You have full access to this open access chapter. Why is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music Fetisch Gos Classic Music Gay aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives. You have full access to this open access chapter, Download chapter PDF. One of the objectives of the European Research Area and Innovation Committee ERAC is to achieve gender balance in all areas and at all hierarchical levels of national scientific and research activities and institutions in the EU vertical and horizontal segregation. It mainly refers to eliminating the underrepresentation of persons or groups of persons in certain fields. For a long time the main aim was to reduce the underrepresentation of women through measures to promote women. In the meantime, an expansion has taken place as part of the Fetisch Gos Classic Music Gay of gender mainstreaming and diversity management: on the one hand, more emphasis is being placed on equal opportunities for everyone, while on the other hand, some of the responsibility for achieving gender balance has been transferred to institutional communities cf. Cordes— First, empirical data and statistical reports can make the underrepresentation of women and minorities highly visible. Second, they suggest the importance of determining the reasons for this underrepresentation. Third, they can inspire initiatives and measures to change the data. Such measures include quotas or parity arrangements, but they are not uncontroversial cf. Cordes Figuring out the reasons for certain numerical ratios and then changing their origins is a far more complex and difficult matter. Only in the complex interplay of these three factors is it possible to formulate a meaningful equality policy that includes gender but also other diversity categories, such as religion, ethnic origin, social status, age, sexual orientation, and world view. Thus, the thematisation of gender in very different contexts usually not only addresses concerns of society as a whole but also almost always touches on very personal areas, often provoking defensive attitudes. In addition, to this day feminism holds critical potential as a starting point for the thematisation of gender that has not completely disappeared even in the post-feminist age—although it has changed and been partly relativised. It is Fetisch Gos Classic Music Gay also accepted that feminism itself is characterized by diversity, fragmentation, and a series of internal contestations. Footnote 1. This still includes criticising dominant cultures, denouncing and combating different forms of discrimination of womenand advocating for equal rights of women. It is important in this context to recall the importance of figures and statistics: they highlight systematic discrimination and institutional power structures as well as inequalities and disadvantageous differences. Infor example, the presentation of statistics from the Darmstadt Summer Courses for New Music by composer Ashley Fure gave a clear picture of the exclusion of women until the s. Hardly any works by female composers were played, and for a long time no women were invited as lecturers GRiD The reasons for this are certainly to be found on the one hand in the male-dominated decision-making structures but on the other hand also in the lack of dissenting voices or in the lack of awareness that there was a considerable imbalance in this regard. In other words, phallocentrism effaces the autonomous representation of femininity […] Within phallocentrism paradigms femininity can only be represented in some necessary relation to masculinity Crosz In the following remarks, I will discuss the extent to which a critical attitude towards the existing circumstances is generally linked to the discussion of gender. Why do gender equality policy and increasing gender competencies in institutions simultaneously mean a critique of institutions? Why is the music sector usually very resistant to these critical approaches? Why are traditional patterns of canon formation and outdated gender discourses also reproduced in the field of contemporary music? To what extent does it make sense to classify related changes in the context of neoliberalism in terms of education and science policy? What counterarguments are to be expected?
Aesthetic Theory. MSD Rainbow Alliance Semitrailer. Please bring your own food and blankets. The discussion of gender in the fields of musicology, music biography, music analysis, and critical studies of music proves to be mainly a discourse critique. Zum Ausschluss der Frau aus der deutschen Musikpädagogik, Musikwissenschaft und Musikausübung , published in
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