I'm writing a series this month for NewMusicBox on the importance of (and resources for) building curriculum diversity. I will continue to update the links to the full series here as they are published:
An introduction to the series, and to the concept of "stereotype threat."
Excerpt: One of my favorite things about teaching is that curriculum is alive, and therefore must be nourished so that it may change over time. . . . Students need role models, but beyond that, permission. I heard this same message from many of the scholars I interviewed: that just seeing the idea of success in the present was not the only important element, but also understanding that there is a precedent. The only way to show students this precedent, both historically and currently in the field, is curriculum that reflects the gender and racial diversity of our society.
Part One is an in-depth interview with the author of Pink Noises: Women on Electronic Music and Sound, Tara Rodgers. Rodgers is a composer/performer as well as scholar, and she talks about her first experiences with electronic music, her inspirations, as well as the nuts and bolts of her craft.
Part Two focuses on Music Theory resources. In this interview, the editors of Analytical Essays on Music by Women Composers, Laurel Parson and Brenda Ravenscroft discuss their inspiration behind creating the book, and other resources available for scholars.
Part Three examines music history and performance resources such as Anna Beer’s Sounds & Sweet Airs, performing organizations such as The Dream Unfinished, and performance practice resources like Maria Chavez’s Of Technique: Chance Procedures on Turntable.