Thematische Bibliographien / Feminism and music

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Auswahl der wissenschaftlichen Literatur zum Thema „Feminism and music“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Feminism and music"

Rahmawati, Gema Ariani, und Ichwan Suyudi. „Feminism in God is A Woman MV: A Multimodal Critical Discourse Analysis“. Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, Nr. 1 (12.05.2023): 57. http://dx.doi.org/10.20527/jetall.v6i1.15279.

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Music as one of the largest media is used to influence audiences, which in this case is woman portrayal or feminism. Ariana Grande released a woman empowerement song and its music video entitled that portrays feminism. The goal of this study is to examine the portrayal of feminism in Ariana Grande's God Is a Woman MV. The data in this qualitative research is analyzed using Multimodal Critical Discourse Analysis (MCDA). The findings revealed that the God is a Woman MV symbolizes post-modern feminism ideology, as shown by Ariana as the primary character who has the freedom to express herself, full authority over her body, and the power or strength to confront patriarchy. Furthermore, the music video depicts radical feminism ideology by depicting woman superiority over man. Ariana impact audiences by messages given, which are a post-modern feminist concept and radical feminism ideology, through using music videos as a platform to influence audiences.

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Diana, Aprilia Nur, und Murni Fidiyanti. „Liberal Feminism’s Representative of Visual Signs in Katy Perry’s Music Video “Dark Horse”“. Journey: Journal of English Language and Pedagogy 6, Nr. 3 (22.11.2023): 605–17. http://dx.doi.org/10.33503/journey.v6i3.3647.

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Liberal feminism, a prominent faction within the feminist movement, advocates gender equality, individual freedom, and women's rights. Modern artistic works, notably music videos, often act as implicit visual manifestos for promoting these ideals. This study aimed to analyze visual signs representing liberal feminism in Katy Perry's "Dark Horse" music video and identify the predominant aspects of liberal feminism depicted in it. Employing a qualitative descriptive method, data was collected by downloading a music video and watching it repeatedly to find elements of visual signs in the form of screenshots. The data was then analyzed to reveal the meaning that represents liberal feminism using Charles Pierce's triangle of meaning, along with various liberal feminist theories, including those by Tong, Worell, Hanifah, et al. The results found 11 visual signs representing the dual objectives of liberal feminism—freedom, liberality, and individuality, as well as equal rights and opportunities in political and social contexts. The second goal, emphasizing equality of rights and opportunities, was particularly prominent. As a result, "Dark Horse" implied that women possess the capability and entitlement to attain parity with men in various facets of life, as their abilities are comparable, if not superior.

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Lamb, Roberta. „The Possibilities of/for Feminist Music Criticism in Music Education“. British Journal of Music Education 10, Nr. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

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Murphy, Brooklyn. „She Creates, She Controls, She Commands Respect:“. Crossings: An Undergraduate Arts Journal 4, Nr. 1 (07.07.2024): 17–21. http://dx.doi.org/10.29173/crossings281.

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This essay examines how women have been represented in Western rock music through their role as deities. In particular, it aims to understand how these portrayals can reflect the evolution of feminist thought and theory in the Western world. A comparative analysis of Rhiannon by Fleetwood Mac and Lazaretto by Jack White aims to demonstrate how these depictions connect with and respond to Western feminist thought from the second wave of feminism in the 1970s to the fourth wave of feminism in the 2010s. Along with musical characteristics, the analysis of these portrayals focuses on spatial and temporal factors regarding the relation of the deity to the narrator while incorporating discussions of systemic issues that have impacted women in both the music industry and general Western society.

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Sabo, Adriana. „“I’m a feminist, do you hate me?”: Constructions of Feminism by Sajsi MC“. IASPM Journal 12, Nr. 1 (16.12.2022): 99–112. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.7en.

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The paper focuses on the public persona of a popular female rapper from Serbia, Ivana Rašić, performing under the stage name Sajsi MC. As she openly calls herself a feminist, my goal will be to shed light onto how feminism is constructed in her discourse and music, taking into account the specificities of the post-socialist Serbian society and the transformation of the market (and life in general) into a neoliberal one, as well as certain strategies of the popular music industry. Given that she is active within the music market, and is involved in the creation of various products offered for consumption to audiences in the region, my goal will be to understand how feminism, as a category and a label, is envisioned, appropriated, reimagined and renegotiated within such a context, and how it is used by Sajsi MC as a strategy for positioning herself within the local music industry.

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Orr, Catherine M. „Charting the Currents of the Third Wave“. Hypatia 12, Nr. 3 (1997): 29–45. http://dx.doi.org/10.1111/j.1527-2001.1997.tb00004.x.

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The term “third wave” within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, tines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

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Rahayu, Sukesi, Katrhryn Emerson und Phakkharawat Sittiprapaporn. „Feminism in song of jineman kenya ndesa laras slendro pathet sanga“. Gelar : Jurnal Seni Budaya 19, Nr. 2 (01.12.2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture

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Josephine, Josephine, und Gregorius Genep Sukendro. „Representasi Feminisme dalam Film Seri Marvel (Analisis Semiotika John Fiske pada Film Serial She-Hulk: Attorney at Law)“. Koneksi 7, Nr. 2 (05.10.2023): 481–90. http://dx.doi.org/10.24912/kn.v7i2.21612.

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The film is one form of popular mass media which is packaged in such a way that the message it carries can be conveyed. A Film is a popular form of mass media that is widely used by the public. A film's story is packaged in such a way that the message it conveys is conveyed. The film's values can have cognitive, affective, and conative effects on the audience. She-Hulk: Attorney at Law, a 2022 Marvel Cinematic Universe production, is no exception. What is interesting to examine is how the film portrays feminism. The goal of this research is to determine the meaning of the semiotic code in relation to feminism at three levels: reality, representation, and ideology. This study employed descriptive qualitative methods, with John Fiske's semiotic theory approach, such as the codes of television. The result of this research shows that the values of feminism at the reality level are shown through appearance, costume, make-up, behavior, dialogue, and expression code. At the representation level, the values of feminism are shown through camera, lighting, music and sound, conflict, and action. Liberal feminism is the ideological value of feminism that is represented, for which women can claim equality with men based on essential human capitalism as a moral reasoning agent. Film merupakan salah satu bentuk media massa populer yang dikemas sedemikian rupa agar pesan yang dibawa dapat tersampaikan. Pesan-pesan dan nilai-nilai yang terkandung dalam film dapat mempengaruhi penonton baik secara kognitif, afektif dan konatif. Tak terkecuali film seri produksi Marvel Cinematic Universe pada tahun 2022 berjudul She-Hulk: Attorney at Law. Yang menjadi menarik untuk diteliti adalah bagaimana representasi feminisme ditampilkan melalui film tersebut. Tujuan dari penelitian berikut adalah mencari tahu arti kode-kode semiotika tentang feminisme pada level realitas, level representasi dan level ideologi. Analisis ini dilakukan dengan metode kualitatif deskriptif, dengan pendekatan teori semiotika John Fiske, dan menggunakan teori kode televisi. Hasil penelitian ini merepresentasikan beberapa nilai feminisme pada level realitas berdasarkan penampilan, kostum, riasan wajah, tingkah laku, dialog, dan kode ekspresi. Pada level representasi nilai-nilai feminisme direpresentasikan melalui kamera, pencahayaan, musik dan suara, konflik, narasi, dan aksi. Serta level ideologi, yang memuat nilai-nilai feminisme direpresentasikan adalah aliran feminisme liberal, hal ini mengartikan bahwa perempuan dapat menuntut hak yang sama dengan laki-laki dalam argumen moral yang dapat dibenarkan dari esensi kapitalis laki-laki.

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Ljubijankic, Miriam Lisa. „Plot Twist: Unexpected twists in the sexist narrative of reggaetón“. Ensayos: Historia y Teoría del Arte 26, Nr. 42 (10.05.2024): 97–119. http://dx.doi.org/10.15446/ensayos.v26n42.114129.

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Building on ideas of feminism and post-feminism, this paper looks at the development and reception of reggaetón, which has been associated with buzzwords such as machismo and sexism, especially at the beginning of its emergence around the turn of the millennium. Its aim is to show what roles these two concepts have played in this Latin American pop music genre since its emergence. It discusses and illuminates ambivalences within the genre on an artistic level as well as impulses and turning points in its reception using examples from artistic projects and post-feminist voices of women who experience reggaetón as positive for themselves and have been able to establish new perspectives in the context of sexism, feminism and the freedom of female sexuality through it.

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Bradby, Barbara. „Sampling sexuality: gender, technology and the body in dance music“. Popular Music 12, Nr. 2 (Mai 1993): 155–76. http://dx.doi.org/10.1017/s0261143000005535.

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Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionality of rock music have often had to draw an embarrassed veil around its sexual politics, and have had good reason to be wary of feminism's destructive potential. Nevertheless, Bayton's own bibliography shows the considerable work that has been done by feminists on popular music, and the problem is perhaps better seen as one of marginalisation of this work within both feminist theory and popular music studies. In addition, I would argue that the work of Radway (1987), Light (1984), Modleski (1984) and others, in ‘reclaiming’ the popular genres of romance reading and soap opera for women, does have parallels in popular music in the work of Greig (1989) and Bradby (1990) on girl-groups, or McRobbie on girls and dancing (1984). Cohen (1992) shows some of the mechanisms through which men exclude women from participation in rock bands, while Bayton's own study of women musicians parallels other sociological work on how women reshape work roles (1990). And the renewed interest in audience research in cultural studies has allowed a re-valorisation of girls' and women's experience as fans of popular music (Garratt 1984; Lewis 1992), and as creators of meaning in the music they listen to (Fiske 1989; Bradby 1990).

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Dissertationen zum Thema "Feminism and music"

Wilson, Angela 1979. „After the riot : taking new feminist youth subcultures seriously“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.

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This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.
The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia.
Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

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Gamboa, Vera Caisip. „Revolution girl style now, popular music, feminism, and revolution“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61431.pdf.

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Epstein, Heidi. „Melting the Venusberg : a feminist theology of music“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36766.

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I am writing a feminist theology of music. Feminist musicologists, by studying music's relation to human sexuality (a connection which theologians have neglected, suppressed, or simply ignored), contend that music has always functioned as a metaphor for sexual relations. As such, music constitutes a site where personal and social formation is negotiated and contested. Via repertoires of musical conventions, much like those in film and literature, composers arouse, manipulate, and channel our desires, thereby reinforcing (and sometimes transgressing) cultural norms of sexuality and gender construction. Their compositions become "fabrications of sexuality." (McClary)
Historically, theologians and church authorities vilified music's preeminent worth as an erotic medium, promoting instead its exemplary embodiment of ontic harmony and order. To do so, they clothed their polemic against "illicit" musical practices with the rhetoric of effeminacy, thus veiling male ambivalence toward women and the body in a politics of transcendence. After a critique of these masculinist models, and an exposition of music as a gendered, en-gendering discourse, I will redefine music theologically as abject, fleshly imitatio. To construct a feminist musico-theological model, I shall synthesise a lost trope from the tradition with insights which I have gained from the musical activities of four women musician-composers: Hildegard of Bingen, Bolognese nun Lucrezia Vizzani (and her consoeurs), Sister Rosetta Tharpe, and Diamanda Galas. Through this recuperative synthesis, music's theological significance will shift from its incarnation of harmony and order---divine, cosmic, or human to its ineradicable promiscuity, its dis-integrative powers.
My original contribution to the field is fourfold: (1) I document the rhetoric of effeminacy and virility which has influenced and shaped traditional theologies of music, and thereby undermine the latter's privileged status as musico-theological resources; (2) I portray the music of the above women composers as musical imitations of Christ; (3) I enrich revisionist accounts of women in the Christian tradition by giving greater prominence to women's musical activity, the latter previously neglected in, for example, theological studies of mediaeval women, this despite music's centrality to their daily lives; (4) I initiate mutually enriching dialogue between feminist musicology and theology. To date, a feminist theology of music has not been written.

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Levine, Lauren E. „Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.

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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.

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GOOD, AMBER DIANA. „LADY, WHAT DO YOU DO ALL DAY? PEGGY SEEGER'S ANTHEMS OF ANGLO-AMERICAN FEMINISM“. University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021638964.

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Ewing, Melissa. „Examining the Under-Representation of Female Euphonium Players in the USA“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703396/.

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Females make up the minority in professional euphonium playing and teaching roles in the USA. The purpose of this research is to unveil the reasons behind this imbalance and to discover potential impacts females experience as a minority in the field. Research methods included sending a questionnaire to professional female euphonium players and teachers to document the experiences of participants. A secondary purpose of this study is to further document the existence of past and present potential female euphonium role models. Through a discussion of possible origins of and reasons behind a perceived lack of female euphonium players, I am seeking ways to achieve greater parity by garnering a more comprehensive understanding of the challenges faced by female euphonium players.

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Rowe, Carolyn Joyce. „Michigan Womyn's Music Festival : place making and the queer persistence of feminism“. Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/48485.

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This dissertation research is designed to advance knowledge concerning contemporary conceptions of sexual citizenship, queer history and the context and performative nature of feminism during a time of “post-feminism” (Faludi, 1991; Fraser, 2009; McRobbie, 2004). I investigate feminism as it is enacted at the Michigan Womyn‘s Music Festival (hereafter referred to as the Festival). The Festival is an event that grew out of the second wave feminist movement in the 1960s and 1970s. It has survived decades of liberation movements, identity politics and related political struggles, threats from the religious right, transsexual inclusion/exclusion debates and so on. Unlike many of the feminist events that closed their doors in the 80s and 90s (Case, 1996) over the last 35 years this festival has grown into one of the oldest and largest lesbian feminist gatherings in the world (Cvetkovich and Wahng, 2001; Morris, 1999; Ryan, 1992; Taylor and Rupp, 1993). Since the mid-1980s, discussion about the “end of feminism” and what post-feminism means has increased (Faludi, 1991; Fraser, 2009; Jones, 1994; McRobbie, 2009; Modleski, 1991). Post-feminism sometimes refers to a new kind of anti-feminist sentiment, one that differs from the backlash faced by feminists in the 1970s and 1980s. Post-feminist discourse can imply that equality has been achieved and that feminists can now focus on something else. Within the pages of this dissertation, the avenue of study I engage in investigates the convergence of second-wave feminism (Daly, 1978; Dworkin, 2002; MacKinnon, 1989; Millet, 1970) in a post-feminist time. What does it mean to engage in various feminist identity practices whose time is past? How do the lived embodiments of race, gender difference, sexual alterity, and variations of bodily capacity structure the time and timing of particular collectivities? This project’s major animating question asks, then: How does feminism persist in a time of post-feminism?
Education, Faculty of
Graduate

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Donnelly, Ryann. „Radical bodies in music video : feminism, queerness, and subversive performance of gender“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22391/.

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It is the objective of this research to establish how categories of sex and gender have been subverted through queer and feminist performance in music video since the launch of MTV in 1981. It was at this point that music video entered domestic space, and became a fixture of the music industry. The medium’s cultural ubiquity, and its continually provocative aesthetic experimentation since MTV's inception reinforce this period as an arena of study. This project is approached in critical and practical ways, which respond to the following research questions: How is gender performed to subversive effect in music video? How have methods of performative subversion in music video participated in, or been affected by significant social and technological shifts since 1981? In its critical approach, this thesis considers music videos in dialogue with queer, feminist, and dramatic theory as a means of locating queer and feminist agency in subversive performance. Chapters of the text have been organised in consideration of significant cultural conjunctures, which further contextualise subversive strategies of performance in the work. The first chapter examines music videos whose aesthetics and themes participated in the project of AIDS awareness between the late 1980s and early 1990s. The second chapter explores the proliferation of gender identities in the contemporary landscape of music video. It considers how this has been accommodated by changing modes of production, distribution, and regulation after the internet, and shifting norms of gender and sexuality, evidenced by the legalisation of same sex marriage in the United States and the United Kingdom. The final chapter examines the intersection of sexual and racial identity in work by black artists since the Black Lives Matter movement began in 2012. The practical methodology of this thesis culminates in video projections whose incorporation in live pop music performance creates music videos in real time. This work operates within the post-internet expansion of the medium’s visual economy—its form, regulation, distribution, and borders—and draws on first-hand manipulation of the actions and images which define gender norms. These works expand visual themes of feminism and queerness in a live setting through modes of subversive gender performance, comparable to those explored in the objects of study. In this research, text, video, and performance function together. The critical identification and interpretation of subversive performance both relies on, and informs its practical production.

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Troka, Donna Jean. „Homegirls, Riot Grrrls and Spice Girls: Representations and Misrepresentations of Feminism in Music“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392043522.

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GRANT, MARGARET JEAN. „A FEMINIST ANALYSIS OF FRANCIS POULENC'S SONATA FOR OBOE AND PIANO“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148187368.

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Bücher zum Thema "Feminism and music"

Min, Ŭn-gi. Ŭmak kwa p'eminijŭm: Music and feminism. Sŏul T'ŭkpyŏlsi: Ŭmak Segye, 2000.

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C, Cook Susan, und Tsou Judy S, Hrsg. Cecilia reclaimed: Feminist perspectives on gender and music. Urbana: University of Illinois Press, 1994.

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Elisabeth. From the middle of an apocalypse. Mt. Airy, MD: The author, 1995.

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López, Pilar Ramos. Feminismo y música: Introducción crítica. Madrid: Narcea, 2003.

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Marcia, Herndon, Ziegler Susanne und ICTM Study Group on Music and Gender., Hrsg. Music, gender, and culture. Wilhelmshaven: F. Noetzel, 1990.

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Marcus, Sara. Girls to the front: The true story of the Riot grrrl revolution. New York: HarperPerennial, 2010.

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Suárez, Laura Viñuela. La perspectiva de género y la música popular: Dos nuevos retos para la musicología. Oviedo: Ediciones KRK, 2003.

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Hochschule für Musik und Theater (Hamburg, Germany), Hrsg. Modell Maria: Beiträge der Vortragsreihen Gender Studies 2004-2006 an der Hochschule für Musik und Theater Hamburg. Hamburg: Von Bockel, 2007.

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Morris, Bonnie J. Eden built by Eves: The culture of women's music festivals. Los Angeles, Calif: Alyson Books, 1999.

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Railton, Diane. Music video and the politics of representation. Edinburgh: Edinburgh University Press, 2011.

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Buchteile zum Thema "Feminism and music"

Rabaka, Reiland. „Black Musical Feminism“. In Black Women's Liberation Movement Music, 39–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427339-3.

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Withers, Polly. „Feminism Ruptured, or Feminism Repaired? Music, Feminisms, and Gender Politics in Palestinian Subcultures“. In The Palgrave Handbook of Gender, Media and Communication in the Middle East and North Africa, 427–45. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11980-4_24.

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Pita, Laura. „Teresa Carreño's Repatriation and Revival: Nationalism, Feminism, and the Historical Imagination“. In Music and Identity in Venezuela, 305–48. New York: Jenny Stanford Publishing, 2024. http://dx.doi.org/10.1201/9781032679921-10.

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Shonk, Kenneth L., und Daniel Robert McClure. „Waveless: MTV and the “Quiet” Feminism of the 1980s“. In Historical Theory and Methods through Popular Music, 1970–2000, 171–98. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_7.

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yamomo, meLê, und Theresa Beyer. „“Framing Europe”—meLê yamomo Interviewed by Theresa Beyer“. In New Music and Institutional Critique, 195–205. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_16.

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AbstractYamomo is interviewed by Theresa Beyer about his views on efforts to decolonise New Music, issues of critique that this raises, and how his biographical experience being Dutch and Filipino causes him to reflect on his status in between coloniser and colonised. For Yamomo, decolonialism, as with feminism and queerness before it, has already been eaten up by capitalism and now serves as a way of acquiring more capital. He argues that within contemporary music, the goal must not be to replace one system with another, but rather to focus on understanding the methods through which hierarchies and power positions are perpetuated in order to inform our decision-making as practitioners.

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Smith Owen, Morgan. „The Merry Widow: Freedom and Feminism in the Widowhood of Mrs. H.H.A. Beach“. In Legacies of Power in American Music, 263–75. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003275695-15.

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Rabaka, Reiland. „Black Feminist Funksters“. In Black Women's Liberation Movement Music, 102–43. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427339-5.

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Golding, Rosemary. „Anon., ‘The Feminine in Music’“. In Music in Nineteenth-Century Britain, 275–80. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-30.

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Barna, Emília. „Emotional and Relational Labour in Music from a Feminist Perspective“. In Music as Labour, 112–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003150480-8.

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Barham, Jeremy. „Eternally Feminine“. In The Routledge Companion to Global Film Music in the Early Sound Era, 97–121. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-7.

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Konferenzberichte zum Thema "Feminism and music"

Blackburn, Manuella, und Paul Harkins. „Finding the Female Users: A Feminist Historiography of the Fairlight CMI“. In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/feministhistoriography.

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Barber-Kersovan, Alenka. „Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.

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