The role of conductor is almost entirely visual in nature, but instead of emphasizing the prominent purpose of the con- ductor- to uphold the virtue of the music to both ensemble and audience- arguments in the literature focus on the mas- culine visual norm that is apparent throughout the history of the profession. To gain respect in the conducting profession, women conductors desexualize and defeminize their bod- ies. From hairstyle to accessories, clothing, and presence, women conductors opt to conform to masculinity. Women conductors also choose to masculinize conducting gestures and movements in order to appear more aggressive and com- manding on the podium. A potential resolution to this prob- lem is to embrace natural feminine qualities that uniquely and effectively uphold musical integrity.
Societal pressures also contribute greatly to the absence of women on the podium. Women conductors sacrifice familial goals in order to attain adequate success in the conducting profession, for example choosing to teach music in schools rather than pursue a professional conducting career in order to raise a family. Women conductors who have achieved success in the field claim that familial pressures and goals weighed heavily in their sacrifice to succeed. Successful women conductors also attribute their success to chance, many crediting success to being second on a call list or a protégé of a successful male mentor. While resolutions to societal problems are beyond the control of the conduct- ing profession, four suggestions are provided toward the advancement of women within the conducting profession. First is to adapt conducting pedagogy to include specific approaches applicable to women conductors.
Second is
for conducting instruction in advanced degrees to directly address gender-specific issues that women will encounter in the profession.
Third is to establish a professional net-
work or mentoring program to provide beneficial support for women choosing to pursue a career in conducting. Regard- less of gender, a conductor’s musical integrity is ultimately the only distinction worth noting.
Xia Wu (Central Michigan University), Parental Involvement in Children’s Piano Lessons and Classes: A Literature Review
The purpose of this literature review is to summarize and suggest ways to involve parents in supporting children’s learning and musical development in piano lessons and classes. Music teaching methods for small children encour- age parent involvement in the music learning process, though empirical research is lacking in corroborating the feasibility of ideas from these methods. In lessons, Suzuki promoted that parents sit close to their children to note breakthroughs and shortcomings and help in following through at home, yet otherwise promoted that parents provide food, shelter, education, and a home environment in which children can
Yanidi, Konstantin (Central Michigan University), Performers and Audiences: Convey and Perceiving Emotional Performances: A Literature Review
The purpose of this literature review is to identify the com- ponents that contribute to emotional musical performances and how audiences respond to and perceive performers’ expressivity. Musical performance is a type of nonverbal communication or interaction among listeners and musi- cians. This communication process draws on the composer’s musical design and depends upon the individual emotional and expressive perceptions of each particular musician and listener.
First, a fundamental emotional dimension of composing is arousal, which is achieved by making the melody and har- mony sound more unpredictable, interesting and complex. Composers and arrangers write music with an expectation that performers use their technique, intuition, experiences, and knowledge of music to inform their interpretations. The components that this review focuses on are dynamics, tem- po, use of vibrato, and phrasing—each contributing to suc- cessful emotional performances.
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develop their ability of music. Kindermusik, Musikgarten, and Music Together, all programs of music and movement for children less than seven years old, likewise promote that parents provide a place for learning in the home and in helping children improve their cognitive, emotional, social, language and physical development. The latter two methods further provide families with classroom-tested materials for singing and playing instruments. Research of Kindermusik corroborates the benefits of early music education and the benefits of parental involvement in helping children improve through music learning. At best these methods suggest that teachers let the parents be involved in music class, yet pro- vide no specific class plan or detailed ways for parents to be involved in piano. Research of instrumental music en- sembles suggests ways to involve parents that could be ap- plied to piano: provide accompaniment to children’s music making, interpret and bridge children’s fine motor skills and cognitive ability, and help review previous knowledge and progress. Future research is needed toward understanding parents’ potential role across different age levels, teaching environments, and parents’ own music knowledge and skill levels. The most crucial implications are for teachers to in- volve parents in more and deeper ways in piano class, for ex- perts or researchers to identify and test new ways parents can affect children’s piano learning, and ultimately to develop a parent-child piano teaching method. Overall, the field of literature suggests that because of their stronger relationship compared to a piano teacher, parents can help influence at- titude, behavior, cognitive ability, concentration, behavior, and skill development.
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