The Philadelphia-based ANNA Crusis Feminist Choir wove social justice issues into its original mission. With its start coinciding with the social revolutions of the 1970s, the choir performs works by and about women and became the first and longest-running feminist choir in the nation. However, recent social movements prompted the choir to question its internal structures to become more gender inclusive. The choir contended with the meaning of feminism and whether to broaden its conception of gender to include transgender and nonbinary singers. Through a multi-year process, the choir reworked its organizational structure to include a committee on gender inclusion, changed its name and dress code, and sought educational initiatives to address generational differences around the concept of feminism. This study examines the choir’s internal work toward gender inclusion and invites readers to weigh decisions around vocal parts due to the choir’s new inclusive practices and consider
whether such decisions depart from the original mission of the choir. The case concludes by asking readers to establish a long-term plan that keeps the choir focused on issues of diversity, equity, and inclusion.

The Philadelphia-based ANNA Crusis Feminist Choir wove social justice issues into its original mission. With its start coinciding with the social revolutions of the 1970s, the choir performs works by and about women and became the first and longest-running feminist choir in the nation. However, recent social movements prompted the choir to question its internal structures to become more gender inclusive. The choir contended with the meaning of feminism and whether to broaden its conception of gender to include transgender and nonbinary singers. Through a multi-year process, the choir reworked its organizational structure to include a committee on gender inclusion, changed its name and dress code, and sought educational initiatives to address generational differences around the concept of feminism. This study examines the choir’s internal work toward gender inclusion and invites readers to weigh decisions around vocal parts due to the choir’s new inclusive practices and consider whether such decisions depart from the original mission of the choir. The case concludes by asking readers to establish a long-term plan that keeps the choir focused on core issues.

In any television and film production, music is an essential part of the final release. A lead composer is usually credited for scoring the production and often receives assistance from one or more “secondary” composers, whose contributions to the project may not be fully acknowledged on-screen. This case explores the relatively opaque industry phenomenon of secondary composing. Historical and contemporary examples of the practice are presented, as well as the rationale for composers to accept this work. Various forms of credit and compensation are further explored. The case concludes with a scenario involving an unseasoned secondary composer’s contract and responsibilities writing music for a primetime television show.

In any television and film production, music is an essential part of the final release. A lead composer is usually credited for scoring the production and often receives assistance from one or more “secondary” composers, whose contributions to the project may not be fully acknowledged on-screen. This case explores the relatively opaque industry phenomenon of secondary composing. Historical and contemporary examples of the practice are presented, as well as the rationale for composers to accept this work. Various forms of credit and compensation are further explored. The case concludes with a scenario involving an unseasoned secondary composer’s contract and responsibilities writing music for a primetime television show.

Author: Myles Boothroyd
Published: Fall 2022
Details: PDF Download – 10 pages
ISSN: 2475-4994

Author: Emma Gierszal 
Published: Fall 2021
Details: PDF Download – 10 pages
ISSN: 2475-4994