Music Performance Activities

Bienen School faculty have been working independently as well as collaboratively in developing DEI initiatives for their studios and classrooms. Many instrumental studios are studying repertoire by BIPOC composers. Some examples include:

• The Northwestern University Symphony Orchestra's live streamed performance on Oct. 24 featured Samuel Coleridge-Taylor’s 4 Novelletten for String Orchestra.
• All voice students have committed to selecting and learning two art songs by Black composers.
• All degree recitals for harp and double bass students will feature one work by a BIPOC composer.
• Saxophone students are creating a repertoire database of works written for saxophone by racially diverse composers. The Northwestern Saxophone Ensemble is committed to diverse programming and performing works by African American and women composers.
• The Percussion Ensemble performed a work by Joe W. Moore III live via Zoom for the composer, who then provided feedback to the ensemble. The ensemble will perform a work by a Black composer each quarter this year.
• Studio members performed a work by violist/composer Nokuthula Ngwenyama for the 2021 viola studio competition.
• Guitar students are studying works by Justin Holland and the Guitar Ensemble will perform music by Celso Machado and Leo Brouwer.
• Select piano students will present a recital of Scott Joplin rags in spring 2021. 
• Keyboard skills students are studying a piece by Hannibal Lokumbe in class, along with other 20th and 21st century works.
• The double bass studio hosted Rebecca Lawrence to discuss her project Bass Players for Black Composers.
• Alumnus Steven Gooden ’12 MMus of the Merit School of Music presented “Equity in Music Education: A BIPOC Perspective in Shaping the Future” for all wind chamber music students.
• Flute students are collecting solo and chamber flute repertoire by BIPOC composers, which will be organized into a publicly accessible database and also performed by studio members in a virtual showcase.
• Conducting faculty have recently hosted virtual guest speakers for DEI-related discussions.
  • Rollo Dilworth ’00 MMus, ’03 DMus joined the remote choral class for an in-depth look at Spirituals/Slave Songs. 
  • A Zoom panel discussion featured Alfred Watkins and alumni Stacy Ascione ‘97 MMus, Steven Banks ’17 MMus, Ethan Bensdorf ‘07, Rodney Dorsey ‘92 MMus, ‘06 DMus, Patrick Rehker ‘05 MMus, and Tim Sutfin ‘04.
  • Rachel Barton Pine presented a “Celebration of Black Classical Composers” performance/discussion. 
• The Bienen School’s 2021 Samuel and Elinor Thaviu Endowed Scholarship Competition in String Performance will include a required work by an African American composer.

Music Studies Activities

Musicology Core Curriculum

The Bienen School of Music launched a new undergraduate core musicology curriculum in fall 2019. One goal of the revised curriculum was to provide students a more inclusive and diverse representation of classical music. Faculty will continually update these courses, which have been well-received by students.

The Classical Canon (214-0-1)

Is "classical music" truly universal? Are there identifiable, qualitative musical differences between music in the canon and other works which have not entered the repertoire? This course seeks to interrogate the processes that made famous "classical" works famous and examine to what extent social factors such as nationalism, racism, and gender influenced the formation of the canon. See Full Class Description >

Performers and Performance (215-0-2)

This core course focuses on what it means to be—or meant to be—a musician at different times of history and cultures. Case studies include the history of conductors, the history of Western classical music performance in East Asia and Asian musicians abroad, jazz pianists and singers, issues of gender and race in opera, Black musicians and crossing boundaries, and the history of bands, among others. See Full Description >

Music in the Present (216-0-1)

This course explores contemporary music through its circulation, reception, and mediation. Examples are drawn from Western art, popular, and global musical genres, though students will explore how all these musics share, at least in part, similar modes of distribution. See Full Description >

Other Music Courses

Music Theory and Aural Skills

The sophomore Music Theory and Aural Skills curricula continues to diversify with a new segment featuring analysis of form in popular music. Some of the composers and artists studied in the sequence include Laurie Anderson, Agustín Barrios, Beyoncé, Lili Boulanger, Teresa Carreño, Ana Carrique, Ray Charles, John Coltrane, Louise Farrenc, H.E.R., Augusta Holmès, Janelle Monáe, The Penguins, Florence Price, Silvestre Revueltas, Chevalier de Saint-Georges, Clara Schumann, Ruth Crawford Seeger, Sia, Amii Stewart, Thomas Wiggins, and Chen Yi.

Musical Legacies of Black Feminism, Topics in 20th Century Music (355-0-1)

This course investigates musical performance, composition, and improvisation as Black Feminist praxis in the US from the early 20th century to the present. Through close listening to musical documents by significant Black women artists and close reading to related texts by foundational Black Feminist thinkers, students will gain an understanding of the role of sound and performance in the work of social critique and the Black Radical Tradition. See Full Description >

Distinguished Speakers

The Music Studies Global Distinguished Speakers Series includes scholars working in theoretical and historical topics related to race and music:

• Anne Danielsen from the University of Oslo, Norway - “Rhythm and Groove in Contemporary African American Popular Music” - April 23, 2021
• Yoshitaka Terada from the National Museum of Ethnology in Osaka, Japan - “Taking Audiovisual Media Seriously: Ethnomusicology of Sharing Music and Connecting People” - April 29, 2021
• Gary McPherson from the University of Melbourne, Australia - “Musical Giftedness and Talent Development” - May 6, 2021