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Lecturer(s)
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Šidlo Friedl Marian, PhDr.
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Course content
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1. Women, Music, and Society in the Nineteenth Century The social position of women and their opportunities for participation in musical life; gendered conceptions of female and male musical activity; the private and public spheres of musical life. 2. The Female Heroine in Giuseppe Verdi's Operas Typology of female characters; love, family, social conventions, and tragic fate; musical characterisation of female protagonists in selected operas. 3. The Female Heroine in Richard Wagner's Operas Female archetypes, love, redemption, and sacrifice; Senta, Elisabeth, Isolde, Brünnhilde, and other Wagnerian heroines. 4. The Female Heroine in Richard Strauss's Operas Transformations of female characters around the turn of the twentieth century; Salome, Elektra, the Marschallin, and other representations of female identity. 5. The Female Heroine in Leoš Janáček's Operas Women, society, and the conflict between individual freedom and social norms; Jenůfa, Káťa Kabanová, the Cunning Little Vixen, and Emilia Marty. 6. Women in Modernist Opera: Alban Berg's Lulu Lulu as a distinctive representation of the modern female protagonist; sexuality, social roles, power, and objectification; the musical and dramatic conception of the character. 7. Women, Music Education, and the Bourgeois Musical Salon Music education for girls and women in the nineteenth century; music as part of bourgeois education; opportunities for professional musical training. The musical salon as a space for women's social and artistic activity. 8. Women as Professional Performers in the Nineteenth Century The changing social status of professional female musicians; singers, pianists, violinists, and other performers; virtuosity, public concert performance, and contemporary reception. 9. Women as Composers in the Nineteenth and Early Twentieth Centuries Social and institutional barriers to women's compositional activity; opportunities for publication and performance; contemporary notions of "women's" music. Fanny Hensel, Louise Farrenc, Cécile Chaminade, Ethel Smyth, and others. 10. Clara Schumann: Piano Virtuoso, Composer, and Figure in Musical Life The interrelationship between her careers as a performer and composer; concert activity, composition, family roles, and the formation of the musical canon. 11. Women in Czech Musical Life in the Nineteenth and Early Twentieth Centuries Opportunities for women's musical education and professional careers in the Czech lands; performers, composers, teachers, and organisers of musical life. 12. Vítězslava Kaprálová: Composer and Conductor in the Context of European Modernism Kaprálová as a case study of the changing professional status of women in music during the first half of the twentieth century; her compositional output, conducting career, reception, and subsequent place in the Czech musical canon.
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming)
- Homework for Teaching
- 24 hours per semester
- Attendace
- 26 hours per semester
- Semestral Work
- 25 hours per semester
- Preparation for the Exam
- 25 hours per semester
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Learning outcomes
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The course focuses on the position, participation, and representation of women in European musical culture of the nineteenth and first half of the twentieth centuries. It examines changes in the social and institutional conditions that shaped women's opportunities for musical education and professional careers, their activities as performers, composers, teachers, and organisers of musical life, as well as their contribution to the musical culture of the period. Particular attention is paid to the bourgeois musical salon, the professionalisation of women's musical activities, and selected figures, especially Clara Schumann and Vítězslava Kaprálová. A second thematic strand explores the representation of women in nineteenth- and early twentieth-century opera. Selected works by Giuseppe Verdi, Richard Wagner, Richard Strauss, Leoš Janáček, and Alban Berg are used to examine different types of female characters, their musical and dramatic characterisation, and changing relationships between female protagonists and the social and gender norms of their time. The aim of the course is to develop students' critical understanding of the position of women in musical culture and their ability to interpret musical works and musical life within broader historical, social, and gender contexts.
Knowledge of gender issues connected with music.
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Prerequisites
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There are no prerequisites.
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Assessment methods and criteria
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Written exam, Seminar Work
Completion of the seminar, submission of a seminar paper on an assigned topic, and its presentation in class.
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Recommended literature
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Beci, Veronika. Musikalische Salons..
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Citron, Marcia, J. Feminist Waves and Classical Music: Pedagogy, Performance, Research. University of Nebraska Press 2004..
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Citron, Marcia, J. Gender and the Musical Canon. Illinois 2000..
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DUNBAR, Julie C. Women, Music, Culture: An Introduction 3rd ed. New York ? London. 2021.
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HAMER, Laura ? MINORS, Helen Julia (eds.). The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York ? London. 2024.
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HEAD, Matthew ? WOLLENBERG, Susan (eds.). The Cambridge Companion to Women Composers. Cambridge. 2024.
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MATHIAS, Rhiannon (ed.). The Routledge Handbook of Women?s Work in Music. New York ? London. 2022.
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McClary, Susan. Feminine Endings. Music, Gender and Sexuality. Minneapolis 2002..
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Solie, Ruth A. Musicology and Difference. Gender and Sexuality in Music Scholarship. Berkeley 1993..
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Unseld, Melanie. "Man töte dieses Weib!" Weiblichkeit und Tot in der Musik der Jahrhundertwende. Stuttgart 2001..
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