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Contemplation, Heroism, and Gender in Clara Schumann's Piano Trio in G Minor, Op. 17, Third Movement (1846)
- Author(s):
- Tekla Babyak (see profile)
- Date:
- 2022
- Group(s):
- American Musicological Society, Education and Pedagogy, German Literature and Culture, LLC 19th- and Early-20th-Century German, Society for Music Theory (SMT)
- Subject(s):
- Music, Gender identity, Critical pedagogy, Romanticism in music, Nineteenth century, Germans--Music, Women composers, Musical analysis, Chamber music, Music--Instruction and study
- Item Type:
- Course material or learning objects
- Tag(s):
- Music, Critical Pedagogy, women composers, gender history, Music Aesthetics, German studies, nineteenth century, gender equity, Romanticism, 19th century german
- Permanent URL:
- https://doi.org/10.17613/cdd3-pw90
- Abstract:
- I'm a disability activist and musicologist with multiple sclerosis (PhD, Musicology, Cornell, 2014). I'm unaffiliated due to discrimination against my disabilities. However, I often give guest lectures, both virtually and in person. My speaking engagements help to advance diversity and representation in academia: I offer students the opportunity to interact with an openly disabled instructor. This document contains my detailed notes for my guest lecture at UC Davis in 2019 and 2020 for Pierpaolo Polzonetti's course Music 24B, "Introduction to the History of Music." In my interactive lecture, the students and I explored Clara Schumann's critical engagement with Romantic aesthetics and gender roles in her Piano Trio in G Minor, Op. 17.
- Metadata:
- xml
- Status:
- Published
- Last Updated:
- 11 months ago
- License:
- Attribution
- Share this:
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