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On the occasion of his induction as a lifetime honorary member of the Canadian University Music Society, the Dean of Canadian composers, John Beckwith, offers a personal reflection on the triumphs and vicissitudes across more than thirty years of the Society. From its 1964 founding as a network of music deans and directors under the acronym CAUSM, through its metamorphosis into a learned society in the 1980s, to its present day hybrid form, CUMS is remembered—with affection and whimsy—as an agent in development of the Canadian music establishment.
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The sexual stereotyping of musical instruments in Italian, German, and English society from the beginning of the Renaissance period to the end of the nineteenth century is the object of this essay. Through evidence gleaned from iconography and a variety of written documents, the author demonstrates how the gender association of musical instruments virtually eliminated female participation from important musical activities, ensuring the male domination of the art and preventing women from becoming prominent composers.
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The oppositional notions of centre and periphery, mainstream and margin, and universal and local have long been important criteria for the scholarly study of Western music. Indeed they are often taken for granted. This paper will take a critical look at the relationship obtaining between art music the notion of a national music. The object of study is taken from among the works of the Canadian composer (of Czech origin) Oskar Morawetz. The point is not to deny that music can be legitimately associated with a given place but rather to examine how these complex, problematic relationships are created and how they evolve and/or dissolve over time.