Session 3.1 Music and Gender

Wednesday 5 June 2019.    2-4PM, Room 116.
   Chair: Mary Ingraham (University of Alberta)

Hearing and Seeing the Cross: Gubaidulina’s Religion in Sieben Worte for Cello, Bayan, and Strings
   Sasha Drozzina, Louisiana State University

Sofia Gubaidulina has stated: “All of my works are religious. As I understand it, I’ve never written non-religious pieces” (Gubaidulina, 1995). I expand upon Gubaidulina’s statement, focusing on her Sieben Worte for cello, bayan and strings (1982). This work is prevalent with musical, visual and physical representations of the cross, and various references to the number seven. I draw upon previous research of bodily gestures in Gubaidulina’s music for the low strings (Berry, 2009; Ewell 2014), and trace the opening “cross motive” (Bb-A-G#-A) in solo cello, that unfolds throughout with increasing tension. Gubaidulina also presents instrumental symbolism between cello, bayan and strings, and their conversational climax is achieved at the end of Part VI where all instruments are heard simultaneously. I conclude by contextualizing Gubaidulina’s work, alongside Alfred Schnittke and Arvo Pärt, who were also expressing religious and spiritual affiliations during the 1970s and 1980s in the Soviet Union.

Les femmes dans le répertoire de musique contemporaine du Québec
   Ariane Couture, Université Laval

Cette communication propose une lecture féministe du répertoire de la musique contemporaine au Québec en questionnant la présence féminine en concert. Considérant l’importance de l’environnement socioculturel qui teinte les perceptions sur les capacités créatrices des femmes (Stévance 2009 : 43), force est de constater que les compositrices demeurent peu jouées dans les concerts de musique contemporaine au Québec que ce soit en termes de quantité ou de modalités de diffusion. Une analyse des concerts produits entre 1966 et 2006 par la SMCQ, les Événements du neuf, l’ECM+ et le NEM a permis de délimiter la participation des compositrices et de mettre en évidence les pratiques de ces organismes relativement à la présence des femmes en concert. Offrant une contribution originale aux études féministes en musique, cette communication permettra de présenter la contribution des organismes de musique contemporaine, mais également de discuter des limites de l’intégration des femmes.

Gender Ambiguity in the Labor of Great Men: The Case of Franz Liszt’s Tasso: Lamento e Trionfo
   Jamie Meyers-Riczu, University of Alberta

This paper will explore Franz Liszt’s engagement with the concept of genius in his Tasso: Lamento e Trionfo. Liszt’s piece centers on tortured genius, Torquato Tasso (1544-95), and his creative labour and sublime suffering. To artists from the Romantic era, Tasso represented a hallmark of creative genius, and the expression of his suffering emphasized a shift in the conception of genius. In the Neoclassical era, genius was a spirit humans possessed whereas in the Romantic period, genius was an innate state of being. This shift produced new gendered associations with the concept of genius, particularly around labour and pregnancy. The genius is, in essence, an androgynous paradox: he simultaneously encapsulates the struggle to transcendence while passively bound to the whims of creative genius. I will examine Liszt’s narrative trajectory to musical apotheosis—the moment of heroic transcendence—to explore the tension between the masculine sublime and the passive, laborious, and pregnant creative genius.

Women, Here & Now: Ana Sokolovic’s Sirènes and Svadba Wedding
   Colleen Renihan, Queen's University

Drawing on work by Cavarero (2005), Duncan (2004), and Eidsheim (2015), this paper examines two of Sokolovic’s vocal works, Sirènes (1999) and Svadba Wedding (2011) from a vibrational and relational perspective. As pieces that foreground the materiality of womens’ voices in dramatic contexts that celebrate womens’ relationships, these works embrace the potential inherent in the female voice to both express and produce power, and to perform presence. Considering this form of presence as an extended, perhaps heightened, version of liveness through its temporal and material aspects allows for these vocal works to be heard as intense expressions of the here and the now.

Session 3.2  Music Theory and Analysis (Room 339) →

← Session 2.3 Film Series I (Room 339)

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