Abstract
The focus of this chapter is the status and experience of female singers within the historically male-dominated collegiate choral tradition in Oxford. The collegiate tradition is directly linked and related to the cathedral choral tradition within the Church of England, which up until the early 1990s, was not accessible to girls and women. Until 1850, the University of Oxford and its colleges were primarily monastery-like religious institutions where fellows (all men) were forbidden to marry and expected to live in celibacy. Since the late 1870s, women had permission to read and attend classes at Oxford, but the University excluded women as fellows and students until 1920. Until the early 1990s, when girls were first admitted as choristers, the musical life at Oxford colleges and halls was historically and exclusively male-oriented, with men in the back rows (tenors, basses and counter tenors); and a boy treble line in the front rows, mirroring the cathedral choral tradition within the Church of England. During the last decades, the Oxford collegiate choirs have undergone drastic changes, with the establishment of mixed voice choirs. This text will present findings of a music-sociological study on the Oxford collegiate choral tradition, where the focus is on three main pillars. Firstly, the issue of aesthetics and preservation of the all-male voice choirs as a cultural phenomenon; secondly, the contradictory position of female sopranos and altos versus boy trebles and counter tenors; and thirdly, the institutional-based gender discrimination and lack of performance, training and career opportunities for women within the collegiate and cathedral choral traditions.
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Notes
- 1.
This varies between colleges.
- 2.
A position for a boy aged 6–13, attending a cathedral school or a school attached to an Oxbridge college (boarding school or day school), receiving intensive musical training in the form of daily rehearsals, music lessons and singing at chapel / cathedral services up to six to seven times a week during term time (see Mould 2007).
- 3.
Average ratio 2010–2016—University of Oxford Academic Administrative Division—Student Statistics 2017.
- 4.
All quotes from singers are from personal communication and interviews, conducted from October 2016—March 2017.
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Acknowledgements
This research was funded by the Marie Sklodowska-Curie Action within the Horizon 2020 (H2020-MSCA-IF-2015, EF 707827 OXFORDCHOIRS). I would like to thank the participants of this research for their valuable contribution. Furthermore, I would specifically like to thank Professor Tia DeNora at University of Exeter and Professor Eric Clarke at University of Oxford for their mentoring and support.
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Einarsdottir, S.L. (2022). Equality, History, Tradition: Gender-Political Issues in the Oxford Collegiate Choral Scene. In: Gaupp, L., Barber-Kersovan, A., Kirchberg, V. (eds) Arts and Power. Kunst und Gesellschaft. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-37429-7_7
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