Relevant bibliographies by topics / Women in music – england

Academic literature on the topic 'Women in music – england'

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Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Women in music – england"

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Hillsman, Walter. "Choirboys and Choirgirls in the Victorian Church of England." Studies in Church History 31 (1994): 447–60. http://dx.doi.org/10.1017/s0424208400013048.

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Although the roles played by children in recent centuries in English church music have varied enormously, it is probably fair to say that choirs with at least some boys’ or girls’ voices have proven more important in musical, ecclesiastical, and social developments than those with none. The most obvious example of this is the choir of men and boys, which has constituted a conspicuous feature of cathedral and some collegiate music since the Middle Ages, except, of course, during the Commonwealth. As women and girls have until very recently been regarded as inappropriate in such music, it is difficult to imagine that the breadth of achievement in musical composition and performance standards associated with these choirs would have been possible if they had contained only men and no boys.
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Austern, Linda Phyllis. "Nature, Culture, Myth, and the Musician in Early Modern England." Journal of the American Musicological Society 51, no. 1 (1998): 1–47. http://dx.doi.org/10.2307/831896.

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In sixteenth- and seventeenth-century England, music was often considered an aspect of natural philosophy, the general study of natural and cultural phenomena that had been inherited from classical antiquity and the Middle Ages, but was undergoing rapid metamorphosis into more modern fields of science, technology, and the arts. Against this background, many writers began to invoke machine metaphors and the triumph of cultural products over raw nature and Nature's corollaries in the form of women and animals. Older epistemologies of magic and metaphor, which had also incorporated gendered ideas of artifice, perfection, nature, and creation, informed these emerging ideas. The result on the one hand was a practice of secular musical composition that included sounds from the natural world as feminine novelties to be bounded and improved by stylistic artifice. On the other was a documentary allegorization of music that drew from chronicle history, mythology, natural science, religion, and politics to demonstrate the moral and aesthetic superiority of music and musicians that elevated natural elements into enduring musical artifice.
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Milsom, John. "Songs and society in early Tudor London." Early Music History 16 (October 1997): 235–93. http://dx.doi.org/10.1017/s026112790000173x.

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Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich deposits of evidence: not only high-art music, itself often notated in fine books, but also detailed records of expenditure, of the contractual duties carried out by or expected of musicians, and of valuable assets such as books and musical instruments. Moreover, where magnificence is on show there will often be eyewitness accounts to report on what has been seen and heard. All of those forms of evidence survive in quantity from early Tudor England, and it is hard not to be drawn to them.
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McCrone, K. "Review of book. Musical Women in England, 1870-1914: 'Encroaching on all man's privileges'. P Gillett." Music and Letters 82, no. 4 (November 1, 2001): 655–59. http://dx.doi.org/10.1093/ml/82.4.655.

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Rohr, Deborah. "Women and the music profession in Victorian England: The Royal Society of Female Musicians, 1839–1866." Journal of Musicological Research 18, no. 4 (January 1999): 307–46. http://dx.doi.org/10.1080/01411899908574762.

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Bridge, Dominic James Ruggier. "‘A Musical Bouquet for the Ladies’: Gendered Markets for Printed Music in Eighteenth‐Century England." Journal for Eighteenth-Century Studies 46, no. 4 (December 2023): 499–519. http://dx.doi.org/10.1111/1754-0208.12921.

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AbstractThis article explores how music publishers recruited the gendered expectations of musical practice to market their scores to male and female audiences. It shows how the graphic and textual elements of title pages and prefaces were used as promotional material and reveals how publishers encoded gendered representations of music making into their printed editions in order to navigate the social worlds in which they were consumed. The opening section will discuss how music publishers appropriated images of courtship scenes on the title pages of keyboard tutors (to market their scores towards young women) and explain how prefaces could be used to placate the feminine associations of musical practice to help publishers sell to a male audience. The discussion will then turn to the concept of gift giving, explaining how graphic imagery could be used to place the score at the centre of elite romantic interactions, modelling expected commercial behaviours.
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Pet’ko, Lyudmila. "The Coronation of Anne Boleyn as Queen of England and the British Coronation Ceremony." Intellectual Archive 12, no. 4 (December 9, 2023): 77–117. http://dx.doi.org/10.32370/ia_2023_12_8.

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This year marks the 500th anniversary of the coronation of Anne Boleyn as Queen of England, on 1 June 1533. The paper devoted to the coronation of Anne Boleyn as Queen of England. She was the Queen of England from 1533 to 1536 and the second wife of King Henry VIII. Anne Boleyn would come to be one of the stalwarts of the historical drama. Anne Boleyn was one of the most powerful women in the world in the 16th century. She was that rare phenomenon, a self-made woman. The author presents the event of Tudor history: Anne Boleyn’s coronation procession, Anne Boleyn’s coronation, the crown of St. Edward, with which Anne was crowned, the Imperial Crown and the Tudor Crown. The British coronation ceremony at Westminster Abbey is a time-honored tradition that has been taking place for over a thousand years. The coronation is steeped in pageantry, religious significance, and symbolism, with many ancient traditions being observed during the ceremony. This paper is explored some of these traditions and their significance. Remembered The Canterbury Tales by Geoffrey Chaucer, Henry VIII by Shakespear, coronation music by Thomas Tallis and Handel, Anne Boleyn’s coronation ballad The White Falkon.
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Mendelson (book author), Sara, Patricia Crawford (book author), and Susan C. Frye (review author). "Women in Early Modern England 1550-1720." Renaissance and Reformation 36, no. 2 (January 1, 2000): 98–100. http://dx.doi.org/10.33137/rr.v36i2.8615.

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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.
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Fara, Patricia. "Book reviews." Notes and Records of the Royal Society of London 54, no. 2 (May 22, 2000): 259–72. http://dx.doi.org/10.1098/rsnr.2000.0259.

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Nine book reviews in the May 2000 issue of Notes and Records . Penelope Gouk, Music, science and natural magic in seventeenth-century England . J.M. Olson and J.M. Pasachoff, Fire in the sky: comets and meteors, the decisive centuries, in British art and science . Nuncius, Annali di Storia della Scienza . Anno XIV, fasc. 1. Olschki, Firenze, 1999. Pp. 417, Lit. 200 000 per year outside Italy. Desmond King-Hele, Erasmus Darwin, a life of unequalled achievement . John E. Thornes, John Constable's skies: a fusion of art and science . Colin A. Russell, Edward Frankland: chemistry, controversy and conspiracy in Victorian England . J. R. Smith, Everest: the man and the mountain . Barbara T. Gates, Kindred nature: Victorian and Edwardian women embrace the living world . Karl Sabbagh, A rum affair .
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Dissertations / Theses on the topic "Women in music – england"

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Morgan, Elizabeth Natalie. "The virtuous virtuosa women at the pianoforte in England, 1780-1820 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Cooper, Suzanne Fagence. "Picturing music in Victorian England." Thesis, Bucks New University, 2005. http://bucks.collections.crest.ac.uk/9932/.

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This thesis analyses musical imagery created by Victorian artists. It considers paintings, decorative arts and photography, as well as contemporary art criticism and poetry. Focusing on artists associated with Pre-Raphaelitism and aestheticism, it shows how they used musical subjects to sidestep narrative conventions and concentrate instead on explorations of femininity, colour, mood and sensuality. This thesis begins by considering the musical experience of four artists - Frederic Leighton, Dante Gabriel Rossetti, Edward Burne-Jones and James Whistler - and the influence of personal taste on their musical subjects. It then looks at the depiction of non-Western performance, including images of dancing girls. The third chapter explores the links between music and worship, and the subversion of traditional religious iconography by aestheticist artists. Chapter four analyses images of musical women, and especially the late-Victorian interest in mermaids and sirens. The theme of sensuality continues with an investigation of the connections between music and colour, by assessing the influence of Renaissance Venice, Wagner and French theories of synaesthesia on the Victorian art-world. The final chapter looks at the interconnectedness of music, nostalgia and bereavement in aestheticist painting. Although this study approaches the subject of music-in-art from a number of different directions, there are two key themes that underpin the interpretation of musical images. The first is that musical symbolism was malleable: music could signify both religious devotion and sexual passion. The second is that, in the Victorian imagination, music was oppositional and unstable. It was linked with femininity, emotion, colour, desire and the supernatural. This thesis demonstrates that the idea of music was a key component in the emergence of anti-Establishment art in Victorian England.
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Burrows, Donald. "Handel in England: Sacred Music." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37211.

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Daybell, James. "Women letter-writers in Tudor England." Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199259915.001.0001.

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Cast, Andrea Snowden. "Women drinking in early modern England." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phc346.pdf.

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Includes bibliographical references (leaves 320-415) Investigates female drinking patterns and how they impacted on women's lives in the sixteenth and seventeenth centuries in early modern England. Deals with female drinking as a site of contention between insubordinate women and the dominant paradigm of male expectations about drinking and drunkeness. Female drinking patterns integrated drinking and drunkeness into women's lives in ways that enhanced bonding with their female friends, even if it inconvenienced their husbands and male authorities. Drunken sociability empowered women.
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Archer, Jayne Elisabeth Euphemia. "Women and alchemy in early modern England." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/272292.

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Elias, T. P. "Music and authorship in England, 1575-1632." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598807.

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This thesis participates in the study of the 'birth of the author', the positioning of the category of authorship as a historical and social construct. In particular, it examines how ideas of authorship are developed in the production and presentation of printed music books. Music is not just a different, but a distinct way of approaching this issue. Composers were professionals, for whom financial considerations and the importance of enhancing their reputations outweighed gentlemanly concerns with the 'stigma of print'. The difficulties of setting and proof-reading music also encouraged printers to involve composers in the production of their own printed texts. Musicians had both the desire and the opportunity to create fixed, authorised texts in print. The first chapter of this thesis discuses the traditions of the compilation and transmission of music in manuscript, and the way in which 'authorised texts' were those edited by scribes, rather than those created by composers. The second chapter traces the emergence of the authorising individual out of traditions of public music and imitative practices. It also examines the extent to which imitators and anthologisers of Italian music, such as Thomas Morley, developed a concept of the 'work' as an entity which could survive translation and musical imitation. Chapter three discusses the development of the printed music book as a coherent collection, distinct from miscellaneous gathering of individual items. With particular reference to the Psalmes, Sonets and songs of William Byrd (1588), it follows the development of the form and presentation of printed music books out of traditions of the printed miscellanies of lyric verse. Chapter four moves away from the printed musical text to examine issues of patronage and the figurative ownership of the work. Musical texts also require performances; the text itself is incomplete. Composers thus begin to attempt to control performances to establish a definition of their 'work' as an entity beyond the printed page.
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Jourdan, Paul. "Mendelssohn in England, 1829-37." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272810.

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Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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Johnson, Christine M. "Quaker women peace campaigners in England 1820-1915." Thesis, Staffordshire University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271791.

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Books on the topic "Women in music – england"

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Musical women in England, 1870-1914: "encroaching on all man's privileges". New York: St. Martin's Press, 2000.

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Gillett, Paula. Musical women in England, 1870-1914: "encroaching on all man's privileges". Basingstoke: Macmillan, 2000.

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Moyes, Jojo. Night music. London: Hodder & Stoughton, 2008.

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Moyes, Jojo. Night music. Rearsby: Clipper Large Print, 2008.

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Peterson, Audrey. The nocturne murder. New York: Arbor House, 1987.

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Peterson, Audrey. The nocturne murder. New York: Pocket Books, 1988.

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Moyes, Jojo. Night Music: A Novel. New York: Penguin Books, 2021.

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Simply Unforgettable. New York: Dell, 2006.

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Graham, Laurie. Night in Question, the. London: Quercus Publishing, 2015.

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Whitmee, Jeanne. A lobster and a lady. Bath, England: Chivers Press, 2000.

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Book chapters on the topic "Women in music – england"

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Gillett, Paula. "Music as a Profession for Women." In Musical Women in England, 1870–1914, 189–227. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299347_7.

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Gillett, Paula. "Introduction: Music and the Female Sphere." In Musical Women in England, 1870–1914, 1–31. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299347_1.

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Gillett, Paula. "Music and “Woman’s Mission” in Late-Victorian Philanthropy." In Musical Women in England, 1870–1914, 33–62. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299347_2.

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Gillett, Paula. "Talents Discovered and Rewarded: Female Recipients of Music Philanthropy." In Musical Women in England, 1870–1914, 63–76. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299347_3.

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Black, Michael. "Women in Love: Introduction." In Lawrence’s England, 184–90. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-64303-5_10.

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Black, Michael. "Women in Love: Character." In Lawrence’s England, 226–32. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-64303-5_14.

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Daniels, Bruce C. "Men and Women." In New England Nation, 147–67. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137025630_9.

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Rusak, Helen. "Women conductors." In Women, Music and Leadership, 52–84. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003183631-4.

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Black, Michael. "Women in Love: The Project." In Lawrence’s England, 217–25. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-64303-5_13.

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Black, Michael. "Women in Love: Lawrence’s England." In Lawrence’s England, 233–41. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-64303-5_15.

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Conference papers on the topic "Women in music – england"

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Solomon, Danielle, Jo Gibbs, Fiona Burns, and Caroline Sabin. "O35 Abortion inequalities among women in England aged 16–24." In BASHH 2022 Abstracts. BMJ Publishing Group Ltd, 2022. http://dx.doi.org/10.1136/sextrans-bashh-2022.35.

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Yang, H., and PA Bath. "RF37 Predictors of loneliness among older men and women in england." In Society for Social Medicine 62nd Annual Scientific Meeting, Hosted by the MRC/CSO Social and Public Health Sciences Unit, University of Glasgow, 5–7 September 2018. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/jech-2018-ssmabstracts.125.

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Supiarza, Hery. "O.K. Tujuh Putri: Millennial Women in Keroncong Music." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.041.

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McArthur, Angela, Brona Martin, Emma Margetson, and Nikki Sheth. "Women in Spatial Sound - Working with the IKO Loudspeaker." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/womeninspatialsound.

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Peters, Helen, Kate Francis, Elena Ahmed, and Claire Thorne. "O06 Management of pregnancies to syphilis screen-positive women in England: the current picture." In BASHH 2023 Abstracts. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/sextrans-bashh-2023.6.

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Mohammed, S., K. Polymeros, R. Wickham-Joseph, I. Luqman, C. Charadva, T. Morris, and E. Moss. "428 Comparing characteristics of endometrial cancer in South Asian and White ethnicity women in England." In ESGO 2021 Congress. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/ijgc-2021-esgo.145.

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Knoth, Ina. "How to Deal with Music and the Arts in England, c. 1670–1750? Some Introductory Remarks." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.113.

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Aduragba, Olanrewaju Tahir, Jialin Yu, Alexandra I. Cristea, Mariann Hardey, and Sue Black. "Digital Inclusion in Nothern England: Training Women from Underrepresented Communities in Tech: A Data Analytics Case Study." In 2020 15th International Conference on Computer Science & Education (ICCSE). IEEE, 2020. http://dx.doi.org/10.1109/iccse49874.2020.9201693.

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Peters, Helen, Kate Francis, Laurette Bukasa, Rebecca Sconza, and Claire Thorne. "O21 Trends in maternal characteristics and pregnancy outcomes among women living with HIV in England: 2015–2020." In BASHH 2023 Abstracts. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/sextrans-bashh-2023.21.

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Treydte, Elisabeth. "Clara Schumann #digital. 40 Jahre Frau und Musik und der Start in die Digitalisierung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.94.

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The Archives of Women in Music based in Frankfurt a. M. (Germany) was founded in 1979. Its goals are increasing the visibility of women in music, achieving programming parity and making the wealth of creative work by women in music available for performance and research. The Archives assure long-term safe storage of both analogue and digital archive and library content. During the last three years it focused on two collection digitization projects and an oral history project.
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Reports on the topic "Women in music – england"

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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, July 2001. http://dx.doi.org/10.18235/0007945.

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huang, shuwen, you wu, qiuping ren, jianying shen, wenna liang, and candong li. The effectiveness of five-element music therapy on anxiety and depression in perimenopausal women: A protocol of systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, June 2022. http://dx.doi.org/10.37766/inplasy2022.6.0091.

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Smith Adams, Karen. From 'the help of grave and modest women' to 'the care of men of sense' : the transition from female midwifery to male obstetrics in early modern England. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5677.

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Ng, Amanda, Dzifa Adjaye-Gbewonyo, and James Dahlhamer. Lack of Reliable Transportation for Daily Living, United States 2022. Centers for Disease Control and Prevention (U.S.), January 2024. http://dx.doi.org/10.15620/cdc/135611.

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Access to transportation may be required for many daily tasks, including going to work, health care visits, and obtaining groceries. Previous research suggests that a lack of transportation, especially among adults who are older, uninsured, and have lower incomes, leads to reduced access to health care, which may then lead to adverse health outcomes (1,2). Using data from the 2022 National Health Interview Survey, this report describes the percentage of adults who lacked reliable transportation for daily living in the past 12 months by selected sociodemographic and geographic characteristics. Key findings Data from the National Health Interview Survey ● In 2022, 5.7% of adults lacked reliable transportation for daily living in the past 12 months. Women (6.1%) were more likely than men (5.3%) to lack reliable transportation. ● The percentage of adults who lacked reliable transportation was lowest among Asian non-Hispanic adults (3.6%) compared with other race and Hispanic origin groups. ● Lack of reliable transportation decreased with increasing education level and family income. ● Adults living in the West North Central region of the United States (7.5%) were more likely to lack reliable transportation than the national average (5.7%), while adults in New England (4.1%) were less likely
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The “BabyClear” programme helped pregnant women stop smoking in North East England. National Institute for Health Research, April 2017. http://dx.doi.org/10.3310/signal-000403.

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