Dissertations / Theses on the topic 'Women singers'
To see the other types of publications on this topic, follow the link: Women singers.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 48 dissertations / theses for your research on the topic 'Women singers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
Brenner, Phyllis Ann. "The emergence of the English contralto /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10909540.
Full textAbstract:
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.
3
Ryan, Maree. "Effects of premenstrual symptoms on young female singers." Connect to full text, 2006. http://hdl.handle.net/2123/1432.
Full textAbstract:
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.
4
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/.
Full textAbstract:
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.
5
Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1432.
Full textAbstract:
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.
6
Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." University of Sydney, 2006. http://hdl.handle.net/2123/1432.
Full textAbstract:
Master of MusicThroughout 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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full text
10
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.
Full textAbstract:
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.B.S.
Bachelors
Sciences
Psychology
11
Malik, Saadia I. "Exploring aghani al-banat a postcolonial ethnographic approach to Sudanese women's songs, culture, and performance /." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1053018989.
Full text
12
Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.
Full text
13
Gable-Wilson, Sonya R. "Let freedom sing! four African-American concert singers in nineteenth-century America /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010882.
Full text
14
Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.
Full text
15
Joncus, Berta. "A star is born : Kitty Clive and female representation in eighteenth-century English musical theatre." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:1e03037b-89a3-4b00-a5ae-81229ccdf5c7.
Full textAbstract:
Catherine ('Kitty') Clive (1711-1785) was the most famous singer-actress of mideighteenth century London, and one of the first women whom Drury Lane managers sought to popularize specifically as a singer. Drawing on theories of star construction in cinema, this thesis explores how the public persona of Mrs Clive 'composed' the music she sang. A key ingredient in star production is the wide-ranging dissemination of the star's image. The first chapter explains how the mid-eighteenth star was produced, outlining the period equivalents to what film scholars consider the sources of modern stardom: promotion, publicity, criticism and the work. This last means of star production is considered according to period traditions of comic writing, acting and spectatorship. These activities were part of the practice, begun in the Restoration, of creating a 'line' or metacharacter to fit the skills, reputation and unique acting mannerisms of principal players. The second chapter examines the vehicle of Mrs Clive's initial success, ballad opera. Ballad opera brought to the London stage the musical and discursive traditions of the street ballad singer, who typically communicated with audiences directly through indigenous, popular tunes. Direct address and native pedigree were to remain key elements in Mrs Clive's music, regardless of the genre she was singing. Chapters 3 to 5 trace three distinct phases in Mrs Clive's star production. Chapter 3 studies her promotion by Henry Carey, who taught her distinctive vocal techniques ('natural' singing; mimicry of opera singers) and supplied a sophisticated ballad-style repertory of which she was the chief exponent, 1728-32. Through Mrs Clive, Carey promoted his music and convictions - song in 'sublimated ballad style', the attractiveness of native traditions, female rights - and these became hallmarks of the Clive persona. Chapter 4 considers Henry Fielding's Clive publicity in his musical comedies and writings for her, 1732-6. Initially, he vivified the impudent nymph of her first 1729 mezzotint through stage characters, songs and epilogues. The criticism she drew for her refusal to join 1733-4 Drury Lane actors' rebellion forced him to re-invent Mrs Clive as a 'pious daughter'. In order to galvanize support for her, he broadened his publicity and made her an icon of conservative patriotic values and an enemy of Italian opera. Chapter 5 investigates Mrs Clive's management of her own image in her 1736 battle to retain the lead role in The Beggar's Opera. After her triumph, the duties of her new writer James Miller were simply to reflect audience perception of her. Chapters 6 and 7 analyse how the Clive persona, now rooted in public fantasy, shaped her two most important 'high style' musical roles, first in Thomas Arne's Comus, and then in Handel's Samson. Chapter 6 shows how the themes and musical procedures typical of the Clive persona were wedded to Milton's Comus, which then became the imaginative touchstone for a 'Comus' environment at the Vauxhall Pleasure Gardens. Chapter 7 examines her history as mediator of, and collaborator with, Handel, and shows how Handel's conceptualization of Dalilah in Samson mirrored that of Arne's Euphrosyne in Comus. Chapter 8 describes her ascendancy into 'polite society' through her friendship with Horace Walpole, and summarizes the means by which Mrs Clive's talents and audience perception of her shaped the works she performed.
16
Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Full textAbstract:
Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
17
O'Neill, Lorraine. "From canter to cantor: Negotiating constraints, and the perceptions of elitism in serious leisure pursuits : The experiences of a high performing athlete and artist." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1826.
Full textAbstract:
Everyone experiences leisure differently but, for people who excel in a chosen field, a hobby can become a serious goal-oriented leisure pursuit. Many talented people, however, fail to reach their leisure goals due to constraints. This study explored individual life experiences of serious leisure participants. It focused on the lived experiences of individual event [horse] riders and opera singers who successfully negotiated their constraints, enabling them to reach their high performance goals.
The purpose of this study was to explore positive personal strategies that individuals used to negotiate constraints in serious leisure. This was done by exploring intrapersonal, interpersonal and structural leisure constraints using an individual’s life experiences. During the process of this study, elitism in the leisure pursuits of event riding and opera singing, and the perceptions about individuals who participate in these activities, were also explored.
A multidisciplinary approach was used in this study using a two stage mixed research methodology. The first stage explored the lived experiences of two individuals through a series of in-depth case study interviews, followed by interviews with their parents and coaches. Focus groups followed to establish if a wider group of participants within the same leisure pursuits experienced similar findings. The second stage of the study used a quantitative method, which consisted of a broader national survey. The survey data validated the qualitative findings and strengthened study outcomes.
The findings of this study related to the opportunity-seeking skills an individual develops throughout their leisure life. These opportunity-seeking skills were linked to the likes, needs and wants an individual must have to reach a high performance level. It also found four principal ‘C Factors’ important to individual decision-making processes: conditioning, change, choice and control. Research findings revealed that early support and encouragement, however small, conditioned and motivated individuals to start and continue in a particular leisure activity. It also showed that those who had the ability to improve their talent, who personally believed in themselves, who viewed difficulties or complicated situations positively, and sought opportunities to enhance their leisure goals and change constraint outcomes, continued to succeed. Individuals had to make choices to enable them to control their goal achievement and deal with constraints throughout their leisure life. High performance success was found to be related to superior opportunity-seeking skills. Constraints arising from perceptions of elitism within serious leisure pursuits were found to be based on an individual’s life experiences and societal opinions, and not on the actual activity itself.
In this study the strength of an individual’s motivation and self-belief, had a direct influence on their perceptions of constraints, and how they personally used opportunity-seeking to negotiate these constraints. Although the ability to predict which athletes or artists will become national or world class is limited, the conceptual framework developed in this study based on successful constraint negotiation strategies, could aid individuals wishing to reach a high performance level, and guide their parents and coaches to provide optimal support.
18
Kochis-Jennings, Karen Ann. "Intrinsic laryngeal muscle activity and vocal fold adduction patterns in female vocal registers chest, chestmix, and headmix /." Diss., University of Iowa, 2008. http://ir.uiowa.edu/etd/21.
Full text
19
Westerfield, Jane R. "An investigation of the life styles and performance of three singer-comediennes of American vaudeville : Eva Tanguay, Nora Bayes and Sophie Tucker." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/515977.
Full textAbstract:
In the early days of the twentieth century when vaudeville was the most popular theatrical entertainment in America, there were a number of female singers who became its star performers. In the process of conducting preliminary research for a dissertation topic on female singers of this era, it quickly became evident that while much has been written about opera singers of that era, only limited material was available on female vaudeville singers. Furthermore, the small amount of information which was available was so randomly scattered among various sources that it was difficult to perceive a composite picture of these performers.The purpose of this investigation into the musical styles and repertoire of three great female singer-comediennes of early vaudeville--Eva Tanguay, Nora Bayes and Sophie Tucker--is to determine what the reasons were for their tremendous popularity. Because vaudeville was the prime source of entertainment before the days of mass media, the American public was quick to make stars of many of its performers. This study seeks to ascertain what it was about thesewomen's particular musical styles, repertoire and personalities which made them so interesting and caused the public to make them vaudeville stars. Though there are certainly other female singers of this period which are also of interest:, these three were chosen because they were unique.This study is presented as a series of articles with separate chapters devoted to Eva Tanguay, Nora Bayes and Sophie Tucker as individuals. These chapters include biographical material, especially from books about vaudeville performers, and also explore critical reviews and other reports on their work from such sources as "Variety," "Theatre Magazine," and various newspaper accounts. Analysis of these sources on each individual within the chapters is included as well. The final chapter contains a summary of the research and a discussion of what conclusions were reached about the musical styles and repertoire of Eva Tanguay, Nora Bayes and Sophie Tucker as a result of this investigation.In addition to discovering the reasons for these performers' popularity and appeal, it is hoped that a viable by-product of this research has been to arouse renewed public interest in these three fascinating ladies of early vaudeville.
20
Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
Full textAbstract:
This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
21
McNeese, Lauren. "The Shrinking Opera Diva: The Impact of Sociocultural Changes upon the Casting of Women in the 20th and 21st Centuries." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984190/.
Full textAbstract:
For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.
22
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.
Full textAbstract:
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
23
Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.
Full text
24
Keeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.
Full text
25
Prescott, Sarah Helen. "Feminist literary history and British women novelists of the 1720s." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361324.
Full text
26
Hancock, Lisa Lynn. "How Women Experience and Respond to Singlism: Stereotyping and Discrimination of Singles." ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/3994.
Full textAbstract:
Society views and treats women who are single differently than women who are not single. This practice of stereotyping and discrimination towards singles is called singlism. The purpose of this qualitative study was to use grounded theory methodology to explore and explain how women experience singlism and what explains how women experience singlism. Social constructionism, cognitive dissonance theory, and social identity theory were used as conceptual foundations in explaining how society constructs the status of single women, how single women are viewed and treated, and how single women manage their single social identity. The participants of the study included women over the age of 18 who self-identified as single and as having experienced singlism. Semistructured interviews, memoing, and member checking were used to collect data. Initial, focused, and theoretical coding procedures were used to manage the data, and a content analysis of the textual data was performed. Findings from the data suggest women respond to singlism by experiencing feelings, adopting beliefs, and participating in behaviors. A woman's experience of negative or angry feelings, adopting beliefs supporting or opposing to singlism, and participating in behaviors to support or oppose singlism is explained by her internalization of singlism, and of the ideology of family and marriage. Social action is needed to counteract singlism. This necessitates an identity shift to reframe single as a positive social identity which begins by raising awareness about singlism. The findings of this study may promote positive social change by raising awareness about singlism.
27
Effertz, Julia Irmgard. "The woman singer and her song in French and German prose fiction (circa 1790-1848)." Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501961.
Full textAbstract:
This thesis examines the woman singer and her song as a literary motif in French and German prose fiction between 1790 and 1848. In the form of selected case studies, I establish how, for some authors of this period, the singer constituted an important cipher for female artistic empowerment. Although substantial research on the cross-fertilization between music and literature exists, this specific motif has so far received very little attention in Comparative Literature studies. Additionally, literary critics have not previously explored the potential of the woman singer beyond the stereotypes associated with woman and song. By outlining the sociocultural background of singers at the time in chapter 2, and the theoretical context of idealized female song in chapter 3, I first show the strong ideological dimension of the singer as a character of ambivalence. I then investigate how literature responded to this theme, and how key authors developed the character as a reflection on aesthetic ideals pertaining to female musicality, and as a potentially subversive, empowered figure of female song performance. In chapter 41 examine the importance of early singer archetypes created by Goethe and Madame de Stadl, both of whose visions of musically inspired artistic genius paved the way for subsequent literary treatments of the singer and her increasing professionalism and artistic agency. In Chapter 5 I show to what extent marginalized authors like Caroline Fischer wrote explicitly against the cliche of the musical feminine ideal, proposing different views on female agency through art, whereas in chapter 7 I demonstrate how women authors of the July Monarchy period, such as Taunay, Sand, Ulliac and Desbordes-Valmore wrote strong narratives revolving around the life and genius of the prima donna singer. On the other hand, in chapter 6 I show that, although couching their narratives in seemingly more traditional, patriarchal imagery, male authors like Hoffmann, Balzac and Berlioz implicitly criticized the idealism associated with both music and woman and looked for narrative ways to portray the woman singer as an artist who maintains autonomy and integrity. My conclusion emphasizes that through their unique treatment of the woman singer,authors contributed to a complex, continuous discourse on woman and music which went beyond the stereotypical nature of cultural and aesthetic paradigms of female song
28
Olsen, Elena Brit. ""Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9337.
Full text
29
Isler, Sarioglu Aysen. "My Faithfull Machine: The Role Of Technology In Daily Life The Case Of Singer Sewing Machine In Turkey." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613725/index.pdf.
Full textAbstract:
This thesis aims to investigate the role of domestic technology in daily life. It focuses on the impact of household technologies upon women&rsquos lives and attempts to address the questions of how women could create an agency through technology to transform their lives and how a technological appliance could act to empower women. Of all household technologies, Singer sewing machine was chosen owing to its representative nature. Accordingly, the thesis provides a brief history of Singer Company in order to describe the major aspects of both the Singer Company and the sewing machine technology. It is argued that sewing machine technology became a convenient tool for women to transform their lives both economically and socially. The testimonies of the women interviewed for this thesis show that their technological skills were a significant part of their identity. Furthermore, middle-class Turkish women used this technology to meet middle class standards whenever they and their families aspired to.
30
Strimpel, Zoe. "The matchmaking industry and singles culture in Britain, 1970-2000." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/71609/.
Full text
31
Berköz, Levent Donat. "A gendered musicological study of the work of four leading female singer-songwriters : Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos." Thesis, City University London, 2012. http://openaccess.city.ac.uk/1235/.
Full textAbstract:
This thesis investigates the role of gender in popular music, exploring the possibility of a feminine mode of writing. It focuses on the work of four leading female singer-songwriters, namely Laura Nyro, Joni Mitchell, Kate Bush and Tori Amos, whose songs are analyzed as textual entities. Building a theoretical bridge between musicology and feminist theory, the relationship between the text and the body is examined. The discursive perspective of this research allows pieces of popular music to be considered not only as ideologically signifying cultural commodities but also as textually signifying entities of words, music and images complementing (rather than supplementing) one another; in other words, that their cultural and ideological embodiments may be musicologically interpreted in tandem. My analysis of popular music pieces created and envoiced by these four artists departs from the presumption of the significance of gender-consciousness informing this word-music-image entity, located simultaneously at a representational and textual/musical level. Throughout this thesis, different female subjectivities are discussed, drawing primarily upon French feminism. Theories which establish a foundation for my arguments are Julia Kristeva’s the semiotic, Luce Irigaray’s feminine multiplicity and Hélène Cixous’s écriture féminine, as well as Joan Riviere’s womanliness as masquerade. The resulting multilayered discourse acquires an interdisciplinary character, drawing upon and seeking to contribute to fields such as feminist musicology, popular music studies and gender theory. It also aims to shed light on issues from which gendered discourses arise, both in general terms and in the specific realm of music. This thesis concludes by discussing the extent to which female musicians achieved the feminization of popular music through manipulating both the lyrical and musical structures imposed by dominant discourses.
32
Chun, Sara Myung-Su. "The Sun Through My Hair: A Response to (Un)Romantic Imaginations of Asian/American Women." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/268.
Full textAbstract:
Women of color are still trapped in the colonialist trajectory of Delacroix’s sexualized Women of Algiers (1834) and alienated from the world of Sargent’s Daughters of Edward Darley Boit (1882) in contemporary media images that serve to exocitize, fetishize, and commodify non-white female bodies. These historical and contemporary images form a psychological weight both imposed on women of color by outside perceptions and by now-cemented internal perceptions. While women do not passively absorb media images, it cannot be ignored that the hypersexual Asian/American woman in representation “haunts the experiences and perceptions of Asian women” despite attempts to reject these images and efforts to identify empowering aspects of images of sexual power (Shimizu 2007). Ideas and expectations of sexual openness in women of color seep into our consciousness at many moments in our personal lives and cast doubt on Asian/American women’s engagements with sexuality. Resistance of and escape from objectification as an erotic racial signifier of difference are attempted through abstraction and self portraiture.
33
Gunderson, Maryann S. "Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1080666457.
Full text
34
Castaneda, Alisha Priolo. "Hues, tresses, and dresses examining the relation of body image, hair, and clothes to female identity in Their eyes were watching God and I know why the caged bird sings /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
Full text
35
Santos, Marcela Ernesto dos [UNESP]. "Mulher e negra: as memórias de Carolina Maria de Jesus e Maya Angelou." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94065.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2009-12-16Bitstream added on 2014-06-13T18:30:46Z : No. of bitstreams: 1
santos_me_me_assis.pdf: 757864 bytes, checksum: 6228de78c6143bf23c2d70acb679a080 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A produção intelectual do feminismo questionou as representações e os papéis sociais de gênero e também contribuiu para a evolução de uma perspectiva crítica acerca das múltiplas opressões que assolam as mulheres. Entre as minorias femininas que despontaram nesse cenário de articulação, as mulheres negras, com sua escrita engajada e muitas vezes marcada pela autorrepresentação, buscam se inserir no espaço acadêmico e conquistar o reconhecimento de sua obra literária. Nesse sentido, este trabalho pretende fazer uma reflexão crítica sobre a narrativa de memórias das escritoras negras Carolina Maria de Jesus e Maya Angelou, em suas respectivas obras: Diário de Bitita e I Know Why the Caged Bird Sings. Para tanto, levantamos questões relevantes do enredo e enfocamos o trajeto singular das protagonistas negras rumo à conscientização de uma realidade construída em torno das desigualdades de poder. Deste modo, num primeiro momento, refletimos sobre a condição dos afrodescendentes e sublinhamos a situação da mulher negra durante e depois do período escravocrata. Na sequência tratamos da questão da literatura confessional direcionando seu enfoque para as formas diário e memória, a fim de evidenciar suas congruências e diferenças no universo confessional. Por fim, empreendemos um trabalho de análise das obras, em que salientamos pontos importantes e discutimos as trajetórias de cada personagem rumo à autoaceitação.
The intellectual production of feminism questioned the representations and social roles of gender and contributed to an evolution of a critical perspective towards the oppression suffered by women. Among the minorities that emerged in this scenery of articulation, the black women with an engaged writing, and also marked many times by self- representation try to put themselves in the academic space and have the recognition of their work as well. In this sense, this work intends to make a critical reflection about the memoirs of the black writers Carolina Maria de Jesus and Maya Angelou, in their respective books: Diário de Bitita and I Know Why the Caged Bird Sings. For that we raised questions concerning the plot and emphasize the black protagonists´ peculiar course towards awareness of a reality built around unequal powers. So, we first consider the black people condition and underline the black women situation before and during slavery time. Secondly, we talk about the confessional literature focalizing the diary and memoir forms in order to make evident their similarities and differences in the confessional universe. At last we attempt to a work of analysis of the books where we point out important items and discuss the characters´ course towards self-acceptance.
36
Vance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
Full textAbstract:
Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.
37
Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.
Full textAbstract:
Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.
38
"Re-attunements: Black women singers and twentieth-century African American literature." COLUMBIA UNIVERSITY, 2010. http://pqdtopen.proquest.com/#viewpdf?dispub=3388473.
Full text
39
Smith, MK. "The mezzo-soprano voice : an attempt to qualify the voice through definition and examination of selected operatic repertoire." Thesis, 1997. https://eprints.utas.edu.au/21620/1/whole_SmithMarilynKaye1997_thesis.pdf.
Full textAbstract:
In female voices, 'soprano' and 'contralto' are terms readily used to describe the high and low voice respectively. The term 'mezzo-soprano', on the other hand, has often added an air of confusion, as it refers to something in between. Because of this, the mezzo-soprano voice has become one of the least understood and difficult of all voice types to define.
The first section of this dissertation attempts to clarify the nature of the mezzo-soprano voice, with emphasis on range, timbre, tessitura, registration and anatomy. A brief history of the emergence of the mezzo-soprano voice follows, leading into its development and acceptance as an operatic instrument. It is in opera that the real voice is revealed, with such variables as range and quality being linked to the roles that have to be portrayed.
During its chequered history and its subsequent struggle for recognition, the demands upon and expectations of the mezzo-soprano voice have changed. By examining repertoire for the voice - from the time of the castrato, through to the prima donna roles of Rossini, the dramatic use of the voice by Verdi and the favouring of the voice by mid-ninteenth century French composers - the characteristics of the mezzo-soprano voice begin to emerge and its identification becomes much clearer.
40
Brown, Kirsten Shippert. "My Body, My Instrument: How body image influences vocal performance in collegiate women singers." Thesis, 2021. https://doi.org/10.7916/d8-d9mv-ha05.
Full textAbstract:
This dissertation is about the influence of body image on classical vocal performance in collegiate women singers. Those trained in classical singing are familiar with the phrase, “your body is your instrument.” A focus on the physical body is apparent in the vocal pedagogical literature, as is attention to singers’ mental and emotional states. But the intersection of emotions and the body—how one thinks and feels about their body, or body image—is largely absent from the vocal pedagogical literature. As voice teachers continue to necessarily address their students’ instruments (bodies), the field has not adequately considered how each singer’s relationship with their instrument (their body) might affect them, as singers and as people.
This initial foray sought answers to just two of the myriad unanswered questions surrounding this topic: Does a singer’s body image influence her singing? If so, when and how? It employed a feminist methodological framework that would provide for consciousness-raising as both a method and aim of the study. Four collegiate women singers served as co-researchers, and data collection took place in three parts: a focus group, audio diaries, and interviews. The focus group was specifically geared towards consciousness-raising in order to provide co-researchers with the awareness necessary for examining their body image. Co-researchers then recorded semi-structured audio diaries for one month after practice sessions, voice lessons, and performances. One-on-one interviews concluded data collection and provided a situation of co-analysis wherein the researcher and co-researcher could deeply examine data from the focus group and diaries.
The major discovery of this research is a pervasive sense of separation between a woman singer’s “everyday body” and her singer’s body. Self-objectification served as a barrier to a conscious recognition of embodied experience and effectively split the singer in two. The various states of the relationship between these two seemingly separate entities resulted in specific outcomes for singing, including restriction, unawareness, inconsistency, and focus. The discussion concludes with a consideration of how a positive body image may encourage effective and artistic vocal performance and how voice teachers might help foster a positive experience of one’s body.
41
"香港當代粤曲女伶硏究." 林萬儀], 1996. http://library.cuhk.edu.hk/record=b5895688.
Full textAbstract:
林萬儀.論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 116-127.
Lin Wanyi.
目錄 --- p.i
撮要 --- p.iii
Chapter 第1章 --- 導論 --- p.1
Chapter 1.1 --- 「粤曲女伶」的槪念
Chapter 1.2 --- 粤曲女伶的硏究槪況
Chapter 1.3 --- 硏究範圍
Chapter 1.4 --- 考查工作及資料
Chapter 1.5 --- 硏究目的
Chapter 第2章 --- 粤曲女伶的出現及發展 --- p.10
Chapter 2.1 --- 第一階段：出現及初期發展(1862-1923)
Chapter 2.2 --- 第二階段：二、三十年代的發展(1923-1937)
Chapter 2.3 --- 第三階段：戰時的發展(1937-1945)
Chapter 2.4 --- 第四階段：戰後十五年內的發展(1945-1959)
Chapter 2.5 --- 第五階段：六十年代的發展(1960-1969)
Chapter 2.6 --- 第六階段：七十及八十年代前半期的發展(1970-1985)
Chapter 2.7 --- 第七階段：近十年的發展(1986-1996)
Chapter 第3章 --- 香港當代粤曲女伶槪述 --- p.34
Chapter 3.1 --- 人數與活躍程度
Chapter 3.2 --- 年齡與年資
Chapter 3.3 --- 演唱粤曲以外的有關事業
Chapter 3.4 --- 組織及聯繫
Chapter 第4章 --- 女伶的演出場合 --- p.52
Chapter 4.1 --- 歌壇
Chapter 4.2 --- 地檔
Chapter 4.3 --- 會堂
Chapter 4.4 --- 宴會
Chapter 4.5 --- 歌台
Chapter 第5章 --- 女伶的演出 --- p.66
Chapter 5.1 --- 演出的準備及過程
Chapter 5.2 --- 演出所用的曲本
Chapter 5.3 --- 觀眾的參與及影響
Chapter 5.4 --- 演唱與侍奉：女伶的雙重角色
Chapter 第6章 --- 女伶的唱腔風格及流派 --- p.90
Chapter 6.1 --- 唱腔及唱腔流派的含意
Chapter 6.2 --- 粤劇、粤曲的唱腔流派
Chapter 6.3 --- 當代女伶所屬唱腔流派
Chapter 6.4 --- 「女伶腔」的繼承及槪念的演變
Chapter 第7章 --- 結論 --- p.105
Chapter 7.1 --- 總結
Chapter 7.2 --- 粤曲女伶與中國優伶文化
Chapter 7.3 --- 粤曲女伶與中國樂妓文化
Chapter 7.4 --- 女伶現象與香港文化
Chapter 7.5 --- 未來硏究的方向：音樂與性別
參考著作目錄 --- p.116
42
Ferreira, Teresa Maria Marques de Matos. "More than singers. Biography, gender and agency in the voices of four women singersongwriters in contemporary." Master's thesis, 2017. http://hdl.handle.net/10362/27772.
Full textAbstract:
This dissertation addresses the relationship between gender, music, poetic
creation and performance in contemporary Portugal. It focuses on the lives and work of
four women singer-songwriters who represent different generations, artistic profiles and
music stylistic options. Though the singer-songwriters portrayed in this dissertation are
commonly referred to - in the media, by musical agents and listeners - only as singers,
they see themselves primarily as authors and composers. I analyze how their agency is
expressed through their authorial and metaphorical voices, shaping listeners’
subjectivities and mediating personal beliefs and social/political concerns. Through the
articulation and analyses of their music, poetry, biography, performance and the
discourses that revolve around them, I attempt to show how gender affects all aspects of
music making. Since patriarchal gender ideologies are deeply ingrained in the music
industry as in society in general, these four case studies demonstrate how gender
asymmetries can stimulate and shape music making, performance and its reception.Esta dissertação aborda a relação entre género, música, criação poética e performance musical no contexto português contemporâneo. Incide sobre o trabalho criativo e histórias de vida de quatro cantautoras, representativas de diferentes gerações, perfis artísticos e estilos musicais. Embora frequentemente referidas - nos media, por agentes musicais e ouvintes - como “cantoras”, elas identificam-se primeiramente como autoras e compositoras. Analiso aqui como o seu agenciamento se expressa através da sua voz autoral e metafórica, mediando crenças pessoais, preocupações sociais e políticas e moldando subjetividades dos e das ouvintes. Através da análise articulada entre a sua música, poesia, biografia, performance e discursos que as envolvem, procuro demonstrar como o género afeta todas as fases da criação musical. Face a um quadro patriarcal de género profundamente enraizado e naturalizado na industria musical, tal como na sociedade em geral, estes quatro estudos de caso revelam como assimetrias de género podem estimular e moldar a criação musical, a performance e a sua receção.
43
Graham, Felix Andrew. "Singing while female: A narrative study on gender, identity & experience of female voice in cis, transmasculine & non-binary singers." Thesis, 2019. https://doi.org/10.7916/d8-mnh1-st58.
Full textAbstract:
This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self-exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education.
Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. While all study participants clearly experienced pleasure in musical performance, the narratives revealed a complex web of expectations and influences that contributed significant amounts of anxiety, with both physiological and psychological repercussions, to the performers’ lives. The ways in which the singers both fell victim to and addressed these sources of stress suggest many topics for further exploration and discussion within the professional voice and music education community, including the role of expert influence, the development of personal agency and perceived self-efficacy, as well as the need for individualized, holistic approaches to vocal pedagogy.
44
Heidemann, Kathryn. "Hearing Women's Voices in Popular Song: Analyzing Sound and Identity in Country and Soul." Thesis, 2014. https://doi.org/10.7916/D8QF8R22.
Full textAbstract:
In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always-emergent history of American womanhood.
In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities--as a white, upper-middle-class woman and music scholar--impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic "space" afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity.
45
"Nobleness From His Brush: John Singer Sargent's Portraits of Three Vanderbilt Women." Texas Christian University, 2010. http://etd.tcu.edu/etdfiles/available/etd-05022010-114751/.
Full text
46
Chien, Chieh, and 簡潔. "An Analysis of the Inertial Technique of Women 's Singles by Carolina Marin." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/drpfr5.
Full textAbstract:
碩士臺北市立大學
競技運動訓練研究所碩士在職專班
105
The purpose of this study was to investigate Carolina Marin’s five-game winning streak focusing on how she uses her 1) hitting skills and positions, and 2) inertial hitting technique and position. Methods: Marin competed against 5 opponents: Sun Yu (China), Tai Zu Ying (Chinese Taipei), Yamaguchi Akane (Japan), Ratchanok Inthanon (Thailand) and Sung Ji Hyun (Korea) (Source: https://www.youtube.com/). Using the video, data and percentages were collected on Marin’s hitting skills and positions and inertial hitting technology and location. This data was analysed statistically. Results: That in these five games, Marin used 225 close net shots on both sides of the front of the court and 38 steeper smash serve-returns to position 5, which is the shot she used the most (34.9% of shots). She often performed net shots at positions 1, 2, 3, 4, and 8. Conclusion: When Marlene hit the shuttlecock in the four corners, her close net shots and clears accounted for a higher percentage of losing shots. 30% of her lob shots were out. Her four corner shots were inconsistent. When Marlene received a shuttlecock at positions 5, 6, 7, 8 she would often hit a net shot to positions 1, 2, 3, 4. When Marlene was at position 13, she often cleared the shuttlecock to make her opponent move and then smashed at her opponent’s position 9 or 12. When Marlene was at position 16, she would often use a steeper smash at her opponent’s position 5.
47
HSIEN-TZU, CHENG, and 鄭先知. "The Tactical Comparison and Analysis of Winning Points Among the Top 8 Women 's Singles in 2016 Rio Olympic Games." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/68c3p2.
Full textAbstract:
碩士中國文化大學
體育學系運動教練碩博士班
106
The Tactical Comparison and Analysis of Winning Points Among the Top 8 Women 's Singles in 2016 Rio Olympic Games December, 2017 Advisor: Chi-Pin Shen Student: Cheng Hsien-Tzu Abstract This research intended to examine the scoring technique of the eight finalists in the Women’s Singles in Table Tennis in Rio 2016 (2016 Summer Olympics), and to provide the results as references to table tennis athletes for training in the future. The observation method is used as research methodology with the records of three-stage techniques in the contest in 2016 Rio as objects to find out the technical performances of the eight finalists in women’s table tennis singles. The related variables include: the scoring rate for the stage in serving the ball to attack, the scoring rate for the stage in receiving the serve to attack, and the scoring rate for the standoff stage; the using rate of serving the ball to attack, the using rate for the stage in receiving the serve to attack, and the using rate for the standoff stage; the weight scoring rate for the stage in serving the ball to attack, the weight scoring rate for the stage in receiving the serve to attack, and the weight scoring rate for the standoff stage. The collected data will be analyzed with descriptive statistics and t-test. The results discovered that 1. The evaluation of the athletes in the three-stage techniques: the performance of attack-type athletes is good in the scoring rate for the stage in serving the ball to attack, failing for the stage in the scoring rate of the stage in receiving the serve to attack, good for the stage in the scoring rate in the standoff stage, comparatively low for the stage in using rate in serving the ball to attack, comparatively low for the stage in the using rate of receiving the serve to attack, and comparative high for the stage in for the standoff stage. 2. The difference of athletes’ performance of three-stage techniques: there was no significant difference for the attack-type athletes and chopping-type athletes. There were significant differences in the four variables of the scoring rate for the stage in serving the ball to attack, the scoring rate for the stage in receiving the serve to attack, the scoring rate for the standoff stage, and the weight-scoring rate for the standoff stage. Moreover, the winners tend to perform better than the losers. 3. The major technical factors that affect the attack type athletes were the weight scoring rate for the standoff stage. Suggestions: training in the techniques of attack and defense for the standoff stage should be enhanced, with the stage in serving the ball to attack as the core of technical training to highlight the strong point in the technique. In addition, the techniques for the stage of serving the ball to attack of individual should also be promoted. Keywords: Olympic Games, table tennis, women’s singles, attack-type, chop
48
Braden, Emily. ""Así me gustas gordita": Representaciones de la gordura en la música popular y la literatura del Caribe hispano." Thesis, 2007. http://hdl.handle.net/1828/279.
Full textAbstract:
This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance.