Relevant bibliographies by topics / Women singers

Academic literature on the topic 'Women singers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Women singers"

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Potter, John. "The singer, not the song: women singers as composer-poets." Popular Music 13, no. 2 (May 1994): 191–99. http://dx.doi.org/10.1017/s0261143000007054.

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In his comprehensive celebration of women singers in the twentieth century, Wilfrid Mellers proposed a three-stage socio-musical evolution from the jazz, blues and gospel songs sung by black women, through the black-inspired white singers who followed them, to a new synthesis of singing poet-composers (Mellers 1986). Within this third category, very much the main point of the book, Mellers deals in considerable detail with a range of singer/song writers, from Joni Mitchell and Dory Previn to Rickie Lee Jones and Laurie Anderson. In this article I should like to take this concept of the woman singer/song writer as a point of departure from which to look at two very different kinds of singer: different, that is, both from each other and from any of the singers dealt with in the Mellers book. It has always seemed to me to be characteristic of much of Wilfrid Mellers' writing (and certainly of Angels of the Night) that he never lets his musicological agenda get in the way of his fundamental enjoyment of the music as a fan trying to make sense of his own taste. The reader can accept or reject his thoughts about the significance of it all, and not get so blinded by musicology that you cannot face listening to the songs: that, after all, is in the end what we are supposed to do. In what follows, I, too, write as a fan, but since performers do not often get the chance to bite back at musicologists, I should also like to take the opportunity to question from a singer's point of view a certain kind of performance analysis used by many musicologists. The subject is fraught with ideological booby-traps, so I should confess right away that I am a middle-class, middle-aged English married father.
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Syafniati, Syafniati. "PANDANGAN MASYARAKAT TERHADAP WANITA SEBAGAI PENDENDANG DALAM ACARA BAGURAU LAPIAK DI PAYAKUMBUH." Humanus 13, no. 2 (December 29, 2014): 146. http://dx.doi.org/10.24036/jh.v13i2.4724.

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Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views
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Sobolewska, Aleksandra, Pedro Claros, Carmen Pujol, Astrid Claros-Pujol, and Andres Claros. "Ageing of professional opera singer’s voice- preliminary findings." Otolaryngologia Polska 73, no. 2 (March 20, 2019): 1–5. http://dx.doi.org/10.5604/01.3001.0013.1002.

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Objectives. The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design. This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from a control group. Methods. All participants underwent a voice assessment protocol: an ENT specialist examination and a speech therapist evaluation. Acoustic parameters and subjective observations were obtained, and then analysed. Results. The fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women group when compared to younger singers, but not relatively different in the men group. Shimmer value presented no age related change. Morphological changes seem to correlate with the age of subjects. Conclusions. The main characteristic of voice change over age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on ageing voice in the population of professional opera singers.
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Kruglova, Elena. "Historical portrait of the first prima donna of Baroque opera: Vittoria Archilei." Человек и культура, no. 4 (April 2023): 129–40. http://dx.doi.org/10.25136/2409-8744.2023.4.43644.

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The name of Vittoria Archilei has entered the history of vocal art as the first opera prima donna in a new style of singing for the turn of the XVI-XVII centuries. During her lifetime, the singer enjoyed great popularity. Outstanding composers G. Caccini, J. Peri, S. D'India, E. de’ Cavalieri, etc. they admired her skill, noting the extraordinary tenderness of the sound of her voice, combined with its bright virtuosity. Archilei performance was significantly different from other singers, her contemporaries. It is not by chance that J. Peri calls the prima donna the Euterpe of his time. The article presents a creative portrait of Vittoria Archilei, the first brilliant interpreter of monodic music, an outstanding singer who created a new method of singing women. The methodological basis of the work is the principle of historicism. The cultural and historical research method was used. The biographical reconstruction was made on the basis of source studies with reviews of the singer's contemporaries, letters, music-critical articles. In Russian musicology, this article is the first special publication dedicated to the creative path of Vittoria Archilei. This material will be useful for musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at vocal departments of music colleges and faculties of universities.
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Skipper, James K., and Paul, L. Leslie. "Women, Nicknames, and Blues Singers." Names 36, no. 3-4 (December 1988): 193–202. http://dx.doi.org/10.1179/nam.1988.36.3-4.193.

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Morales Villar, Maria del Coral, and Mercedes Castillo Ferreira. "From prima donna to teacher. Two female pioneers in singing education in the Nineteenth Century: Virginia Boccabadati and Matilde Esteban." Multidisciplinary Journal of Gender Studies 11, no. 2 (June 25, 2022): 100–123. http://dx.doi.org/10.17583/generos.9045.

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During the 19th-century, the teaching of singing became a career opportunity for the women who had worked in the lyrical stage. The core objective of this article is to reclaim the role of women in music education by studying two prime donnewho, after building a career as successful professional singers, became singing teachers and were pioneers in publishing their methods for female voice education. This research is based on the review and analysis of documentation, mostly historical. By looking at the biographies of the Italian singer, Virginia Boccabadati (1830-1922) and the Spanish singer, Matilde Esteban (1841-1915), we can discover the context in which their treatises were published and the image they offer of woman as a singer and as a student. By choosing women who were each other's contemporary, but from different countries, helps us to observe the obvious points related to gender determinants that their treatises had in common.
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Clarós, Pedro, Aleksandra Sobolewska, María Del Carmen Pujol, Astrid Clarós-Pujol, and Andrés Clarós. "Long-term results of tonsillectomy in professional opera singers: a pilot study." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 5 (April 21, 2020): 815. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20201669.

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<p class="abstract"><strong>Background:</strong> The primary goal of this study was to evaluate the long-term influence of tonsillectomy on the quality of life and voice performance of opera singers. Survey study which was reviewing the long-term effects of tonsillectomy. </p><p class="abstract"><strong>Methods:</strong> Retrospective review of patients’ records and surveys in which patients have answered the questions about the influence of tonsillectomy on their voice. A total group of 30 singers was included in the study. They answered the questions about the indications for surgery, symptoms, and changes in their voice after surgery. The study group consisted of 19 women and 11 men. Mean age was 18.53 years old at the moment of surgery. The group included eleven sopranos, six mezzos, two contraltos, four tenors, five baritones, and one bass singer. </p><p class="abstract"><strong>Results:</strong> A most common indication for tonsillectomy in opera singers was recurrent tonsillitis and was present in over 83% of cases. After surgery, the voice performance was better in 60% of cases, breathing improved in 50% of cases, voice emission was higher in 53% of cases. Over 80% of singers would recommend that surgery to another opera singer.</p><p class="abstract"><strong>Conclusions:</strong> Singers evaluated long-term influence of tonsillectomy as positive. Over 80% admitted improved effect on emission and the function of voice.</p>
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Gardner, Catherine. "Singing for Two: A Holistic Review of the Experiences of Classical Singers During Pregnancy." Journal of Singing 79, no. 5 (April 27, 2022): 603–14. http://dx.doi.org/10.53830/tywl4819.

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Literature is scant concerning the effects of pregnancy on singers, particularly in terms of the physical, emotional, social, and career implications of singing while pregnant. In this study, singer and voice pedagogue Catherine Gardner summarizes responses of 400 women worldwide to a survey that addressed these issues, with both quantitative and qualitative date documented.
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Price, Harry E. "Interval Matching by Undergraduate Nonmusic Majors." Journal of Research in Music Education 48, no. 4 (December 2000): 360–72. http://dx.doi.org/10.2307/3345369.

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This article describes the sixth in a series of studies designed to gain a better understanding of factors that may affect pitch matching. Undergraduate nonmusic majors ( N = 141) enrolled in a music fundamentals class were classified as uncertain, modulating, or certain singers. They listened to a stimulus tape of descending minor thirds, sung by men in their normal and falsetto registers (G3-E3 and G4-E4, respectively, with G3 (middle C being C4), and to two sine-wave stimuli in the same octaves and attempted to sing back the interval they heard. There were no significant differences in the accuracy of responses to male and sine-wave stimuli or between men and women participants. There were significant differences among singer types, with inaccurate singers being less in tune than either modulating or certain singers. There was a significant interaction of response accuracy between participant sex and stimulus octave. These results differ somewhat from previous research with children, in which stimulus timbre and participant sex were factors.
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Jannah, Raudhatul, G. R. Lono Lastoro Simatupang, and Wiwik Sushartami. "SAKDIAH, A POP SINGER IN THE LAND OF SHARIA." Jantra. 14, no. 2 (December 27, 2019): 181–92. http://dx.doi.org/10.52829/jantra.v14i2.95.

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Sakdiah is a woman from Gayo, Aceh. She has pursued her career as a pop singer in the land of Sharia Aceh, among the Gayo ethnic group that practice a patriarchal system. Pop music is mostly dominated by men and this situation determines the position of women in the world of music. Using the methods from ethnomusicology, this research looks at Sakdiah’s position in the Gayo pop music and her journey in the world of music. The result of this research proves that Sakdiah is one of the most productive singers releasing albums. She has chosen to appear on stage as a solo singer. Her success is inseparable from music agents and producers.
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Dissertations / Theses on the topic "Women singers"

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Musselman, Susan Joanne. "Cohesion of composer and singer the female singers of Poulenc /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1196185791.

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Brenner, Phyllis Ann. "The emergence of the English contralto /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10909540.

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Thesis (Ed.D)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Includes appendices. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Bibliography: leaves 195-212.
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Ryan, Maree. "Effects of premenstrual symptoms on young female singers." Connect to full text, 2006. http://hdl.handle.net/2123/1432.

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Thesis (M. Mus. (Perf.)) -- University of Sydney, 2006.
Title from title screen (viewed September 4, 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Applied Research in Music Performance), Sydney Conservatorium of Music, University of Sydney. Includes tables, diagrs. and graphs. Includes bibliographical references. Also available in print form.
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Wright, Delane E. (Delane Elizabeth). "Poppin' Their Thang: African American Blueswomen and Multiple Jeopardy." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278053/.

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This ethnographic analysis examines the life stories and lyrics of four African blues singers. Specifically, it compares the cultural themes that emerge their life stories to the cultural themes at emerge from their commercially released music. The findings suggest that the singers recognize, to varying degrees, the impact of racism, sexism, and classism on their personal and careers. These same themes, however, are not present in the lyrics of the music that they choose to sing. Both the stories and the lyrics reveal internal inconsistencies that mirror one another. The conclusion suggests that the inconsistencies within their stories and music are consistent with their liminal position with regard to dominant and subordinate cultures.
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Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1432.

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Throughout the 20th Century, female operatic singers in most of the major European opera houses were given “grace days” (where they were not required to sing) in recognition of the effect of hormonal changes on the singing voice. Financial constraints in professional companies have resulted in a reduction of such considerations, but to date, there has been no systematic study of the effects of hormonal fluctuations on the quality of the female singing voice, or of its potential adverse effects on the vocal apparatus for singers who are affected by pre-menstrual syndrome. This study investigated the effects of hormonal fluctuations on young professional female classical singers. Female and male professional singers in training (students) at the Sydney Conservatorium of Music, University of Sydney, were asked to participate as volunteers in the study by keeping daily diaries. The female singers kept a diary for two separate months beginning on the first day of menstruation, in which they recorded their daily basal temperature, mood, voice state and physical well being. The male control subjects kept daily diaries for one month. Acoustic analysis of two vocal samples taken during the second month, on days 1 and 14 of the cycle, were completed on the six most severely affected female subjects, who were identified through their diary ratings of changes in vocal quality during menstruation. The selected students assessed their own vocal samples, presented in random order, to determine whether they could reliably identify which of their samples were affected by menstruation. Vocal staff at the Conservatorium (pedagogues), who were blind to the purpose of the study, also assessed recordings presented randomly. Results indicated that self-perceived vocal quality varied over the course of the menstrual cycle, particularly during the first seven days of the cycle, that negative changes in mood affected the voice, and that fatigue, effort, hoarseness, weakness & peak performance were the most frequently affected vocal states. A surprising finding was that male self-perceived voice quality also varied over the course of one month of diary keeping. There was no consistent change in direction of scores during menstrual and non-menstrual phases. Five of the six most affected singers correctly identified their performance during menstruation but pedagogues were not consistently able to do so.. These results indicate that perceived quality of the voice through changes in the menstrual cycle may not be as obvious to a highly trained observer even though they were reliably perceived by the singer. This study demonstrates that menstruation has a discernible impact on the self-perception of female singers’ vocal quality and implies that the premenstrual or menstrual female may not feel able to present her peak performance at these times of hormonal fluctuation. Further detailed research in this area may be warranted on a larger scale to elaborate a more precise clinical management of the problem.
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Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." University of Sydney, 2006. http://hdl.handle.net/2123/1432.

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Master of Music
Throughout the 20th Century, female operatic singers in most of the major European opera houses were given “grace days” (where they were not required to sing) in recognition of the effect of hormonal changes on the singing voice. Financial constraints in professional companies have resulted in a reduction of such considerations, but to date, there has been no systematic study of the effects of hormonal fluctuations on the quality of the female singing voice, or of its potential adverse effects on the vocal apparatus for singers who are affected by pre-menstrual syndrome. This study investigated the effects of hormonal fluctuations on young professional female classical singers. Female and male professional singers in training (students) at the Sydney Conservatorium of Music, University of Sydney, were asked to participate as volunteers in the study by keeping daily diaries. The female singers kept a diary for two separate months beginning on the first day of menstruation, in which they recorded their daily basal temperature, mood, voice state and physical well being. The male control subjects kept daily diaries for one month. Acoustic analysis of two vocal samples taken during the second month, on days 1 and 14 of the cycle, were completed on the six most severely affected female subjects, who were identified through their diary ratings of changes in vocal quality during menstruation. The selected students assessed their own vocal samples, presented in random order, to determine whether they could reliably identify which of their samples were affected by menstruation. Vocal staff at the Conservatorium (pedagogues), who were blind to the purpose of the study, also assessed recordings presented randomly. Results indicated that self-perceived vocal quality varied over the course of the menstrual cycle, particularly during the first seven days of the cycle, that negative changes in mood affected the voice, and that fatigue, effort, hoarseness, weakness & peak performance were the most frequently affected vocal states. A surprising finding was that male self-perceived voice quality also varied over the course of one month of diary keeping. There was no consistent change in direction of scores during menstrual and non-menstrual phases. Five of the six most affected singers correctly identified their performance during menstruation but pedagogues were not consistently able to do so.. These results indicate that perceived quality of the voice through changes in the menstrual cycle may not be as obvious to a highly trained observer even though they were reliably perceived by the singer. This study demonstrates that menstruation has a discernible impact on the self-perception of female singers’ vocal quality and implies that the premenstrual or menstrual female may not feel able to present her peak performance at these times of hormonal fluctuation. Further detailed research in this area may be warranted on a larger scale to elaborate a more precise clinical management of the problem.
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Goosen, Gysbert Jacobus. "A critical study in the management of the female adolescent voice." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/3438.

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This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
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Lynch-Thomason, Sara. "“I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3488.

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This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies. This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.
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Durán, Lucy. "Stars and songbirds Mande female singers in urban music, Mali 1980-99 /." Boston Spa, U.K. : British Library Document Supply Centre, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.340348.

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Brandt, Jessica. "Sexually Suggestive Songs and Singers: Music Media and Its Effects on the Sexualization of Women." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1544.

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The purpose of this research was to examine the relationship between music and the sexualization of women. The study focused on 450 participants, both male and female, belonging to various ethnic backgrounds, ages 18 and up. It was hypothesized that a participant’s exposure to sexually suggestive music would impact their views of women. Specifically, exposure to sexual explicit or suggestive music would relate to more sexist views towards women. Results indicated that there were relationships between music and the sexualization of women. The breakdown of each genre of music and the different measures proved to be surprising, as some genres had a very strong correlation, while others had none at all. Overall, the results supported the idea that media, specifically music, does certainly have an impact on listeners and viewers. This supports most previous research, and disproves the very few studies that suggest otherwise.
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Books on the topic "Women singers"

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Emerson, Isabelle Putnam. Five centuries of female singers. Westport, CT: Praeger, 2005.

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Herrmann, Nora. Only women bleed. Frankfurt: Edition Biographica, 2003.

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Fanny, Blake, ed. Keep smiling: The autobiography. London: Orion, 2007.

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Brun-Lambert, David. Nina Simone: Une vie. Paris: Flammarion, 2005.

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Hogan, Peter K. Shirley Bassey: Diamond diva. London: Andre Deutsch, 2008.

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Brun-Lambert, David. Nina Simone: The biography. London: Aurum, 2009.

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Kuusisaari, Harri. Duo: Soile Isokoski ja Marita Viitasalo. Helsinki: Minerva, 2007.

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Dennis, Steve. Britney: Inside the dream : the biography. London: Harper, 2010.

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Mouskouri, Nana. Memoirs. London: Phoenix, 2008.

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Nickson, Chris. Mariah Carey: Her story. London: Pan, 1996.

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Book chapters on the topic "Women singers"

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Brown, Howard Mayer. "Women Singers and Women’s Songs in Fifteenth-Century Italy." In Women Making Music, 62–89. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09367-0_4.

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Findley, Brooke Heidenreich. "Introduction Authors, Writers, Singers, and Women: Gendering Literary Creation in Medieval French Culture." In Poet Heroines in Medieval French Narrative, 1–25. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_1.

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Gordon, Tuula. "From spinsters to singles." In Single Women, 9–24. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23252-9_2.

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Gillett, Paula. "Immortal Tones: Woman as Public Singer." In Musical Women in England, 1870–1914, 141–87. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299347_6.

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Damrau, Peter. "Elizabeth Singer Rowe (1674–1737): From Parsonage to Bestselling Author." In Women from the Parsonage, edited by Cindy K. Renker and Susanne Bach, 31–50. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110590364-003.

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Prescott, Sarah. "Elizabeth Singer Rowe (1674– 1737): Politics, Passion and Piety." In Women and Poetry, 1660–1750, 71–78. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230504899_7.

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Green, Jenny. "Utopian Women." In Fighters and Singers, 55–67. Routledge, 2020. http://dx.doi.org/10.4324/9781003115632-4.

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Tonkinson, Myrna. "Two Women of Jigalong." In Fighters and Singers, 161–74. Routledge, 2020. http://dx.doi.org/10.4324/9781003115632-12.

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Muller, Carol A. "Women, Political Voice, and the South African Diaspora, 1959–2020." In Social Voices, 178–94. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045240.003.0010.

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The introduction to the third part of the volume, “Multiplicities of Representations,” highlights how singers, songs, and even the concept of singing are always evolving, being recreated, and imagined anew. Drawing on examples from the author’s own research on multivocality and such singers as Ixya Herrera, together with the section’s chapters on the pioneering Macedonian Romani singer Esma Redžepova, the Taiwanese singer Teresa Teng, and five Black South African women singers, including Miriam Makeba, Sathima Bea Benjamin, and others, the introduction stresses the multiple ways in which singers adapt to audiences through different languages, historical eras, political backgrounds, and so on, while also emphasizing the importance of the positionality of the listener—and the multiple identities with which they identify—in the process.
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Smith, Diane. "Running Free: Three Kugu-Nganychara Women." In Fighters and Singers, 142–60. Routledge, 2020. http://dx.doi.org/10.4324/9781003115632-11.

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Conference papers on the topic "Women singers"

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MEHMETALI, Bekir. "The Woman in Diwan (The Brunette Said to Me) by Nizar Qabbani." In I.International Congress ofWoman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-1.

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The woman, since God created her, was equal to the man, and a foundation on which life, the family, and society rest. Girlfriend, lover, dancer, singer, wife. Arab poetry immortalized many women, such as Abla Bint Malik Al-Absi, Habiba Antarah Bin Shaddad, Laila Habiba Majnoon Bani Amer, Buthaina Habiba Jamil, Afra Habiba Urwa, and the birth of Habiba Ibn Zaydun. In the modern era, poets emerged who had the upper hand in dealing with the issue of women, and talking about them in their poems. He describes her, flirts with her, praises her charms, or attacks and criticizes her. In this research, I wanted to address the image of the woman in the poetry collection (The Brunette Said to Me) by Nizar Qabbani, in an attempt to clarify his position towards her as it was revealed in this collection that we chose. Because it is his first collection of poetry. The aim of the study is to clarify the true image of women in this collection of poetry from the poet's perspective, his attitude towards her, and his view of her, while he was in the prime of his life and in the prime of his youth. The researcher uses the descriptive and analytical approaches, presenting and analyzing Nizar Qabbani's poems related to this topic as contained in his poetry collection (The Brunette Said to Me). To deduce, clarify, and extrapolate her image or images from the poet's perspective.
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2

Petrenko, H. V., D. D. Diatlova, and B. S. Yemelianenko. "Analysis of Ukrainian athletes' performances in the women‟s singles and doubles events аt the 2024 Australian Open in Melbourne." In THE SIGNIFICANCE OF PHYSICAL CULTURE AND SPORTS FOR HUMAN HEALTH. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-415-3-7.

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3

Ribeiro, Giovana Barros e. Silva, Vítor Guimarães Corrêa, Izadora Vieira Bolzani Lopes Lima, Sabrina Vechini Gouvêa, and Li Li Min. "Neuro-Behçet as a cause of acute onset cerebellar ataxia: a case report." In XIV Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2023. http://dx.doi.org/10.5327/1516-3180.141s1.756.

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Case presentation: A 37-year-old woman, current smoker and previously addicted to cocaine, was brought to the emergency department with complaints of “imbalance and altered speech” that started eight days prior to admission, acutely. The patient, who was previously asymptomatic, also reported fever, headache and myalgia during the same period. Emotional lability was reported by the family members. At the initial evaluation, the patient was somnolent but reactive. Scanning speech, left-sided central facial palsy, sings of bilateral pyramidal involvement, axial and appendicular cerebellar ataxia were also observed. After a thorough examination, cicatricial lesions of previous genital ulcers were observed and the patient reported the presence of recurrent orogenital ulcers in the previous three months. Also, sporadic episodes of conjunctival hyperemia and hematuria were reported. CSF analysis demonstrated a cellularity of 63 leukocytes/mm3 (100% lymphocytes), increased total protein (105 mg/dL) and a low glucose level (cerebrospinal fluid/plasma ratio of 53%). The magnetic resonance imaging showed FLAIR hyperintensity at the midbrain, left cerebral peduncle, pons (base and tegmentum), posterior limbs of both internal capsules and left posterior thalamus. A pontine lesion with peripheral contrast enhancement, leptomeningeal enhancement at the level of the prepontine cistern and enhancement of the VII and VIII complexes were also observed. High-dose steroid therapy with methylprednisolone 1 g/day was initiated (total of five days of therapy) and the patient presented significant improvement of the symptoms, returned to walk independently and no longer presented emotional lability. At the time of discharge, a mild cerebellar ataxia was still observed. The pathergy test was positive and the diagnosis of Neuro-Behçet was confirmed. The steroid treatment was transitioned to oral prednisolone and, later, immunosuppressive therapy with infliximab was started.
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Reports on the topic "Women singers"

1

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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