Laureates of the GenDivers Award
"Measure for Measure" after William Shakespeare
(Mentor: Mehdi Moradpour) Joachim Gottfried Goller dealt with the problem play "Measure for Measure" by William Shakespeare in his diploma production. His production deals with the question of how and where sexuality becomes a social exclusion criterion. Here, however, the reality of the syphilis epidemic around 1603 is transformed through pop cultural references into a narrative about the HIV/AIDS epidemic of the 1980s. Supplemented by cross-casting, commentary and disguise, the result is a reinterpretation of a classic, queerly told. The production can be seen on YouTube. Marie Gruber
Feminist Art in BE Classes: Potential for Critically Reflective Art Teaching
(Supervision: Iris Laner) In her academic master's thesis, Marie Gruber addressed the question of the extent to which students' engagement with the representation of bodies and corporeality in feminist art changes their perception of this significant field of negotiation of aesthetic and sociocultural debates. After reflecting on current positions in art theory and didactics, quantitative and qualitative research methods are used to demonstrate that students' engagement with feminist art and its discourses strengthens their critical view of male and female stereotypes in their everyday lives, thus demonstrating the importance of such projects. Armela Madreiter
MENNER - a scenic research report on the enemy image of the old white man
(Supervision: Judith Philippa Franke and Andreas Bürgisser) What is male socialization? What does mansplaining and manspreading mean and how does one avoid this behavior? How does one deconstruct images of masculinity? These are just a few questions of many that will be asked in the artistic-practical master project MENNER. In this performative confrontation with the feminist enemy image of the white old man, work was done on stage with three male performers aged 55 to 70 as well as the stage designers Magdalena Hofer and Selina Nowak, attempting to take an innovative, feminist, critical but also self-ironic-entertaining look at the topic of the construction of masculinity. Reflection processes on male (self-)understandings and topics such as toxic masculinity, hegemonic masculinity and androcentrism were initiated - not least among the audience.
The aesthetics of the non-normative dancer and choreographer Claire Cunningham
(Bachelor thesis supervised by Monika Mittendorfer) Claire Cunningham is a non-normative artist who depends on the use of crutches. Her crutches are her constant companions in everyday life as well as in her movement research and performances. The bachelor thesis deals with the question to what extent Cunningham's aesthetics can be described and in this context focuses on the role of crutches as well as the development of her dance vocabulary. The explanations are based on Cunningham's lecture-demonstration "4 Legs Good" (2019). In order to place Cunningham's dance-technical vocabulary in a dance-scientific context, the existing dance analysis models "Laban Movement Analysis" and "Inventarisierung von Bewegung" according to Claudia Jeschke's IVB are first used. In doing so, clear limitations of these models, which per se are not designed for the analysis of non-normative aesthetics and bodies, as well as ideas for their corresponding extensions can be identified. Based on the research findings of Josephine Fenger (2009), Claire Cunningham's solo performance "Give me a reason to live" (2017) is then analyzed, for whose concept and choreography the artist used a collection of paintings by Hieronymus Bosch as a starting point, in which the diversity aspect "crip" is thematized. In her artistic work, Cunningham reacts to this in a thoroughly critical way. In summary, it can be said that Claire Cunningham's artistic practice makes an important contribution to diversity in society against the background of aesthetics and the question of non-normativity: Through her crutches, which make her disability particularly visible, and their use on stage, the artist not only questions norms of bodies on stage, but also reveals non-normative/special physical abilities and specificities. By making them visible, the spectrum of aesthetic perception is expanded and can be transferred from the contemplation of an artistic performance to other areas of life. A more diverse field of art, which shows itself in different areas and realities of life, thus contributes to a more diverse society. Katharina Streicher
Inclusion of children with disabilities at Tyrolean regional music schools
(Bachelor thesis supervised by Heike Henning) The thesis, which is a contribution in the field of diversity studies and aims to raise awareness, examines the inclusive practice of the Tyrolean music schools and, based on this, offers possible (thought) impulses for future changes on the way to an inclusive music school that makes (instrumental) lessons accessible to all. The starting point for the empirical study was formed by two sets of questions. The first question was about the current situation: To what extent do children with severe and multiple disabilities attend instrumental lessons at a Tyrolean regional music school? Which children are involved? Do the teachers feel prepared for this? It was examined to what extent teachers are prepared to teach people with disabilities and to what extent they already do so. Furthermore, the implementation of the different areas of accessibility at the music schools was determined from the perspective of the teachers. It was found that few children with disabilities receive music school instruction and that the willingness of teachers depends on the type of impairment the students* have. Most teachers in the sample, however, would in principle teach a child with a disability. A second set of questions was dedicated to the changes that would be needed in order to integrate children of elementary school age with severe and multiple disabilities into the everyday life of music schools in Tyrol as a matter of course. For this purpose, different aspects of accessibility at the music schools were examined. The results underline the need for change: Only about 23% of the music schools have structural and communicative accessibility, also physical accessibility is only given in a little more than half of all music schools in the sample. In summary, it can be stated that the inclusion of people with disabilities is not yet established and anchored in the Tyrolean regional music schools. New structures need to be developed and music schools in general need to be rethought. This should start with the training of teachers and lead to barrier-free buildings and the employment of teachers with disabilities. In order for all people to feel equally welcome, basic concerns would first have to be clarified, information in various forms of communication, financial support and much more is needed. It is equally important that people with disabilities or other diversity characteristics are seen as integral contributors to the music school concept and belong just as much - with all their strengths and weaknesses. Every person is unique and has individual demands. First, the worldview of the people involved must change, a commitment to inclusion must be expressed, only then can appropriate structures be created and it can be discussed whether there is a demand. Maria Ladurner
Give me freedom
(Artistic master thesis supervised by Kai Bachmann) The artistic master thesis in the form of a CD production refers to the central and titular motto "Gib Freiheit mir" (Give me freedom) from the poem "Auf die unverhinderliche Art der edlen Dichtkunst" (In the unobstructed way of noble poetry) by the baroque poet Catharina Regina von Greiffenberg. This verse, which is and must still be spoken by countless women for a variety of reasons, runs through the lives of the women whose compositions are represented on the CD (Francesca Caccini, Barbara Strozzi, Isabella Leonarda, Maria Theresa Paradis and Bettine von Arnim). The selection of works is intended to raise questions in the listener's mind that have also occupied (musicological) women's studies for decades: How did the possibilities of women change over the centuries? Why do we today, through the filter of past times, so often perceive women only as sisters, mothers, wives of famous men, rather than as artists in their own right? Is there a specific form of female expression?
These questions were further explored in the external master's examination on the theme "Of Loving and Dying," which included the majority of the works recorded on the CD. As a dramaturgical feature of the examination program, the name and gender of the composers remained hidden from the audience at the beginning of the concert, and thus also the fact that exactly 50 percent of the music was written by women. Only in the epilogue, a part of the program to be read after the concert, was this circumstance resolved. It was important to me to draw the listeners' attention to possible gender-specific listening expectations. Only the music should count and not the circumstance of whether it belongs to a woman or a man.
Winners of the 2020 Recognition Award
"What does she want here as a woman with this instrument?"
Frauen im Orchester
(Bachelor thesis supervised by Julia Hinterberger) Under the programmatic title "Was will denn die hier als Frau mit diesem Instrument?" (quoting Barbara Hirschvogl, double bass player), the thesis addresses gender relations and role models in artistic university education as well as in professional musical practice. Using a variety of methods, the project examines how the profile of female orchestral musicians has developed since the 19th century, what changes and developments can be observed, especially in the last 50 years, and what tendencies can be derived from this for the present and the future.
In a hermeneutic-philological first section, with recourse to relevant sources of music and women's studies (cf. e.g. Freia Hoffmann and Eva Rieger), a historical longitudinal section is given on the developmental history of women as orchestral musicians.
The empirical second chapter is based on the analysis of statistical material that illustrates the proportion of women in German-speaking orchestras, the female share among students, audition applications, new hires, and orchestra profile and status from the early 1960s to the present. These data reveal, among other things, a continuous increase in the proportion of women in orchestras - not only in the "typical women's instruments" such as violin and flute, but also in other woodwind instruments or, for example, the cello. Only in the playing of brass instruments are women still clearly in the minority. In general, a positive trend can be seen in the number of applications and new hires of women in orchestras as well as the number of women in orchestra management positions.
The third part of the thesis uses a qualitative research approach and turns to double bass playing, which has long been described as a male domain: three female double bass players representing different generations are interviewed using leading question interviews. Through the answers, not only can the workings of (gender) hierarchies and power relations in orchestras be confirmed, but insights into female identity issues can also be gained. Leonor Maia
Jamais renier Renié ( Artistic Master's Thesis supervised by Kai Bachmann) In the context of a CD production, this artistic master's thesis will examine the significance of the French harpist and composer Henriette Renié (1875-1956) for harp playing. Although Renié received much acclaim during her lifetime for her compositions and arrangements, which she successfully performed in many places, many of her music manuscripts are still untraceable and/or waiting to be made available to a wider public. While there are a manageable number of recordings and research works on the life and work of this composer on the international level, Renié has remained virtually unconsidered in research and performance practice in the German-speaking world. In this respect, the title "Jamais renier Renié" is not only a play on words, but formulates the goal of this master's thesis: in accordance with the efforts of many years of musicological women's studies, Renié's works are to be made (more) known in scholarly and artistic confrontation. The starting point for the master thesis is the Deux pièces symphoniques, of which only one historical recording exists to date, by the composer herself. This unknown work is juxtaposed with the longing, lyrical Pièce symphonique and the virtuosic Danse des Lutins, two better-known pieces by the composer, which make it possible to demonstrate Renié's broad compositional spectrum. The analysis makes clear how the composer repeatedly explored and overcame the limits of the instrument, emphasizing its versatility and uniqueness through the use of playing techniques that are only possible on the harp.