Music, Race, and Gender in Early Music Programs
Concert Programs
The following two programs represent two examples for the ways the students in the class approached the final task of developing a concert program with works and composers that have been marginalized.
Program I
Alexandra Dreher (M.A.R. religion and music, ‘21) has focused on female composers by selecting pieces that thematize “silence” both as a limitation to religious expression but also as a devotional practice.
Kassia (c.810-before 867)
Christina martys
I en polles amarties
Hildegard von Bingen (1098-1179)
Ave Maria, O Auctrix Vite
Lucrezia Orsina Vizzana (1590-1662)
Ave Stella matutina
Isabella Leonarda (1620-1704)
Ave Regina Coelorum
Caterina Assandra (1590-approx. 1618)
Salve Regina
Chiara Margarita Cozzolani (1602-1676)
O Maria, tu dulcis
Ave Maria
Ave mater dilectissima
Rosa Giacinta Badalla (1660-1710)
Silentio
Program II
One of the pieces discussed in class was Jean-Philippe Rameau’s opera Les Indes Galantes (1735) as an example for racial stereotyping and cultural appropriation in the late baroque. Guitarist Maryam Hajialigol (M.M. guitar, ‘21) critically responded to Rameau’s influential piece by juxtaposing transcriptions of movements from the 18th century piece with works by composers who in fact represented the different musical traditions that are being “imagined” by Rameau. The musical responses here range from the early 19th century to the 21st century:
Turkey
Jean-Philippe Rameau (1683-1764)
Excerpt from Le turc généreux / Les Indes Galantes
Hammamizade Ismail Dede Efendi (1778-1846) Gulnihal (arranged for two guitars)
Peru
Jean Philippe Rameau
Excerpt from Les incas du Pérou / Les Indes Galantes
Ignacio Quispe (ca. 1700)
A senores los de buen gusto (arranged for two guitars)
Iran
Jean Philippe Rameau
Excerpt from Les Fleurs / Les Indes Galantes
Golfam Khayam (contemporary)
Night Triptych
North America
Jean Philippe Rameau
Excerpt from Les Sauvages / Les Indes Galantes
Raven Chacon (1977)
Solo for Guitar (2006)