Dissertationen: „Feminism and music“

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Goh, Talisha. „Re-Composing Feminism: Australian women composers in the new millennium“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2194.

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In the age of postfeminism and fourth-wave feminism online, Australian women composers are theoretically able to “have it all,” however, the proportion of women in the occupation appears to have plateaued in recent years. In this thesis, I explore the multiple ways in which gender and feminism interact with practising Australian women composers. Feminist musicology has had a large impact on the Australian musicological scene, with theorists such as McClary and Macarthur bringing the subject of women in music to the fore in the 1990s, aiding efforts to advocate for reform on behalf of women composers. Additionally, third-wave feminist scholars such as Hartsock have argued for the study of women’s experiences within maledominated disciplines such as musicology. Using feminist standpoint theory as a foundation, this thesis examines the experiences of practising Australian women composers, finding multi-faceted and contradictory views of feminism and gender. A principal case study of composer Kate Moore examines how gender has shaped her career trajectory. Finally, a neo-Riemannian analysis of Moore’s work, Violins and Skeletons (2010), illustrates how gender may shape compositional strategies, speculating upon the fraught relationship women composers have with the conventions of Western art music because their work implicitly functions outside of, or against, the canon. This research highlights the importance of studying minority experiences in musicology, and how they relate to the dominant aesthetic and intellectual traditions.

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12

Simon, Jodie Christine. „The derailment of feminism: a qualitative study of girl empowerment and the popular music artist“. Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5541.

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“Girl Power!” is a message that parents raising young women in today’s media-saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits. In fact, this cooption of feminist messages introduces a new danger in that it masks the commodification of feminism into a marketed brand of heightened sexual awareness (Gill 2008) while promoting traditional male behaviors as equalizing acts of power (Kilbourne 2009 ).
Thesis (M.A.)--Wichita State University, Fairmount College of Liberal Arts and Sciences, Dept. of Liberal Studies

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13

Mensel, Robert. „A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /“. view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.

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14

Zurcher, Heather Dawn. „Feminism and the New Woman in the Gilbert & Sullivan Operas“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3537.

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The operas by playwright W. S. Gilbert and composer Arthur Sullivan have been considered some of the most popular and successful pieces of musical theatre in the English language. While their joint creative output neared perfection, Gilbert and Sullivan's working relationship was fraught with conflict. The two men's opposing personalities led them to favor disparate styles and work towards different goals. However, the ability to balance contrasting tones, such as sarcasm and sympathy, resulted in their overwhelming success. I analyze this "winning formula" by looking at the influence of feminism, especially the "New Woman" literary movement, on the works of Gilbert & Sullivan. Gilbert frequently used common female stereotypes and gave his female characters humorous yet demeaning flaws that kept the audience from fully admiring them. Sullivan, on the other hand, countered Gilbert's derisive attitude by composing sophisticated music for the female characters, granting emotional depth and a certain level of respectability. The struggle between Gilbert's mocking tone and Sullivan's empathetic music led to the men's ultimate success. I examine Gilbert's female characters, explore the counteractive effect of Sullivan's music, and analyze Princess Ida—their opera most directly related to the New Woman—in depth.

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15

Singer, Stacey Lynn. „I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production“. unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07072006-134812/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).

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16

Süß, Heidi. „Hip-Hop-Feminismus“. Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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17

DeCoste, Kyle. „Street queens| The Original Pinettes and black feminism in New Orleans brass bands“. Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599202.

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The musical traditions of New Orleans are largely patriarchal. As the predominant sonic signifier of New Orleans, the brass band amplifies this gender bias more than any other musical tradition in the city. Brass band song lyrics can at times revolve around the subjugation and objectification of women, which renders the brass band canon tricky to access for female musicians. These symbolic issues become socially reified in the male control of instruments and the barriers to professionalization experienced by female musicians. Indeed, female brass band musicians are in the minority, constituting few more than ten musicians in a city with somewhere in the vicinity of fifty bands, all of which feature about ten musicians. The available literature on brass bands has thus far focused almost exclusively on black men and, mostly due to the relative absence of women in brass bands, neglects to view gender as a category of analysis, reflecting the gender bias of the scene at large. Using black feminist theory, this thesis seeks to introduce gender as a key element to brass band research by studying the only current exception to male dominance in New Orleans’ brass band community, an all-female brass band named the Original Pinettes Brass Band. Their example forces us to reconsider the domain of brass band music not only as one where brass band instruments articulate power, but where gender is a primary element in the construction and consolidation of this power.

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18

Bonshek, Corrina. „Australian deterritorialised music theatre : a theoretical and creative exploration“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.

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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet.

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19

Nordström, Marika. „Rocken spelar roll : En etnologisk studie av kvinnliga rockmusiker“. Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-38159.

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This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.

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20

D'Alfonso, Chiara. „The language of feminism, womanism, and hip-hop in Beyoncé’s “***Flawless”“. Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8806/.

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21

Collingridge, Lorna Marie, und n/a. „Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen“. Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.

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22

Collingridge, Lorna Marie. „Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen“. Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text

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23

CHUA, EMILY YAP. „SOCIAL AND DOMESTIC INFLUENCES IN RUTH CRAWFORD'S MUSIC“. University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021661917.

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24

Scott, Georgia Anne Beresford. „Stigma and Storytelling: An Exploration of Feminism and Disability in Music through the Composition of New Works“. Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23630.

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Through the composition of the new music represented in this portfolio, this research explores the roles given to women with disabilities in society. It sets out to question and then positively reimagine these roles and to overturn the stigmatisation of disability, highlighting the unique perspective that living with a disability can bring. This research has been undertaken via the composition of three new works, each written over two stages, the second stage being informed by the feedback from the first. The structure of the Sydney Conservatorium of Music’s Composing Women Program afforded the opportunity to write, workshop and revise each work over the course of the two-year program. This allowed for consultation with performers, the opportunity to research in greater depth (sometimes to revise entirely), and ultimately for the production of works that address the musical aims as effectively as possible. The research was informed by and contextualised through the study of scholarly and scientific texts and relevant musical works. The first work ‘My3LiNAti0nS’, uses the flute to highlight the beauty present within stuttering moments, the second, a chamber opera entitled ‘Her Dark Marauder’, challenges the characterisation of those with a disability on the stage, and the third ‘The Monstrous Birth of the Woman Machine’, for orchestra, subverts 19th century notions about the origins of disability using the birth of the assistive-technology-using ‘cyborg’ as a moment to empower those with disabilities and their families. Through these works I aim to enrich my compositional practice by interrogating the ideas that I find most essential to my artistic voice. I hope this research will allow me to find my place within the disability community and will contribute towards the breakdown of societal barriers and prejudices against women with disabilities.

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Gamez, Kristina. „Musik i film : Hur musik används för att beskriva prinsess-karaktärer i animerade Disney-filmer“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3918.

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I läroplanen för gymnasieskolan framgår det att undervisningen bör utgå ifrån elevernas tidigare erfarenheter och intressen. Film och media har idag blivit ett av ungdomars största intressen vilket gör att de får sina flesta musikaliska upplevelser från media. Narrativ mediemusik påverkar åskådaren på ett omedvetet plan och behöver därav analyseras aktivt. Musik i samspel med rörlig bild kan få publiken att tolka rollfigurers karaktärsdrag i film på olika sätt. Syftet med den här studien är att få djupare kunskap om hur musik och andra uttrycksmedel används för att beskriva en karaktär i en animerad film. Tidigare forskning visar att liksom i samhället har synen på kvinnans roll ändrats i Disneys animerade filmer. Arbetet fokuserar på tre scener från Disneys animerade filmer där en prinsessa är en huvudkaraktär. De analyserade karaktärer är Snövit från filmen Snow White and the Seven Dwarfs (1937), Mulan från filmen Mulan (1998) och Merida från filmen Brave (2012). Analysen görs med hjälp av Chions (1994) analysmetod som består av masking, narrativanalys och jämförelseanalys. Resultatet visar på att det är ett samspel mellan olika faktorer som skapar en uppfattning om karaktären. Studien resulterar i åtta faktorer som påverkar åskådarens upplevelse av prinsessorna: kroppsspråk/utseende, sång/tal, Mickey-Mousing, musik i relation till sången, puls och tempo, dynamik, andra ljud samt kamerans perspektiv. Slutligen diskuteras hur filmmusik praktiskt kan appliceras i musikundervisning i förhållande till gymnasiets läroplaner för musikämnen.

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Cifrino, Emma A. „"Tentative and Feminine": Viola Sonatas by British Women“. Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467237993.

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27

Bonshek, Corrina. „Australian deterritorialised music theatre a theoretical and creative exploration /“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

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Nowlain, Kristine. „Collaborative Storytelling through Contemporary Composition : Examining participation in the creation and performance of meaningful works through Judith Weir’s woman.life.song“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2791.

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Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon.

Kristine Nowlain, sopran

Gustave Charpentier (1860-1956)

Depuis le jour

Ur Louise(Louise)

Libretto av G. Charpentier

Albert Dahllöf, piano

Mario Castelnuovo-Tedesco (1895-1968)

The Divan of Moses-Ibn-Ezra

1. When the morning of life has passed

2. The dove that nests in the tree-top

3. Wrung with anguish

Text av Moses-Ibn-Ezra (1058-1138)

Gustav Sondén, gitarr

Heitor Villa-Lobos (1887-1959)

Bachianas Brasileiras, no. 5 (Aria)

Text av Ruth V. Corrêa

Gustav Sondén, gitarr

Åke Uddén (1903-1987)

Tre sånger ur ”Les Chanson de Bilitis”

1. Tendresses

3. Chanson

Text av Pierre Louÿs (1870-1925)

Johanna Johnsson, piano

Gösta Nyström (1890-1966)

På Reveln

3. Havet Sjunger

Text av Ebba Lindqvist (1908-1995)

Johanna Johnsson, piano

Rebecca Clarke (1886-1979)

The Seal Man

Text ur A Mainsail Haul av John Masefield (1878-1967)

Albert Dahllöf, piano

W.A. Mozart (1756-1791)

Ach, ich Fühl’s

Ur Die Zauberflöte(Pamina)

Libretto av Emanuel Schikaneder (1751-1812)

KMH Kammarorkester

Judith Weir (f. 1954)

woman.life.song

1c. Edge (text av Toni Morrison, f. 1931)

2. Eve Remembering (text av Toni Morrison)

3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)

KMH Kammarorkester:

Sofia Winiarski, dirigent

Albert Dahllöf, piano

Andreas Nyström, slagverk

Astrid le Clercq, klarinett

Catrin Spångberg Johansson, altflöjt

Enno Leggedör, viola

Gustav Wetterbrandt, basklarinett

Henrik Wassenius, slagverk

Hugo Olsson, klarinett

Isabel Godau, violin

Johanna Moraeus, violin

Kajsa Nilsson, flöjt

Klara Källström, cello

Miia Roiko-Jokela, flöjt

Miriam Liljefors, harpa

Moa Nissfolk, gitarr

Ragnhild Kvist, viola

Simon Landqvist, slagverk

Svante Söderqvist, kontrabas

Viktoria Hillerud, cello

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O'Byrne, Megan Sue. „When the President Talks to God: A Rhetorical Criticism of Anti-Bush Protest Music“. Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225216520.

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30

Wolwacz, Heinz Natasha. „Vans Warped Tour’s boys club: An analysis of representations of women in alternative music“. Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1542239624640296.

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31

O'Connor, Flynn. „You Ain’t Woman Enough: Country Music and the Women’s Liberation Movement“. Thesis, United States Studies Centre, 2018. http://hdl.handle.net/2123/17815.

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Country music is perceived and presented as an intrinsically conservative genre, built around the cultural paradigms that defined mid-20th Century American conservatism. Often centred around ideals of domesticity, labour and religion, the genre has found a geographic hub within America’s largely conservative Southern states. The logical assumption to follow this would be to assume that the women of country music follow a similar conservative political path. However, when compared to the Women’s Liberation Movement, a largely leftist political movement, we can see that ultimately this is not true. Though the women’s liberation movement was centred around the urban Northeast, when observing the lyrics, interviews and public perceptions of prominent women in country music we can see considerable similarities between their actions and the motivations of the movement. By observing the work of Kitty Wells, we can see an often-contradictory understanding of the role of the housewife, as she appears prominently as a pioneer within the genre and her family’s primary breadwinner. Tammy Wynette’s music, though thematically very different, features considerable similarities to the form of activism known as consciousness raising, and Loretta Lynn consistently presents lyrics and themes that subvert what is expected of her as a Southern woman. Ultimately, an observation of these women’s careers shows us two things; firstly, their success points to a Southern market in which the ideals of the women’s liberation movement are valued. Secondly, their collective works are indicative of a less conventional approach to Southern conservatism; one which is able to reconcile feminist ideals into a historically conservative context.

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McKenna, Libby. „Audience interpretations of the representation of women in music videos by women artists“. [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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33

Hickmott, Sarah. „(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought“. Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.

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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesis situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music 'is' is often assumed rather than critically re-evaluated. In short, by tracing the musical-transcendental baggage of an inherited metaphysical conception of music - one which often understands music in close relation to the feminine, (sexual) excess, and the beyond of language and/or the symbolic - the thesis shows that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the thesis highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics - on the occasions that they are considered and not simply ignored or denigrated - are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the thesis demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women - along with music - to the beyond of pre-, inter-, or post-signification.

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Bernhagen, Lindsay M. „Sounding Subjectivity: Music, Gender, and Intimacy“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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35

Süß, Heidi. „Hip-Hop-Feminismus“. Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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Bartlett, Loron. „The Women Behind the Moves: A Phenomenological Study of Video Models“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/wsi_theses/25.

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This research studied three women who have performed in hip hop music videos. Previous literature concerning these women, including memoirs, men’s magazine interviews, and Black feminist scholarship, has situated them as video vixens, terminology that all three participants disputed applied to them. The research was completed in two parts—a face-to-face phenomenological interview and a semi-structured telephone interview. In the phenomenological interview, the initial question—what are your experiences as a woman who dances/models in music videos?—was posed. The answers ranged from musings about professionalism and the lack thereof in the industry to the politics of skin color and nationality. The semi-structured interview allowed the participants to clarify or expound on experiences they discussed during the first interview.

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Carter, Issac Martel. „The discourse of the divine| Radical traditions of Black feminism, musicking, and myth within the Black public sphere (Civil Rights to the present)“. Thesis, Florida Atlantic University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730733.

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The Discourse of the Divine: Radical Traditions of Black Feminism, Musicking, and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black female musicians, Nina Simone and Me’shell Ndegéocello. Simone and Ndegéocello, The High Priestess of Soul and the Mother of Neo-Soul, respectively, distend the commodified confines of Black music and identity by challenging the established norms of music and knowledge production. These artists’ lyrics, politics, and representations substantiate the “Signifyin(g)” elements of West and Central African feminist mythologies and musicmaking traditions.

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Wallace, Kelsey MacGregor. „Song of the sirens : a qualitative exploration of an all-woman rock band /“. Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7785.

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39

O'Shea, Susan Mary. „The art worlds of punk-inspired feminist networks : a social network analysis of the Ladyfest feminist music and cultural movement in the UK“. Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-art-worlds-of-punkinspired-feminist-networks--a-social-network-analysis-of-theladyfest-feminist-music-and-cultural-movement-in-the-uk(5d20bada-4101-47be-9442-c58cefe18e4d).html.

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Riot Grrrl, Girls Rock camps and Ladyfest as social movements act as intermediaries in cultural production spaces, where music focused artefacts are made, collaborations forged, distribution networks established and reception practices enacted to create new conventions which can be understood as feminist art worlds. The growing literature on gender and cultural production, particularly in music communities such as Riot Grrrl, frequently speak of networks in qualitative narrative terms and very little is known about Ladyfest as a feminist movement and as a distribution network. This thesis offers an original contribution to cultural sociology by: employing a novel participatory action research approach to gathering social network data on translocal feminist music based cultural organisations; exploring how these networks can challenge a gendered political economy of cultural production in music worlds; understanding who participates and why; investigating how network structures impact the personal relationships, participation and collaboration opportunities for those involved. Engaging with Howard Becker’s Art Worlds theory as a framework, this thesis explores how music and art by women is produced, distributed and received by translocal networks. It takes into account contemporary issues for feminist music-based communities as well as the historical and international context of these overlapping and developing social movements. The literature suggests that one of the most pressing tasks for a sociology of the arts is to understand how organisational structures negotiate the domains of production, distribution and reception, with distribution modes being the most the most under-researched of the three. By focusing on UK Ladyfest festivals as case study sites, this research serves to address these gaps. Primary data sources include on-line social media, surveys, documents, focus groups and multi-mediainterviews. Findings indicate that those involved with Ladyfest tend to be motivated by a desire to challenge gender inequalities at a local level whilst drawing on local and international movements spanning different time periods and drawing on the works of feminist musicians. Homophily and heterophily both have important roles to play in the longitudinal development of Ladyfest networks. Participants show an awareness of intersecting inequalities such as ethnicity, class and disability with sexuality playing an important underlying role for the development of relationships within the networks. For some, Ladyfest involvement is a gateway into feminist activism and wider social and cultural participation, and for many it leads to lasting friendships and new collaborative artbased ties.

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40

Shadrack, Jasmine Hazel. „Denigrata cervorum : interpretive performance autoethnography and female black metal performance“. Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.

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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.

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41

Brinson, Woodruff Abbie R. „Lady Gaga, Social Media, and Performing an Identity“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345235126.

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42

Brown, Terri L. „Me and my shadow an exploration of doppelgänger as found in the music and text of Susan Glaspell's The verge /“. Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1208826442.

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43

Kirkendoll, Elizabeth. „“Slightly Overlooked Professionally”: Popular Music in Postmillennial Romantic Comedies“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531250614267114.

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44

Norkey, Alec. „Intersectional Androgyny in Cyberspace: Gender, Commercialization, and Vocality in Female Ryouseiruis' Music Videos“. Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462552660.

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45

Modell, Amanda Renae. „"You Understand Me Now": Sampling Nina Simone in Hip Hop“. Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4168.

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The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged.

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Pugh-Patton, Danette Marie. „Images and lyrics: Representations of African American women in blues lyrics written by black women“. CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with various subthemes. The focus of this study is to explore the evolution of Black music and examine the role women have played in both the development and advancement of the blues genre. Additionally, the study will explore various concepts of cultural identity development in order to establish the process of how identity is constructed and negotiated in African Americans specifically African American women.

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Weaver, Alexandra Alden. „These Are the Days“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/311.

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The genre of film I decided to produce for my thesis in Media Studies (Film/Production) is that of a hip hop music video. In my written work, I explain how I aim to break out of techniques in hip hop music videos that perpetuate, knowingly or unknowingly, the white capitalist patriarchal heterosexual system of oppression. Instead, I incorporate my own and other positive imagery and techniques used in hip hop music videos that subvert the system of oppression and will reflect my positive lyrics. In addition, I briefly discuss hip hop feminism and its relation to hip hop music videos and social change. While my song and music video do not directly address these social issues, they make a statement by not including negative images or techniques and by showing a different way to approach a hip hop music video.

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Psujek, Jennifer Lauren. „The Intersection of Gender, Religion, and Culture in Nineteenth-Century Germanic Salons“. Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276962447.

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49

LaBonte, Hillary. „Analyzing Gender Inequality in Contemporary Opera“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562758176443906.

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50

Scangas, Alexis. „Forget the Familiar: The Feminist Voice in Contemporary Dramatic Song“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522672693855537.

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Dissertationen zum Thema „Feminism and music“

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