Journal articles 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 50 journal articles 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 journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full text
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
<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>
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Muhabbatillah, Sajidah, and Tri Gunawan. "Pola Komunikasi Penyanyi Dangdut, Konflik, dan Resolusi Penyelesaiannya (Studi pada Penyanyi Dangdut di Desa Banjarsawah, Kecamatan Tegalsiwalan, Kabupaten Probolinggo)." JSHP : Jurnal Sosial Humaniora dan Pendidikan 4, no. 1 (March 1, 2020): 56–62. http://dx.doi.org/10.32487/jshp.v4i1.805.
Full textAbstract:
Being a dangdut singer is not an easy profession. There are still many negative assumptions from the community towards this profession. Even so, there are still many women who become dangdut singers, although often criticized. As happened in the village of Banjarsawah, Tegalsiwalan District, Probolinggo Regency. This study seeks to describe the communication carried out by dangdut singers and the audience so that they are liked a lot, the conflicts experienced by dangdut singers, and the treatment of conflicts and communication efforts in the resolution process. This study uses descriptive qualitative method. The results showed that the dangdut singer tried to establish good communication with the audience by always greeting and asking the songs you want to listen to. Conflicts often occur between dangdut singers and with their neighborhoods. The settlement process is done by ignoring the negative assumptions given by the community, improving communication, and avoiding the community that is acting badtowards them. Keywordi: communication. conflict, dangsdut singer, resolutionAbstrakMenjadi penyanyi dangdut bukanlah profesi yang mudah. Masih banyak anggapan negatif dari masyarakat terhadap profesi ini. Meskipun begitu, masih banyak perempuan yang menjadi penyanyi dangdut walaupun seringkali mendapat kecaman. Seperti yang terjadi di Desa Banjarsawah, Kecamatan Tegalsiwalan, Kabupaten Probolinggo. Penelitian ini berusaha untuk mendeskripsikan komunikasi yang dilakukan penyanyi dangdut dengan penonton agar banyak disukai, konflik yang dialami oleh penyanyi dangdut, dan perlakuan konflik serta upaya komunikasi dalam proses resolusinya. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Hasil penelitian menunjukkan bahwa penyanyi dangdut berusaha untuk menjalin komunikasi yang baik dengan penonton dengan cara selalu menyapa dan menanyakan lagu yang ingin didengarkan. Konflik sering terjadi baik antar penyanyi dangdut maupun dengan lingkungan tempat tinggal mereka. Proses penyelesaian yang dilakukan adalah dengan jalan mengabaikan anggapan negatif yang diberikan masyarakat, memperbaiki komunikasi, dan menghindari masyarakat yang berlaku buruk terhadap mereka.Kata Kunci: Komunikasi, Konflik, Penyanyi Dangdut, Resolusi
12
Wohangara, B. Retang. "A BOOK REVIEW: FEMINISM ANDNERSUS FEMINITY OF MODERN WOMEN." Celt: A Journal of Culture, English Language Teaching & Literature 7, no. 2 (August 10, 2018): 189. http://dx.doi.org/10.24167/celt.v7i2.163.
Full textAbstract:
One important theme attached to pop culture is the politics of representation and sub-cultural identity. The pop singer Madonna and then the Spice Girls are frequently regarded as the representation of modern women offering a different face of feminism ideology. Successfully entering the market
competition, Madonna, through her cry of 'material girl', characterizes herself as an independent woman in the still dominating patriarchal world while challenging the burden of
morality placed on the shoulders of women. She asks young women to rebel against male-centred traditions and unashamedly exposes her sensuality as a source of power and even domination, or in short celebrating 'being women'. The flag of Girl Power is also waved by the 1990'sBritish female
singers, the Spice Girls, who call young girls to "be strong, be brave, be loud and control your own destiny. Believe that your self can do anything you want to do and be confident. We have to be independent, but it does not mean that you don't need a boy" (Swastika 2004: 66).
13
Ouyoung, Laishyang (Melody), Brenda Capobres Villegas, Changxing Liu, Guy Talmor, and Uttam K. Sinha. "Effects of Resonance Voice Therapy on Hormone-Related Vocal Disorders in Professional Singers: A Pilot Study." Clinical Medicine Insights: Ear, Nose and Throat 11 (January 2018): 117955061878693. http://dx.doi.org/10.1177/1179550618786934.
Full textAbstract:
Background: Menstruation-related hormonal alteration can be detrimental to the professional singing voice of women. Resonance Voice Therapy (RVT) has been proven to improve vocal production. However, no research to date has been conducted examining the subjective, acoustic, and stroboscopic effects of RVT on professional female singers having premenstrual or postmenopausal voice disorders. Aim: The aim of this study is to compare the vocal effects of RVT with a control cervical-thoracic intervention in healthy female singers during the premenstrual phase as well as in postmenopausal singers and to evaluate which intervention will allow singers to improve vocal performance regardless of changes in hormonal status. Design: A randomized study was designed for this research. The research subjects were 20 professional female singers from the Southern California area, USA, with 10 premenstrual subjects in one group and 10 postmenopausal subjects in the other group. Among each group, 5 subjects were randomly selected to receive RVT and the remaining subjects received cervical-thoracic–focused exercises. The therapies consisted of 1 month of daily 15-minute sessions. For premenstrual subjects, voice data were collected at days 25 to 27 of the premenstrual phase during a scheduled initial voice evaluation. Follow-up data were collected during the same phase of the menstrual cycle (days 25-27) after 1 month of exercises. For postmenopausal subjects, voice data were collected at an initial voice evaluation with follow-up after 1 month of the assigned voice treatment. Outcomes were assessed with the singer’s voice handicap index (VHI), laryngeal videostroboscopic examination, maximum phonation time (MPT), relative average perturbation (RAP), and pitch range before and following completion of therapies. Alleviation or deterioration percentages were used for statistical analysis. Student t test was used for statistical comparison between therapies. Results: The RVT decreased singer’s VHI for both premenstrual and postmenopausal subjects by an average of 67%, compared with 7.8% for the cervical-thoracic therapy. The RVT also effectively decreased RAP by an average of 57% when combining the premenstrual and postmenopausal groups. The RVT increased MPT and pitch range among both premenstrual and postmenopausal subjects. The stroboscopic examination did not detect any significant differences between the 2 interventions. Conclusions: The RVT is effective for professional female singers with hormone-related premenstrual and postmenopausal vocal changes. The RVT is suggested as one of the therapeutic approaches for vocal abnormalities in such a population. A larger cohort may be needed for future research. Level of Evidence: 1b
14
Liao, Peilin. "Contemporary Female Pop Singers Empowerment of Female Self-Consciousness." Communications in Humanities Research 22, no. 1 (December 7, 2023): 294–301. http://dx.doi.org/10.54254/2753-7064/22/20231853.
Full textAbstract:
In modern-day society, women are progressively exerting their influence and authority in diverse domains, such as the dynamic realm of the music industry. This transformation indicates a noteworthy progression in the role and impact of women as they persist in defying and adjusting to the traditionally male-dominated landscape of music. This paper comprehensively explores the impact of pop music culture on womens self-awareness from a feminist perspective. The purpose is to analyze the intricate relationship between pop music and womens self-perception in contemporary society. In the first section how women are portrayed in the music industry is discussed, analyzing how they construct and present their public personas. This scrutiny reveals the intricate network of societal expectations and stereotypes that can hinder female musicians, providing valuable insight into the obstacles they face in forming their identities. The following section explores the empowering possibilities that lie within feminist pop music by analyzing how the creative works of these artists go beyond mere entertainment, actively promoting strong and positive self-awareness among women. Their lyrical content, music videos, and live performances challenge traditional norms and encourage self-empowerment. The final section of this essay examines the complex landscape of obstacles and criticisms encountered by feminist pop music culture, recognizing the unavoidable discussions and disagreements that arise in this constantly evolving field. Through a comprehensive exploration of these three elements, this research seeks to reveal the intricate connection between pop music culture and womens self-awareness, emphasizing its potential to bring about transformation in the ongoing quest for gender equality and empowerment.
15
Graham, Ellen, Vrushali Angadi, Joanna Sloggy, and Joseph Stemple. "Contribution of Glottic Insufficiency to Perceived Breathiness in Classically Trained Singers." Medical Problems of Performing Artists 31, no. 3 (September 1, 2016): 179–84. http://dx.doi.org/10.21091/mppa.2016.3032.
Full textAbstract:
Breathiness in the singing voice is problematic for classical singers. Voice students and singing teachers typically attribute breathiness to breath management issues and breathing technique. The present study sought to determine whether glottic insufficiency may also contribute to breathiness in a singer’s voice. Studies have revealed a relationship between insufficient vocal fold closure and inefficiency in the speaking voice. However, the effect of insufficient vocal fold closure on vocal efficiency in singers has yet to be determined. Two groups of voice students identified with and without breathiness issues underwent aerodynamic and acoustic voice assessment as well as laryngeal stroboscopy of the vocal folds to quantify the prevalence of insufficient vocal fold closure, also known as glottic insufficiency. These assessments revealed four groups: 1) those with glottic insufficiency and no perceived voice breathiness; 2) those with glottic sufficiency and perceived voice breathiness; 3) those with glottic insufficiency and perceived breathiness; and 4) those with glottic sufficiency and no perceived breathiness. Results suggest that previously undiscovered glottal insufficiency is common in young singers, particularly women, though the correlation with identified breathiness was not statistically significant. Acoustic and aerodynamic measures including noise-to-harmonics ratio, maximum phonation time, airflow rate, subglottal pressure, and laryngeal airway resistance were most sensitive to glottic insufficiency.
16
García Pérez, José. "Hombres, mujeres y reguetón: una aproximación pragmalingüística." Philologica Canariensia, no. 30 (2024) (June 22, 2024): 215–40. http://dx.doi.org/10.20420/phil.can.2024.674.
Full textAbstract:
This paper focuses on how male reggaeton singers depict women in their songs. Our aim is to find out the features of this depiction and, on the other hand, to compare our results with the results obtained in a previous work of songs of female singers. To make it possible, the pragmatic perspective is adopted as methodological model, to identify which linguistic units are the accurate ones to explain our topic. Thus, the analysis of the most popular male singers in Spain between 2018 and 2021 has revealed that personal pronouns and possessives are the units that indicate how is the conception of the women and the relationship between locutors and allocutaries displayed in the songs. The latter allow us to conclude that, although women and men share some constituents of that musical genre, each one has also different ways to practice it
17
Endah Siswati, Rachmah Ida, and Mustain. "Agency Narrative of the Dangdut Koplo Singer on Stage." MOZAIK HUMANIORA 22, no. 2 (December 30, 2022): 186–203. http://dx.doi.org/10.20473/mozaik.v22i2.36658.
Full textAbstract:
This study started from the skepticism of the thought which states that work as female entertainers (dangdut koplo singers) puts women as objects and victims. Based on the thoughts of Sarah Drew Lucas about narrative agency which believes that every woman has the capacity as an autonomous agent, the researcher wants to explore another possibility that dangdut koplo singers are active subjects or autonomous agents by revealing the narrative of their lives on stage. The focus of this research is on how the female dangdut koplo singer does her job, how she builds and plays her existence on the performance stage, how oppression (subordination, marginalization, objectification, stigmatization) is faced, and how she negotiates to overcome oppression that threatens her capacity as autonomous agent. Researchers conducted in-depth interviews with a research subject and participant observations on the stage of dangdut koplo in East Java from late 2017 to late 2019. This research found that the research subject is a narrative agent who has the capacity to understand herself as "I" among other "I". The research subject is able to read and understand the plurality of life on the stage, and with that awareness and understanding perform actions in her own way which shows her identity. In conclusion, these findings confirm Sarah Drew Lucas's thought that being an agent is a necessity for women, no matter how oppressed or how tied they are to subordinate power relations.
18
Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali." Africa 71, no. 3 (August 2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.
Full textAbstract:
AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and regional specificity. Their criticism is echoed by a number of older people in town and countryside. It is reminiscent of a tendency among urban consumers to express their fascination with and fears of life in town in the icon of the seductive, dangerous and immoral town woman. To many women of the urban middle classes, in contrast, the pop singers embody a desirable solution of women's daily dilemma: a Malian morality dressed up in the fashionable outfit of a ‘modern’ urban woman. Middle-class women respond enthusiastically to this art form because it praises them for upholding ‘traditional’ values in the face of adversity while absolving them of complicity in undermining such values.
19
Winiszewska, Hanna. "Professional career and family life of Viennese Primadonnas. The case of Catarina Cavalieri and Aloysia Weber (Lange)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 31–40. http://dx.doi.org/10.14746/ism.2019.19.2.
Full textAbstract:
The aim of this article is to present the issue of female singers and their role in the society of eighteenth-century Vienna on the example of two women: Mozart’s sister-in-law Aloysia, née Weber, later Lange, and Catarina Cavalieri, the first Constance. These singers were rivals on the opera stage in late 18th century Vienna, as evidenced by the parts written for them by Mozart in his Der Schauspieldirektor. From the social point of view, the biographies of these two outstanding singers are very different.
20
Briggs, Ray Anthony. "Great Women Singers of the 20th Century (review)." Notes 63, no. 1 (2006): 185–86. http://dx.doi.org/10.1353/not.2006.0083.
Full text
21
Duggan, Lucie. "‘The Chief Preservers of Ballad Poetry’: Revisiting the Ballad Traditions of Scottish Women." Journal of Scottish Historical Studies 44, no. 1 (May 2024): 23–46. http://dx.doi.org/10.3366/jshs.2024.0375.
Full textAbstract:
The eighteenth century saw an increasing interest in oral narrative ballad poetry, whose perceived decline prompted major efforts among antiquarians and collectors to find and preserve all that remained of the old popular songs. Women, long associated with oral tradition, were seen as the preservers of ballad poetry, transmitting their songs orally across generations. Yet while male collectors acknowledged female singers’ contributions, they obscured the broader realities of women’s engagement with print ballad culture. This article revisits the ballad traditions of Scottish women, exploring how the male-dominated scholarly discourse of the era shaped perceptions of women’s involvement in ballad culture. While collectors emphasised the role of female singers as preservers of purely oral tradition, they downplayed women’s broader engagement with ballads as printed literature, including their participation in the commercial broadside industry as sellers and consumers. This study reveals a more nuanced picture of women's involvement in balladry, challenging traditional narratives that align women singers exclusively with oral ballad tradition. By acknowledging the diverse ways in which women participated in ballad culture, this research sheds light on the complexities of gender dynamics within the ballad tradition, highlighting the need for a re-evaluation of women’s reception and transmission of ballads historically.
22
Hester, D. A. "A Chorus of One Danaid." Antichthon 21 (1987): 9–18. http://dx.doi.org/10.1017/s006647740000352x.
Full textAbstract:
At the end of the Suppliant Women of Aeschylus, a lyrical argument develops which is without any exact parallel in Greek tragedy. Our single, badly corrupted, manuscript does not name the combatants; at the most crucial section it does not even indicate change of singer by the customary dash; it has no list of dramatis personae. The chorus of Danaids has long been arguing against a forced marriage, and it is generally accepted that they are one of the participants in the argument. But who are their antagonists? On the older view, the chorus is divided against itself; on the more recent one, another group of singers is disputing with them. Who these singers are is not generally agreed, though the majority vote is for a chorus of handmaidens. It will be my concern in this paper to argue that the antagonist is one person and that person is Hypermnestra, who, in the sequel, alone of the Danaids spared her husband, Lynceus, and thus founded the royal line of Argos, where the play is set. The exact way in which Aeschylus portrayed her action, and the fate of her sisters, are quite uncertain.
23
Moukheiber, Karen. "Gendering Emotions: Ṭarab, Women and Musical Performance in Three Biographical Narratives from ‘The Book of Songs’." Cultural History 8, no. 2 (October 2019): 164–83. http://dx.doi.org/10.3366/cult.2019.0198.
Full textAbstract:
Musical performance was a distinctive feature of urban culture in the formative period of Islamic history. At the court of the Abbasid caliphs, and in the residences of the ruling elite, men and women singers performed to predominantly male audiences. The success of a performer was linked to his or her ability to elicit ṭarab, namely a spectrum of emotions and affects, in their audiences. Ṭarab was criticized by religious scholars due, in part, to the controversial performances at court of slave women singers depicted as using music to induce passion in men, diverting them from normative ethical social conduct. This critique, in turn, shaped the ethical boundaries of musical performances and affective responses to them. Abū l-Faraj al-Iṣfahānī’s tenth-century Kitāb al-Aghānī (‘The Book of Songs’) compiles literary biographies of prominent male and female singers from the formative period of Islamic history. It offers rich descriptions of musical performances as well as ensuing manifestations of ṭarab in audiences, revealing at times the polemics with which they were associated. Investigating three biographical narratives from Kitāb al-Aghānī, this paper seeks to answer the following question: How did emotions, gender and status shape on the one hand the musical performances of women singers and on the other their audiences’ emotional responses, holistically referred to as ṭarab. Through this question, this paper seeks to nuance and complicate our understanding of the constraints and opportunities that shaped slave and free women's musical performances, as well as men's performances, at the Abbasid court.
24
Athina Zarachi, Angelos Liontos, Dionysios Tafiadis, Efthymis Dimakis, Konstantinos Garefis, Ioannis Kastanioudakis, and Georgios Exarchakos. "Correlations between oropharyngeal and laryngeal anatomy and the frequency of singing voice: A population-based study, in Greece." International Journal of Science and Research Archive 3, no. 2 (September 30, 2021): 059–69. http://dx.doi.org/10.30574/ijsra.2021.3.2.0139.
Full textAbstract:
The aim of this study is to explore if there is correlation between the typical voice classification and oropharyngeal anatomy, using cervical posterior-anterior radiography on professional singers in Epirus, Greece. Methods: 70 professional singers, 35 men and 35 women, were recruited for this study. All participants underwent a cervical posterior-anterior radiographic imaging of their oral pharyngeal and laryngeal area. Results: A statistically significant difference of mean distance was observed for the CI-MHP area (p=0,004), the MHP- SCV area (F=2,62, p=0,032), as well as SCV-AI area (F=11,82, p=0,000). For the average length measured in mm of the phonetic area PA, statistically significant differences were computed among all the singers in the group (F [5] = 5.368, p = 0.001), as well as the OPC area (F = 6,48, p = 0,000). Conclusions: The cervical posteroanterior radiography provided new correlations of the voice category of professional singers with their Oropharyngeal and Laryngeal Anatomy.
25
Durán, Lucy. "Ngaraya: Women and musical mastery in Mali." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 569–602. http://dx.doi.org/10.1017/s0041977x07000845.
Full textAbstract:
AbstractThis article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase “the true ngaraw are all at home”.
26
KENNERLEY, DAVID. "DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850." Historical Journal 58, no. 4 (October 29, 2015): 987–1008. http://dx.doi.org/10.1017/s0018246x14000740.
Full textAbstract:
AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.
27
Afeltowicz, Beata. "Peryfrazy nazw własnych w aspekcie strukturalnym." Poznańskie Studia Polonistyczne. Seria Językoznawcza 27, no. 1 (March 15, 2020): 9–29. http://dx.doi.org/10.14746/pspsj.2020.27.1.1.
Full textAbstract:
Broadly speaking, linguistic periphrase is the use of a complex descriptive expression instead of a single word. The subjects of the description in the article are poetic periphrases referring to the names of singing women. This general term is related to different types of singing activities, which can be done by: singers, vocalists, opera singers, divas, soloists, choristers, prima donnas, chancellors. The aim of the research was to collect a complete set of contemporary peripheral terms of Polish and foreign singing women, to analyse their structure in formal terms and to analyse the lexemes (14 reference units and 9 proper names) as constitutive elements of periphrases. The article includes an alphabetical index of personal names along with the descriptive expressions for them (over 60 analytical lexical units).
28
TURNER, KRISTEN M. "“A Joyous Star-Spangled-Bannerism”: Emma Juch, Opera in English Translation, and the American Cultural Landscape in the Gilded Age." Journal of the Society for American Music 8, no. 2 (May 2014): 219–52. http://dx.doi.org/10.1017/s175219631400008x.
Full textAbstract:
AbstractSoprano Emma Juch (1860–1939), famous in the 1880s and 1890s, combined singing in concerts and festivals with a short English-language operatic career. Because Juch exemplifies a typical prima donna of the late nineteenth century, her life provides a perspective on the American cultural landscape that a focus on star performers cannot capture. Like all female singers, she had to negotiate between competing stereotypes about divas and the nineteenth-century distrust of women who led public lives. In response to these pressures, she constructed an image of a vigorous American singer who nevertheless understood her expected role in society. During the Gilded Age, opera's place in American culture was changing. Foreign-language opera became increasingly associated with wealth, the highest performance quality, and sometimes even cultural and moral uplift, whereas English-language opera suggested popular entertainment for the middle class and mediocre performance standards. The American Opera Company and Juch's own Emma Juch English Grand Opera Company attempted to fight against these assumptions and center opera in English performed by native singers as an important component of a distinctly American musical tradition. She was unsuccessful, however, and Juch's career, which began with great promise, lost momentum after her opera troupe folded and she slid into obscurity.
29
Baade, Christina. "Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television." Journal of the American Musicological Society 75, no. 2 (2022): 221–71. http://dx.doi.org/10.1525/jams.2022.75.2.221.
Full textAbstract:
Abstract In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.
30
Jude, Gretchen. "Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media." Malaysian Journal Of Music 9 (November 27, 2020): 101–14. http://dx.doi.org/10.37134/mjm.vol9.8.2020.
Full textAbstract:
This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
31
Makina, Blandina. "Images of women in Shona songs by Zimbabwean male singers." Muziki 10, sup1 (December 20, 2013): 50–59. http://dx.doi.org/10.1080/18125980.2013.852743.
Full text
32
Pellow, Deborah. "Male praise-singers in Accra: in the company of women." Africa 67, no. 4 (October 1997): 582–601. http://dx.doi.org/10.2307/1161109.
Full textAbstract:
AbstractIn 1957 M. G. Smith published a seminal paper on the role of the male praise-singer, the maroki, among Northern Nigeria's Muslim Hausa. My paper explores the role of the maroki in the diaspora community of Sabon Zongo in Accra. While Accra's zongo communities are considerably diluted in their Islamic orthodoxy, they are nonetheless distinctly Islamic in tone, witness the mosques, Qurʼānic schools, flowing robes and diaphanous prayer veils, and a general cultural orientation that is strongly influenced by the Hausa and distinct from Christian southern Ghana. Among the Hausa, and those zongo institutions particularly affected by Hausa custom, there is also a vestigial separation between the worlds of men and women. This article considers the maroki as an ungendered actor. It suggests that, through his attendance at Hausa and zongo women's occasions, he has become their client, regards them as his patrons and conjoins their world with that of men.
33
Decker, Andrea. "Hidden for Their Protection." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, no. 1 (March 19, 2020): 37–69. http://dx.doi.org/10.1163/22134379-17601002.
Full textAbstract:
Abstract Dangdut, Indonesia’s most popular music genre, is a realm of gender contestation. Since the 1990s, the role of professional dangdut singer—once equally filled by men and women—has been dominated by women. In an atmosphere of increasing Islamic fervour, pious consumption, and moral panic, the public perception of gender and sexuality has serious implications for men who sing dangdut on television. Regardless of their gender identity and sexual orientation, male singers must prove themselves to be properly gendered to maintain their positions as entertainers. However, proper masculinity is a difficult target to hit, especially considering the gender diversity of off-air and backstage realities. Men use several tactics to boost perceptions of masculinity and acceptability. One way in which men who sing dangdut endeavour to prove themselves cowok banget, or super manly, is by employing symbols of Islam and the Middle East—filtered through an Indonesian lens—to communicate masculinity.
34
Fares Yehia, Enas, and Walaa Mohamed Abdelhakim. "Solo Singing Etiquette for Women in Ancient and Modern Egypt." ATHENS JOURNAL OF HISTORY 7, no. 1 (December 10, 2020): 41–70. http://dx.doi.org/10.30958/ajhis.7-1-3.
Full textAbstract:
Throughout the ages, people have shown great interest in music and singing of all kinds, giving these expressive forms great importance in different eras. This article aims to comprehensively overview the etiquette, customs, and characteristic rules of polite performance in the profession of female solo singing in ancient and modern Egypt from a comparative view. This is achieved by reviewing the distinctive themes of female solo singers and their contexts in both ancient and modern Egypt. The article employs a descriptive-comparative methodology to provide a detailed sequential investigation and analysis of all the data collected on the subject and the themes of female solo singers; to discern the characteristic features of female solo singing etiquette in ancient Egypt; and to identify the similarities and differences of these features in the masters and famous models of modern Egypt. One of the main findings is that the distinctive characteristics of female solo singing in ancient Egypt have been inherited in the style of oriental but not western singing, and the greatest and most widely known model of the former style is “the Oriental singing lady Umm Kulthum”.
35
Amelia, Putri Chairina, Ikhwanuddin Nasution, and Vanesia Amelia Sebayang. "BAGURAU SALUANG DENDANG IN THE PERFORMANCE LAPIAK GURAU IN THE MINANGKABAU COMMUNITY IN TANAH DATAR DISTRICT: CONTINUITY CHANGE AND FUNCTION." JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL 16, no. 1 (June 27, 2024): 91. http://dx.doi.org/10.24114/jupiis.v16i1.53978.
Full textAbstract:
The Bagurau Saluang Dendang performance referred to in this research is the Bagurau Saluang Dendang performance at the Lapiak Gurau event, literally meaning 'joking on a mat', which usually occurs in many coffee shops in Tanah Datar Regency. This show is an entertainment show. This thesis aims to analyse the changes that occur in the Lapiak Gurau Saluang Dendang (TLGSD) tradition performance today. This performance is usually performed at night, from 20.00 WIB until dawn. The accompanying instrument for singing in this performance is usually only the saluang musical instrument. Meanwhile, the singers are only men. This is because traditional rules prohibit the participation of women in bagurau art. In the early 2000s, changes began to occur. In fact, nowadays, TLGSD performances are held from 22.00 WIB until just before dawn. The cast in TLGSD currently numbers ten people, with details: one saluang player, one keyboard player, one Janang, four singing children, and three singing parents. Changes in the mindset of the Minangkabau people in the last three or four decades have had an impact on the orientation of TLGSD performances. The changes in question predominantly occurred in aspects of the procedures for performing lapiak gurau, including traditional norms for female singers, the choice of ensemble format used as accompaniment to the song, and the text of the pantun. The method used in this research is a qualitative-descriptive method using an ethnographic perspective. The results of this research show that the tradition of lapiak gurau saluang dendang has undergone changes: (i) the choice of instruments to accompany the dang that is popular with audiences is now more modern; (ii) the majority of singers currently in demand as singers are women; (iii) weakening the role of the ninik mamak as traditional elders who are supposed to protect the dignity of Minangkabau women. However, TLGSD is now contributing to increasing the financial income of stall owners.
36
Fowler, Linda P., and Richard J. Morris. "Comparison of Fundamental Frequency Nasalance between Trained Singers and Nonsingers for Sung Vowels." Annals of Otology, Rhinology & Laryngology 116, no. 10 (October 2007): 739–46. http://dx.doi.org/10.1177/000348940711601005.
Full textAbstract:
Objectives: The purpose of this study was to determine the effect of vocal training on fundamental frequency nasalance measures under selected vowel and frequency conditions. Methods: Fundamental frequency nasalance measures were reported for 2 groups of women: 36 trained singers and 36 nonsingers. Each group sang and sustained the vowels (/i/, /æ/, /u/, /a/) for 6 seconds' duration at 3 frequency levels. A 3-second segment from the middle of each vowel was measured to generate fundamental frequency nasalance scores. Results: No significant differences were found in the mean fundamental frequency nasalance scores between the trained singers and the nonsingers. The fundamental frequency nasalance scores were significantly higher for front vowels for both groups. Additionally, both groups displayed a pattern of producing significantly higher fundamental frequency nasalance scores at lower fundamental frequencies than at higher fundamental frequencies. Conclusions: These findings support the practice of training singers to elevate the velum when singing at high frequencies but not when singing at low ones.
37
Cheatham, Wallace McClain. "African-American Women Singers at the Metropolitan Opera before Leontyne Price." Journal of Negro History 84, no. 2 (April 1999): 167–81. http://dx.doi.org/10.2307/2649045.
Full text
38
Dr. Shatakshi Misra. "Sarojini Naidu: The Singer of Beautiful Songs." Creative Saplings 1, no. 8 (November 25, 2022): 56–76. http://dx.doi.org/10.56062/gtrs.2022.1.8.173.
Full textAbstract:
Sarojini Naidu was an Indian political activist, feminist, and poet, a proponent of civil rights, women’s emancipation, and anti-imperialistic ideas. Despite all these qualities, she was known as “The Singer of Beautiful Songs” she will always be remembered and recalled by her two names: “The Nightingale of India” and” Bharat Kokila” as Mahatma Gandhi ornamented her. The present paper is a genuine effort to reveal her personality as a singer of beautiful songs; she emerged as the very soul of India and was attached firmly to its soil. Despite all her western garb and literary affiliation with the English poets, her sensibility was “wholly native.” Blessed with remarkable creative talent, she adroitly composed charming songs with a striking note of native fervour. In this task, she fell into the tradition of Indian women writers since the Vedic age. In the tradition of Vishwavara and Ghosha, the singers of sonorous songs in Vedas of Gargie, Maitreyi, and Sulabha, the unchangeable Upanishadic debaters of Sumana, Shyama, Sumangala, Sangh Mitra, and Rajyashri.
39
Vukasinovic, M., P. D. Stankovic, Lj Nikolic, M. Stojanovic, M. Ajdukovic, V. Djukic, and Lj Janosevic. "Conservative treatment vs. phonosurgery." Acta chirurgica Iugoslavica 55, no. 4 (2008): 69–74. http://dx.doi.org/10.2298/aci0804069v.
Full textAbstract:
In Phoniatric Dpt. everyday practice we try to keep specific multidisciplinary approach to the communication disorders, that includes an expert team using modern technology. Over the last six years we have treated 110 singers (3% of all new cases) and the results of their diagnostic and therapeutic management are presented here. There were 67 women and 43 men, 41 were smokers and 69 nonsmokers. The singing genres included 24 pop, 41 folk, 8 ethnic, 29 choral and 8 opera singers. The therapy success was compared with the demographic parameters, level of education and music genres across the subjects. A precise history, clinical examination, endovideolaryngostroboscopy and multidimensional computer analysis of voice and speech was carried out by two phoniatricians, two logopeds, two nurses and one clinical psychologist. Additional consultations were carried out by audiologists, allergists, endocrinologists, chest physicians, gastroenterologists and neurologists where necessary. We suggest that the gold standard is conservative therapy, with phonosurgery if conservative measures fail. We also suggest that an annual systematic examination is optimal in preventing disease in professional singers.
40
Kato, Hideaki, Ryuta Okamoto, Sohei Miyoshi, Sho Noguchi, Masakazu Umeda, and Yuhei Chiba. "Expansion of droplets during speaking and singing in Japanese." PLOS ONE 17, no. 8 (August 25, 2022): e0272122. http://dx.doi.org/10.1371/journal.pone.0272122.
Full textAbstract:
During the COVID-19 pandemic, a number of infection clusters associated with choral singing have been reported. Singing generates droplets and carries the risk of spreading infection. However, no reports have explored droplet flight and aerosol production rates by singing and speaking in Japanese. First, we conducted an observation experiment evaluating the maximum flight distance and number of droplets generated by singing in Japanese, using a high-speed camera and particle counter. Twenty amateur choir members, 10 male and 10 female (five members for each of the four voices), participated in the experiment. Subsequently, although the maximum distance that droplets traveled by singing in Japanese was 61 cm for men (median of 46.5, interquartile range, 36–57) and 56 cm for women (median of 27.5, interquartile range, 20–50), droplets were observed anteriorly and laterally to be up to 66.8 cm. At the singer’s mouth, ≥ 5 μm droplets were observed, whereas not observed at 1 meter toward the front of the singers in women and men, respectively. In German singing, droplets were observed up to 111 cm toward the front of the singer, possibly reflecting differences in pronunciation. In Japanese reading aloud, droplets were also observed up to 47 cm toward the front, whereas no droplet dispersion was observed by speaking the Japanese /a/ vowel or singing with wearing surgical mask toward the front. The aerosols produced when reading singing the /u/ vowels were significantly higher than those in other vowels. When singing in a choral group, keeping a sufficient distance at the front and side is recommended in minimizing infectious spread. If distance is not possible, practicing with /a/ vowels and avoiding consonants may be an alternative method. Our observations lasted only 50 seconds per song, and further observational studies are needed to determine the dynamics of aerosols that stay for long periods.
41
Clarós, Pedro, Kinga Mikolajczyk, Astrid Clarós Pujol, Carmen Pujol, Juan Sabater, and Andrés Clarós. "Side effects of medications in professional opera singers’ voice: survey findings." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 2 (January 24, 2020): 213. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20200131.
Full textAbstract:
<p class="abstract"><strong>Background:</strong> Opera singers are classified under level I, as the elite vocal performers, being the quintessential representatives of this group. As the professional voice users, they meticulously observe any changes relevant to their health, therefore self-reported side effects should be taken under serious consideration. The aim of this study was to initiate the process of gathering general information about the most common side effects of medications taken by the opera singers.</p><p class="abstract"><strong>Methods:</strong> The study group consisted of 264 professional opera singers, treated in Clarós Clinic in a 35 years period, who were asked to complete a questionnaire. The response rate was 62.1% (n=164) with a male-to-female ratio being 1.27:1 (72 men and 92 women). 46 cases of adverse effects of medicines were updated and analysed. All the responses were collected between February and April 2018. </p><p class="abstract"><strong>Results:</strong> The mean age of our study group was 38.3 for females and 49.95 for males, with the range between 18-83 years. The vocal categories were as follows: 39 tenors, 17 baritones, 14 basses, 64 sopranos, 23 mezzo-sopranos and 5 contraltos. Patients with chronic diseases and comorbidities represented the 39.1% of the study group. The most common adverse effect reported was dryness (15.2%). The most frequent voice side effects raised by singers were clearing the throat frequently (14.63%), hoarseness and coarse or scratchy sound (10.37%), and vocal fatigue (7.32%).</p><p><strong>Conclusions:</strong> We believe that exploring the subject of vocal side effects of medications in professional opera singers is extremely important.</p>
42
Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes." Cambridge Opera Journal 6, no. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.
Full textAbstract:
The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.
43
Campbell, M. "Black Resonance: Iconic Women Singers and African American Literature. Emily J. Lordi." MELUS: Multi-Ethnic Literature of the United States 39, no. 4 (October 17, 2014): 207–9. http://dx.doi.org/10.1093/melus/mlu045.
Full text
44
Morton, Melissa. "‘I’m not a 10-year-old girl anymore’: The voices, identities and careers of Got Talent’s mismatched girls." Journal of Interdisciplinary Voice Studies 8, no. 1 (April 1, 2023): 65–78. http://dx.doi.org/10.1386/jivs_00073_1.
Full textAbstract:
This article explores the stereotype of the ‘tiny girl with the big voice’ and discusses three singers, Jackie Evancho, Hollie Steel and Connie Talbot, who competed in televised talent competitions America’s Got Talent and Britain’s Got Talent at aged 10 or under during the early 2010s. Today, as adults in their twenties, the three women continue to pursue singing careers, navigating the public scrutiny that inevitably follows female child stars as they grow up. The first half of this article explores how the talent competitions framed the apparent incongruence between the young girls’ voices and bodies and their dehumanizing objectification in the press as ‘singing angels’ or ‘freaks’. Adapting a term from Jennifer Fleeger, the article describes these singers as ‘mismatched girls’. The second half of the article examines recent transformative moments in the adult lives of Evancho, Steel and Talbot that demonstrate how the women have used musical performances and social media to reimagine the relationship between their voices, bodies and identities. Managing their own careers and star texts as adults today, they transcend the ‘mismatched girl’ stereotype, refuting the cultural myth that certain voices inherently belong with certain bodies.
45
Watson, Greg. "Pragmatic acts of love." Language and Literature: International Journal of Stylistics 21, no. 2 (May 2012): 150–69. http://dx.doi.org/10.1177/0963947011435860.
Full textAbstract:
This article is a pragmatic examination of the manner in which early American female blues artists talk to their audience about love. It is an extension of the preliminary work of Kuhn (1999), who examined the lyrics of male blues singers, and Watson (2006), who applied a revised version of Tyrmi’s (2004) model to investigate the expression of love and sexuality in the lyrics of pre-1950s’ American female blues singers. Kuhn’s (1999) study concentrated on the seductive strategies of male blues lyrics and applied speech act theory to her corpus. This article aims to extend upon Kuhn’s enquiry, by examining, in greater detail, the seductive strategies and other acts of love expressed in the lyrics sung by early female blues artists. It is, and has generally been, perceived that female artists are less risqué and less assertive in requesting their needs, and that they are more genteel in expressing their desires and feelings. Watson (2006) disproved this assumption. I found that these women were direct in stating their needs, either for love or sexual gratification and had no qualms about stating these needs. In this article, I further investigate how these women express their needs and wants by applying Searle’s (1969, 1976, 1979) speech act theory to the lyrics of early female blues singers. In doing so, I pay particular attention to the use of assertives, directives, and commissives. This methodology is applied to a representatively selected computerised corpus of 111 songs by 39 different American female blues artists, who pre-date the 1950s. Like Kuhn (1999), I am particularly interested in arriving at a fuller understanding of how it is that as we listen to the blues we feel that these lyrics ‘talk’ to us and I am especially interested in proposing a pragmatic taxonomy of these lyrics
46
Karas, Hanna. "THE OUTSTANDING OPERA SINGERS SOLOMIYA KRUSHELNYTSKA AND MYKHAILO GOLYNSKY IN THE VASYL STEFANYK`S LIFE." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 137–47. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-137-147.
Full textAbstract:
One of the peculiarities in the studying of the Vasyl Stefanik’s creative life is his relationships with the prominent Ukrainian singers Solomiya Krushelnytska (1872–1952) and Mykhailo Golynsky (1890–1973). Having strong national and cultural identity and talent they filled the artist’s spiritual life with new colors, impressions, and feelings. Being all-arounder personalities the singers paid tribute to the writer’s talent, supported him in his difficult period of life. One of Solomiya Krushelnytska, as one of the most famous women of ancient and modern Ukraine, made a strong impression on the young Vasyl Stefanyk. He was fascinated by her talent, beauty, temperament, and praised Solomiya' s voice and intellect. The writer carried this reverence for the singer throughout his life. Vasyl Stefanyk’s relationship with Mykhailo Golynsky was of a different nature. A native of Horodenka region, which borders the Sniatyn region, the peasant’s son Mykhailo, like Vasyl Stefanyk, was a great patriot of Ukraine, a romantic who dreamed of singing for his people. He was applauded by Lviv and Warsaw, Torun and Berlin, Kharkiv and Kyiv, New York, Ottawa and Winnipeg. He was compared to the great Caruso. As a relative of Marko Cheremshyna (Ivan Semanyuk), Mykhailo often visited him in Sniatyn. Vasyl Stefanyk also came here from Rusov. While in Soviet Ukraine in 1926–1930 (Odesa, Kyiv, Kharkiv), the singer became a link between Ukrainian writers and V. Stefanyk, who conveyed greetings to the Galician novelist and wished to meet him. Gaining prestige after his triumphant speeches in Kharkiv (then the capital of Ukraine), M. Golynsky, fulfilling the request of Professor Kyrylo Studynsky, appealed to the Minister of Education M. Skrypnyk with a request for financial assistance for Vasyl Stefanyk. In 1928, the Soviet government granted him a personal pensionfor propaganda purposes, and in 1931 he celebrated his 60th birthday in Kharkiv. M. Golynsky took part in the writer' s jubilee on June 17, 1927 in the People' s House in Lviv. The article’s key sources are the epistolary and memoir heritage of these extraordinary individuals.
47
Fadel, Congeta Bruniere Xavier, Ana Paula Dassie-Leite, Rosane Sampaio Santos, Marcelo de Oliveira Rosa, and Jair Mendes Marques. "Acoustic characteristics of the metallic voice quality." CoDAS 27, no. 1 (February 2015): 97–100. http://dx.doi.org/10.1590/2317-1782/20152014159.
Full textAbstract:
PURPOSE: To characterize the fundamental frequency and the frequency of the formants F1, F2, F3, and F4 from vocal emissions of amateur singers with metallic voice quality. METHODS: There were 60 amateur female singers aged between 18 and 60 years old; 30 women with metallic voice quality forming the study group (SG) and 30 women without such a vocal quality forming control group (CG). The sample was selected through voice screening confirmed by reviewers after reaching a consensus. Regarding data collection, sustained vowel emissions in usual tone and at two predetermined frequencies, by which the values of F0 and frequency of the formants F1, F2, F3, and F4 were obtained, were recorded and analyzed. RESULTS: Comparing the emissions in usual tone, no difference for F0 was found, but the values of the formants F2, F3, and F4 were higher in the SG. In the preestablished tones, there was a difference between the two groups in the formants F3 and F4 for both tones. CONCLUSION: It is possible to characterize metallic voice quality as a normal fundamental frequency, with increasing frequency of the F2 formant, and values of frequencies of formants F2, F3, and F4 higher when compared to the CG.
48
Goudreau, Ghislaine, Cora Weber-Pillwax, Sheila Cote-Meek, Helen Madill, and Stan Wilson. "Hand Drumming: Health-Promoting Experiences of Aboriginal Women from a Northern Ontario Urban Community." International Journal of Indigenous Health 4, no. 1 (June 3, 2013): 72. http://dx.doi.org/10.18357/ijih41200812317.
Full textAbstract:
Over the past 10 years, Aboriginal women from a northern Ontario urban community have been gathering to hand drum as a way to revive their culture and support one another. As a member of an Aboriginal women’s hand-drumming circle called the Waabishki Mkwaa (White Bear) Singers, I had a vision of exploring the connection between hand-drumming practices and health promotion, and was the primary researcher for the study described in this article. Adhering to Aboriginal protocols as part of an Indigenous research methodology, I offered traditional tobacco to members of the Waabishki Mkwaa Singers, as an invitation for them to be both co-researchers and participants in the study. In accepting the tobacco, the members agreed to help facilitate the research process, as well as to journal their experiences of the process and of their own hand-drumming practices. Using an Aboriginal Women’s Hand Drumming (AWHD) Circle of Life framework—a framework developed by the co-researchers of the study—we explored the physical, mental, spiritual, and emotional benefits of Aboriginal women’s hand-drumming practices, and examined how culture and social support networks are key determinants of Aboriginal women’s health. Results of the qualitative analysis show that the Aboriginal women’s involvement in hand-drumming circles has many health promoting benefits and builds on strengths already existent within their community. Through their experiences with hand drumming, the women reported gaining a voice and a sense of holistic healing, empowerment, renewal, strength and Mino-Bimaadiziwin (“good life”). These findings are consistent with evolving Aboriginal perspectives on health promotion.
49
Mihăilă-Lică, Gabriela. "The Image of the Romanian Woman in “Never Mind the Balkans, Here’s Romania” By Mike Ormsby." Land Forces Academy Review 26, no. 3 (September 1, 2021): 193–97. http://dx.doi.org/10.2478/raft-2021-0026.
Full textAbstract:
Abstract The paper analyses the image of the contemporary Romanian woman as it appears in the book “Never Mind the Balkans, Here's Romania”, written by Mike Ormsby and published in 2008. The book of the English writer is a collection of 57 stories that present various aspects of the Romanian life from the period between 1994-2008 when Ormsby visited Romania. Even though the gallery of characters he focuses on is created from people from all over Romania and from all the strata of the society, one can discover some common characteristics of the Romanian women. They have the most varied occupations (managers, veterinarians, opera singers, publishers, etc.) and display the most varied character traits, yet the careful reader is able to discern the vivid portrait of the “generic” Romanian woman.
50
Swedenburg, Ted. "Rai's Travels." Middle East Studies Association Bulletin 36, no. 2 (2003): 190–93. http://dx.doi.org/10.1017/s0026318400044837.
Full textAbstract:
Rai music has traveled far and undergone remarkable transmutations since the early days of its development in Wahran (Oran) during the first decades of the twentieth century. Originally performed at weddings and in bars, mostly by women singers known as cheikhat, the instrumentation was simple (a reed flute known as a qasba, a single-stringed viol or rbab, and a hand drum known as the gellal) and the vocals, raucous and sometimes bawdy. The lyrics consisted of formulaic couplets, and mostly dealt with relations between men and women. The early recordings of rai's greatest female vocalist, Cheikha Rimitti are the essential foundation of any collection of rai music.