Rosemary Killam
Biographic Data
| ID | 7525952 |
|---|---|
| NAME | Rosemary Killam |
| GIVEN NAMES | Rosemary |
| FAMILY NAME | Killam |
| SIGNATURE | KILLAM R |
| AFFILIATIONS | University of North Texas |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 1997 |
| H-INDEX | 0 |
Response to Professor Morse's Open Letter (MTO 3.3)
Professor Morse’s “Open Letter” in the last issue of MTO (3.3, May 1997) exhibits much thought and deserves careful reading, although Killam disagrees with many of Morse’s conclusions. The terms “sex” and “gender” are conflated by Morse, but Killam’s original article oversimplifies and ignores the complex implications of these terms for music and its analysis. Killam’s “Response” questions possible intermingling of theorists’ analytical methodolo…
Cognitive Dissonance
This article considers recent books on twentieth-century music by Lester (1989), Kostka (1990), Straus (1990), and Morgan (1991) and their exclusion of women composers’ scores. Three hypotheses for this exclusion are proposed, based on writings of Margolis and Foucault, and recent history in academic areas of theory and composition. Finally, a supplementary one-semester assignment list is presented of twentieth-century women’s compositions and an…
Feminist Theories—Process and Continua
Feminist music theories can usefully include concepts of relationship, reflexivity, contextuality and subjectivity. These theories can support diversity and individual experience through celebrating performance and ritual, and can explore process along with structure. Two songs of Parton illustrate relationships of modality and tonality. The songs support comparison and contrast of culturally-accepted means of expansions of tonal centers. Twentie…
No prominent works on this page.
Feminist Theories—Process and Continua
Feminist music theories can usefully include concepts of relationship, reflexivity, contextuality and subjectivity. These theories can support diversity and individual experience through celebrating performance and ritual, and can explore process along with structure. Two songs of Parton illustrate relationships of modality and tonality. The songs support comparison and contrast of culturally-accepted means of expansions of tonal centers. Twentie…
Response to Professor Morse's Open Letter (MTO 3.3)
Professor Morse’s “Open Letter” in the last issue of MTO (3.3, May 1997) exhibits much thought and deserves careful reading, although Killam disagrees with many of Morse’s conclusions. The terms “sex” and “gender” are conflated by Morse, but Killam’s original article oversimplifies and ignores the complex implications of these terms for music and its analysis. Killam’s “Response” questions possible intermingling of theorists’ analytical methodolo…
Cognitive Dissonance
This article considers recent books on twentieth-century music by Lester (1989), Kostka (1990), Straus (1990), and Morgan (1991) and their exclusion of women composers’ scores. Three hypotheses for this exclusion are proposed, based on writings of Margolis and Foucault, and recent history in academic areas of theory and composition. Finally, a supplementary one-semester assignment list is presented of twentieth-century women’s compositions and an…
Art (2 works) · Computer Science (2 works) · Aesthetics (1 work) · Cognition (1 work) · Cognitive dissonance (1 work) · Cognitive psychology (1 work) · Cognitive science (1 work) · Cognitive Science and Education Research (1 work) · Diverse Music Education Insights (1 work) · Embodied and Extended Cognition (1 work)