Relevant bibliographies by topics / Female musician

Academic literature on the topic 'Female musician'

Author: Grafiati
Published: 22 June 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Female musician":

1

Johansson, Wictor. "Women Who Play Accordion or Female Accordionists?" Puls - musik- och dansetnologisk tidskrift 7 (May 1, 2022): 72–95. http://dx.doi.org/10.62779/puls.v7i.19285.

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During the first half of the twentieth century, the accordion was a hugely popular musical instrument that held a strong position within Swedish dance and popular music. Through concerts, record releases and radio performances the accordionists became popular artists, and as skilled musicians, composers and educators they influenced what has come to be defined as accordion music. To most people, the expected image of these accordionists is the one of a male musician. But as a matter of fact, there have been many female accordionists active in Sweden as professional musicians who have been disregarded in music history. In this article, I want to shed light on these women by questioning if and how the stipulations for female accordionists differed from those of their male colleagues. By following about twenty female accordionists, active between the years 1930–1980, I will note that although female accordionists embraced the same repertoire and stylistic ideals as men in accordion music, there have been differences in the qualifications required to be a professional musician. On the one hand, women were expected to combine their musicianship with expected female musical roles such as singers and dancers. On the other hand, they were excluded from areas that were considered reserved for men, such as making records, educational work and composing. I will therefore argue that the phrase “female accordionist” does not just describe a woman playing the accordion. More than that, it sums up societal and patriarchal structures as well as musical ideals that separated female accordion players from the expected male norm of an accordionist. The article is based on interviews, sound recordings, photographs and other archival material from the collections of Svenskt visarkiv (The Centre for Swedish Folk Music and Jazz Research). Printed publications as the magazine Accordion Journalen (1949–1963) and the encyclopedia Svenska dragspelare (1946) have also been used.
2

Ivaldi, Antonia, and Susan O'Neill. "Talking ‘Privilege’: barriers to musical attainment in adolescents’ talk of musical role models." British Journal of Music Education 26, no. 1 (March 2009): 43–56. http://dx.doi.org/10.1017/s0265051708008267.

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Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.
3

Jocson-Singh, Joan. "Vigilante feminism as a form of musical protest in extreme metal music." Metal Music Studies 5, no. 2 (June 1, 2019): 263–73. http://dx.doi.org/10.1386/mms.5.2.263_1.

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Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity and the ways in which female musicians navigate the traditionally masculine-coded subculture. I argue that for some female death metal musicians, vigilante feminism acts as a form of empowerment which enables them to coexist in a liminal space so often dominated by their male counterparts.
4

Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.

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In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.
5

Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history." Organised Sound 22, no. 2 (July 12, 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.

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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.
6

Gómez-Rodríguez, Rosa, Belén Díaz-Pulido, Carlos Gutiérrez-Ortega, Beatriz Sánchez-Sánchez, and María Torres-Lacomba. "Prevalence, Disability and Associated Factors of Playing-Related Musculoskeletal Pain among Musicians: A Population-Based Cross-Sectional Descriptive Study." International Journal of Environmental Research and Public Health 17, no. 11 (June 4, 2020): 3991. http://dx.doi.org/10.3390/ijerph17113991.

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Background: Playing-related musculoskeletal disorders are the most frequent complaints among instrumental musicians. The aims of this study were: to assess the prevalence of musculoskeletal pain; to evaluate neck, shoulder, and lower back disability; and to determine the associated factors with the presence of musculoskeletal pain among musicians. Methods: A population-based, cross-sectional descriptive study was conducted. We selected Spaniard musicians over 16 years old who played a musical instrument for at least five hours per week. They answered the Spanish versions of the Standardised Nordic Questionnaire, the Oswestry Disability Index, Neck Disability Index and Shoulder Pain and Disability Index. Results: We found 94.8% of musicians presented at least one symptomatic region in the last 12 months, and 72.3% in the last seven days. Female musicians (OR 4.38, CI 2.11−9.12), musicians with overweight or obesity (OR 5.32, CI 2.18−12.97), and musicians who play more than 14 h per week (OR 3.86, CI 1.80−8.29)were shown to be a higher risk of suffering musculoskeletal pain. Conclusions: Musculoskeletal disorders symptoms are highly prevalent in musicians. The main risk factors related to musculoskeletal disorders symptoms were gender (being female), overweight, obesity, and spending playing more than 14 h a week practicing. This study highlights the need to provide strategies to prevent occupational disabilities among musicians. Further studies are needed to analyse the prevalence of pain in the musician using other sampling methods.
7

Morucci, Valerio. "Music, patronage and reform in 16th-century Italy: new light on Cardinal Carlo Borromeo." Early Music 47, no. 4 (November 2019): 499–513. http://dx.doi.org/10.1093/em/caz071.

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Abstract Music historians are certainly familiar with the figure of Cardinal Carlo Borromeo. Important research has illuminated his association with the composer Vincenzo Ruffo, his reform of female convents, and, more generally, his influence over the musical life of Milan, including local churches and confraternities; more recently, Borromeo’s relationship with the musician Tomás Luis de Victoria has been closely examined. However, our knowledge of his role as a promoter of the so-called ‘Counter-Reformation’ in music is fragmentary. In particular, a comprehensive investigation of Borromeo’s private correspondence is lacking. In order to fill this lacuna, this article uses newly discovered letters (housed in the Biblioteca Ambrosiana, Milan) to illuminate several interrelated aspects of Borromeo’s activity as a patron and reformer in the aftermath of the Council of Trent: firstly, his support for musicians and the much discussed issue of textual intelligibility, and secondly, the prohibition of musical instruments in church and his directives against public musical entertainments.
8

Jeon, Harim, and Julie Ra. "Anna Magdalena Bach, a Female Musician in Modern Period." Journal of the Musicological Society of Korea 25, no. 2 (November 30, 2022): 11–35. http://dx.doi.org/10.16939/jmsk.2022.25.2.11.

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Marková, Lucie. "Women in a Men’s Collective in the 1970s and 1980s." History in flux 3, no. 3 (December 22, 2021): 177–97. http://dx.doi.org/10.32728/flux.2021.3.8.

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For many years, the Czech Philharmonic Orchestra was an exclusively male organization despite the increasing number of women in Czechoslovakia joining the workforce. This paper, which is based on oral history interviews with members of the orchestra, the paper will attempt to identify the reasons why almost no women were employed there during the period of Czechoslovak Socialism and under what kind of conditions the only two female members worked. Through interpretation and depth analysis of the oral history interview with one of the two female musicians employed by the Philharmonic before 1989, the paper will primarily map the issue of how women reconciled work and family life, which was considered one of the main obstacles for female musicians, while also taking into consideration the Philharmonic’s prestige and its frequent tours abroad. The acquired experience of a female musician is interpreted within the context of male narratives and is embedded in the study’s theoretical framework. This framework is defined by the available research on women’s emancipation and transformations of the gender order of the Czechoslovak socialist society, as well as research comparing the career patterns of musicians (both female and male) and the inclusion of women in the world’s leading symphony orchestras.
10

Kwon, Youngji, and Kiwon Hong. "Analysis on Policy Discourse of Female Traditional Musician in Joseon Era." Journal of Region & Culture 6, no. 3 (September 30, 2019): 29–53. http://dx.doi.org/10.26654/iagc.2019.6.3.029.

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You might also be interested in the extended bibliographies on the topic 'Female musician' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Female musician":

1

Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.

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This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.
M.A.
Department of Sociology
Sciences
Applied Sociology
2

Weliver, Phyllis. "Singing angel or musical demon? : representations of female musicians in Victorian literature." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299032.

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Benard, Charlène. "Le « metal à chanteuse », un genre musical ? Une enquête sur la construction médiaculturelle d’un genre musical par le gender. Le cas du metal symphonique en France." Electronic Thesis or Diss., Paris 3, 2023. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.

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Le metal symphonique est un sous-genre de musique metal qui a la particularité de compter une majorité de groupes où le chant est tenu par une femme : 80% en moyenne, se présentant à la fois comme une spécificité dans une culture musicale majoritairement masculine, autant qu’une régularité dans les musiques populaires où la proportion de chanteuses parmi les musiciennes en représente la grande majorité. Cette thèse a donc pour objectif de mesurer le rôle des femmes d’une part et de vocaliste d’autre part dans la définition d’un genre musical, au prisme d’une approche culturelle des musiques metal d’une part, et de leur situation en France d’autre part, des débuts du metal symphonique en 1996 à nos jours. Musique la plus détestée des Français, le metal compte essentiellement sur ses propres réseaux pour se développer : la presse spécialisée et la scène locale live. L’une et l’autre sont analysées dans cette thèse, entre discours promotionnels et évaluatifs de la presse sur les disques et production de concerts sur le sol français, de l’accueil des groupes étrangers à l’autoproduction locale. Ce travail tend ainsi à mesurer non seulement le rôle des chanteuses en tant qu’interprètes et créatrices de musique mais également leur implication dans l’activité d’une scène souvent présentée comme masculine, où leur place centrale mais négociée suggère d’en nuancer la domination. Complétée d’une enquête par questionnaire et entretiens, cette thèse discute enfin la notion de « goût féminin » et de « féminisation » d’un genre et d’une scène dans une approche compréhensive
Symphonic metal is a subgenre of metal music, which has the particularity of presenting a majority groups lead by female singers (80% on average). This feature is common to both this predominantly male culture, and to popular music more broadly, as the great majority of female musicians tend to be singers. This dissertation aims to measure the role played by women and by singers in the shaping of a musical genre, through a cultural approach of metal culture and of its situation in France, from the genre’s inception in 1996 to the present day.As the most hated genre of music in France, metal must rely mainly on its own networks in order to subsist and foster in this country: its press and local live scenes. Through the analysis of these two elements, this study considers promotional and evaluative media discourses on metal recordings and the production of concerts in France, from foreign bands touring around the country to the grassroots production of local events. Its aim is to consider not only the role female singers play as performers and creators, but also their involvement in the life of a scene often considered as masculine: their position, both central and negotiated, tends to limit the situation of domination. Through a complementary, comprehensive approach based on a questionnaire and interviews, this thesis also discusses the notions of “feminine taste” and of the “feminization” of a genre and a scene
4

Pan, Li-Ming. "The image and social status of female musicians in Taiwan." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/27887/.

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In Taiwan, female musicians who play Western classical music have often been considered a group with a fixed image regarding their appearance. The stereotype is common amongst Taiwanese people, including female musicians. It has become an important criterion for assessing whether an individual can be considered legitimate as a female musician. Although the visual factor plays a critical role for Taiwanese female musicians, it has never been seriously investigated. This thesis aims to establish why and how the stereotype is formed, what elements constitute the favoured image, what messages are sent by the principal components, what is its mechanism and how does it affect the life and career of female musicians in Taiwan. First, the thesis traces the development and current condition both of women’s status and of Western classical music in Taiwan to clarify the position of female musicians in Taiwanese society. Due to its association with the hegemonic cultural and imperial powers/domination of the West, Western classical music is considered the embodiment of progress and civilisation in Taiwan. Female musicians are also deemed a group of high class and with an appealing image. This particular status has usually made them popular and advantageous in the marital market. This is partly revealed from the analyses of newspaper reports. The statistics in the present study show that, when female musicians are discussed in newspapers, most topics centre on their marriage and appearance. This demonstrates how most people think of female musicians and which aspects of female musicians are considered important in Taiwanese society. After reviewing the background of the status of female musicians, the thesis analyses what elements constitute the stereotype by scrutinizing the concert poster. The concert poster can be viewed as the most influential medium for displaying female musicians’ images, because of its prevalent circulation, its focus upon directly displaying the appearance of female musicians, and the fact that it is produced by the musicians themselves. The images of female musicians on their posters demonstrate high similarity. The thesis examines the critical elements of the posters by comparing them with ancient and modern women’s images. Through investigating these elements and the culture in which they are rooted, the meanings and connotations involved in the poster image will be clearly demonstrated. The findings show that most images of female musicians are designed from the angle of the male gaze. The interview data further illustrate that the posters are not only designed to satisfy the male gaze, but also relate to real men’s looking pleasure and interests in many cases. This thesis undertakes interviews with 17 female musicians. These in-depth conversations with the participants reveal why most female musicians are brought up to be musicians. It is often a decision made from an early age by their parents due to the gendered stereotype and partly to enhance their marital prospects. Nonetheless, whether or not they conform to the image significantly influences their partner searching and career development. Most participants are so accustomed to the image that it is often hard to detect its presence and operation. Through the examples of the social event and the experiences of the participants, the thesis intends to denaturalise the stereotype. It also explores the possibility of changing the image through concert posters.
5

Au, Wai-man Vivian, and 歐慧敏. "The queer female stardom emerging from transnational Chinese singing contests." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50162755.

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This research examines how the popular music industry has fostered queer female stardom in the greater China area since the 1980s. Compared with other forms of media, music seems easier as a platform to normalize, or even promote open, alternative sexual expressions with its highly affective qualities. With special references to mechanisms of regional singing contests, emphasis is placed primarily on three Chinese female champion-singers: Ho Denise Wan See (HOCC) from Hong Kong, Li Chris Yuchun from mainland China, and Zhang Yun-jing from Taiwan. The project argues that these singing contests contribute to the construction of contemporary transnational stardom, and are especially empowering and to the vocal privilege of emerging female singers. Consumption and reception of their music and sexually indeterminate public imaging will also be discussed as reinforcement of queer stardom and popularity throughout their performance careers. Since the public images and music videos of Ho, Li, and Zhang have constantly involved androgynous outfits and homoerotic imagery, and their subsequent songs loaded with sexually ambivalent or suggestive lyrics, the paper attempts to demonstrate that both their personal life and social responsibilities, both their sexuality and music weigh equally on their career. The star-texts are also important sites for signification and identification to spectators, so issues of fandom will be examined. As the candidate-stars actually grow with their fans in the “player-kill (PK)” context; they serve a mutual projection and monitory entity to mirror one another’s personal conduct and maturation.
published_or_final_version
Comparative Literature
Master
Master of Philosophy
6

Reis, Silvanio. "Chiquinha Gonzaga, Brazilian Musical Trailblazer." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/560254.

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Music Performance
D.M.A.
Previous literature on the life and music of the Brazilian composer Francisca Edwiges Neves Gonzaga (1847-1935) reveals her as a historical figure of cultural and musical significance. Her contributions to society include political leadership in Brazilian campaigns for the abolition of slavery and artistic copyright. She also became the first female conductor in Brazil and shaped the music of Carnaval as it is known today in Brazil. However, her music is not well-known outside of Brazil, and her piano music has not received the attention that it merits. In addition to a closer look at her compositions for piano, this monograph offers biographical and musical details of Gonzaga’s unique career, including her role as a female composer amidst a patriarchal society; her pioneering synthesis of traditional Brazilian and European classical style, and a discussion of her place among her better-known Brazilian contemporaries, Ernesto Nazareth and Heitor Villa-Lobos. The last chapter presents interviews with living musicians—a pianist, a traditional folk artist and a musicologist—who have each continued the traditions of Gonzaga’s music to the present day.
Temple University--Theses
7

Lambeth, Dawn. "A woman's place is in the groove: an examination of female jazz musicians, 1900 to the present." Thesis, Boston University, 1994. https://hdl.handle.net/2144/27700.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
8

Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.

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Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.

In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.

9

McLaughlin, Adria Ryan. "Navigating Gender Inequality in Musical Subgenres." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2600.

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This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.
10

MacRory, Pauline Maeve. "She shoots! She scores! : the musical portrayal of female violence in recent Hollywood film." Thesis, University of Strathclyde, 1999. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21400.

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This thesis examines the importance of the musical score in creating a film's meaning, through an analysis of the musical scores to several recent Hollywood movies. To show how film music is ideologically loaded, this thesis takes the case of the new, ultra-violent film (anti)heroine and demonstrates how the musical score works to explain, excuse or undermine her violence so that she can remain situated within the standard gender codes of Hollywood film. To do this, the theoretical section first discusses issues about the representation of femininity and the pleasures of movie violence, and then continues with a discussion of theories of musical meaning, both within and without film scores. The analysis section examines the scores to several well-known mainstream Hollywood movies, dividing the heroines into either action heroines or fatal femmes, to show firstly how these women potentially transgress gender codes, and how the music is employed - along with other filmic elements - to lessen the threat of the female character's transgression. It examines the presentation of women as mothers, victims, lesbians and jezebels - all of which roles act to frame the active heroine within some acknowledged stereotype. Finally, the thesis addresses the question of how specific this phenomenon is to Hollywood, by examining the scores to a test-case French film and its Hollywood remake. Through the analyses contained within this thesis, I show how violent Hollywood women are still subject to ideologies which position women as passive and specifically as non-violent, and that the musical score is a particularly effective means of neutralising their potential transgression of gender norms.
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Books on the topic "Female musician":

1

Weinzierl, Rupert, and Rosa Reitsamer. Female consequences: Feminismus, Antirassismus, Popmusik. Wien: Löcker, 2006.

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Emerson, Isabelle Putnam. Five centuries of female singers. Westport, CT: Praeger, 2004.

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Goldin, Claudia Dale. Orchestrating impartiality: The impact of "blind" auditions on female musicians. [Princeton, N.J.]: Industrial Relations Section, Princeton University, 2001.

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Goldin, Claudia Dale. Orchestrating impartiality: The impact of "blind" auditions on female musicians. Cambridge, MA: National Bureau of Economic Research, 1997.

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Stieven-Taylor, Alison. Rock chicks: The hottest female rockers from the 1960s to now. 2nd ed. Dulwich Hill, N.S.W: Rockpool Publishing, 2010.

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Stieven-Taylor, Alison. Rock chicks: The hottest female rockers from the 1960s to now. 2nd ed. Dulwich Hill, N.S.W: Rockpool Publishing, 2010.

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Krafczyk, Judith, and Sibylle Thomzik. Rocksie!: 9 Jahre female music power in NRW. Mainz: Ventil, 2000.

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Bishop, Carole Maison. Gender and musical performance: The female calypso singer in the Caribbean. St. Michael, Barbados: Women and Development Unit, School of Continuing Studies, UWI, 1995.

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Reddington, Helen. The lost women of rock music: Female musicians of the punk era. 2nd ed. London: Equinox Pub., 2012.

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John, Gill. Queer noises: Male and female homosexuality in twentieth century music. Minneapolis: University of Minnesota Press, 1995.

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Book chapters on the topic "Female musician":

1

Kennerley, David. "Professionalisation and the female musician in early-Victorian Britain." In The Music Profession in Britain, 1780–1920, 53–71. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Music in nineteenth-century Britain: Routledge, 2018. http://dx.doi.org/10.4324/9781315265001-4.

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Gardner, Abigail. "Introduction." In Ageing and Contemporary Female Musicians, 1–13. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-1.

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Gardner, Abigail. "More than music." In Ageing and Contemporary Female Musicians, 13–30. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-2.

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Gardner, Abigail. "Shirley Collins and Calypso Rose." In Ageing and Contemporary Female Musicians, 31–48. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-3.

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Gardner, Abigail. "‘Tilted’." In Ageing and Contemporary Female Musicians, 49–68. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-4.

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Gardner, Abigail. "Ageing with alt-rock and folk." In Ageing and Contemporary Female Musicians, 69–86. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-5.

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Gardner, Abigail. "Rude Girls." In Ageing and Contemporary Female Musicians, 87–102. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-6.

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Gardner, Abigail. "‘They’re not going to give me Stormzy’." In Ageing and Contemporary Female Musicians, 103–20. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-7.

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Gardner, Abigail. "Afterword." In Ageing and Contemporary Female Musicians, 121–23. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-8.

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Allen, Paige, and Stacy Wolf. "Women in charge: Female creative teams and Waitress." In Milestones in Musical Theatre, 171–89. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003256458-11.

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Conference papers on the topic "Female musician":

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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

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The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
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Šehović, Lana. "Guest Croatian Female Musicians on Sarajevo Concert Life (1878–1918)." In Simpozij Umrežavanje glazbom u "dugom 19. stoljeću" (2021 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, Odsjek za povijest hrvatske glazbe, 2023. http://dx.doi.org/10.21857/mnlqgcr57y.

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DUMITRIU, Leonard. "Šárka, a Legendary Female Character, in Two Lesser Known Czech Operas. Overtures and Compositional Techniques." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0005.

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The lyrical works of Czech composers from the end of the 19th century and the beginning of the 20th century are very little known, and not just to Romanian musicians. Even when it comes to composers who have gained notoriety, such as Bedřich Smetana, Antonín Dvořák or Leoš Janáček, without consulting a dictionary, we cannot name more than one of their titles: Smetana’s Prodaná nevěsta, Dvořák’s Rusalka and Janáček’s Jenůfa, even though each of them wrote countless other works dedicated to the opera. When we think of composers like Zdeněk Fibich and Otakar Ostrčil, obscurity is almost total. Beyond the fact that this study attempts to make a contribution to the knowledge in this field, other objectives include analyzing the compositional language that two composers embraced in homonymous operas and observing the manner in which they related to the mythology of their people. One of the major characters of the Czech national mythology is called Šárka, a title that both Leoš Janáček and Zdeněk Fibich have attributed to one of their operas. In studying the action of the two stage works, this research also turns to the Czech writers of that period and the manner in which they reflected the fundamental Czech myths in their literary works. Details related to the time of appearance of the operas and, in the case of Zdeněk Fibich, brief but welcome information on his biography and creation are also presented. The original contribution of this study consists in analyzing the overtures of the two homonymous operas in terms of compositional techniques, elements of construction and musical expression and, last but not least, observing the similarities and differences of vision between the two creators.
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LI, JIN-RUI. "ON THE IMAGE OF FEMALE MUSIC IN CHINESE NATIONAL OPERA." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35691.

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Chinese national opera has a history of more than 100 years. From "Sparrow and Children" created by Li Jinhui in the 1920s, it is known as the embryonic form of Chinese national opera. Then Chinese opera has experienced five periods of development. This paper will sort out the development of Chinese national opera, focus on the female characters described in opera according to the historical period of combing, division, and select the most representative of the four opera heroine Xi er, celery, Jiang Jie, Aiguri, to analyze its musical image. The conclusion of this research is of practical significance to promote the und
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Pepu, Lindelwa. "Re-Imagining the Role of Female Players in the Making and Restoring of the UHADI Musical Bow." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35904.

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This paper, written from an African feminist perspective, focuses on the uhadi musical bow, a historical instrument found in museums, particularly in Museum Africa in Johannesburg. The mislabelling and lack of contextual information about the uhadi bow in the museum collection hinder the understanding of its origin and the recognition of its makers. The research highlights the role of women as the likely original makers and performers of the uhadi bow. It explores the unique features, construction, and playing techniques of the instrument. The study also profiles female uhadi players, emphasising their contribution to reviving and preserving the instrument’s cultural significance.
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Jaśkiewicz, Marta, Piotr Francuz, and Emilia Zabielska-Mendyk. "The Effect of Music Harmonics and Level of Expertise on Aesthetic Judgment of Music: An ERP Study." In Applied Human Factors and Ergonomics Conference. AHFE International, 2020. http://dx.doi.org/10.54941/ahfe100383.

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The aim of our study was to investigate the influence of harmonic violation on aesthetic judgment of music in music experts and naives. Two groups took part in experiment: music experts (14 subjects, 8 female) and naives (13 subjects, 7 female). Music experts were graduates and undergraduates of music school, played musical instruments or educated in the field of singing from an average of 9.79 years. The group of naive did not have any special musical education besides normal school education. Participants were asked to listen the stimuli and judge whether each of them sounds beautiful (when the beauty judgment task was required) or correct (when the correctness judgment task was required). We used excerpts of five Bach’s chorales as a stimuli. Each of the excerpt was modified in order to obtain three versions of one excerpt differing only in one chord. This chord (‘target’) sounded: congruous, ambiguous or incongruous to harmonic context of the piece. Several differences in event-related potential (ERP) parameters were observed in aesthetic processing of music. The findings of our study showed that an affective aspect of music processing is reflected by LPP – Late Positive Potential. This effect differ in respect of degree of harmonic violation indicating that the incongruous chords enhanced the higher amplitudes. What is more, there was significant difference between two judgments (aesthetic or correctness) showing that the LPP is sensitive on task manipulation. Higher amplitudes for beauty judgment task than for correctness judgment task indicted that aesthetic evaluation is perceived as an affective task. However, our study did not confirm the influence of music expertise on affective aspect of music aesthetic processing. All our results are discussed in the context of previous studies.
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Zhang, Hui, Wanyi Wei, and Yingping Cao. "The effect of congruity between background music language and brand culture on consumer behavior." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005449.

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Numerous research have explored how musical elements affect consumer behavior in the retail scenario. But this claim has not been fully proven in the online shopping scenario, which has become one of the current mainstream consumption methods. Some researchers have stressed the value of musical congruity, the majority of their discussions have focused on the structural characteristics (rhythm, volume, genre, etc.) or affective characteristics (style, familiarity, valence, etc.), and the cultural characteristics (nation, territory, language, etc.) of music seem to be less discussed. This study focuses on the different music languages to explore the influence of the context effect brought by the cultural characteristics of music on consumer behavior. Language variations in music are primarily represented in the lyrics. The study aims to explore how music enhances the online shopping experience by influencing users' cognitive and emotional responses. It also provides guidance on music selection for e-commerce brands to use music strategically to promote goods consumption.In this study, we simulated the current mainstream e-commerce shopping websites to make online shopping pages of sneakers and selected the music (music with Chinese lyrics, music with English lyrics) on the mainstream music platform charts as experimental materials. The experiment recruited 30 participants (15 females; all of them have online shopping experience); they were divided into three groups (no music, music with Chinese lyric, music with English lyric) and asked to choose a pair of sneakers for themselves from randomly given goods (Chinese brands *8, European and American brands *8) under different background music. We captured the participants' browsing duration, trajectory, and focus position with the eye tracker. Participants' cognitive responses (product purchase intention ranking, product evaluation, music experience), emotional response (PAD emotion), and final behavioral response (direct purchase, shopping cart addition, sharing, collection) were collected through questionnaires.According to the experimental data's T-test, from the perspective of brand, when the music language and brand culture are consistent, the sharing rate of goods will increase. From the perspective of music, goods that have the same nation with background music will get a higher share rate. Compared with the environment without music, the user's pleasure and arousal are significantly improved under both Chinese songs and European and American songs.Our research shows that congruity between music language and brand culture leads to higher levels of pleasure and significantly affects online consumer behavior. When the music culture is consistent with the brand, the rate at which consumers share the goods increases. The pleasant user experience brought by musical congruity increases consumers' evaluation of the cognitive response of the product, thus positively affecting consumers' purchase intention. The experimental results provide new insights into music selection in the online shopping scene in the field of auditory marketing. It enriches the existing literature on musical congruity and cultural characteristics.
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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.

Reports on the topic "Female musician":

1

Goldin, Claudia, and Cecilia Rouse. Orchestrating Impartiality: The Impact of "Blind" Auditions on Female Musicians. Cambridge, MA: National Bureau of Economic Research, January 1997. http://dx.doi.org/10.3386/w5903.

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