<html><body><div style="color:#000; background-color:#fff; font-family:times new roman, new york, times, serif;font-size:12pt"><div><span>Dear List,</span></div><div><span></span> </div><div><span>this very serious topic deserve contribution from all of us. I have one thing to say: in Russia the situation is such that there are many more women-theorists than men. Dr. Valentina Kholopova went with me to the EUROMAC last month, in Rome. Her fisrt reaction was a surprise to see so many men and so few women. The Russian list includes V. Kholopova, V. Tchigareva, T. Kjuregyan, T. Bershadskaya, Ye. Rutchievskaya, etc. This situation affects the content of theory: it has that indispensable feminine aspect, without which no music and no poetry can exist (at least, according to Nietzsche and other men, conscious of their disadvantages before the better part of
mankind).</span></div><div><span></span> </div><div><span>Best,</span></div><div><span></span> </div><div><span>Ildar Khannanov</span></div><div><span>Peabody Institute</span></div><div><br></div><div style="font-family: times new roman, new york, times, serif; font-size: 12pt;"><div style="font-family: times new roman, new york, times, serif; font-size: 12pt;"><font size="2" face="Arial"><div style="margin: 5px 0px; padding: 0px; border: 1px solid rgb(204, 204, 204); height: 0px; line-height: 0; font-size: 0px;" class="hr" contentEditable="false" readonly="true"></div><b><span style="font-weight: bold;">From:</span></b> "Peter Schubert, Prof." <peter.schubert@mcgill.ca><br><b><span style="font-weight: bold;">To:</span></b> smt-talk smt <smt-talk@societymusictheory.org><br><b><span style="font-weight: bold;">Sent:</span></b> Monday, October 17, 2011 1:01 PM<br><b><span style="font-weight: bold;">Subject:</span></b> Re: [Smt-talk]
Female theorists in history<br></font><br>
I have studied the analytical work of Lucie Balmer on Lassus. She was a pupil of Ernst Kurth's in the 30s, and her dissertation (recently republished) is really interesting. Another writer who influenced me is Imogen Holst.<br><br>Peter Schubert<br>Schulich School of Music<br>McGill University<br>555 Sherbrooke St. W.<br>Montreal, QC H3A 1E3<br>(514) 398-4535 x00281<br><br><br>From: JAY RAHN <<a href="mailto:jayrahn@rogers.com" ymailto="mailto:jayrahn@rogers.com">jayrahn@rogers.com</a><mailto:<a href="mailto:jayrahn@rogers.com" ymailto="mailto:jayrahn@rogers.com">jayrahn@rogers.com</a>>><br>Reply-To: JAY RAHN <<a href="mailto:jayrahn@rogers.com" ymailto="mailto:jayrahn@rogers.com">jayrahn@rogers.com</a><mailto:<a href="mailto:jayrahn@rogers.com" ymailto="mailto:jayrahn@rogers.com">jayrahn@rogers.com</a>>><br>Date: Mon, 17 Oct 2011 06:42:09 -0700<br>To: smt-talk smt <<a href="mailto:smt-talk@societymusictheory.org"
ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</a><mailto:<a href="mailto:smt-talk@societymusictheory.org" ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</a>>><br>Subject: Re: [Smt-talk] Female theorists in history<br><br>Several of Pat's students contributed brief accounts of her influence on them for Murray Dineen, comp. Patricia Carpenter Remembered, comp., Current Musicology 69 (2002): 186-97.<br><br>Jay Rahn, York University (Toroto)<br><br><br>________________________________<br>From: David Froom <<a href="mailto:dfroom@smcm.edu" ymailto="mailto:dfroom@smcm.edu">dfroom@smcm.edu</a><mailto:<a href="mailto:dfroom@smcm.edu" ymailto="mailto:dfroom@smcm.edu">dfroom@smcm.edu</a>>><br>To: smt-talk smt <<a href="mailto:smt-talk@societymusictheory.org" ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</a><mailto:<a
href="mailto:smt-talk@societymusictheory.org" ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</a>>><br>Sent: Monday, October 17, 2011 8:02:10 AM<br>Subject: Re: [Smt-talk] Female theorists in history<br><br>Patricia Carpenter, another Schoenberg student, was one of the most profound teachers I ever experienced (during my doctoral studies at Columbia). She didn't publish a lot, but what she did was remarkable work -- and her reach as a teacher is vast.<br><br>The theorist Severine Neff at UNC-Chapel Hill (a terrific theorist, and one of Carpenter's most successful students) may also be a resource for further names.<br><br>David Froom<br>Professor and Chair<br>Music Department<br>St. Mary's College of Maryland<br><br>On 16 Oct 2011, at 10:27 PM, Jill T. Brasky wrote:<br><br>> Dear John (and everyone),<br>><br>> Elvis impersonations notwithstanding, and using a broad definition of theory, Schoenberg's
student Dika Newlin may be of some interest, too.<br>><br>> All best,<br>> Jill<br>><br>> ****************************************<br>> J. T. Brasky<br>> http://web.me.com/jtbrasky/Site/Welcome.html<br>><br>> Assistant Professor of Music Theory<br>> University of South Florida<br>> 4202 E. Fowler Ave.<br>> Tampa, FL 33620<br>><br>> 813–974–8721 (fax)<br>> <a href="mailto:brasky@usf.edu" ymailto="mailto:brasky@usf.edu">brasky@usf.edu</a><mailto:<a href="mailto:brasky@usf.edu" ymailto="mailto:brasky@usf.edu">brasky@usf.edu</a>><br>><br>> "I can't listen to that much Wagner. I start getting the urge to invade Poland." —Woody Allen<br>><br>> On 16 Oct 2011, at 22:13, Andrew Westerhaus wrote:<br>><br>>> Dear John (and list),<br>>><br>>> Regarding the original posting, there is a rather obscure pedagogical treatise by a female Scottish theorist that uses games to teach
elementary music theory and dates from 1803:<br>>><br>>> Anne Gunn (late Young), An introduction to music in which the elementary parts of the science, and the principles of thorough bass and modulation, as illustrated by the musical games and apparatus, are fully and familiarly explained, with copious examples: together with a description of the apparatus, compleat directions for playing the several games, with introductory and additional games, illustrating the different cliffs on a plan entirely new (Edinburgh: Muir, Wood and Company, 1803). [OCLC: 45716748]<br>>><br>>> Cheers,<br>>> Andrew<br>>><br>>> ----------<br>>> Andrew Westerhaus<br>>> Ph.D. candidate, History and theory of music<br>>> University of Chicago<br>>> <a href="mailto:westeraj@uchicago.edu" ymailto="mailto:westeraj@uchicago.edu">westeraj@uchicago.edu</a><mailto:<a href="mailto:westeraj@uchicago.edu"
ymailto="mailto:westeraj@uchicago.edu">westeraj@uchicago.edu</a>><br>>><br>>><br>>> On Thu, Oct 13, 2011 at 1:43 PM, John Snyder <<a href="mailto:JLSnyder@uh.edu" ymailto="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a><mailto:<a href="mailto:JLSnyder@uh.edu" ymailto="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a>>> wrote:<br>>> > Dear Collective Wisdom,<br>>> ><br>>> > A student, looking for a paper topic, has inquired about the possibility of<br>>> > writing<br>>> > on a female theorist (or several), in historical context. I know a number of<br>>> > outstanding<br>>> > female theorists, but must admit that all of them are living, and wouldn't<br>>> > make<br>>> > good subjects for the paper in question. Help, anyone?<br>>> ><br>>> > Best,<br>>> ><br>>> > John<br>>> ><br>>> > --<br>>>
> John L. Snyder<br>>> > Professor of Music Theory and Musicology<br>>> > Moores School of Music<br>>> > University of Houston<br>>> > 713-743-3143<br>>> > <a href="mailto:JLSnyder@uh.edu" ymailto="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a><mailto:<a href="mailto:JLSnyder@uh.edu" ymailto="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a>><br>>> ><br>><br>><br>> _______________________________________________<br>> Smt-talk mailing list<br>> <a href="mailto:Smt-talk@lists.societymusictheory.org" ymailto="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a><mailto:<a href="mailto:Smt-talk@lists.societymusictheory.org" ymailto="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a>><br>>
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