008 she teaches music theory and composition at the Music Institute of the River Valleys. Other experiences have come from Oulu University, Oulu Polytechnik and Oulu Conservatory. In 2004-2005 she was composer in residence at the Lapland Music School, Rovaniemi, in the national “Composer in Music School” project. Ahvenjärvi is a member of the Society of Finnish Composers. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. firstname.lastname@example.org
3.5 France Joanna Bruzdowicz, Rencontres Internationales Musicales En Catalogna As a Polish and French citizen, I was educated at first in Poland, at the time of communist regime, then in Paris , between 1968 and 1970, so I can compare the situation of women musicians, but also of women “tout court” in the “West” and “Central” European countries. It is a very serious dilemma to confront it and not to exaggerate in either case because the history of women is complicated throughout the whole of Europe, the constitutions are different in different countries and this applies even to those for women for elections-. One of the areas to be discussed regards musical and general education, which is the basis to prepare for future generations and for the different way of treatment of women in the whole world. The role of political and religious influences in education should also be researched. A very critical area regards the criteria of choice of music directors in the musical industry: opera houses, orchestras; culture ministers, radio programmers, newspapers critics, etc in both countries nearly 97% men. This leads to a male supremacy, for political reasons, and because of current Masonic and financial “mafias”, etc... Rencontres Internationals Musicales en Catalogne, Artistic Director Joanna Bruzdowicz, composer, studied at the Warsaw Music High School, at the State Higher School of Music (composition with Kazimierz Sikorski); she earned her M.A. in 1966, travelled to Paris and became a student of Nadia Boulanger, Oliver Messiaen and Pierre Schaeffer. She joined the electro acoustic Groupe de Recherches Musicales and wrote her doctoral thesis Mathematics and Logic in Contemporary Musicat the Sorbonne. As a composer she writes opera, symphonic and chamber music, works for children, and music for film and television (including many for Agnes Varda earning a Leone d’Oro in Venice). She has four concertos and numerous chamber pieces, as well as over 25 hours of film music. Her output includes several operas which brought to the stage some of the greatest works of European literature (e.g. The Penal Colony, after Kafka, 1972; The Women of Troy after Euripides, 1973; and The Gates of Paradise, after Jerzy Andrzejewski, 1987). In 2001 Bruzdowicz received the highest distinction from the Polish government—the Order of Polonia Restituta—for her contributions to Polish culture. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy of which she is a member of the International Honour Committee. email@example.com
Sophie Lacaze, Plurielles 34, France We believe that the word “discrimination” does not apply to woman composers in France; it would rather be ignorance or lack of knowledge. Etat des lieux Programming music some clues and facts to give you some idea of the situation in France. ‐ A document was asked in 2006 by the ministry of culture and written by Rein Prat about the situation of women in performing arts. Concerning women composers, the document showed the situation was very bad. Suggestions to improve it were given, and Rein Prat wrote another document in 2009: there was no change.
‐ In 2011, a 3d document was produced by Laurence Equilbey (conductor) the place of women in performing arts. It shows the lack of women in the performing arts, such as conductors, stage directors, choreographers, librettists, but composers are not mentioned. ‐ Festivals: the two main festivals in France for contemporary music are Présences, organised by Radio France and Musica in Strasbourg. In 2013, Présences was organised around Mediterranean music. There were 26 contemporary works performed, and only one composed by a woman, a Greek composer. And finally, her work was not performed (we have been told that she didn't give it in time). Musica, in September and October 2013 35 concerts are planned, 49 composers will have works performed, only one woman, the only woman composer whose music is regularly performed in France: Kaija Saariaho. In conclusion, this year, in the two most important festivals for contemporary music in France, amongst about 60 composers, just one woman will appear. Commissions for works There is an important system of commissions for new works given each year by the ministry of culture. 2011: 38 for men, 5 for women, 11,6% 2012: 52 for men, 6 for women, 10,3% We sent a letter with the collectif H/F to the ministry to explain that this repartition does not look normal. Many of good women composers don’t ask anymore for these commissions because they know they won’t get it. We are looking for the commissions results this year and see what we’ll do. Music studies In conservatoires, universities, high schools, colleges, the main part of professors and teachers in music ormusicology never speak of music written by women. It is a very serious problem because students don't knowmusic and good music can also be composed by women.Accordinglygirls don't think they can become composers, so there are very few girls who study compositionstudents who will become professional in music, such as directors of festivals, musicians, conductors, orteachers, won't think about programming or performing or teaching music by women composers. Posts with responsibility As everywhere in Europe, women are not numerous in posts with high responsibilities, such as directors of theatre, opera, festivals... What is good in France? A new government for whom equality is important. There is a ministry for women rights who insists on parity,and our new minister of culture does the same. The CDMC, which is aware of problems concerning women composers and is very helpful for them and for our association. Musicians, who do not care if music is written by men or women. They just want to play good music. The problem is that music by women is not easily available. Radios, on France Musique, there are some producers who broadcast music by women. There are not a lot, but one of them is in charge of an important broadcast for contemporary music, Alla Breve, so on this broadcast, you can regularly listen to works composed by women. Concerning musicians in orchestras and elsewhere, the former problem of gender for some instruments, such as winds, has disappeared. For example, flautists were mainly men, now there are as many women as men. On the contrary, there are some men who play the harp now. So the problem was solved for musicians, why we won’t reach the same results for composers?
What to do to improve the situation 1. Give information to artistic directors and programmers who programme music, and musicians. Plurielles 34will soon: ‐ Have a website with a list of works given by ensembles, feature articles, audio excerpts of works and scores ‐ Have a Facebook page with all the news, to show that women music is performed ‐ Organize events such as conferences and symposiums and concerts ‐ Organize the publishing of scores of women composers. Music by women is rarely published, so their scores are not easily available. Plurielles 34 is doing an agreement with a French publisher in order to do that. 2. Give information to politicians. We rely on our government, H/F and Donne in Musica for their activities on national and international politics and are happy to help when we can. 3. Give information to students at all levels when we teach, and to their teachers and professors. Association Plurielles 34, President Sophie Lacaze, composer, isassociate Professor at Paul Valery University (Montpellier, France) where she teaches composition and orchestration. After studies at the Ecole Normale de Musique de Paris, winning the Composition Prize, she studied with Allain Gaussin, Philippe Manoury and Antoine Tisne in France, and with Franco Donatoni and Ennio Morricone in Italy. She also worked in music theatre with Georges Aperghis at the Centre Acanthes, and attended Pierre Boulez's courses in College de France. Her compositions, from works for solo instruments to chamber and orchestral music, including chamber operas and with tape, are performed in leading festivals in over 20 countries.She was awarded the Grand Prix Lyceen des Compositeurs (2009)and the Claude Arrieu Prize of the SACEM (2010). In 2012, she was the laureate of the Association Beaumarchais – SACD.Unsubdued but attentive to musical trends and schools, Sophie Lacaze has an original aesthetic taking into account the current research on sound while seeking to restore music to its primary functions, i.e. ritual, incantation, dance, and links with nature. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy and at the European Parliament in Bruxelles.firstname.lastname@example.org Association Plurielles 34, Vice President, Nathalie Negro, pianist, artistic director of PianoandCo received diplomas in piano, chamber music and piano accompaniment at Marseille and Nice Conservatories, and earned a Bachelor of Musicology from the University of Aix-en-Provence. She taught piano at the Cité de la Musique in Marseille for several years. An accomplished pianist with a vast repertoire, from classical music to improvisation, she has given numerous world premieres, and is regularly invited to play in prestigious festivals in France and abroad. She performs with renowned ensembles such as English Capricorne Ensemble, Art Zoyd, Musiques Nouvelles Ensemble, and Ars Nova. Led by a strong spirit of creation, she also realizes multi-arts projects with other artists. In 2003, she created PianoandCo, to give her artistic encounters spaces of genuine expression. email@example.com
Geneviève Mathon designated by Plurielles 34, France, Scholar in Residence 2013 I'm Genevieve Mathon, musicologist at the University of Paris-Est. It is through Sophie Lacaze and Nathalie I dared to present my candidacy for a three-month residency in this beautiful city. I also knew the work of the "Donne in Musica" Foundation and especially the fine work done by Patricia Adkins Chiti for many years: her mission as she likes to say. I also would like to thank for having me here. I hope to be up to the task I want to lead and accomplish here. I would like to thank Roberta Quattrociocchi also
helps me in my research and Nicoletta Del Monte for her generous hospitality. My presentation of my research project is in two points: 1. I would make a list as comprehensive as possible, of all women composers and creative living. At first I focus on creative French, hoping to expand my search to the francophone sphere. Establish a list, according to an excel table, means the following occurrences: contact, website, place of residence, publisher and record label. There was a lot of work, but I have to complete the list and specify. My contacts safest and most effective are the CDMC (Centre de Documentation de la Musique Contemporaine), who, since 1976, collects all documentation relating to the composers of the twentieth and twenty-first centuries, but it is regrettable, however, that women composers are a little behind. Indeed the principle of CDMC is to receive documents that wish to file composers and not to ask directly. This will be our first task: solicit composers and they give us to read and hear.
12. As a corollary, it is important to write references for each of composers which include a biography, catalogue of works, and of course an early analysis of their production in order to approach the aesthetics of their composition. I would like to eventually be able to make an inventory of the current female creation: genres and aesthetic trends, such as the importance of the show, performance, new technologies or hybrids that can be noticed. These texts will feed an encyclopaedia, currently planned. We are creating the entries. Thank you for your attention. WIMUST Resident Scholar, 2013, Genevieve Mathon,musicologist, university professor, is in charge of the license "Music Musicology" and Master in "Music and Computer Music" at the University Paris-Est Marnela-Vallée. She was designated by Association Plurielles 34 and is a specialist in the music of the twentieth century and contemporary fields, as well as being the author of numerous articles and studies. She has directed several collective works: À Bruno Maderna (2 vol. Paris: Basalte, 2007, 2009); Filigrane n°10, « Musique et rythme » (Paris: Delatour, 2010); Des temporalités multiples aux bruissements du silence - Livrehommage à la mémoire de Daniel Charles (Paris: Hermann, 2013), Beckett et la musique (Strasbourg: PUS, 2013) firstname.lastname@example.org; email@example.com
LeileiTian composer China but resident in France Concerning the subject of equal opportunity, according to my personal experience during the past 10 years of establishing a career as a professional composer, I notice that people in general have tendency to hold a more or less fixed ideas about how a composer should look like or feel like. Those ideas usually come from the impression of those great composers of classical music in the past as well as those in the contemporary era, since they are almost all men. Therefore a feminine image does not immediately fit into their psychological framework, they may consciously or unconsciously be suspicious about the credibility and weight of a woman composer’s works before even knowing them. This fact somehow limits the opportunities for women composers in the first place. Attending anonymous competitions and open calls for score somehow become one of the surest means to obtain recognition. The good point is that challenges and difficulties oblige us to have more faith in what we do and purely rely on the quality of our works. In a sense, we not only need to do equally well as men, we often have to do even better in order to be accepted. And of course, after people know the person and her works better with time, they put down prejudice and acknowledge the value of the works as they are. However in a modern days as we live in, everything is fast, people usually do not have time or patience to know a
person and their works in depth, because of this there is a risk for depriving women composer from having equal opportunities to be recognized in the first place. Therefore I think it is useful to point out this psychological factor, however subtle, yet important, so that people may become more conscious and they may go beyond the appearance and look things with a more open and objective attitude.
LeileiTian, composer,born in 1971 in China studied first at the Central Conservatory of Music in Beijing then at Conservatory of Music in Göteborg in Sweden. She followed the course for electro-acoustic music at IRCAM, and has lived in Paris since then. Her music is widely performed and well received internationally and she regularly receives commissions from music institutions, festivals and ensembles. She has won prestigious international competitions such as Besançon Composition Competition for orchestra in France, Contemporary Music Contest "Citta' di Udine" in Italy,Gaudeamus Competition in Amsterdam, Composition Competition of GRAME in Lyon and ISCM Cash Young Composer’s Award of “World Music Days” in Zürich. She was awarded the « Prix de Rome » by the Academy of France in 2011, and in 2012/2013 had a one-year residency at the Villa Médicis in Rome. Since March 2013 she is living and working in Fiuggi.Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. firstname.lastname@example.org
3.6 Germany Gudrun Metting GEDOK I am not a composer but I have always been involved in music, playing music myself, teaching young students or working in the music industry. In the year 2000 I was asked to join GEDOK, the association for German and Austrian women artists and patrons. From then on I got more and more engaged in being active in supporting and promoting the music of women. I remember very well the moment - it struck me like a lightning! - When I suddenly was aware of the fact: In schools they use books that never mention a single woman composer! GEDOK was founded in 1926, its structure works like this: There are groups in different cities all across Germany, all working on their own, not only in music, but in all kinds of arts on the financial basis of membership dues. To apply for membership in a group is open to professional women artists and musicians/composers. Their work has to be evaluated by a professional jury. The umbrella organization, GEDOK federation, binds together all groups, speaks out for them, awards prizes in literature, fine arts and crafts, organizes exhibitions, performances, music projects and competitions like the so called ‘BundesKonzert’ for members of all groups every two or three years and an International competition for women composers without age limit (last in 2008 together with the International Library for women composers in Unna/Germany). The mission is: preparing a stage for women in all arts to bring their work into public and to win fair recognition of the value of women’s works. This is one very important task, not always easy to fulfil. Have a look at current concert programmes in concert halls, music festivals, radio and TV programmes, in juries of competitions, in music newspapers and magazines and you’ll understand that there is still much more to be done.
The GEDOK federation is member of different organizations on the national and the European level. In the field of music it is the German music council (DMR Deutscher Musikrat), and the European music council (EMC) that is connected to the international music council (IMC). The annual meetings for members are useful for the delegates to stay in contact with one another. More helpful for our special concern promoting women’s work is to get access to different committees working on different topics. That seems to be difficult without a lobby for women. According to my experience more effect is to be gained on the regional level in regional music councils. I live in Cologne that is in NRW (North Rhine Westphalia) where we are member of the regional music council (Landesmusikrat NRW). A special concern there is contemporary music. For several years there was a budget for women composers and their projects. That is cancelled now, no extras for women any more, just the general budget. In a sub-committee for contemporary music in this music council NRW, we brought a very interesting concert-project into life: NRW-based composers write for an ensemble that goes on a regional tour with concerts in different cities where the initiatives and groups – in our case a GEDOK group – prepare the stage, organize the concerts. In 2012 this project commissioned six pieces of six composers, and I may say that due to my proposal in the very first discussion about names at least one female composer got involved. The same is the case in the next project in 2014: “at least one woman composer involved”. In 2012 I sent a short questionnaire to all our musician members to get an idea of their social situation, especially of the elder ones. At that time there were 222 musicians, performer and composers members in GEDOK groups, all free-lance. Returning answers – not from all 222, I admit – showed the clear tendency that women in music cannot survive without several jobs - even non-artistic jobs – or marriage. I discussed the result in a committee of the regional council NRW where I also represent the regional GEDOK groups, the members of this committee coming from organizations in ‘Beruf, Medien und Wirtschaft’ (music in profession, media and economy), mostly men. I hoped to raise awareness and to initiate a study on that topic, at least to sensitize the members for the problem. Another project initiated by this committee is an orchestra workshop in cooperation with a Colognebased symphony orchestra. It is meant for composition students and young composers interested in orchestra music. A jury chooses three works to be played by the orchestra in an open rehearsal. We have done it already three times, at least one piece of a female composer was chosen. Statistics say that in 2012 one third of the composition students at German music conservatories were female. That number does not show in this competition. It does not show in all the music areas I mentioned before. And that is exactly the issue at stake: Activists for equal opportunities have continuously to be present and raise their voice in public, in councils, in any organization and group deciding on activities in concert projects, competitions and music policy helping to overcome discrimination and win transparency and an increasing number of women composers to be heard of in public. There is no sudden change; it is a slow process that only works through constant and growing pressure from our side. My proposal: a quota. I don’t really believe in quotas, but e.g. when concert programmes are created, it makes sense to remind conductors and orchestras to play also music composed by women. It means not only becoming aware of it but true enrichment. GEDOK, Bundesfachbeirätin Musik:Gudrun Mettig studied sound engineering in Nürnberg, music education, musicology, choir conductingand didactics of the English language in Cologne and worked as a
sound assistant in the music industry and as a teacher for music and English. In 2000 she started her work as counsellor on music in Cologne (2000 – 2008), for the GEDOK federation in 2004, became a member of the GEDOK board from 2006 – 2011. She is also responsible for GEDOK music projects, especially for the so called ‘BundesKonzert’ for our members and the International Competition for women composers (2008). As a delegate for GEDOK in the Music Council NRW (North Rhine Westphalia), the German Music Council and the EMC European Music Council she is active in networking and supporting professional women musicians and composers. email@example.com
3.7 Israel Alona Epstein Israeli Women Composer Forum Ladies and gentlemen. It is a great honour for me to have the opportunity to address the distinguished participants gathered here today. First of all, I wish to express my sincere appreciation to Adkins Chiti Donna in Musica foundation for inviting me to this very important meeting. I see this meeting not only as an excellent opportunity for introducing our organization and its activities, but also as a platform to exchange thoughts and ideas with people who share with me the same vision – the vision of women having equal opportunities in the Art and Music Industry, the vision of changing perspectives of Music History, the vision of changing history itself. However, while making this vision a reality, in a country of such diversity, like Israel, the task of changing has to be viewed from a wider perspective. In order to give some background to our activities in the Israeli Women Composers Forum, I have to speak about discrimination against woman in Israel in general. And first of all, one has to face the fact that there is such discrimination in Israel. Comparing to both US and EU countries, the discrimination of women in Israel is considered to be relatively high when taking into account socio-economic status of different groups of women, their occupations and professional promotion. It is important to mention the statistics which led to such a conclusion, included groups of women from the Ultra-orthodox Jewish sector as well as non-Jewish religious and ethnic groups. In these groups, women obviously face enormous difficulties in developing their careers and self- promotion due to the religious laws and the traditional and patriarchal attitude towards women’s role in society. In many cases these difficulties are accompanied with low socio-economic status. I think that higher education plays a key role in these women’s progress. Currently, much is being done in this field, unfortunately it is not enough. With regard to higher education, I wanted to talk about women in Israeli Academia. The picture is still not very satisfying. The number of men and women achieving the academic titles on each level (bachelor/master /doctoral) is almost equal, but women comprise less than 30 percent (26-28 percents in last two years) of academic staff in Israeli universities and academic colleges. Only 3 percent of academic fellows, who hold the highest position (associate professor) in Israeli institutions, are women. That was some basic information which purpose was to give some background to our activities in the Israeli Women Composers Forum. Now, about the Forum itself: Israeli Women composers Forum was established in 2000 by Israeli composer Dr. Hagar Kadima, the first woman in Israel who achieved a PhD degree in Composition. During the 13 years of its existence, the Forum had produced numerous concerts, lectures, workshops and meetings. The Forum’s productions were a part of some important festivals in Israel and abroad and the social network which was created within the organization became an essential part of many female composers professional life. The activities undertaken by the Forum had an immediate impact since their initiation. For instance, the public became more aware of the existence of women composers (in past and present time) and the realization of their under-presentation in the Israeli music scene. Some of the goals stated by the Forum were achieved, some of them were not, and some partially. For example, back in 2000, one of our important claims for under-presentation of women composers was the fact that none of the two main music institutions, the Jerusalem and Tel-Aviv Music Academies, had female academic staff in their Composition departments. Unfortunately, this fact
has not changed. However, in 2002, the Music Department of another institution, Bar-Ilan University had accepted a first woman composer, worldwide performed Betty Olivero as a composition professor. Till now, Professor Betty Olivero is the only female composer who is a full composition professor in Israeli academic institution. To mention other Israeli women composers who hold such a position abroad, (but not in Israel), I am happy to mention also worldwide performed Professor Shulamit Ran from North-Western university in Chicago and Professor Chaya Czernowin from Harvard University in Boston. So, we have our female models of success in both Music composition industry and academy and I think that it is very important, but not enough. Undoubtedly, having a female model for success is essential to forming the selfevaluation and building personal goals by other women of same profession. Still, having the goal is never enough. Having a talent along with great education, could be enough in past time, but the economic situation and cultural environment have been changed in a way, that nothing could be taken for granted. And the competition is always tough. I think that one of our major tasks in Israeli Women Composers Forum, besides producing the concerts and our research activities, is motivating our members to take more action, do more for their own carrier, to send their works to competitions, festivals and ensembles, to act as self-agents- all those things were far from being obvious some 10-15 years ago and we still have a long way to go. And the last part of my speech is dedicated to our projects in last two years and our plans for the next two years: In 2011 our major project was a premiere of 7 string quartets by composers. Yael Even-Haim, Rita Monkovich, Tali Assa, Hadas Goldshmidt-Halfon, Gila Carcas, Yasmin Tal-Porat, Marina Geller. Our 2012 project was one-day conference which accompanied the compositional project ‘The Musical Offering to Maria Teresa Agnesi” and included 7 commissioned pieces, written after aria by Agnesi ‘Non piangete, amati rai’ by 6 Israeli composers Hila Tamir-Ostrover, Florie Namir, Adaya Godlevsky, Anat Pick, Dganit Elyakim, Alona Epshtein and Argentinian composer Eva Lopczyc. During the same concert we performed also a piece by Dina Smorgonskaya. The conference included a guest lecture about Maria Teresa Agnesi by Professor Pinuccia Carrer. The panel dedicated to women in music versus postmodernism was led by Israeli-American musicologist Dr. Ronit Seter; the panelists were Dr. Hagar Kadima, Dr. Gila Carcas, and Professor Pinuccia Carrer. Our most recent project is dedicated to piano solos and duets and is in cooperation with the famous Israeli-Japanese piano duo Kanazawa-Admony which will perform music by Israeli Hagar Kadima, Irena Svetova, Florie Namir, Hadas Goldshmidt-Halfon, Hana Ajiashvili and that of guest composer from Japan, Norico Nakamura. Our project in 2014 is called “Dora’s dream, the reinterpretation of female’s dream- music, language and meaning” and is planned as one-day conference in July 2014.The pieces for this project are by Anat Pick, Adaya Godlevsky, Talia Amar, Marina Tushits, Hagar Kadima, Sivan Cohen-Elias, Alona Epshtein and guest composer will be Dr. Vivienne Olive from Germany. The guest lectures will be by famous Israeli-French artist and psychoanalyst Professor Bracha Ettinger and hopefully Israeli-American composer Professor Chaya Czernowin. Our other project planned to the second half of 2014 is concert series of historic women composers, accompanied by lectures and a special project dedicated to woman’s image in classic Arabic Poetry and Music, led by musicologist Raneen Whaby. About our special project: we collected scores and CDs by women composers and the collection is now in the Felicja Blumenthal Music Library and Centre in Tel-Aviv, available to the public. The collection has
scores and CDs by more than 60 composers from Israel, USA, Japan, Taiwan, Spain, and Belgium. Thanks to Professor Carrer, we have some scores and a book on Maria Teresa Agnesi. So, a lot of things are going on, always a lot of work still has to be done. We still have a very long way to go to achieving more financial support to our projects, as well as making our projects more visible to the general public. The social network created in Forum, is proving itself in many ways and we still wish to do more to achieve a truly women’s leadership in our country. This we have to do while seeing the horizon, with both feet on the ground. Thank you very much for your attention. Israeli Women Composers Forum, Chair person,Alona Epstein, composer and musicologistwas born in 1975, in Baku, Azerbaijan, and in 1990 immigrated to Israel. She studied composition at the Rubin Academy of Music in Tel-Aviv with Leon Schidlowsky and Ruben Seroussi (M.Mus. in Composition) and was a recipient of the America-Israel Cultural Foundation scholarship, Wolfson scholarship and Buchmann Foundation Doctoral scholarship. Her works include two operas for children, piano, vocal, chamber, orchestral and choral music, semi-aleatoric chamber opera ‘Symbiosis’,music for theatre and films. Her music is commissioned and performed in Israel and abroad, in opportunities such as ”Aviv” Competitions (Tel-Aviv 2005) ,international festivals “Young Euro Classics”(Berlin 2006), Kfar-Blum Chamber Music festival (Kfar-Blum 2010),ACL festival (Taipei 2011),Contemporary Music Days (Nuremberg 2013), as well as concert series in New York and Buenos Aires . Two of her orchestral pieces won the first prize,”Shearim” in 2006, “Mal’achei Stav” in 2010. In addition to her compositional activities, she is researching intertextuality and symbolic transformation in Israeli avant-garde firstname.lastname@example.org
3.8 Kosovo Dafina Zeqiri Neo Musica On behalf of our non-governmental organization Neo Musica - Kosovo, thank you for the invitation and cooperation especially President of Donne in Musica, Mrs. Patricia Adkins Chiti and all members of the International Honour Committee. I am Dafina Zeqiri Nushi, composer and leader of Neo Musica organization. For me as a leader and for Neo Musica members it is a great pleasure to participate in this conference. You have given to us a great opportunity to inform and also to give a small overview of the development of classical music in Kosovo, since it is evident that this gender has not a long life in our country, but by making it possible we will find out how great of an achievement has been reached over a very short period of time, especially with women in classical music that now there are few in number either as interpreter, composer or those publicists / (Musicologist). The organization was established in order to: development and advancement of musical art, especially the contemporary music art. To accomplish its aims, the organization has these activities: Organization of cultural activities with musical content; Organization of music festivals with educational – cultural character of the younger generation; Affirmation of younger female talent in music; Promotion of classical music among Kosovo; Field of composition; recognition of creativity by women composers; Field of musicology; Field of interpretation; Contemporary music education; Membership in the organization is open to any person regardless of race, gender, sexual orientation, nationality, ethnicity, religion, age and physical abilities. Considering the experience of the organization in recent years, there is a great interest by young people to join Neo Musica cultural organization. We within the organization are working to achieve the goals that we have set since its establishment, particularly affirming musical artistic creativity, highlighting the feminine, as it is known in many countries; since this is the most discriminated and needs to be supported. NGO Neo Musica organized a Festival for Children "Lyra Fest" since 2007. This festival, supported by the Ministry of Culture, Municipality of Gjakova, Italian KFOR (two years) and other sponsors. As organizers we are focused to support more creations, texts and interpretations of female gender. Our members have participated in many festivals and concerts organized in Kosovo and abroad, where women composers have been very successful and have won important prices. The organization’s continuing activities will be: Working with Women in Music Uniting Strategies for Talent (WIMUST) in Encyclopaedia and Bibliography for women; Continuing Festival for Children 'Lyra Fest "
Organizing International conferences in Kosova – Prishtina through Neo Musica for WOMEN composers, where they will have the opportunity to share knowledge and their work between; Organizing the concert with works by women with the slogan "Women in Music" Publication and promotion of creativity by women (musicologist, instrument players and composers); Participation in festivals, musical concerts and also competitions inside and outside country (which we already did); Attempt to insert women works in the instrumental programme; Efforts to introduce in school programme the most famous women composers, since they cannot be found at all, not even Clara Schumann. Musicological research on the origins and development of artistic music of Kosova (because due to political, economic and social circumstances. Musicology in Kosovo is deficient in this aspect) One of the most important and necessary items nowadays I think is the forthcoming online Encyclopaediaand Bibliography of female composers and creators of music and the opportunities that we will have through space on the WIMUSTwebsite for reports that we will give as an organization and essays / papers for individual activities. The Internet today is the leading global information and communication system. I think that with the introduction of the online Encyclopaediaand Bibliography we will defeat discrimination, so I suggest developing a network of the works of women by putting some, whether scores or recordings in each section. There are and have been a lot of excellent women composers but you couldn’t find any of their works, whether recording or score on the inter-net. I believe in working together for Women in Music. Thank you! Neo Musica, Supervisor Dafina Zeqiri Nushi, composer and teacher, graduated in Composition with Mendi Mengjiqi at the University of Prishtina, and obtained a Degree in Composition with Jana Andreevska in the Music Faculty, “Ss. Cyril and Methodius” of the University of Skopje. She won prizes in the Festival of New Albanian Music (2002/03/05), in 4th Pre-Art Composers Competition 2008 in Switzerland, the “Theodore Front Prize” 2009 in U.S.A, the “Chopin Kosovo” Composers Competition 2012, in the Composers Competition for Chamber Music 2011 organized by the Ministry of Culture of Kosovo, and in the “Composer's Voice concert”organized from Vox Novus-New York. Her works have been performed in: UK, New York, Germany, Austria, Mexico, Denmark, Turkey, Hungary, Italy, Switzerland, Austria, Albania, Macedonia, and Kosovo. She works as an Assistant of Harmony and Polyphony at the Faculty of Art-Music of Prishtina. She is the Founder and Supervisor of NGO “NEO MUSICA”, a member of “The International Alliance for Women in Music” and the Composers Association of Kosovo. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com Rreze Kryeziu – Musicologist and teacher, was born in Prishtina in 1986, finished primary and secondary school studies in her hometown and continued university studies at the University of Prishtina in the Faculty of Arts-Music Arts, initially Theory and Pedagogy and a year later Musicology where she won the ‘Distinguished Student prize”.She is the first Kosovar musicologist from the University of Prishtina. In 2009, in absence of post university studies in this University she continued her master studies in Skopje in Macedonia’s Faculty of Music “Sv. Kiril i Metodij” (2009) with Stefanija Leskova-Zelenkovska. During this time, she worked on writing and research, contributed to local newspapers and was a regular participant in the Musicological Tribunes organized in her town. Since 2012 she is working for a PHD in the University of Bern(Faculty of Social Science & Philosophy, Branch of Music) Bern, Switzerland under the supervision of Britta Swears. Currently, she is a lecturer in the Faculty of Arts, teaching World and National Music History and is also director of the primary school “Misbah & Friends” inPrishtina.
3.9 Italy Pinuccia Carrer Conservatorio Giuseppe Verdi "History of the female repertoire: a teaching experience in Milan Conservatory" Dear guests, dear colleagues and President of the Donne in Musica Foundation, I have been teaching music history for many years at the Milan Conservatory; my interests have mainly been directed to the Eighteenth century, and specifically to keyboard music. At the end of the 1990s, my colleague and friend, harpsichordist Barbara Petrucci, got me involved in a project to create a gift-book for the Province of Milan. The project consisted of a research dedicated to Lombard women composers, from the Seventeenth to the Nineteenth century. The result was a CD entitled Note femminili, accompanied by a thick booklet with notes and plenty of illustrations. The world of the history of women musicians had become my world. Once more together with Barbara Petrucci, we carried on a research dedicated to the Milanese musician Maria Teresa Agnesi, which resulted in the modern edition of her keyboard music (I compiled the catalogue of her works and we published three volumes of keyboard works) and in the publication of the biography “Donna Teresa Agnesi compositrice illustre” (Genova, San Marco dei Giustiniani 2010). The exciting world of creative musicians then led me to go into the Nineteenth century with articles devoted to the feminine Romantic triptych for Le Lombarde in musica, a very interesting initiative of the Foundation. Finally I have to mention, in my work, the construction of a searchable online database, hosted within the website of the Ufficio Ricerca Fondi Musicali: Female presences in the Noseda collection of Milan Conservatory library: my students use to call it the pink database. (http://www.urfm.braidense.it/risorse/searchprefemm.php). This database reflects the multiplicity of roles that women played in the musical world (of whichever period). Not only composers, not only performers but also dedicatees or arrangers or publishers or authors of texts or whatever else. It was then that I started to engage systematically students or recent graduates of music history in the course of my Conservatory as trainees: Francesca Rivabene, first of all, With them we were the first in the Conservatory to carry out the systematic transcription of the school registers of the female students from 1808 to the Unity of Italy (in Gli archivi delle donne, 1814-1859 : Repertorio delle fonti femminili negli archivi milanesi, a cura di Maria Canella e Paola Zocchi, Roma, Edizioni di Storia e Letteratura 2012, II t., pp.476-509) I must point out that the Conservatory has trained the most famous performers of their era (from Giuseppina Strepponi to Marietta Brambilla and Romilda Pantaleoni) as well as the first professional woman composer in Italy, Carlotta Ferrari da Lodi: a new graduate is now preparing a publication, excerpt of her thesis about to Ferrari’s Requiem Mass. In the academic year that has just ended, I wanted to carry out an experiment: to not limit myself to the collaboration with students, but to include in the annual programme a historical theme that would allow the study of what the “creative women” have left in the history of music. I activated thus a course
inserted in the frame of the history of forms and repertoires(one of the CODM 4 subjects of the ministerial Italian Conservatory system). An official series of lectures is now offered to piano students of the Master’s degree programmes, entitled: Development of the repertoire and repertoire in development: the role of the female presence. A curiosity: we read important books, valued indices of names, and examined which and how many female names were reported. The result was from one side comforting (many names were present), but from one side disheartening: little was said about women in music. We have thus started going in depth. Wanda Landowska, for example: we examined her work (beyond the textbook information) and we realized that not only she wrote the cadenzas for Haydn concerto and for many concerts by Mozart; she also wrote cadenzas for the sonata (K. 333), realising that the performance practice involved improvisation not only in concerts (which was well known and usual) but also in solo sonatas. Thus the pianists have studied the third movement of the sonata with the interpolations (stylistically excellent) of the extraordinary Polish interpreter. Likewise, we realized that Mel (Mélanie) Bonis, a classmate of Claude Debussy at Paris Conservatory is very little studied. Another experience: this year all my students translated from the original (English or French) articles or books by Landowska (one of my preferred) but also by Marguerite Long, a pianist that Piero Rattalino defined as a nice pythoness. Marguerite Long wrote three fundamental volumes: Au piano avec Fauré, Ravel and Debussy. To retrieve what she wrote allowed us, beyond anecdotes, to grasp details of Debussy’s pianism and of French piano style. It is certainly not common to see students who deal with such issue: the results are excellent and a wideranging curiosity and cultural expansion is formed in the student. Often, the ignorance (in the literal term) of the existence of women musicians is astounding, even in those who – women – embraced the profession. To bring the “feminine” history of music into the Conservatory programmes, to insert the feminine repertoire as an usual search tool, to create directories of name, to read the lyrics or to play the music at the exams: they seem trivial things, but perhaps they are not so obvious, considering that they do not occur frequently. Pinuccia Carrer,musicologist, studied in Milan, and has a diploma in piano from the “Giuseppe Verdi” Conservatory, and a degree in Literature from the State University with Francesco Degrada. Since 1979 she has been teaching History of music in State Conservatories, first in Genoa, and since 1985 at the “Giuseppe Verdi” in Milan. She writes programmes for theatres including La Scala; publishes notes for recordings and articles for the Dizionario Enciclopedico Universale della Musica e dei Musicisti (Torino, UTET) and for the monthly magazine Amadeus. She is chair of the National Committee of RILM, Répertoire International de Littérature Musicale. She created the online database Presenze femminili nel Fondo Noseda della Biblioteca del Conservatorio di Milano. Since 2008 she is a member of International Honour Committee of the Fondazione Donne in Musica. Recent works include Donna Teresa Agnesi compositrice illustre (17201795), co-author Barbara Petrucci, Edizioni San Marco dei Giustiniani, Genova 2010. firstname.lastname@example.org
Vilma Campitelli designated by Parnaso, Bari, Visiting Scholar 2011/12 My name is Vilma Campitelli; I am an Italian musician, flautist, musicologist and professor in a Conservatory. The programme of work for me as a Visiting Scholar included the establishment of databases for all living women European composers, the formulation of a mailing list of European "stakeholders (musical centres, academies, conservatories, universities with faculties or musical direction, ministries, organizations for Equal Opportunities, gender studies, orchestras, media, etc..), and musicological research and furthermore very important meetings with composers and performances of new music. WIMUST commissioned new works and the performances always conquered the public present in the halls. I performed music by composers from Italy, Greece, Germany, Denmark, France, Spain, Lithuania, Uzbekistan, etc. I have a working relationship with the Foundation for over twenty years of research and am especially interested in the history and possibilities of my instrument, the flute, in a context of repertoire and consideration in the various cultures of our planet. The flute is a musical instrument found in all civilizations, even though sometimes it is physically very different. The Flute is an extraordinary instrument because its music can be composed for the flute known in one civilization and can be played on other Flutes from other civilizations. The flute is certainly one of the easiest musical instruments. You can create a flute with a pen cap, a reed with a few holes, but it can also be made of precious metals and decorated with diamonds and precious stones. For over twenty years I have been researching repertoire of flute music written by women composers and, therefore, as many here present know, I have written an encyclopaedia on the flute repertoire written by women all over the world. In this work I have over 12,000 composers with 2,500 names from 5 continents (Europe, Africa, Asia, America, Australia), and included in the historical period from 1500 to the present day. This special research provides humanity, not necessarily flutists, indications of a vast repertoire of music written by women, but that is unfortunately, little known today. My proposal is: if we want to know about the existence of a repertoire of women composers, it is necessary to draw up catalogues with the repertoires of women composers for each instrument so that each musical practitioner can find ideas for new choices and programming. I would like you to listen to a work by a young Palestinian woman composer named Nai Barghouti. She wrote this song when she was only 9 years old as a result of the massacre of Qana city in Lebanon. The title of the song is Qana. I find it interesting that such a young musician can bring so much wisdom, so much pain and emotion to her music. Nai Barghouti manages to convince her listeners of her deep sensitivity and talent: her identity as a Palestinian is the force of her inspiration. Wilma Campitelli, flautist and musicologist, born in Lanciano gained her flute diploma in the Conservatory "D'Annunzio" of Pescara, a higher flute diploma from the HochschĂźle of Musik of Winterthur, Switzerland, a Master in Contemporary Music at the "Berlin Philharmonic", an Expert Diploma of Music from the European Community, Florence, and has followed Educational Coursesfor women composers in many European countries. She has performed in Europe, Asia, and America, produced CDs, and written articles in music journals about women composers.Her preparation has led her to focus her research on womenâ€™s compositions and their flute repertory leading to a Compendium for Flute repertoire by women. She is professor of Flute at the Conservatory of Sassari in Sardegna. She has worked with the Fondazione Adkins Chiti: Donne in Musica for over twenty years and has been instrumental in the creation of the Data Bank for living Italian women composers. email@example.com
Antonella Barbarossa Conservatorio di Vibo Valentia Ethics as cultural politics. The old European structures of power and profit are dying out. In an era of universal equality, the condition of the female artist is still seen logically to subject to male government, only because masculine artistic production is seen to have been conceived from a “gain” viewpoint – together with a certain kind of complicity and by working with possible exchange groups for further benefits. So, the problem is that a male lobby keeps women from participating in the power of cultural politics, using a thousand ploys to prevent them from discovering the rules of material profit-sharing, and the human ambition to be powerful that they have been practicing among each other for years. In light of the above consideration, since music, by nature, expresses the intimate roots of a population more than any other artistic genre, it is by rights a European art; it has a political function in the ethic field that must be expressed by true personalities, without any gender difference. The isolation of individual nations and the rejection by many of the European Union could be overcome, if we recognized creative, meritocratic power on a national basis, adjusted to the changing times, to act on the European musical climate with authority. Every nation should reconsider its models and relationships with the world of production and ownership. The cultural development of any human being should be encouraged and not blocked by its own country; political institutions should support and facilitate cooperation to reach common goals. Changing the current economic regime, because it has effectively led to an ethic devaluation of culture, will alter the concept of wealth that, today, is equated to that of power. PROPOSAL- Redistribution of the positions of cultural power, with a female quota to ensure the equality of conditions of male-female artistic expression. Woman and unity in interreligious dialogue to fight against the evils of society If humanity knew that God knows no time, no expiration dates, no clocks, because He is love, perhaps the lives of men would change at the roots. The hour of God is the hour of love and the hour of love is, almost always, the same hour of pain and suffering of men. Humanity is a slave to time. God is pure love, that is, not time. The Madonna knew; and if all women in the world knew, like Maria, how to show young people the path of life, through words set to music, which do not lead to the dissolution of oneself, but, in the light of the Gospel, to the true realization of oneself, perhaps the world would be a better place. If we read the Old Testament, we find women who sang and composed devotional songs in honour of God. An example for all: women sang the song of freedom of the Israeli people. Prophecy and service, these two charismas granted to woman to sanction a permanent, historic vocation in interreligious dialogue, today, could be considered social effectiveness and prayer. PROPOSAL - Ascribing a leading role to female composers in the new European school, and in religious dialogue as a foundation of civilization, to ensure a continuous connection of interdisciplinarity and specialisation within the pedagogic field in the education of youth. For honest, healthy spiritual activities women’s presence on an equal with that of men is essential. To date, statistics compiled by cultural experts do not acknowledge intervention by national governments as being educationally sufficient regarding the preparation of young people for moral growth.
“Music, a discipline” for “healthy” balance in technological innovation: new professional figures Education for all must necessarily consider music an essential healing discipline. Recent studies indicate that music fights against cognitive decline, acts beneficially on cardiac functions, and the independent nervous system and in rehabilitation. Due to the increase in costs of many health services, today’s medicine suffers from a loss of faith by those who should benefit. Furthermore, the ecological imbalance of our planet is resulting in the stability of mind and brain being strongly compromised and the mortality rate of the industrialized world has tripled. No country, forced to face these problems, leading to the loss of consciousness of the world in which we live, can endure more. World economic systems have a great influence on upholding or destroying the balance of humanity. Considering that the neurosciences are open to multidisciplinarity, it is auspicious to support the just cause of musical pedagogic technologies applied scientifically to therapeutic medical techniques. PROPOSAL-Humanity must be aware that it is not enough to revise one’s economic and social life: if each individual on the Earth does not experience the desire to control his or her mental balance with intelligence. Perhaps we need a new professional figure, which combines musical, technological and medical skills, to meet the needs of the third-millennium society. Using practical ability, this figure may also support the interests of the pharmaceutical industry, which would incalculably benefit from a cooperative, honest, well-prepared model. Only through advanced research will the free development of the individual profoundly influence the future and overturn the current social system which is ruled by the logic of material possessions. World economic systems, which produce illegality, must be eradicated, thereby replacing material reality with spiritual behaviour.
Conservatorio di Vibo Valentia, the director, Antonella Barbarossa, composer, conductor and organist gained diplomas in pianoforte, organ and composition at the Conservatorio Alfredo Casella dell’Aquila and began a career as performer and conductor in Italy and abroad. She followed master classes at the University of Toronto and in Italy (electronic music and orchestration) with Franco Evangelisti and Nicola Costarella and gained a degree in philosophy at the University of Salerno. She was professor of pianoforte at the Conservatory of Cosenza until 1991, when she became Director of the Conservatory of Vibo Valentia, a role she still holds together with the direction of the Higher School of Music, Polytechnic Internazionale Scientia et Ars of Vibo Valentia. Recipient of many honours she is Artistic Director of the Concert Society of Cozenza and Cultural Association of Orte. In 2009 the Observatory of the European Parliament nominated her President of the Commission for the Rights of Men and Women within the Council of Europe. She writes for chamber ensembles and orchestra. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. firstname.lastname@example.org
Orsola Bollettini CEVDIM “The Golden Lion for Lifetime Achievement awarded to Sofia Gubaidulina – comments Director Ivan Fedele – acknowledges the outstanding artistic and human value of a woman who, because of her non-conformist aesthetic choices, has always had to struggle against the political power of the USSR which did not hesitate to define her music as ‘irresponsible’. Nevertheless, she was able to count on the support and patronage of Dmitry Shostakovich, who encouraged her to continue down what had been defined as a ‘mistaken path’. In 1979, she was blacklisted by the VI Congress of the Composers of the Union of Soviet Socialist Republics because of her membership in a group of dissident musicians and her participation in festivals that had been condemned by the regime. Despite these enormous difficulties, Sofija Gubajdulina continued to express
herself with extreme coherence and freedom, offering the entire world pages of highly inspired music permeated by a spirituality that is both delicate and incandescent, and has brought her fame and admiration around the world”. At the Music Festival of the Biennale di Venezia, Gubajdulina’s music has been performed since the late 1970’s, when her international career began: the first piece to be performed was Rumore e silenzio for harpsichord and percussions (1977, the Biennale of Dissent), followed by the Italian premiere of Five Studies for harp, double bass and percussions (1979 International Contemporary Music Festival), Und: Das Fest ist in vollem Gang for cello and orchestra (1995, 46th International Contemporary Music Festival), and Fachwerk for bayan, string orchestra and percussions, presented at the latest Festival in 2012. CEVEDIM - Donne in Musica Veneta, Orsola Bollettini, journalist, has a degree in literature from the University of Padua. Successively she studied musicology at the University of Venice and singing at the Benedetto Marcello Conservatory in the same city. She works as a journalist and began this career at the Telechiara TV station. She writes for the cultural section of the Corriere del Veneto, works as a press officer and writes programmes for regional theatres amongst which the Teatro Salieri in Verona. Since 2011 she has been working with the Mabacomunica Press office for “Comits&Dintorni”, “Note Italiane” and has also worked for the Cinema Biennale for the event “Pivano Blues”, and also for the events for the First Italy-China Biennale (the art exhibition at the Castle of Monza from October 2012 – January 2013). email@example.com
Parnaso Donne in Musica, Bari Sara Torquati, composer, teacher and organiser Italian conservatories and libraries Dear Colleagues, and friends, in this special climate where we are in the middle of a crisis which keeps all the cultural world in a dangerous eclipse, I’m going to present you my personal point of view regarding the situation in Italy, especially regarding that in our Conservatories where the new generation is being prepared for a future musical profession. In our Conservatory teaching system women’s music is completely unknown; I tried some experiments regarding women’s music in L’Aquila Conservatory after fourteen years of teaching and was able to organize a concert and a small conference with a programme of only women’s music from Isabella Colbran to Sara Torquati using three young singer who are studying in that conservatory. We had a good attention from the media but I found little interest from my colleagues and from the Music history teachers above all. I think that a lot of work must be done to let people know that there are female composers too; first teachers could introduce those compositions in examination programmes, letting their pupils make their repertoire more interesting and various by introducing women’s music. The libraries in Italian conservatories do not have sufficient materials composed by women so research is difficult for students, musicians and teachers alike. There’s a hole in music history, since men have forgotten to write about women’s music and unfortunately the male power system is not interested in women's music. In Italy every three days a woman is murdered. I think that Patricia Adkins-Chiti’s work is essential in that this gives visibility to women’s music and I think that women must be much more collaborative among themselves by holding serious concert seasons with women’s music, and promoting initiatives which place attention on those of us who are composers.
Parnaso Donne in Musica, Bari, Sara Torquati, pianist and composer,gained her diploma at the Giuseppe Verdi Conservatory in Turin with Anna Maria Cigoli; she then studied with Enza Sicari, Carlo Levi-Minzi, Joerg Demus, Rosalyn Tureck, Paul Badura Skoda, and Ivan Ede in Hungary. She began to compose at a young age and then continued her studies with R. Toscano and with Pernaiachi, Alessandro Solbiati and Biagio Putignano; she gained her composition diploma at the Alfredo Casella Conservatory in Aquila and a degree in Organisation of Music at the University of Bologna. She teaches at the Alfredo Casella Conservatory in Aquila. Her music has been performed for many important festivals and events including that within the Basilica of St. Peter’s in the Vatican City. Her music has also been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. firstname.lastname@example.org
Paola Ciarlantini Music(A) – Compositrici delle Marche Current Cultural Difficulties The cultural situation in Italy at this moment is very difficult. There is no ongoing Cultural Policy – and events are not connected between themselves. On the 8thMarch (the Women Festivity in Italy) there are too many concerts, exhibitions, shows, but nothing in the rest of the year. I think that the Italian Government and Italian politicians are not really interested in promoting women’s activity; they are only interested in appearances. This year, for the first time in twelve years, my association has organized by itself an event without any public funding and this is very sad. For the near future, it’s necessary: –To prepare teachers to teach the history of past and present female artistic activity and to insert Gender Studies into the programmes of Conservatoires and Music High schools. I think that is absolutely urgent and it’s necessary to begin a new specific project; –to implement European cultural politics to really help really female artistic activity for the future and the WIMUST project of the Fondazione Adkins Chiti: Donne in Musica is very important in this sense; –To have greater collaboration between women in music associations in every State and zone to plan and carry forward common projects. Perhaps, this is the most difficult thing to do, because women are not used to working together and they have to learn. For all this reasons I say “Thank you” to Patricia Adkins Chiti and the Donne in Musica Foundation, for their hard work, force, generosity and especially I say “Thank you” for the hope that they give us. Paola Ciarlantini musicologist, teacher and composer was born in Macerata (Marche Region) and completed her studies at Conservatories in Florence and Bologna. She gained her M.A degree with a thesis on nineteenth century Italian Opera at the University of Urbino. Her compositions are mostly for the voice although recent works include a large number of instruments, and these have been presented in Italian and foreign festivals and concert series, and recorded. She is founder and President of “Artemusi(c)a”for women composers in her region. As a musicologist she has written books and over 90 articles, worked with the Rossini Foundation in Pesaro, and prepared critical editions of operas by G, Persiani Ines de Castro, L. Rossi Il Domino Nero, A. Nini La Marescialla d’Ancre, produced in first modern editions at the Teatro Pergolesi in Jesi in 1999, 2001 and 2003, and recorded by Bongiovanni (Bologna). From 2003 to 2005 she was teacher of VOCAL MUSIC and FILM MUSIC at the Macerata University (Management of Music and Spectacle). She teaches at the Conservatorie “N. Piccinni” of Bari. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com
Teresa Procaccini Italy, composer in residence, 2013 Good morning, I am Teresa Procaccini. I studied organ with Fernando Germani and composition with Virgilio Mortari. Between 1971 and 1972, I directed the Conservatory of Foggia and until 2001 taught composition at the Conservatorio di Santa Cecilia in Rome. In 1972 I was nominated artistic director of the Friends of Music Association of Foggia. I won national and international prizes, given master classes at the Festival of Città di Castello, the Academy "Respighi" of Assisi, the "Internationalen Meisterkursen" of Duren (Germany) and the Summer Music Frentana Lanciano. I am looking forward to my period in Fiuggi – I shall be working with a pianoforte duo – very young, but one that has already won prizes at international level. They have already performed and recorded my work “Marionette” and it will be stimulating to be with them on our small tour for schools and cultural institutions. I want to thank Patricia Adkins Chiti and I am very happy to have been chosen as composer in residence 2013. Teresa Procaccini, composer in residence 2013 studied organ with Fernando Germani and composition with Virgilio Mortari. Procaccini has won national and international prizes, given master classes at the Festival of Città di Castello, the Academy "Respighi" of Assisi, the "Internationalen Meisterkursen" of Duren (Germany) and the Summer Music Frentana Lanciano. Her compositions are published by Sonzogno Zanibon, Edipan, Carisch, Bongiovanni, Curci, Leduc, Seesaw, Rugginenti, Scomegna, Pizzicato Helvetia, Berben,Wicky and Carrara. firstname.lastname@example.org
Elisabetta Capurso Foundation’s representative in Regional Women’s Committee I represent the Foundation in the Women’s Committee of the Latium Region. I also spoke on behalf of the Foundation: September 26, 2011, for the event "The train of women", organized by the Women's Network Revolution of Sicily, with many other women's associations. On this occasion I had to talk about the European Parliament Resolution of 10 March 2009, the goal was to find cultural strategies necessary to impose a priority presence of women artists, musicians, composers and performers, in public institutions of our country. It is strange that there is a majority presence of women artists in the world, but in reality, for example in Europe, 89% of executive positions of public and private art institutions are in the hands of men. During the work of the Latium Region’s Women’s Commission I have requested several times in my public interventions to renew the council to enlarge the attendance with more representatives from the world of culture, politics, and the union. I also undertook to request the Region's commitment to a fair financial support of contemporary music, contemporary production of women composers. In the financial accounts for 2012 Women's PO we saw that there was a grant to the cultural sector with a fund of 10,000 euro out of a total of 100,000 euro, of which € 50,000 were only for the expenses of the President and secretary of that Commission. € 10,000 would help the Women in Music Foundation to publish a book about women composers Lazio and a concert dedicated to their music production. It is therefore necessary that: the accounts for the regional commission are clear; that the commission should
be open to the participation of the largest cultural forces, union, political, and finally ratified by a decree of the President of the Region Zingaretti. And there must be collaboration at the national level, in particular with the Minister to reach the question of the needs, issues related to social status, political women. Finally, I ask for a position taken by all the women present today in this convention to denounce because the aberrant phenomenon of violence against women. We need to invest all political forces, women who have political representation in the Parliament, the Regions, the different municipalities, because the phenomenon of "femicide", has become a social phenomena. Elisabetta Capurso pianist, composer, musicologist, studied with Carlo Vidusso, and Carlo Zecchi at the Salzburg Mozarteum. She also studied composition with Domenico Guaccero, Brian Ferneyhough. conducting with Daniele Paris and electronics with Giorgio Nottoli. She has a degree in Literature from the “La Sapienza” University in Rome with a thesis on Luciano Berio’s Laborintus II (to a text by Eduardo Sanguineti). As composer she has written symphonic, chamber and electronic music with performances in theatres and important institutions in Italy and abroad. Her works have been recorded by RAI Radio Tre, by Vatican Radio and some of her scores are published by Zanibon-Peters, Edi-Pan, and AFM- Accord for Music. She was also professor of pianoforte at the Santa Cecilia Conservatory in Rome. As a musicologist she has published many essays and papers including that in the Fondazione’s book “Le Lombarde in Musica”.
email@example.com Erika Zoi, composer, pianist, artistic director, began her musical studies while still very young at the S. Cecilia conservatory in Rome in pianoforte and subsequently composition and conducting with Bruno Rigacci. In 1992 she started her concert career: she performed as solist but working also in different chamber groups and orchestras which presented her compositions and film music. Radio Italia, Radio Vaticana, Rai Uno, Rai Tre have also recorded her works. “Placide Aurore” was programmed by the S. Cecilia Conservatory in Rome. Erika Zoi also composed and conducted two liturgical works “Ave Maria” and “Figlio del Padre Santo” performed in Saint Peter’s Basilica in Rome. Her last work "Ara Pacis" was written on the occasion of the two thousandth anniversary of the birth of the Roman Emperor Augustus Caesar, and was performed in the mausoleum of the Ara Pacis in Rome. firstname.lastname@example.org
Roberta Quattrociocchi Librarian, Fondazione Adkins Chiti: Donne in Musica Description of online European Yearbook of living Women Composers and Creators of Music, Bibliography and list of European Stakeholders Good afternoon. It is a pleasure for me to meet you again here in Fiuggi. I am here to talk to you about the Online Encyclopaedia of European living women composers and creators of music that the Foundation is currently preparing. As you know, since 1978 the Foundation has been collecting names, biographies, lists of works and also scores by women composers and creators of music, of all kinds of music (classical contemporary, jazz, pop, and so on), from all around the world and in all times, to promote their creations (with concerts, reading commissions, calls for scores) and to demonstrate that there are thousands of women composers and that they exist.
During these years, the Foundation has created an enormous database, a treasure made up these names and biographies of historical and living women composers in all fields of music. From 2011, the Foundation is working especially on the documentation for European living women composers and creators of music. Our mission is to collect information, biographies, works and direct contacts for all the women composers for whom we have a name, and also find new ones, to increase our archives. So at the end of this year, we shall begin to publish on our website an Encyclopaedia that will contain short biographies (maximum twenty lines with some specific information like dates and places of birth, place of residence, a list of the most important works) of all European living women composers with a contact (personal email address, website address or mail address of their publisher). In this way, they will have visibility, it will be possible for them to be contacted and known, especially if they do not have a website, a publisher, a manager. You can see how important this work is. In the library of the Foundation, our headquarters, during the past two years we have worked with resident scholars from Spain, Turkey, Italy, United Kingdom and Serbia, who did research for their own countries and the countries geographically close to them. At the same time, we sent emails directly to the composers for whom we had already a contact, asking for the information we needed, and did research in the databases of National Music Information Centres and national associations, and consulting published catalogues. Since, our last “call” we are now receiving hundreds of letters with biographical information, which are being placed in those twenty lines, ready to be uploaded. It is a continuous work, also because women composers often want to change, add or erase something in the biographies which are already online. In spite of this large task, we still have a list of names without information. We have names for ten thousand living European women composers, but completed information only for almost four thousand of them. During the last years we asked the affiliates of the Foundation to send us lists, contacts and information (the same information that we can use for the short biographies online) about women composers who are members of their associations or citizens of their own countries – of course it is easier for them find information or the way to find them: all to work faster and in a better way at least for the countries in which we have an affiliate. In some cases we have received completed information, but in many cases we have not had answers or the answers were not sufficient. When we received just list of names, we needed to do more research, in many cases in a language that is not English, so it was very difficult for us to find information and then to translate this. We will continue this job throughout this year, 2013, hoping that all of you will help us, disseminating our request to all the members of your organizations and doing research in your own countries. We need to complete biographies as soon as possible and with sufficient information. When you come to our library, please ask me to check the printed lists of women composers for your country, as in past years, so that you can see how many composers we have information for in your country, who they are, and when you return home you and your organizations can have this list in word format so that you can work with us for women composers. Finally we are also working to list European stakeholders, which could be useful for our objectives. So, we are collecting names, websites and postal and email addresses for: Ministries and Equal Opportunities Institutions, Orchestras, Youth Orchestras and Jazz festivals, Music Theatres and Opera Houses, Training institutions, conservatories and departments for gender studies, Professional institutions and composers’ unions, National Music Information Centresand Music Councils, Music
libraries, National Performing Right Societies and Cultural contact points. In this way, we can send them information about the Foundation and our mission and have direct contact with all the institutions that are involved in the field of music and equal opportunities for women and men in the performing arts. Thank you and please come and talk with me about the composers in your countries. Roberta Quattrociocchi, librarian, graduated in 2005 from University of Perugia and then undertook a stage in the Archivio di Stato di Perugia from November 2004 to February 2005. In 2008 she gained a specialist degree in Archivistica e Biblioteconomia at Università La Sapienza di Roma – Scuola Speciale per Archivisti e Bibliotecari. She published an abstract of her dissertation “Emanuele Piga, biografia di un magistrato” in Le Carte e la Storia. Rivista di Storia delle Istituzioni (2009). From February 2008 to February 2009 she was a volunteer for national civil service in the project "Bibliographic Bulletin of the province of Frosinone" From August 2011 for the Fondazione Adkins Chiti: Donne in Musica and this year was chosen to follow the course for cataloguing at the Biblioteca Nazionale Centrale di Roma. email@example.com
Viola De Sando European Press Officer, Fondazione Adkins Chiti: Donne in Musica Sharing knowledge: it is essential that experts are involved (policy-makers, scholars, researchers, practitioners) through calls for essays and statistics, and subsequent online publication, with specific focus on the work of the WIMUST network Gender gaps and gender inequalities are a concrete reality in the EU. They affect different sectors, such as education, entrepreneurship, labour market, family and performing arts. In this last sector women represent 50%, but the 89% of European arts institutions are run by men. This gender gap is connected to the persistence of gendered obstacles, which limit gender equality in the field of performing arts. In order to reduce gender inequalities and to promote gender equality in performing arts, the adoption of a gender mainstreaming approach is fundamental. This approach implies the involvement of different actors (stakeholders, cultural institutions, policy-makers, scholars, researchers, practioners, etc…) in different areas (performing arts, gender equality, academic research, education, culture, EU and national political institutions, etc…) through, first of all, calls for essays and statistics about the problems that everyone in music is facing. The calls aim at: sharing knowledge, best practices and information about gender inequalities in music and in the performing arts, with specific focus on the work of the WIMUST network and the importance of the petition for “Access and Equal Opportunities for Women in the Performing Arts” as well as the aims and work being undertaken for WIMUST as coordinated by Fondazione Adkins Chiti: Donne in Musica: Book on “Worst Practices” to be presented at the European Parliament in November General Bibliography of Women in the Performing Arts for European Parliament Letter to 1000 orchestras Online Encyclopaedia of European Women Composers and Creators of Music Residencies for Musicologists, Composers and Musicians in Italy “Incontri con le Compositrici” – presenting new music to the younger generation The calls will be promoted and published online through:
The “Notiziario” – Facebook - Twitter - Mailing from the Fondazione Adkins Chiti: Donne in Musica – WIMUST network - stakeholders, cultural institutions, policy-makers - academic and research networks and newsletters (AtGender, NOG, Gemma, Ingenere, AG About gender, etc…) social networks – Universities - Women’s libraries - Conservatories - EIGE The contributions will be presented and discussed during ad hoc events and collected in a final document. Viola De Sando, Press Officer Europe, graduated in political science from Padua University in 2009 with a thesison EqualOpportunitiesin theSwedish Welfare State, after studyin Sweden with theErasmus programme.Since September 2009, she has been working for theweb-magazinesFasi.biz andEuractiv.it. ForFasi.bizshe monitorsinvestmentopportunitiesfor business, government, individuals at local,regional, nationaland European level,preparingsummariesand articles.ForEuractiv.it she writes articlesabout European policies whichinvolveItaly. From March toMay 2013 forEuarctiv.itshe followed themedia partnershipwithAlveareCinema Srlrelated to the movie"Il sole dentro",screenedin Brusselson May 7thanksto Silvia Costa.Since 2012she works with the newspaper Il fatto quotidiano and the online journalUno sguardo al femminile.InNovember 2013she concludesanErasmusMundusMaster's Degree inWomen'sand GenderStudiesattheuniversitiesof Bologna andUtrechtwithresearchon women's entrepreneurshipin Europe. International.firstname.lastname@example.org
3.10 Luxembourg Albena Petrovic-Vratchanska Cid-Femmes,Euterpe o Le forum Femmes et Musique du Luxembourg au Cid-femmes Where are the women ? It is the theme of our conference today. It was your question, and all of us are trying to give the answer how they find it. The opinion, I will share with you today is only my private opinion, according to my experience as a composer and as an organizer of composing competition. 1. In Luxembourg - there is no discrimination in gender level and there is no racial discrimination.I feel only a "contemporary " discrimination - all composers working in contemporary classical music are discriminated against, or let say , ignored by promoters and concert halls, even the media is completely ignoring, all contemporary music events. They care only about jazz, rock , pop and music older them Stravinsky. To try to give our help for the popularity of contemporary composers we are organizing International Composers Competition "Artistes en Herbe"It does not have any relation with CID FEMMES 2.Our International Composers Competition is open in 3 age groups for the section " junior " and we have a section "senior" for composition of teaching or concert works for young musicians. I share with you just a few statistical elements: section junior: age group till 10 years - 80% of submissions are composed by girls age group from 11 to 15 - 80% of submissions are composed by girls age group from 16 to 19 - 40 % of submissions are composed by girls section "senior" without limit for the age only 20% of - submissions are composed by women How I see the question - when girls are older than 16, they consider themselves as women and before they were really active and involved in all the music events and much more creative than the boys playing , singing and… composing. I ask myself why do they stop creating? As a composer, I started my activity on the age of 11 years - really early for such a serious occupation, and all of the teachers said " wow, wonderful, just a pity , it s a girl …." Don t ask them why, what a pity to be a girl, seems in composition to be a girl is like a bad destiny. When the girl is a women other duties and events and social and family life are more important than composition. After your studies you have to take your woman responsibilities - - You have to earn money to survive , like a music teacher or music performer , but NEVER like a composer ( That is also problem for the MAN) In fact , the real composers are only men, you are never a COMPOSER , you are only a WOMEN COMPOSER….. That is why we have special associations to help us to promote our music ….Cid-Femmes, Euterpe o Le forum Femmes et Musique du Luxembourg au Cid-femmes
Albena Petrovic-Vratchanska, composer, pianist and teacher, was born in Sofia, Bulgaria, into a family of musicians; her grandfather was a composer, her father a conductor. She studied at the “P.Pipov” school where she obtained her pianoforte diploma and studied composition with Plamen Djrirov. She continued at the Accademia “P.Vladiguerov” and in 1988 became a member of the Youth Section of Bulgarian Composers. She has given many concerts as a pianist and composes chamber and symphonic works. For over twenty years she has lived, worked and taught in Luxemburg. Her works are regularly performed and she has received commissions for works from Cid-femmes:'Chants de refus' pour mezzo-soprano, flûte, and clarinet, violin, ‘cello and piano. 'Wann de piano rose gëtt!’– cycle for children ‘Poèmes d'os'for horn, piano and child
â€˜Blaues Labyrinth'- for wind instruments and â€˜Lublyana' for violin and percussion.Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com
3.11 Netherlands Annette Kruisbrink Tera de Marez Oyens Foundation I am representing here in Fiuggi the Dutch Tera de Marez Oyens Foundation. Thank you very much Patricia for inviting our Foundation to take part of this conference. Being a guitarist and composer I often play my own compositions during concerts. I studied both guitar and composition because in my opinion it is a successful combination to play an instrument and performing your own music. I founded together with my partner a private Guitar School, called The Anido Guitar School, named after the famous Argentine guitarist and composer MarĂa Luisa Anido (1907-1996). I write music, play concerts as a soloist and in duo with The Anido Guitar Duo (we will be playing some concerts here in Italy in November), I play in duo with a Soprano and I play in the Trobairitz Guitar Trio (named after the female troubadours from the 14th century). Studying at the conservatory of music in the beautiful old town of Zwolle I had lessons in 20th century music from a special teacher and remarkable woman. I only realized after my studies in Zwolle how lucky I was to have had lessons from such a famous person in Holland. Her name was Tera de Marez Oyens. She taught us students in the early 80-ies about atonal music. It was all new to us, we only knew "modern" composers like Debussy and Stravinsky.... . She taught us how to improvise and how to play without sheet music in front of us. She developed educational material and was one of the first composers publishing a method for improvisation. "Working with modern Sounds" (Dutch: Werken met moderne klanken) became an important guide for many students in the Netherlands. Some years after having finished my guitar and composition studies I had the honour to have my music programmed in a concert recital all dedicated to compositions of Tera de Marez Oyens and me. And Tera even studied and played a work of mine for piano solo during the musicALASKAwomen Conference in Fairbanks in 1993. So, when a year ago in June 2012 I was invited to be a member of The Tera de Marez Oyens Foundation I didnâ€™t doubt for a minute to accept the membership. Who was Tera de Marez Oyens? - Tera de Marez Oyens (born Woltera Gerharda Wansink on the 5 August 1932, Velsen â€“ died 29 August 1996, Hilversum) was a Dutch composer. She studied at the Conservatory of Amsterdam with a major in piano. Here, her talent for composition was discovered as she wrote her first pieces. These included chamber music and song cycles. After that she came in contact with youth groups, for whom she also wrote individual pieces. She then became the cantor of the Reformed church community of Hilversum. Because of this she was very busy with church music. She wrote 14 melodies for the church songbooks that appeared in 1973. In the sixties she experimented with the tone poem and electronic music. In 1977 she became a professor at the conservatory in Zwolle. Her lessons focused especially on the development of the student's own style. But she wanted to continue to write her own pieces and after the death of her second husband she became a full-time composer. She wrote over 200 works of music, many commissioned by the Dutch Ministry of Culture and various broadcasting networks. She was the main organizer of The Seventh International Congress on Women in music in 1991 in Utrecht, The Netherlands. In 1995 she was asked to write a piece (Unison) for the 50th anniversary of the United Nations. She was married three times, to Gerrit de Marez Oyens, to Menachem Arnoni and then to Marten Toonder. Despite the fact that she had become seriously ill, in 1996 Tera de Marez Oyens married the renowned cartoonist Marten Toonder. She died on 29 August of
that year in Hilversum. (Source: Helen Metzelaar, "Tera de Marez Oyens", Grove Music Online ed. L. Macy) The Tera de Marez Oyens Foundationwas founded in 1998. It was a joint initiative by Cor Witbraad on behalf of Buma / Stemra, Marten Toonder and the children of Tera. After her death they were looking for an opportunity to keep not only the cultural heritage of Tera (her compositions) alive but also her thoughts and ideas. The foundation aims to encourage composers of contemporary music and to promote interest in the musical heritage of Tera. The foundation seeks to achieve this goal by: giving a prize (biannual) to composers of contemporary music or persons and institutions that have distinguished themselves particularly with regard to the promotion of contemporary music in general or the music of the composer Tera de Marez Oyens in particular. Organizing and / or cooperate in activities to promote the focus on contemporary music and the music of composer Tera de Marez Oyens in particular. The Tera de Marez Oyens Prize was awarded in 2000, 2002, 2009 and 2011. It is a cash prize of 2000 Euros as compensation for a new composition commission, which was paid to winners of the composition contest. Since 2009 there is a website containing information about the composer Tera de Marez Oyens and her work and information about the work of the foundation. The aim is to make this site more multimedia and to have it fully bilingual (Dutch / English). The Foundation has no employees. The board of the foundation initiates and organizes itself. Board members receive no attendance fees, but they can claim expenses incurred. In addition to a chairman, secretary and treasurer, there are three members. The current board of the Foundation Tera de Marez Oyens Fund consists of Philomeen Lelieveldt (Chairman, musicologist), Ellen Overweel (Secretary, musicologist), Iris de Marez Oyens (Treasurer), Claudia Rumondor (member, composer), Annelotte Kolstee (member, musicologist), and Annette Kruisbrink (member, guitarist, and composer). The foundation has an infinite duration. Organizing activities contributes directly to achieving the goals of the foundation. Between 2012 and 2016, the Foundation works to prepare: CD album of previously unreleased compositions by Tera de Marez Oyens Composition prize (subject to available partners) Monograph Reissue textbook: Working with modern sounds (possibly digitally published on the website) Expand the website (in content and functionality) Develop lobbying activities that will lead to more frequent performance of the music of Tera de Marez Oyens, in co-operation with Dutch conservatories and festivals. Tera de Marez Oyens Foundation, board member Annette Kruisbrink is a well known Dutch guitarist and composer. She has composed over 300 compositions which have been published by Les Productions dâ€™OZ (Canada) and various European publishing houses and has produced twenty CDs with her own works.She has won international prizes and awards for her compositions. Annette gives recitals and masterclasses in guitar/composition all over the world. She is frequently invited to be a member of the panels for international guitar and composition competitions and is both Director and Professor at the Anido Guitar School. From 2000-2010 she taught contemporary music and ethnological music at the Conservatoire of Music in Zwolle, Holland. Since 2012 she is a member of the Tera de Marez Oyens Foundation.Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy and she is a â€œComposer in Residence 2013â€? designated by the Stichtung Vrouw en Muziek, Netherlands. firstname.lastname@example.org
3.12 Romania Mihaela Vosganian Asociatia Romana pentru Femei in Arta I belong to a country, or region or part of Europe, where female visibility, especially in the cultural level, is better than in other countries or regions. That’s why, probably I would want to talk about a possibly good perspective that women could achieve in their own country. I can’t properly appreciate if this, “more convenient” Status Quo of Romanian women artists was caused by the former communist regime; probably yes, and this was a little good part, considering that communism tried to unify all aspects of human differences, including the equality between genres. For instant, a positive effect was that every week, all symphonic orchestras, in the capital or in the entire country, have performed music by national composers, both male and female. Nowadays, this good behaviour it is not continued, or, better to say, it is partially continued: that’s why, male composer’s works become a priority in the national orchestras planning.In Romania, a good relationship between the music industry and the amount of music by women programmed can be obtained in circumstances when a national event, such as a festival or a season, has been directed by women. I have experienced this type of position several times, in three different ways: 1.as a Director of the International Week of New Music, the main contemporary music festival organised by the Romanian Union of Composers; I have directed the festival together with my composer colleague Irinel Anghel (2003, 2010 – 2012) occasions when our ARFA organisation became one of the main partners of the festival; 2.as a Director of Multi Sonic Fest (2002-2008), ARFA’s own specific festival which was a first initiative in Romania that has included performances of Fusion-Music, combining contemporary music and jazz, traditional instruments with electric sound sources, melting classic contemporary musical textures with improvising experiments of music and dance, focalizing the interaction between Romanian and foreign performers; 3.as Artistic Director of FORUM – ART- a project released by ARFA involving music, dance, poetry, theatre or visual arts (2003-2006) in cooperation with The Romanian Composers and Musicologists Union, ISCM - Romanian Section, the Romanian Musical Post, Romanian Broadcasting Society, Odeon Theater, National University of Bucharest; FORUM – ART consisted of several series of performances, featuring all well-known Romanian ensembles dedicated to contemporary music – ProContemporania, Inter-Art, Game, Trio Contraste, Duo Manoleanu, Percussion Group of Music Academy of Cluj s.o. 4.as a performer and Artistic Coordinator of Inter-Art, ARFA’s specific Contemporary Music and Dance Group which has achieved a great popularity in Romania and internationally, touring projects in collaboration with foreign artists (soloists, composers, choreographer or visual artists) in different countries of Europe, Asia, USA, Canada. All this experiences gave me the opportunity to balance the rapport between women/male programming and to create visibility and acclamation of women composers and performers, at least during those festivals, seasons or specific national or international events. As a professor at Music National University of Bucharest - the main of its kind in Romania – I can say that almost all the second important positions
in our University, such as the two Faculties Deans, or the Chief Departments are occupied by women, but the Rector is a man. There are also many important cultural positions in Romania which belongs to women, especially Directors of Museums, or Directors of Radio Channels or of Musical Formations Departments. Quite another situation is that of women conductors, which are quite a few in Romania, but although they are very good professionally, their presence on stage is seldom. I can say, from my experience, that it was impossible to convince our Union of Composers to admit a women conductor during the festivals I directed. These are some of the main issues I had to share with you concerning the equal opportunities in my country as a stakeholder and practitioner in the musical landscape. A.R.F.A (Asociatia Romana pentru Femei in Arta), President Mihaela Stănculescu-Vosganian, composer, producer and teacher, has a degree in composition and a PhD in musicology from the University of Bucharest where she is Professor of Composition and Counterpoint. She has won: Romanian Academy Prize for 2000, Santa Cecilia Alba Adriatica Composition Prize (Italy, 1992), 1998 International New Music Consortium Composition Award (SUA), Union of Romanian Composers’ Prize (1986), prizes at G. Dima Composition Contest (1984, 1985). She has two published theoretical works: The Polyphonic Typologiesin the Romanian Contemporary Music and Technical –Expressive Ways of Playing the Saxophones in Rumanian SymphonicMusic. She has lectured at international events: Pennsylvania (1996, 1998), Donne in Musica (Fiuggi, 1997-1999), XIth IAWM Congress1999 (London), Ateneo de Musica y Danza (Malaga, 2000), University of Oldenburg (2003). Her music is recorded on many CDs, performed in Rumania and internationally. She is Artistic Director of the SIMN festival, founder and Artistic Director of Inter-Art Contemporary Music and Dance Group - Founder Director of Forum Art Season and of Multi Sonic Fest. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy.
3.13 Serbia Voyna Nesic Udruzenje Zene u muzici Kragujeva A competition for children and young people centred upon music by women The Association for Women in Music Kragujevac, Serbia (Udruženje Žene u muzici), was founded June 17, 2003 and it organises an International Festival DONNE IN MUSICA, which take place in May and November in the city of Kragujevac. The parts of the Festival are: The International Competition DONNE in MUSICA in the Project Youth for Justice and Peace. It’s a competition for young performers, young composers and women composers (no age limit); Lux Artis Concerts - I Young performers - II Music artists; WIMIS – Women in Music International Symposium All the young performers have at least one composition written by women composer in their programme as an obligatory work. There are many competitions in Serbia but none of them ask for women’s music, not even a few and certainly not as a central focus. The same situation is in concert programmes. So, our association is unique in ex- Yugoslavia with such a conception. As a member of the International Alliance for Women in Music, USA, in 2004 I sent some calls for scores to their magazine. The first who sent me compositions were two dear friends from Germany: Gertrud Firnkees and Violeta Dinescu, whom I met in Mannheim in 1985. The others women composers which sent music were: Susan Thompson Smith, USA, Maryanne Rumancik, Canada, Danielle Baas, Belgium, Jennifer Fowler, United Kingdom and Antonia Sarcina, Italy. The compositions of Serbian women composers were by: Dragana Petkovic (who died in 2006), Biljana Krstic, Vera Milankovic, Sanda Nesic, Melinda Ligeti Simic, Maryana Mitrovic Stepanovic, and Olivera Voyna Nesic. So, we started to organise this Competition ``DONNE in MUSICA 2005``, in sections Piano and Piano four hands, in small city Prokuplje. This year and during the following years there was a miracle! For all children (6 to 13 years old) it was for the first time to play modern music, especially by women from other countries, quite different from regular school programmes and- they enjoyed in it! I cannot present you, only by my words, how nice was to hear and see young girls and boys in their best clothes, playing well and with much smiles on their faces. In 2006 the competition took place in Kruševac, and from 2007 until today always in Kragujevac (with some new sections). In 2010 we got music from other composers: Monica Lynn, Italy, Dejana Milosevic and Marija Ligeti, Serbia, all for the section Piano. The youngest competitor in 2007 was four years old! Robert Balint. The best child-performers had concerts in 2007 and in 2008 in the Cultural Centre of Belgrade, where all programmes included music by women composers, already presented in DONNE in MUSICA Kragujevac. The most active music schools, which send their children to participate in the competitions were Pancevo and Pozarevac. So, they deserved and got the donations from the Fondazione Adkins Chiti: Donne in Musica. Since 2010 the competition has several older categories (youth from high music schools and students of faculties) and some new sections: Chamber music, Flute, Graphic Design, Poster and Music photo and for 2014: Clarinet, for all competitors up to 35 years, but centred on ages of 19 to 26. The Chamber music section is very successful, especially for students from faculties in Sarajevo (Bosnia and Herzegovina), Kotor (Montenegro), Nis and Zvecan (Serbia). They play women’s music in the competition and also have concerts in their cities and others and they work to find new works by women
composers. It is wonderful! It is necessary to put here name of Andrija Blagojevic, Professor of clarinet on Faculty of Arts in Zvecan, performer of women music, his students too, and, as a member of the World Association of Clarinettists, he always write about performances of women music. The first sections of Donne in Musica, since 2003 to 2013 was a Composition, open preferably to children, youth and women composers. It’s interesting how much talent they have. The Association organised concerts by child composers in May 2008 in the National Museum at Kragujevac. The second successful concert was organised in 2011 in Zvecan, supported by the Faculty of Arts. It was a concert of student compositions by boys and girls. All of them were involved in ``Creativity and Improvisation through learning Harmony``, held by Olivera Voyna Nesic. In my opinion – composing is the highest level of knowledge. The results after working on this competition for more than ten years, is that young people create many compositions, and most are by young girls. One of these girls, Valentina Pesic, won the Competition DONNE in MUSICA Kragujevac, in 2012. What I wish to underline is that the majority of these students study Music Pedagogy, not Composition, but all want to compose, they are creators! It’s unique in all of Serbia, but unfortunately many authorities don’t want to understand. The Competition DONNE IN MUSICA supported by the Fondazione Adkins Chiti: Donne in Musica shows how much music talent children have. If we help to them to develop this talent, especially through women’s music, which they perform from when they are still very young, we encourage them to compose – tomorrow we’ll have more performers, more composers and much more understanding for women composers. IT`S OUR MISSION!
Udruženje Žene u Muzici Kragujevac, President Vojna Olivera Nešić,composer, organiser and pedagoguegraduated from the Music Academy in Belgrade with Enriko Josif. She studied with Vojin Komadina at the Music Academy in Sarajevo and is currently professor of composition and harmony at the Faculty of Arts, Zvećan. Her works have been presented in Northridge, USA 1991, Fairbanks 1993 and 1997, Indiana 1997, Bologna 1999, London 1999, Heidelberg 2002, Brno 2006, Italy (Roma, Frascati, Bari, and Padova) and throughout Serbia. Since 2003 she and her organisation are Members of the International Honour Committee of the Fondazione Adkins Chiti: Donne in Musica. She is co-author of the book Women and Music in Serbia,, and aparticipant of WIMUST project, as well as Artistic director of the International Festival WOMEN IN MUSIC (since 2003). Among her most important works: Alkar, symphony poem, Essence for violin and string orchestra, Impressions for wind orchestra, Concerte Arabesques for clarinet and string orchestra, Concerto in Thema Kyr Stefan per 10 strumenti, and two orthodox Liturgies. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com Udruženje Žene u Muzici Kragujevac, board member Nesic Marko, professor, conductor, and composer, is resident conductor of the "Kir Stefan Srbin" Choir in Kragujevac and has been awarded many gold medals and two Grand Prix in choir Festivals in Yugoslavia, Serbia and Bosnia. As a student of Jovan Sajnovic in 1998 he was awarded with the prize "The Best 5" from Belgrade University. In 2000 he was especially honoured for "singing in a very significant way to the cause of peace and understanding between peoples” signed by Kofi Annan, Secretary-General of the United Nations, H.M. Queen Silvia of Sweden, Mary McAleese, President of Ireland, King Taufa`ahau Tupou IV of Tonga, Eskil Hemberg, President of the IFCM, and by Erik Westberg. He has attended seminars given by Garry Graden, Volker Hempfling, Brady Allred, Gudrun Schroeffel, and Peter Broadbent. firstname.lastname@example.org
3.14 Spain Gotzone Higuera Asociación Mujeres en la Música First at all thank you very much for your invitation in special to Patricia Adkins Chiti and for your work in the organization of this meeting. I´m Gotzone Higuera and I am the representative in the Basque country of Mujeres en la Música in Spain. I am a board member of the Association. First at all let me reflect on some questions ISSUES TO CONSIDER Women mostly work in the field of education Women mostly educate children, sons and daughters More women than men studying music Why don’t we talk about women? We believe that the situation of women composers actually must be studied from different points of view The presence of women in the field of education The Presence of women in educational programmes: schedules, books in the school, didactic programmes The presence of women in symphony orchestras, as a performer or directors. Presence of women in management and cultural production Presence of women in the programme of Studies in the Conservatory or High School of Music I collected some databases about this situation from different research done in Spain .I´m going to give only general dates because all the dates is so long PRESENCE OF WOMEN IN EDUCATION The Special Education System in Spain includes Arts Education and Teaching of Languages. The incorporation of these teachings to education provides the pupils and students an opportunity to quality artistic training and knowledge of other languages. In all studies in Arts Education the presence of women exceeds that of men. This difference, moderate in most studies, it becomes more significant in the Teaching of Dance (94.25% women). (Women in Arts Education-Data collected at different educational levels-from 1998 to 1999) Specialized Education- Distribution by speciality. Music 55,80 % Women- 44,20 % Men Dance 94,25% Women- 5,75 % Men Drama: 57,76% Women- 42,24 % Men Art and Design 59,45 Women- 40,55% Men Music Lessons Instrument- Differentiation for sex Horn : 34,23% Women, 65,76% Men Trombone : 11,30%Women- 88,69% Men Saxophone: 30,12% Women, 68,87% Men Piano 64,95% Women - 35,04% Men Organ: 32,89% Women - 67,10 % Men Percussion: 23,85% Women- 76,14% Men Oboe 56,15% Women, 43,84% Men
Guitar: 50,37% Women - 49,62% Men Flute: 69,72% Women, 30,27% Men Bassoon: 48,19% Women- 51,80% Men Contrabass: 41,11% Women, 58,88% Men Clarinet: 52,20% Women- 47,79% Men Harpsichord: 55.62% Women- 44,37% Men Singing: 68,23% Women- 31,76% Men Harp: 76,68% Women-21,31% Men Accordion: 58,14% Women- 41,85 % Men
The gender difference is considerable in some specialties. There are musical instruments that are considered male: brass instruments, percussion and Harp are female. Distribution of non-university teachers and University teachers 1998-99 No University Teachers: 62.68% Female 37.32% Male Infant and primary: 62,79% Female - 37,12% Male Secondary and Professional Education: 42% Female - 58% Male University Teachers: 33,63% Female - 66,37% Male ( Professors or Department heads) Women in Scholarly Publications The presence of the women in these books is irrelevant. This date is from one study conducted at the University of Valencia by Ana Lopez about the presence of women in scholarly books in ESO (Obligatory education from 12-15 years old) Data collected in 2009. Database is from 115 books from 3 different editors. The data reflect the reviews on men and women in obligatory education Total of references: 1174 Men; 65 Women 5.2% 1º ESO –No music 2º ESO- 463 Male; 27 Female 5,5 % about male 3º ESO – 263 Male; 6 Female 2,2% about male 4º ESO- 448 Male; 32 Female 6,7% about male WOMEN IN SPANISH SYMPHONY ORCHESTRAS Study by Maria Setuan and Javier Noya of University Complutense of Madrid in 2010. The participation of women in professional orchestras in Spain. This study was conducted with 27 symphony orchestras associated with AEOSSpanish Association of Symphony Orchestras. The conclusions were that the Spanish orchestras today are similar to other Europeans orchestras. They is no equality between women and men, and the best places and the best orchestras are occupied by men. The orchestras with more resources (mostly public resources) are not necessarily those who respect this parity. Women are working more in chamber orchestras or in small and modest orchestras. The study suggests improvement including the establishment of a priority to follow towards parity; the need to implement the blind auditions for not knowing the sex of the person who is playing; Implemented measures to reconcile work and family life, including childcare at the headquarters of the orchestras. Take affirmative measures to facilitate women's access to these music centres; Visualizing the contribution of women to the history of music is a first way to eliminate stereotypes and clichés that link creativity and artistic genius to the male gender. This can lead to increase female participation in the interpretation and thus visualize women composers. Composers in the symphony Orchestras
Now I am working in a research about orchestras in Spain One of the steps of my investigation is about the programme of the orchestras. I sent28 questionnaires , From these 22 answered the questionnaire and only 5 programmed women music : Symphony Orchestra of Euskadi ( Basque Country) Orchestra of Community of Madrid, Orchestra National of Spain, Filarmonia, and Orchestra of Illes Balears, WOMEN IN CONSERVATORIES Work of “ Mujeres en la música” - Through our Association we are working in two projects : Given that the works written by women are not taught at the schools, we have launched the Paedagogical Project Music and Gender, meant to publicize the works for different instruments written by women, with an indication of their title, author, issue, and place where the score is found. Such works are classified into three different levels (elementary, intermediate and higher) and the final result of the process is sent to the musical educational centres with a view to facilitate access to them to interested professors. We organize annually a “Festival of Women in the Music” that takes place in Getxo (Basque Country). This year 2012 was celebrated the XII. edition. The subject of our panel discussion was "Women and Learning: The presence of women in music schools” . From the Association have started one relationship with the Higher School of Musical Studies in the Basque Country –Musikene- . The process had different steps and started in October. I am a teacher in this Conservatory. I made contact with the head of studies in Musicology for the selection of the chamber music. I had a meeting with the teachers of instruments and composition for explaining the project (We wanted premiered works by one woman student of composition). From the board of “Mujeres en la musica” we asked for scores from members of Association. In January I gave all the scores to the students. In May we held the concert. The students wrote the notes of the programme-about the composers. For this relation we need the involvement of teachers and students. The concert was framed in the Women Festival and was very good experience. The programme was performed by students of singing, piano, accordion and brass quintet. The composers were Maria Luisa Ozaita, Fanny Mendelssohn, Sofia Gubaidulina, Akemi Naito, Annea Lockwood, Grazyna Bacewicz, Cruz López de Rego, Ruth Crawford, Marion Bauer and our students composers were Paula Alvarez and Alba Sanchez. The Association and Musikene want to continue this relationship for future editions. PUBLISHING ABOUT SPANISH COMPOSERS In 2008 a book was published under title : “Compositoras Espanola’s: La creación musical femenina desde la Edad Media hasta la actualidad “ by Álvarez Cañibano, Antonio; González Ribot, Mª José; Gutiérrez Dorado, Pilar V.; Marcos Patiño, Cristina ( Spanish women composers : female musical creation from the Middle Ages to the present) ISBN:978-84-8773167-9 Editorial:INAEM. Centro de Documentación de Música y Danza Año de la edición: 2008 In the General Society of Authors there are 200 women. Most programmers are men and do not know the existence of the work of women, especially of the historical. Perhaps it´s not discrimination but ignorance. The number of members on Spanish Network of Theatres, Auditoriums, Tours and Festivals public ownership amounts to 138 scenic areas and circuits. Of these, about 30 are headed by women. ACTUAL SITUATION Now, in Spain there is sensitivity towards the composers of the last century and studies are made about them and their works. The AMM has led to the recording of the complete piano Elena Romero was presented in June in Madrid, by the pianist Alberto Portugheis. The problem is that, although now the issue is taking some relevance and interest to more than one and there are many who want to expose to these authors, has caught at a time that is very difficult to find financial support for editing scores and recordings but surely when the crisis will end growth in research in Spain of bygone authors, especially
the XIX-XX century. The current situation is the same that we had last year, one year ago. But as the crisis has also reached the interpreters, it is easier to organize a concert because the demands are lower. It is even easier to get an auditorium or concert hall because they prefer the places are occupied than empty even it is not organize their own events. For current composers is just as bad as usual discrimination that sometimes the current is positive: books women only, women-only concerts, or what is more humiliating: catalogues and unidentified women in the same boat. There is more tenderness when the gatekeepers are women because they always try to discover the authors who find or know for their research or study, but it is a minority. Institutes are women (existing entities in Spain within the ministry of equality, autonomy, universities etc.) those mainly are dedicated to be gatekeeper but not usually have many personal resources, especially state or regional are slaves of the bureaucracy rather than to carry out their projects .. CONCLUSIONS In spite of women are present in the field of education and the music area, they are present neither as teacher nor as composer. The presence of women is minority because they are unsighted -no visible for the world. They aren’t in the text of the school; they aren’t in the music books or in general music encyclopaedias. There are few women in the orchestras as instrumentalists. As orchestra directors their presence is insignificant. (In Germany five women work as heads of orchestras). The low presence of women in cultural management functions Another cause of concern for Europe is the crisis we are experiencing that affects women more strongly. Asociación Mujeres en la Música, Gotzone Higuera,pianist, composer, researcher and teacher of Piano, Accordion, and Composition. She studied at the Conservatory of Music in Bilbao, Barcelona and at the Koninklijk Muziekconservatorium of Gent (Belgium), where she took a degree in Musical Pedagogy, Piano and Chamber Music. She has given music listening teaching courses in Bilbao, was director of the Hall of Music at the University of the Basque Country and “Opera Oberta” in coordination with the Liceu in Barcelona and director -presenter of Educational-concerts She has been part of various chamber groups and has accompanied singers in recitals, developing a project with singer Maite Idirin broadcasting music of women, especially of Basque composers. She has published articles in different journals and is Co-author of "My First Accordion Book". She worked as a consultant for musicals and as a coach for films. As an instrumental teacher she has worked at the Conservatories of Getxo, Bilbao and San Sebastian. Since 2002 she works as a piano teacher at the Higher School of Music of Basque Studies "Musikene" and is director of the School of Music Amadeus-Bilbao Musika. A member of the board of "Women in Music" she is delegate for the Basque region, Getxo Festival Organizing .She is now working on a doctoral thesis on "Symphony Orchestras" at the University of the Basque Region. email@example.com
Cristina Alcalá Galiano Evterpe Mujeres y Musica Buon Giorno, Good morning everybody: First of all, I want to thank the Foundation Adkins Chiti for the organization of this event, and for the constant work developing the visible role of women in music. As far as our organization, “Euterpe Music and Women”, is concerned, I’m going to make a brief presentation focused in three areas: women composers, education and music management.
In the area of women composers: Thanks to composers as Maria Luisa Ozaita and Marisa Manchado, the role of women composers had kept the attention in our country. Sometimes in a positive way, because their voices have been heard, in other occasions in a controversial way, generating discussion on the need for more attention and opportunities for women composers. There is no discussion that women composers have been invisible for centuries. Even though the big effort that has been done in later years, the presence of women composers in musical programmes is still scarce. Thanks to their work women concerts have increased in our country and now they have equal opportunities as men. In the area of music education: The main point nowadays is to introduce the role of women composers in education. We believe that students can only learn the important role of them if they are known by the new generations. It will be very useful if young girls have a reference if they want to develop a career in composition. Some years ago in our conservatory we had two proposals that had a great success but unfortunately they were stopped. That was to ask a composer, one year a female and the next a male, to write a work as a mandatory piece to be included in the programme for the piano final exam. That work was published and recorded and it worked really well. We’ll try to introduce this idea again, as we think that is very important for the students to know that women composers have the same rights and capacities as men. Another thing that we are trying to introduce in conservatories is that every student repertoire must include one women composer’s work, at least, each year. Little by little we are obtaining some results, but unfortunately we can’t say that everything is already done. Finally, we are trying to make understand education authorities, the importance to include the role of women composers in Music History. We think that if people in charge of festivals programmes and representative organizations take seriously the need to make visible the work of women, this matter will be successful. The target is to make this a regular situation, not an exception.When women would be allowed, not to be perfect, or exceptional, but just good professionals, the beginning of a new way, will be a fact. When small girls will have references, and when the presence of women take part in Board of Directors in musical institutions as men are, we could begin to talk about the same opportunities and no discrimination. Meanwhile, we continue trying to improve the attendance and active participation of women in different areas of the musical world in our city. Thank you very much Evterpe Mujeres y Musica, President Cristina Alcalá-Galiano Ferrer, singer, teacher, was born in Las Arenas, Vizcaya, Spain. With a degree in Pianofrom the Juan Crisostomo Arriaga Conservatory in Bilbao, and a Singing Diploma from the Escuela Superior de Canto de Madrid, she broadened her training in the fields of Pedagogy and Gregorian chant. She holds a PhD in History and Musical Sciences from the UAM, Spain. The development of creativity is her main field of action. She plays an important role in the pedagogic field that runs from very small children to the development of music enjoyment knowledge by people of all ages. She has taught in different schools and music academies and currently she develops programmes in collaboration with different institutions as the St. Patrick’s Foundation, Amberes Foundation. She sings regularly in different choirs, is author of the book Aprendo a cantar and is now adapting some of her materials to the new technologies in cooperation with PD Musica. She was former president of ASIPROM (devoted to research and promotion of music). firstname.lastname@example.org. Euterpe Musica y Mujeres, founder member Mar G. Barrenechea,musician, musicologist, specialist in cultural management,was born in Torreón Coahuila, Mexico. With a degree in piano from the Real Conservatorio Superior de Música de Madrid, she broadened her training at the University of Bloomington, Indiana. She holds a degree in Law and Economics from ICADE, a Master's in Musical Management and a PhD in History and Musical Sciences from the UAM, Spain. Her doctoral thesis won the National Research and Educational Innovation Award in Spain.Her professional activity has spanned a range of four fields: as a musician she has performed throughout Europe and América.
She currently forms part of a two piano duo with Monique Rasetti. She teaches at the Real Conservatorio Superior de MĂşsica of Madrid and has been National Music and Performing Arts Counselor and a member of the National Council on Music in Spain. In the field of cultural management,she has coordinated cultural projects for companies and institutions. On the research side she follows two main lines of interest: the role of women in music and comparative professional music education. www.barrenechea.es
3.15 Sweden Alexandra Nilsson KVAST- Association of Swedish Women Composers Gatekeepers, Discrimination and Lack of Transparency: how to introduce key changes. KVAST was established in 2008 when the Swedish composer Karin Rehnqvist found out that just 1 % of the works performed by the biggest Swedish Orchestras were composed by women. The objectives of KVAST are: - To ensure that the repertoire expands to include works by more women composers - To provide the decision-makers at music institutions with more knowledge and information concerning the works of female composers from all areas and all over the world. -to raise awareness of the gender perspective in the choice of repertoire. WORK One of the main work of KVAST since the beginning has been to collect statistics of performed pieces by women composers by the 17 biggest orchestras in Sweden and then present it to the orchestras, media and cultural and political key persons.The percent of pieces performed and written by women composers has been as follow: 2008-2009: 1,2 % 2009-2010: 2 % 2010-2011: 8,8 % 2011-2012: 5,2 % 2012-2013: 3,5 % In 2008 when the first statistics were presented to the head of the Royal Concert Hall in Stockholm he apologised for the situation and also commented that this matter had not even been taken up as a discussion by the programme council but from then on it would be taken in consideration. (But still now in 2013 very little has changed) During the season 2010-2011 the percentage rose because one of the leading orchestras, the Swedish Wind Ensemble decided (with the influence of KVAST) to perform a totally equal season with 50 % of all works by women composers. ORCHESTRA TOUR KVAST got funding from the Swedish government to continue their work for gender equality and with the funding KVAST is planning a tour in autumn 2013 to the main orchestras in Sweden for discussions about the important role of the orchestras in gender equality work and putting up goals together with them for the future. KVAST will also invite the head of the orchestras and key-persons in the cultural sector and politics and media to a meeting and a concert in autumn 2013 where the latest orchestra statistics will be presented. THE GOLDEN BROOM KVAST (that means broom) has established a prize- the Golden Broom-to be awarded to the orchestra or arranger for orchestral concerts, chamber music or electro-acoustic music that has made the greatest effort to include works by women composers. The prize has been given since 2010 and includes funding for a new commissioned piece by a women composer.
KVAST, Alexandra Nilsson, composer, performer and teacher, started out as a trumpet player in the field of jazz and studied trumpet, percussion and arranging at the Conservatory in Havana, Cuba (Instituto Superior de Arte) for two years. On her return to Stockholm in 2004 she formed and composed for a 13-piece female orchestra (Zarandea) a mix of Cuban salsa, jazz and funk. She then toured around Sweden and Germany for three years with this project and received a special scholarship from SKAP (The Swedish Society of Popular Music Composers) for her works. From 2005-2008 she undertook Bachelor studies in jazz composition at the Royal College of Music in Stockholm, and from 2008-2010 she undertook Master studies in film scoring at The Royal College of Music in collaboration with the Stockholm Academy of Dramatic Arts. She is now working as a composer for theatre, film, and dance and is also active in the contemporary music scene in Stockholm.email@example.com
Suzanne Persson Evterpe My name is Suzanne Persson and I represent the organization Evterpe - women in music, Stockholm in which I have been a member since Evterpe was founded. EVTERPE – STOCKHOLMis a non-profit organization whose goal is equality in the Swedish music scene. Evterpe aims to create a more attractive climate for music composers, musicians, educators, researchers, journalists and listeners.Evterpe´sfundamental goal is to support women working within a male characterized culture. Evterpe organizes concerts, seminars, lectures, workshops and theme days in Stockholm and the surrounding region. Evterpe works as a network and forum for exchange of experience and knowledge of women in the music scene. About myself - I studied classical guitar in Stockholm which was followed by music studies in New York at Aaron Copland School of Music. In 1986 I received a Master’s degree in lute performance and shortly thereafter I returned to Sweden. I’ve devoted myself to Renaissance and Baroque music particular by women composers. It all began when one of the singers I was playing with showed me how much music by women composers there was, however then hard to get hold of. In the early 90s we formed an ensemble (5 women musicians/singers) called The Bella Donna Ensemble and we performed many concerts with music by women – from Medieval (Kassia, Hildegard von Bingen, etc.) to Baroque (Camilla de Rossi, Elisabeth Jacquet de la Guerre, etc.). We also gave lectures about women composers and their music. After a few years I formed a new trio - La Donna Forte - voice, viola da gamba and lute/theorbo. For several years we performed many concerts as well as we gave lectures and workshops in Renaissance and Baroque music both in Sweden and abroad, for instance twice in Finland organized by NAMU -NAINEN JA MUSIIKKI RY. In 1999 we recorded a CD with Italian and French music. In 2000, after completing my studies in Baroque music interpretation at Malmö Academy of Music I took great interest in the Baroque opera. In 2008 I got the opportunity to put up my first opera, La Liberazione di Ruggiero dall’isola d’Alcina, from 1625, by Francesca Caccini at Ulriksdals Slottsteater (Ulriksdal’s Palace Theatre) Confidencen, a beautiful Rococo theatre in Stockholm. I believe it all starts when you are young. Impressions from a young age follow you the rest of your life. Therefore, this performance was directed to a younger audience, or to be exact, to the whole family. In order for everybody to understand the plot I wrote a libretto in Swedish following closely the Italian verse. The opera was a great success and was put up again in 2009. Since then I’ve put up 3 more Baroque operas for a younger audience, Henry and the Magic Passacaglia, The Ghost Castle and The Curse of the Dragon Queen. At the moment I teach guitar and lute as well as perform as a lutenist/conductor (both freelance and ensembles). I’ve just started to go through the score of Elisabeth Claude Jacquet de
la Guerre’s opera Cephale et Procri which will be my next production by women composers. Hopefully put up by my organization Evterpe next year. About Evterpe - Evterpe was founded in Gothenburg in 1992 and in 1997 musicians and scholars in Stockholm felt a need for a local organization and a sister association was formed. President at that time was Inga Lewenhaupt, a renowned scholar and author. In 2002 I became a member of the board and between 2004-2007 president, and after that, treasurer. Concerts and lectures - Throughout the years several concerts and lectures have been organized by Evterpe, for example: A yearly concert, March 8th, with music by women composers both contemporary and historical. Two musical events Mode & Musik – Fashion & Music - with works by women fashion designers and music by women composers performed by women musicians. A more regular, up to 8 times a year, an intimate form of concert - the Café concerts where singers and musicians are given the opportunity to perform music by women. In 2005 a concert celebrating Fanny Mendelssohn-Hensel along with a series on the Swedish Radio. In 2007 a grand concert – A concert of the senses celebrating our 10 year anniversary with a mix of different musical genres; jazz, classical, folk and 2 premiere works. Evterpe invited its members to a lecture series with three titles: Women composers during the Romantic period Women composers from Middle age to Baroque Songs and Romances by women composers Debates and Readings - Evterpe has participated in debates such as Vems röst-vilken music? (Whose voice – what music?) and Dialogträff med STIM – Svenska Tonsättares Internationella Musikbyrå (Dialogue meeting with STIM – Swedish society for music rights). We have also organized debates about women’s (in music) working conditions. Letters and questionnaire have been sent to Kyrkomusikernas Riksförbund (Church Musicians organization) and all major music institutions (concert halls, orchestras etc.) asking: Where are the women composers? How many works by women composers have you programmed? Equality - is this an important issue to you? What do you do to improve the allocation to music by women composers? Unfortunately very few answered, or knew the answers to these questions! Evterpe also gave a remittance to Plats på scen (Place on stage/Government) a task to submit proposals on how a gender perspective can become an undisputed and influential force in the field of performing arts. Hidden Treasures – A grant from Ungdomsstyrelsen (National Board for Youth Affairs) made publication of a collection of 16 songs, from five centuries - Baroque to contemporary - composed by women, possible. Gömda Skatter (Hidden Treasures) was published in 2010 and most of the songs existed only in original handwritten copies and have never been printed or published before. The book has been distributed to 91 universities, colleges and high schools, 259 music- and culture schools and 288 libraries, and a couple of hundreds sold by Evterpe. Our desire was to reach out to younger singers and musicians with this collection and a grant from Helge Ax:son Johnson’s foundation made it possible. Christina Falk, soprano, and current president of Evterpe, and pianist, Solveig Wikman, gave four lectures and workshops, and concluding concerts, together with the students at The Opera Studio 67, College of music in Ingesund, Södra Latin High School in Stockholm and Skeppsholmen School of Music. By this project Evterpe hope to increase the awareness and knowledge of women composers among younger singers and players.
Website and orientation - Information about Evterpe can be found on our website – www.evterpe.se. The first homepage was built in 2003 with the purpose to spread information about the organization, musicians and music by women. A few years ago we changed the design and at the moment we are working at a completely new design and content with more focus on the performer. Since there now exist more organizations for women in music in Sweden – Lilith Eve (2000, Sing- and songwriters), IMPRA (2006, jazz and improvisation) and KVAST (2008, women composers) Evterpe wants to concentrate on women musicians, especially in classical music, by working to create more opportunities of live performances. We believe that this is one of the best ways to affect the repertoire and its performers. Next event will take place in the fall and we would gladly promote and see cooperation take place between composer and performer. Finally, it is my desire that the meeting here in Fiuggi will lead to increase our network and gain inspiration and knowledge of other women in music. Evterpe: Women in Music, Suzanne Persson, performer, producer and teacher, studied classical guitar in Stockholm followed by studies in New York at the Aaron Copland School of Music. In 1986 she received a Master of Arts in performance (lute) and returned to Sweden where she enrolled in a course in Baroque music interpretation. In the early 90s her interest in music by women composers began and a Baroque ensemble (5 female musicians/singers) called "Bella Donna Ensemble" was formed. At that time she joined Evterpe women in music. After a few years the group became a trio with a new name - La Donna Forte - voice, viola da gamba and lute performing many concerts as well as lectures and workshops in Renaissance and Baroque music in Sweden and abroad. In 1999 they made a recording of Italian and French music. Knowledge of early music by women eventually gave Persson the opportunity to produce her first opera - La Liberazione di Ruggiero, 1625, by Francesca Caccini - with a libretto in Swedish (by herself). Now she teaches guitar and lute as well as performing as a lutenist/conductor (freelance and in ensembles). She’s started to go through the score of Elisabeth Claude Jacquet de la Guerre´s opera "Cephale et Procri" which she will be her next production by women firstname.lastname@example.org
Biggi Vinkeloe IMPRA Empowering Girls in Music On the behalf of Impra, Sweden,I want to thank you, Patricia Atkins Chiti and your foundation for your hard and persistent work. I am a musician and I play both a male and a female instrument. When I say that I play the flute, people go,”Oh, nice!” When I add that I also play the saxophone, the same people go“Wow, isn't that very hard to play / handle for a woman?”I am also a music therapist and a pedagogue, working with kids and young adults, some of whom have very special needs or have a heavy backpack, either diagnoses like autism or ADHD, or problems like drop-out from school and or family, immigration trauma, dysfunctional families...I have met young people in European countries, in India, in the US. Although from different cultural backgrounds and from different financial, social and intellectual conditions, I always discover the same patterns when it comes to female and male behaviour: the boys always take a lot of space, naturally and with a lot of confidence. The girls have a tendency to hold back, giggle, are shy and back immediately if 'necessary'. And of course, what I want to do is to encourage the girls, so they feel confident to take the power, to occupy space, to express what is on their mind – and I want to contribute to improve communication skills, mutual respect and support for both girls and boys. A few words about the situation in Sweden: there are music schools or cultural schools in almost every city and village in Sweden. In third grade, all the pupils and their families are invited to come to an open
house at the music school and just try out different instruments. Then you can apply for a class on the basis of 'first come, first served'. The students take an instrumental class and are part of at least one orchestra. There are exchange programmes with youth orchestras in other countries, and regular concerts in the hometown. Here is the strange thing: more girls enrol at these music schools than boys. Some High Schools offer an extended curriculum with a lot of music lessons – there are approximately as many girls as boys, the girls mostly sing and / or play piano, flute, acoustic guitar, the boys play electric instruments and drums. At the university, most girls enrol for the music teacher programme, whereas the boys enrol for jazz. (Of course, there are also students enrolling for classical music, world music, and composition). Where do the girls go? This is still an interesting question. I try to conduct a workshop with the idea of “talk, do, feel” - talk about what and how you want to create, what you want to play, where you want to go with your idea. Do it! And feel it out! And notice which feeling you develop by doing maybe the opposite of what you thought you should do. When there are instruments in a room, electric ones and acoustic ones, which ones do the boys go to and which ones do the girls go to? Usually, the boys run towards the electric guitars and basses and the drum set, the girls look around and take what is left – acoustic guitars, percussion instruments.... Then I like to gather everyone and just ask if everyone feels comfortable with her / his choice of instrument. Usually, the boys are very pleased, the girls not really. So we discuss how to organize our session so that everyone gets to try the instrument of her / his choice. In Bangalore, I did a multi-media workshop with young people from different schools. The group was too large and the students had to create groups for the 3 day workshop. I watched how they made up the groups – no surprise there for me... and then I suggested we had to talk, so everybody would be included and able to contribute. We talked in musical terms, dynamics, structure, form... I encouraged group processes, but I kept an eagle eye on how they distributed the tasks within the group. We had a lot of short talks, in the end we had astonishing music pieces, co-created by boys and girls! What they really improved were their communication skills, mutual respect, listening, patience, waiting for his or her turn, and also speaking up and taking space through soloing. I work a lot with improvisation, some play some listen and we always take the time to discuss musical techniques and also feelings and emotions while playing and while listening in order to increase the awareness and the sensibility you need so you can communicate on an equal level. We develop compositions out of the improvisations in a process involving everyone. A much appreciated exercise is the conducting: with a few gestures and signs, the group is conducted by one young musician. You can watch the conductor getting more and more involved, feeling the power to change the music and the attention focused on the conductor. A very powerful exercise! In Gothenburg, another High School, guys and girls. A few girls with 'male' instruments, electric guitar / bass, drums. I suggest a conducted improvisation, and ask then different people to take the space in front of everybody. Nervous! And fun! I could watch some girls getting more and more into it! We also had a discussion whether or not you can hear if it is a woman or a man playing – interesting! Everybody agrees that people sound good or not good – new questions arise: how come that there are not more women composers being played? Where are the women musicians? In Oakland, at a music school – two very young musicians, a girl playing the bass and another one playing the trombone, become teacher assistant, and become a role model for other girls. Sometimes it can be easier to work with just girls' groups, like the summer camps with Rock music, or PopKollo in Sweden for 12 to 14 and 14 to 16 year old girls. One week to test and play different instruments, in a stressful not competitive environment.
Working with mixed groups however, gives the opportunity to both girls and boys to experience their equality in the creative process. That support and respect for each other helps everybody to develop music skills â€“ and therefore also communication skills. IMPRA, Biggi Vinkeloe, born in Germany, raised in France, lives in Sweden and California, is a composer and performer playing the alto saxophone and flute. She has master degrees in French Literature, and in Music Therapy, along with degrees in Sociology and German. She has co-founded a Rudolf Steiner School for autistic children and youth, which offers music, drama, arts and eurhythmics, along with the ordinary curriculum. Biggi has initiated many projects and multimedia events (M.A.D. music, art, dance /United Nations/Over the Ocean Echoes). Her work can be found in art spaces, castle ruins, a station (Milano), and industrial sites, involving musicians, dancers, poets, visual artists, in collaboration with drummer Peeter Uuskyla and painter Ebbe Pettersson. She has worked and recorded with Cecil Taylor, Peter Kowald, Peeter Uuskyla, Barre Phillips, Donald Robinson, Lisle Ellis, Miya Masaoka, Steve Swell, Ken Filiano, Mary Oliver, Paul Plimley, and Sumathi Murthy. Her trio lasted 10 years, touring in Europe and North America. Today, she is project oriented, with musicians from different fields ranging from classical to world music to jazz, improvised music and field recordings. horizon13-beta.telenordia.se
3.16 Turkey Selen Gulun Bilgi University, Turkey, Resident Scholar in Fiuggi in 2011 What did we do? When I started doing research about women composers and music creators from Turkey for WIMUST, I found materials for only five living composers’ information at Donne in Musica. One of them was mine. Mrs. Adkins Chiti showed me the International Encyclopaedia of Women Composers at the library. I started listing and collecting data about historical Turkish women music creators. I found fourteen women musicians that I had never heard of. This was an exciting beginning! Composers - As soon as I finished my research about historical Turkish Women music creators, I started collecting data about living Turkish Women music creators. With other resident scholar Arantxa Hernandez from Spain, we learned how to collect basic information such as Composer’s Name, surname, date of birth, place, residence, Email, website, and publisher. Together we listed the collected info at ‘Biografie Modello Scheda’. During my residency, I have found 66 living women music creators in Turkish descent. Now the number rose up to 72. Collecting Biography - Frankly, the hardest part was collecting Bioof the composers. In WIMUST, Biographic information is collected in a specific way. Collected Bios should not be more than 10 lines. During the process we have realized that most of the composers haven’t prepared an English Bio before in their life. Or Bios that they had sent was too long, and needed some corrections. Some people did not even respond to our calls. Collecting Bio is the essential part of this project. My impression about this part of the job is that some Women music creators are not firmly ready to exist in competitive Music business. Stakeholders - Collecting stakeholders’information were one of the most interesting, but at the same time, challenging part for me. Because archiving information particularly about women or gender related studies is not a tradition, and/or majorities’ interest in Turkey, there were very little data existed to collect. I had to find, list, collect, and organize mostly everything by myself, maybe for the first time in Turkish Republic’s history. And this alone proves why WIMUST is very important! At the end, I have found sufficient real information to be listed and finished this part of my research for WIMUST. We are going to share all these information at Istanbul Bilgi University’s new interactive website which was originally reorganized for our WIMUST studies. Archiving- After collecting information about women composers/music creators, we opened up an individual folder for every single person, which includes personal data such as: programme notes, hard copy biography, interviews and articles, CDs, tapes, videos, other recordings, and works list. All the composers listed by organizations need to send their music scores/parts to Donne in Musica for music archive. Again, not many composers responded to this call during my residency. I was personally expecting more attention and interest as a composer. My work started to be archived at Donne in Musica at 2003, and immediately my Piano work “Combined Piano Pieces” were programmed to be played in Rome, Donne in Jazz at 2004. That alone proves that how important is for composers to take action on
promoting their music for being performed and international recognition. WIMUST helps to this cause by collecting scores, archiving them for promoters who are interested to programme these works. Performing/Composing - I composed a solo work for Piano (Sea by Sea) during my residency, and had an opportunity to perform it at ‘Incontri Con Le Compositrici’ school concert series. Also, I had performed my Jazz tunes and five other Turkish Women Jazz Musicians’ original tunes at Donne in Jazz series, Frascati, Rome with two great Italian musicians Marcello Allulli (Tenor Sax) and Ermanno Baron (Drums). Other: Incontri Con Le Compositrici series was inspiring. I personally attended eight concerts during my residency. Performing for Italian children and spending time with them were great. Children were very responsive and interested to ‘New Music’, composers, performers and instruments. They asked smart, stimulating, and exciting questions. As Bilgi Music, we took these school concert series as an example and started planning our own series. Instead of going to Elementary schools, we are targeting Music & Art high schools. We will be conducting two concerts in Fall 2013 with discussions. We will invite two Turkish women composers/music creators to compose for these events. They will be presenting their work and leading the discussions. As Bilgi Music, we have been always very careful about programming women composers’ works in our New Music Concert Series. I was programming these series between 2005-2010. We decided to continue this tradition to encourage Turkish women music creators to compose new works. Also, we regularly send calls to the universities and Music schools for collecting more data about women composers. Participating WIMUSTproject encouraged us to fight against any kind of gender discrimination in Music in Turkey with knowledge. International Jazz Day 2 happened in Istanbul April 30. Keiko Matsui, Anat Cohen and I discussed about Women and Jazz at table discussion. I also spoke about WIMUST and our work. Women in Music, Istanbul Bilgi University Music Department, Selen Gulun,composer, song writer and arranger teaches Critical Listening, Introduction to Composition, Creative Workshop, Composition Workshop, Arranging, Modal Harmony, Jazz Composition and Women in Music courses. She was the founder of the New Music Concert Series Istanbul. She graduated from Istanbul Technical University, MIAM, Berklee College of Music, and Boston, MA with a Bachelor of Music Degree, May 1998, Major in Jazz Composition, Mimar Sinan University State Conservatory, and Istanbul University, Bachelor of Business Administration Degree. She has taught at Istanbul Bilgi University, Wilmington Boys School, USA, Istanbul Pera Music School, Berklee College of Music, 1997-1998, and Boston, MA. As a freelance musician she is self-employed as a composer, pianist, keyboard player and vocalist and has performed with groups in Turkey, Italy, Romania, England, Austria, Russia, Holland, Germany, Pakistan, Lithuania, and USA. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. email@example.com
3.17 United Kingdom Margaret Lucy Wilkins Women in Music -UK Towards the end of 2012, Donne in Musica President, Patricia Adkins Chiti, contacted WiM UK with the proposal that she would organize a Meeting in London, as part of the WIMUST European project. Patricia had been to the EU Parliament in Brussels and conferred with Mary Honeyball, who is a British Labour MEP (Member of the European Parliament). Mary was elected to the European Parliament in 2000, after 30 years in Labour politics. She is Spokesperson on the European Parliament's committee for Women's Rights and Gender Equality. Mary champions gender equality and equal pay, and against the trafficking of women. Since WIMUST is an EU-funded project, Mary and Patricia agreed to set up a WIMUST Meeting in London in June 2013, initially. For a variety of reasons the date has been put back to September 12th 2013, allowing more time for the organisation of the event, and at the start of the British Parliamentary session, rather than at the end. MEP Mary Honeyball's London office has been very helpful in booking the venue, Europe House, London, close to the Houses of Parliament. This was formerly the home of the British Conservative Party (and Margaret Thatcher's headquarters). In 2009, the European Parliament and Commission bought the building for ÂŁ20m. and spent a further ÂŁ5m. gutting the building and re-fitting it with the best in luxury office and recreational facilities. It includes a conference hall with stage.In addition, MEP Mary Honeyball has spoken to other MPs about the work of WIMUST, and has secured the commitment of others to attend the London event. These should include Maria Miller, the Conservative Minister for Culture, Media and Sport, and also Minister for Women and Equalities, as well as being Under-Secretary of State for Work and Pensions. Quite a load for one person. Unfortunately, Maria Miller is not a popular Minister for Culture, having failed to demonstrate any interest in, or flair for cultural activities. However, WiM UK is pleased to welcome Silvia Costa, member of the Italian Group of the Progressive Alliance of Socialists and Democrats in the European Parliament, and member of the Committee on Culture and Education, as well as the Committee on Women's Rights and Gender Equality. The purpose of the London WIMUST Meeting is to persuade the British Parliament to implement the EU resolution, adopted March 2009, regarding equal treatment and access for men and women in the performing arts. The whole-hearted assumption of the treaty would 'change the landscape for the thousands of European women who compose and create all forms of music', which, of course, include British women composers. Women in Music UK has been asked to provide a panel of 3 or 4 women composers who will provide testimonials of their experiences. The Panel should represent a variety of musical genres, and age groups. Each composer would present a short piece, for which performers would be engaged.Early on, a small sub-committee drew up a list of possible names, eventually arriving at a short list. At the beginning of June, a precise date was revealed, September 12th, enabling us to contact the prospective panel members. It has to be admitted that this is a very short period of time in which to arrange composers and performers, many of whom will already have bookings for other engagements on that date. Added to which, WiM Chair Person's family health problems were at crisis point, so she was unable to take action. Despite all the setbacks, we are pleased to say that we have succeeded in engaging a suitable panel of 4 composers.
I have pleasure in announcing that the Testimonial Panel comprises: myself, Margaret Lucy Wilkins, representing contemporary music, and the older generation. Errollyn Wallen representing classical music, a mid-career composer. Errollyn is from Belize originally. Recent accolades include the commission of 2 works for the 2012 London Paralympic Games Opening Ceremony (televised across the globe), and the prestigious PRS Ivor Novello Award for Classical Music, 2013. Lánre Nkoju, a young singer songwriter of Nigerian origin. She has been a featured artist on BBC 6 Music with her recent album of Afro soul music. She undertakes unusual assignments with just her voice and guitar, such as her pop up "Living Room Sessions". Swati Nateka, an Indian performer/ composer who has been brought up in a family of Classical Indian musicians. She came to London in 1990 where she has made many commercial recordings. An ethnic musician who crosses musical borders from her native Ghazal style to fusion, jazz inflections and dance tracks. We are currently sorting out the music to be performed and the performers involved, prior to making an application to the Ambache Charitable Trust. Women in Music UK is excited at the prospect of the WIMUST London event and welcome the arrival of Donne in Musica President, Patricia Adkins Chiti, and MEP Silvia Costa. Wim – UK, board member Margaret Lucy Wilkins, born in Great Britain,has a long and important musical career that embraces composing, lecturing and performing. A founding member of Women in Music – UK, and a member of the Foundation’s International Honour Committee, she has directed twentieth century music and has been a strong advocate for the inclusion of the music of women composers in education, festivals and concert programming. From 1976 she was Principal Lecturer in Music at the University of Huddersfield, England where she was also Head of Composition. There have been many commissions and broadcasts of her works, especially of those for large orchestra. Performances of her music have been given throughout Europe and in the United States and by the Fondazione Adkins Chiti: Donne in Musica.
3.18 USA Joan Cartwright Women in Jazz South Florida (n.b – this report also covers travel through Italy and Switzerland following the meeting)
While touring Europe as a vocalist from 1990 - 1998, I realized that music, jazz in particular, is a universal language. Upon returning to Florida, in 1996, I needed to do something else to make a living, as musicians make very little income in the USA. So, I created a lecture on Women in Jazz for schoolaged children, through grants from the Broward County School Board’s Student Enrichment in the Arts (SEAS). Since 1997, I received several grants to present to thousands of students Amazing Musicwomen, also, a book published in 2009, along with my book for children about the business of music, So, You Want To Be A Singer? Since 2012, I have an 8-woman ensemble (3 vocalists, 1 dancer, piano, bass, drums, and sax). We performed twice in 2012, and twice in 2013. Although audiences said they enjoy our presentation, it is difficult to book this all-female ensemble. For 34 years, I worked with male musicians. I became a member of the International Women in Jazz (IWJ) in New York but the distance to Florida (1,300 miles) is too great to enable me to address the status of women in music in Florida. So, in 2007, I founded Women in Jazz South Florida, Inc., a 501(c) (3) non-profit organization that promotes women musicians, globally. To date, we have 225 members with 108 musicians and 117 supporters, including 47 men. As the sole staff member, I meet with board members (5) to determine how we can move the organization forward. I maintain the website www.wijsf.org. I write grants for concerts of original music by our musical members. I host a weekly online radio show at www.blogtalkradio.com/musicwomanand I publish an online, monthly newsletter, featuring news, CD releases and performance schedules of members. In 2010, 2011, and 2012, we released compilation CDs of 10 fabulous female composers. The music of 27 women is available at www.wijsf.com/compcds.htm. The music is eclectic, that is, not all jazz. The only requirement is that is it original. Members of IWJ referred me to the Fondazione Adkins-Chiti: Donne in Musica, resulting in Sarah Ernst Edwards’ interview with me, published in the book Donne in Jazz; our organization is now an International Honour Committee Member of the Foundation’s International Network; and my attendance at the 2013 WIMUST Conference, was sponsored by 85+ donors at www.gofundme.com/jc-
WIMUST that raised $3,645 for my travel expenses! In my third year of Doctoral studies in Business/Marketing at Northcentral University online, my dissertation is The Music Service Provider, Business Responsibilities, and the Inequity of Income Earned by Women Musicians. Research shows that: Music is a $27 Billion industry with $12.5 Billion in the USA; although women pay 53% of the taxes on Earth, only 1% of public funding in Europe applies to women's music; Men head 89% of cultural organizations and the 11% headed by women do not support women musicians and composers. In the USA, organizations like Florida State Cultural Division, Broward County Cultural Division, and National Endowment for the Arts (NEA), ASCAP, BMI, and the Musician's Union have few statistics
about the number of women musicians. Jazz Musicians are 85% male, according to Joan Jeffri's report to the National Endowment of the Arts (NEA). While WIJSF's association with Fondazione Adkins Chiti: Donne in Musica remains the most important international affiliation for our organization, we have also been invited to become members of Women in Music in Serbia, at the invitation of Vojna Nesic! These associations increase our visibility and strengthen our potential to increase the profile of our members. We MUST continue this important work to make those who pay taxes, control budgets for cultural programming, and general audiences aware of the inequity of income earned by women musicians and composers. The Business of Music among women must be discussed and improved. As I journeyed on to the Umbria Jazz Festival, in Perugia, and Montreux Jazz Festival and Montreux Meets Brienz, in Switzerland, I noted that at Umbria Jazz, few female instrumentalists headlined - Diana Krall and Sarah McKenzie (piano/voice), Hiromi (piano), and vocalists Simona Molinari, Dee Dee Bridgewater, Gal Costa, and Cecile McLorin Salvant. Noted guitarist/songwriter Pino Daniele had three females in his band - Elisabetta Serio Bis (Rome) on keyboards, Lakecia Benjamin (USA) on sax, and vocalist Awa (Paris). I asked Elisabetta if she gave Daniele her music. She said “No”. I encouraged her to do so, though she seemed a little reserved. Another fine pianist/composer Sade Mangiaracina from Sicily performed with vocalist Simona Molinari. Also, our International President Cettina Donato was engaged to accompany student vocalists of Berkelee College. At Montreux Jazz featured even fewer female musicians. I enjoyed the country singer/songwriter Valerie June who played guitar and banjo. I gave my book A History of African American Jazz and Blues to Quincy Jones, whom I interviewed for this book in 1993, in the exact same building! This was a very special moment for me, especially, when I told Quincy that I had attended the WIMUST Conference. His response was, "I always worked with women musicians like Melba Liston!" Also, much to my surprise, PRINCE was accompanied by three females on guitar, bass, and drums. Of the bands I heard in Brienz, no female musicians were featured. I was told that Julie from Paris performed wonderfully, on saxophone. There was a dynamic quartet of teenage boys (13-15) from Russia and three male saxophonists with a trio from Sicily, leading me to believe that the Good Ole Boys Club is being proliferated through European youth bands. The young bassist from the Open Jazz Youth Band from Sicily did say, “My dream is to find a girl drummer!” My conclusion is that the low numbers of women musicians being booked at major and minor festivals and concerts is largely due to lack of awareness or, perhaps, consciousness about this problem. We MUST continue to create awareness in all arenas, not just cultural arenas, but in political and economic arenas because women musicians only earn 64% of what male musicians earn, while women in other fields earn 75% of what men earn. Women in Jazz South Florida, Inc, Joan Renee Cartwright born in Queens, NY., poet, musician, composer, author, and historian, lives in Hollywood, Florida. She has performed on five continents and in addition to producing two CDs, is the author of nine books including Amazing Musicwomen and the Joan
Song Book, with jazz and blues songs. Joan's song "The Glory Road" was chosen for performance by “Donne in Jazz” in December 2012. In 1983, "Sweet Return" was recorded by Freddie Hubbard on Atlantic Records. Heressays,
articles and interviewshave been published locally and internationally online, in magazines, journals, anthologies and newspapers. In 2007, she founded Women in Jazz South Florida, Inc. to promote women musicians, globally. The organization has 217 members, with 102 musicians. Joan hosts
www.blogtalkradio.com/musicwoman. She performs, regularly, with her quartet or 8-woman ensemble 85
Amazing Musicwomen. Her music has been presented by the Fondazione Adkins Chiti: Donne in Musica in Italy. http://www.joancartwright.com/, http://www.wijsf.org/,