Relevant bibliographies by topics / Sexualised music

Academic literature on the topic 'Sexualised music'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sexualised music"

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Ey, Lesley-anne, and Elspeth McInnes. "Sexualised Music Videos Broadcast on Australian Free-to-air Television in Child-friendly Time Periods." Children Australia 40, no. 1 (March 2015): 58–68. http://dx.doi.org/10.1017/cha.2014.39.

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Although many researchers have demonstrated that music videos contain high levels of sexual connotation, none have specifically investigated music videos accessible to young children. This study analysed 405 individual music videos broadcast on Australian free-to-air television in time periods classified PG/G to identify the types and frequency of sexualised display. Results showed that these music videos contained relatively high levels of sexualised content, with particular genres and artists displaying higher levels of sexualised material. The findings indicate a need for a review of the current Australian classification system.
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Ey, Lesley-Anne, and C. Glenn Cupit. "Primary School Children's Imitation of Sexualised Music Videos and Artists." Children Australia 38, no. 3 (August 16, 2013): 115–23. http://dx.doi.org/10.1017/cha.2013.15.

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Music media contains high levels of sexual content and children spend a considerable amount of time interacting with it. This poses the question as to whether children internalise and imitate the sexual behaviours displayed by music artists. This study observed the self-presentation of 366 children aged 5–14 years at two Australian primary school discos. Children of all age groups were directly imitating both sexual and non-sexual dress and behaviours seen in contemporary music videos. Approximately one third of children observed presented in a sexualised way, which suggests children more broadly may be adopting sexualised behaviours at an early age. The prevalence and nature of sexualised behaviours by children, and the impact of this on children's socio-sexual development, are matters requiring further investigation.
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Mpetsi, Ntebaleng, and Toks Oyedemi. "Global hip-hop culture and the scopophilic spectacle of women in South African hip-hop music videos." Communicare: Journal for Communication Studies in Africa 37, no. 2 (October 11, 2022): 92–106. http://dx.doi.org/10.36615/jcsa.v37i2.1555.

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In many hip-hop music videos, women’s value is reduced to sensuous display of sexuality. Asa result visual pleasure is created through the representation of women as eager and willingsexual objects. This article assesses the techniques and ways women are sexualised in SouthAfrican hip-hop music videos, and how their representation attempts to create visual pleasurefor those that consume these videos. Four critical elements are adopted from Laura Mulvey’sseminal theoretical discourse about the positioning of women in narrative cinema, to study thegender representation and sexual presentation of women in two popular South African hip-hopmusic videos. The analysis reveals that appealing to the male gaze, processes of objectification,gender division of labour and camera techniques are ways of presenting a sexualised spectacleof women for the visual pleasure of male characters and audiences of the videos.
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Ey, Lesley-Anne. "Sexualised music media and children’s gender role and self-identity development: a four-phase study." Sex Education 16, no. 6 (March 30, 2016): 634–48. http://dx.doi.org/10.1080/14681811.2016.1162148.

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Richards, Nicola, and Katie Milestone. "‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’." Sociological Research Online 5, no. 1 (May 2000): 116–29. http://dx.doi.org/10.5153/sro.410.

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This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.
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Boak, Sarah. "Mother revolution: representations of the maternal body in the work of Tori Amos." Popular Music 34, no. 2 (April 30, 2015): 296–311. http://dx.doi.org/10.1017/s026114301500029x.

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AbstractThe pregnant or maternal body is conspicuously absent within popular music. The dominant representation of female bodies – sonically, visually and spatially conceived – is that of a sexualised body, available to men and existing under the male gaze. The figure of the pregnant, maternal or motherly body is marked as Other – not desirable and therefore not marketable. Looking at the work of Tori Amos, I demonstrate how she makes the maternal body both audible and visible through a number of musical and extra-musical strategies. Theorising the maternal body in a series of overlapping stages – from the pregnant body to the maternal body, through liminal stages such as miscarriage and birthing – I highlight how Amos uses the figure of the maternal body not only to challenge dominant tropes of sexuality, but to create an embodied space where normative conceptions of ‘mother’ and ‘mothering’ can be troubled.
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Chandra, Jennifer Andriany, and Jenny Mochtar. "Sexualized Depictions of AKB48 Girls in Their Summer Music Videos." k@ta kita 10, no. 3 (December 20, 2022): 579–86. http://dx.doi.org/10.9744/katakita.10.3.579-586.

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A pop idol group in Japan, AKB48, has female members capable of attracting the opposite sex into their fans. In this study, I will analyze the depictions of women portrayed in AKB48’s five summer music videos. To reach the objective of my analysis, I will use the theory of male gaze, specifically on the way the members are depicted in the videos. From my analysis, I discovered that through the perspective of male gaze, the idols are depicted as alluring, seductive, and playful. It can be assumed that the portrayal might be a strategy used to hoist their popularity over the other girl groups in Japan. Therefore, the sexualized depiction of the idols is actually proven to be successful in making the group popular.
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Mwangi, Evan. "Masculinity and nationalism in East African hip-hop music." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 5–20. http://dx.doi.org/10.4314/tvl.v41i2.29671.

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East African music aligns itself with nationalistic desires while attempting to create a transnational and regional agenda that goes beyond individual nation-states. Hip-hop music appears at pains to define itself as different from the western art-forms with which it is hastily associated by instantiating localized forms and creating a different locution. This paper surveys East African hip-hop to demonstrate that the music is a productive site upon which the local, the national, and the global contest and negotiate. We demonstrate that central to the music's identity politics is the notion of masculinity, in which the construction of community is interpreted as a masculine enterprise. The audiences also invest the music with political and nationalist meanings that are fraught with sexualized readings. On the whole, the music rejects hostile nationalism but male artists tend to represent women negatively in their grand national, regional, and pan-African projects. Indirectly indicating the depth of the hegemonic masculinism they operate under, women artistes express a desire to deconstruct male constructs. At the same time they suggest that, in spite of themselves, their critique has to be cautious and subtle.
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Fadipe, Israel A. "Skin bleaching and women sexualisation: a discourse analysis of Fela Kuti’s Yellow Fever and Ayinla Omowura’s Oro Kan Je Mi Logun." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 216–35. http://dx.doi.org/10.4314/ejotmas.v7i1-2.14.

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Male music artistes have been observed to sexualise women in their songs, especially when commenting on societal problems. Employing van Dijk’s Socio-Cognitive Approach of Critical Discourse Analysis (CDA), this paper examined skin bleaching and women sexualisation in the lyrics of Fela Anikulapo-Kuti (Fela Kuti) and Ayinla Omowura. Both songs: Yellow Fever by the latter and Oro kan je mi logun (a matter concerns me) by the former were purposively selected based on popularity and thematic preoccupation, and analysed using linguistic and argumentative strategies. Findings showed persistent sexualisation of women in the songs that were meant to teach morals in the society. Therefore, this exposes the artistes as incurably prejudiced in spite of their best intention. Keywords: Skin bleaching, Women sexualisation, Popular music, Fela Kuti, Ayinla Omowura
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Cusick, Suzanne G. "Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy." Journal of the American Musicological Society 46, no. 1 (1993): 1–25. http://dx.doi.org/10.2307/831804.

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This essay examines the presence of gender metaphors in the documents of the Monteverdi-Artusi controversy. Such metaphors include literal and figurative representations of sexuality and gender in the theoretical arguments on both sides; representations of gender, sexuality, and power in the oratione asserted to have governed the composition of the two most discussed works, the madrigals "Cruda Amarilli" and "O Mirtillo"; and representations of resistance to patriarchal authority in the armonia of both madrigals. Such examination shows (1) that the focus on these two madrigals by both parties to the controversy irresistibly sexualized "modern music" and feminized its sonorous traits by associating them with images of the sensual and disobedient body rather than the rational and controlling anima; (2) that the Monteverdi brothers' defense of the seconda prattica was a rhetorical effort to legitimate modern music as an alternative patriarchy; and (3) that these gender messages became inextricable from the style they were used to defend, with consequences for both seventeenth-century practitioners and twentieth-century scholars of early "modern music."
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Dissertations / Theses on the topic "Sexualised music"

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Webber, Andrew. "Sexuality and the sense of self in the works of Georg Trakl and Robert Musil /." London : Modern humanities research association, 1990. http://catalogue.bnf.fr/ark:/12148/cb35517884w.

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Behrami, Drilon. "Maskulinitet, ras och identitet i J. Coles studioalbum 4 Your Eyez Only : Nutidshistoria, kollektivt minne och intersektionalitet i samtida hiphopmusik." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97930.

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This study examines intersectionality and identity in rapper Jermaine Lamarr Cole’s studio album 4 Your Eyez Only. Through discourse analysis, the essay studies the representation of aspects of identity in the album, with a focus on gender, race, class and sexuality. The study also examines prosthetic memory in the album, with the intention of finding correlating narratives that create a general concensus of how society is viewed from marginalised groups in the US. The findings conclude that gender, race and class are expressed as the main buildingblocks for a characters identity in the album. It is telling that sexuality remains untouched in this regard. The reader is exclusively exposed to the normative heterosexual perspective, completely ignoring any notion of varied sexual orientations. Furthermore the findings conclude that J. Cole showcases a generally negative view on the govornment, as it is percieved as one of many instances keeping marginalised groups at the bottom of a societal foodchain
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Books on the topic "Sexualised music"

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Faith, Karlene. Madonna, bawdy & soul. Toronto: University of Toronto Press, 1997.

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Madonna, bawdy & soul. Toronto: University of Toronto Press, 1997.

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Fox, Pamela. Sexuality in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.21.

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Abstract: This chapter surveys prior scholarly work on country music’s ostensibly conservative relationship to sexuality. It tracks how sexuality becomes linked to other identity markers in songs by artists such as Gretchen Wilson and k.d. lang, as country functions as not only a distinctly classed but also racialized, gendered, and regionalized genre traditionally associated with white working-class Southerners. It probes whether earlier and recent modes of white masculinity and femininity, might or might not be constituted in relationship to queerness and/or blackness. This overview also suggests new ways to expand the critical terrain by taking up case studies: (1) Tanya Tucker, the now-faded star of the 1970s, 1980s, and 1990s, who gained early notoriety for her sexualized performance style and material; and (2) the recent bro-country sensation (Florida Georgia Line), whose young male artists recycle explicitly (hetero) sexual content through pseudo-hip hop rhythms and rapping.
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Silverman, Carol. Diasporic Ethnicity, Gender, and Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.015.

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Focusing on Muslim Macedonian Roma in New York, this article analyzes dance as a gendered expressive behavior embedded in community ritual events. Dance expresses social relationships, status, and familial alliances; it is a dynamic interactive behavior that can transform and build relationships, foster communication in the community, or enact conflict. Because solo female dance may be interpreted as sexualized, its dynamics are carefully monitored; women thus performatively negotiate their display of dance in varied contexts. Two generations of Roma are compared in terms of attitudes, style, and repertoire, showing how dance and music have retained their symbolic place in community life and ritual.
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Walker, Elsie. Funny Games. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0004.

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Having established the dominant sonic patterns of Haneke’s cinema in relation to The Seventh Continent, this chapter combines an auteur-centered approach with genre studies. More specifically, it analyzes how Funny Games disobeys sonic rules of mainstream thrillers, including: a comparative lack of non-diegetic music, few stingers to punctuate shocking moments, and an absence of sexualized sounds when the female victim resists her killer. The defamiliarizing experience of Funny Games confronts us with what it means to view violence as entertainment, especially through its uncomfortable extremes of sonic bombast (including the music of John Zorn), its terrifying use of everyday sounds, and its extended quiet around scenes of most terror and grief. Like the family of victims, we are forced into subjection by the killers who “direct” most of the film’s sounds, along with being made to experience the silent and beyond-verbal agony of its victims.
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Bolden, Tony. Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.001.0001.

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Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.
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Book chapters on the topic "Sexualised music"

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Lefkovitz, Aaron. "Jimi Hendrix and Black-Transnational Popular Music’s Global Gender and Sexualized Histories." In Jimi Hendrix and the Cultural Politics of Popular Music, 67–91. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77013-0_3.

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Cox, Kiana. "Not Just Jezebel: Black Women, Nicki Minaj, and Sexualized Imagery in Rap Music." In Race/Gender/Class/Media, 208–11. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351630276-46.

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Attfield, Nicholas. "‘Innerer Betrachtung gewidmet’: Alfred Heuss, the Zeitschrift für Musik, and the music journal as community." In Challenging the Modern. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266137.003.0004.

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As editor of Schumann’s Neue Zeitschrift für Musik during the 1920s, and thus one of Germany’s most eminent music critics, Alfred Heuss denigrated the sexualized, ‘soulless’, and decadent aspects of new German music—including that of Hans Pfitzner, Richard Strauss, and Paul Hindemith. He attacked composers and critics alike, with overtly anti-Semitic rejections of Schreker, Bekker, and Adolf Aber, who, he claimed, normalized these kinds of ‘un-German’ musical activities. As this chapter details, Heuss’s project was to wield his own music-critical Vermengungspolitik (‘politics of mass influence’), using his journal to oppose the decadence of the contemporary musical environment and advocating pre-nineteenth-century principles of order and propriety. Published over two years, a new regular column, ‘Dedicated to Inner Reflection’, encouraged readers to engage with works of Heuss’s Leipzig teacher, Hermann Kretzschmar, emphasizing an ‘inner’ musical essence tied to the gestural language of the eighteenth century, and a moral (profoundly ‘German’) rectitude.
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Waksman, Steve. "Remaking Liveness." In Live Music in America, 171–223. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0005.

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Jazz, in the years of its emergence, assumed meaning in large part through the places where it was played. The cabaret was an especially noteworthy type of place, a small-scale public setting where music and other sorts of theatrical attractions were offered alongside fine dining, consumption of alcohol, dancing, and a kind of sociability between men and women (or men and men, or women and women) that was sexualized to a greater or lesser degree. The cabaret was, in effect, the prototype for the nightclub and ultimately for the jazz club, the performance setting most identified with jazz as a genre throughout its history. Yet that evolution from cabaret to jazz club happened only gradually, from the 1910s to the 1930s; and only constitutes one element in the larger story of how jazz performance entered American life in the first decades of the twentieth century. Jazz inhabited a diverse array of spaces during these years, from public parks to dance halls to low dives to vaudeville theaters, in each of which the musicians adapted the music to fit the contours of the performance situation and to meet the expectations of the audiences who listened and the people that hired them. This chapter explores some of the variety of venues and practices through which jazz assumed public prominence from the 1900s to the 1920s, seeking to understand throughout the kinds of larger changes that the music brought to the performance and presentation of live music in the US in these years.
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Hattingh, Marie. "The Dark Side of YouTube: A Systematic Review of Literature." In Adolescences [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99960.

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The prolific use of social media platforms, such as YouTube, has paved the way for the potential consumption of inappropriate content that targets the vulnerable, especially impressionable adolescents. The systematic review of literature has identified 24 papers that focused on the “dark side” of YouTube for adolescent users. The analysis showed that eight themes emerged: the glamorization of smoking, the promotion of alcohol use, videos that focused on body image/health, videos on bullying, self-harm/suicide, advertising, drugs and general vulnerabilities. The results revealed that videos that contain smoking and alcohol frequently feature sexualized imagery. Smoking videos also frequently feature violence. Smoking and alcohol are also often featured in music videos. The analysis also showed that researchers call for awareness, more strict advertising guidelines and promotion of health messages especially in terms of body image/health, self-harm/suicide and bullying. It is recommended that parents regulate the YouTube consumption of their younger adolescent children, as children do not always understand the risks associated with the content consumed, or might get desensitized against the risks associated with the content.
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