[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-594176-105":59,"doc-detail-594176-en":134},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":127,"head_meta":129,"extra_data":131,"updated_unix":133},105,"en","representation-of-female-and-australian-composers-in-music-examination-board-repertoire","Representation of female and Australian composers in Music Examination Board repertoire","","This paper analyzes the 2021 piano and voice syllabuses of four Australian music examination boards to measure how much included repertoire comes from Australian and female composers. The study addresses a research gap by examining whether examination boards perpetuate the exclusion of these composers from student repertoire. Results show Australian and female composers comprise about 10% overall, while Australian female composers account for under 4%, with notable differences across boards, instruments, and syllabus types.",{"@graph":69,"@context":126},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/representation-of-female-and-australian-composers-in-music-examination-board-repertoire/594176/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/representation-of-female-and-australian-composers-in-music-examination-board-repertoire/594176.png","ImageObject",300,407,{"name":92,"@type":93},"Kurz","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-25","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":14},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118,122],{"name":109,"@type":110,"acceptedAnswer":111},"Which syllabuses and examination boards are analyzed in the study?","Question",{"text":112,"@type":113},"The study analyzes the 2021 piano and voice syllabuses of four Australian music examination boards: the AMEB, the Australian Guild of Music (AGM), Australian and New Zealand Cultural Arts (ANZCA), and St Cecilia School of Music (SCSM).","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What proportion of the repertoire comes from Australian and female composers?",{"text":117,"@type":113},"Works by Australian and female composers make up approximately 10% of all available works. Works by Australian female composers account for less than 4%.",{"name":119,"@type":110,"acceptedAnswer":120},"What factors does the research compare to identify trends?",{"text":121,"@type":113},"The research examines trends across piano and voice, among examination boards, across difficulty levels, and between contemporary and classical syllabuses.",{"name":123,"@type":110,"acceptedAnswer":124},"Why does the paper argue that improving representation matters?",{"text":125,"@type":113},"The boards are positioned to influence repertoire taught in private studios and, in turn, the repertoire studied in schools, tertiary institutions, and performed in concert halls.","https://schema.org",{"og:url":83,"og:type":128,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":130,"canonical":83},"index,follow",{"doc_id":132,"site_id":62},594176,1792918756,{"code":4,"msg":5,"data":135},{"doc_id":132,"user_id":136,"nickname":92,"user_avatar":137,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":138,"file_id":139,"file_url":140,"file_type":141,"file_size":142,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":143,"language":144,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":145,"faqs":146,"seo_title":147,"seo_description":67,"update_tm":148,"read_time":41},2336478945635,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","Representation of female and Australian composers in Music Examination Board repertoire  \na u s t r a l i a n  \na  \ns o c i e t y  \ns  \nf o r m u s i c  \nm  \ne d u c a t i o n  \ne  \ni n c o r p o r a t e d  \nRachel M. Cox, Australian Guild of Music Education  \nAbstract  \nThis paper presents the results of an analysis of the 2021 piano and voice syllabuses of four Australian music examination boards investigating the percentage of included repertoire by Australian and female composers. The study aimed to address a gap in the research into examination boards within the Australian music education landscape, specifically questioning how they may perpetuate the exclusion of female and Australian composers from the repertoire studied by students. The research looked at trends between piano and voice, examination boards, difficulty levels, and between contemporary and classical syllabuses. Overall, the study found that works by Australian and female composers made up approximately 10% of all works available for study, with less than 4% of the available works by Australian female composers. There was also significant variance between boards, instruments, and syllabuses. Suggestions are made in this paper for improving the representation of Australian and female composers on examination board repertoire, since these boards are uniquely positioned to influence the repertoire taught in the private studio, and by extension, repertoire studied in schools, tertiary institutions, and performed in concert halls.  \nKey words: Music examinations, piano teaching, voice teaching  \nIntroduction  \nAs an institutionalised system of music education, public examination boards such as those found in Australia, the United Kingdom, and other former British Colonies around the world, perpetuate the‘musical canon’ of Western Art Music that has been long maintained by universities, conservatoires, schools, and the repertoire of concert halls. This musical canon, as many others have pointed out, is overwhelmingly male and white European (Bennett, Macarthur, Hope, Goh, & Hennekan, 2018; Biddiss, 1999; Macarthur, 1999; Macmillan, 1992; Scrine, 2016; Tsitsishvili, 2011). Even as contemporary music has developed credibility as an area of study and examination, these styles have developed their own canons which are predominantly white American or British and male (Scrine, 2016). The absence of female composers, as well as Australian composers from these canons, and how it is reflected in music examination board  \nsyllabuses, has been the subject of some research (Adriaansz, 1972; Macarthur, 1999), however is still a relatively under-investigated area of gender representation and music.  \nThis research builds on the work of Macarthur in Performance Rites: AMEB, or not to be? (1999), in which Macarthur asserts that the absence of female and Australian composers from the Australian Music Examinations Board’s (AMEB) syllabuses directly perpetuates the absence of these same composers from concert hall repertoire. Macarthur suggests that the AMEB “is a self-perpetuating system… the AMEB student complies with and, in turn, reproduces what happens to him/her”(p. 23). Macarthur also provides some percentages of repertoire within the AMEB syllabuses:  \nIn the last ten years, the amount of Australian Music included in the Associate (AMusA) and Licentiate (LMusA) syllabuses of the AMEB might well be described as being tokenistic… In 1985 there were only 18 of a total 1,282 works (or 1.4%)  \nAustralian Journal of Music Education 29  \nincluded in these syllabuses; in 1990, this rose to 48 of a total of 1,557 works (3. 1%); and in 1995 it climbed to as much as 91 of a total 1,992 works (4.6%).  \nIt is worth noting, however, as Monique Geitenbeek does, that during the 1930s quite a different situation prevailed with respect to the inclusion of Australian music and, in turn, women’s music in the syllabuses… by 1938, of the forty-two Australian instrumental and vocal compositions ","cbCaiooUtXIwGVaU","https://ap.wps.com/l/cbCaiooUtXIwGVaU","pdf",386947,12,"English","# Abstract\n# Introduction\n## Research background and existing studies\n## Scope and aims of the 2021 analysis","[{\"question\":\"Which syllabuses and examination boards are analyzed in the study?\",\"answer\":\"The study analyzes the 2021 piano and voice syllabuses of four Australian music examination boards: the AMEB, the Australian Guild of Music (AGM), Australian and New Zealand Cultural Arts (ANZCA), and St Cecilia School of Music (SCSM).\"},{\"question\":\"What proportion of the repertoire comes from Australian and female composers?\",\"answer\":\"Works by Australian and female composers make up approximately 10% of all available works. Works by Australian female composers account for less than 4%.\"},{\"question\":\"What factors does the research compare to identify trends?\",\"answer\":\"The research examines trends across piano and voice, among examination boards, across difficulty levels, and between contemporary and classical syllabuses.\"},{\"question\":\"Why does the paper argue that improving representation matters?\",\"answer\":\"The boards are positioned to influence repertoire taught in private studios and, in turn, the repertoire studied in schools, tertiary institutions, and performed in concert halls.\"}]","Representation of female and Australian composers in Music Examination Board repertoire | PDF",1792078662]