Thèses sur le sujet « Muslim lesbians »
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1
Alsayyad, Ayisha. « Queer Muslim Women : On Diaspora, Islam, and Identity ». Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193286.
Texte intégralRésumé :
In this thesis, women who identify as both queer and Muslims living in North America tell their stories of family, religion, and home. These immigrants and first generation Westerners describe their identities in an effort to acknowledge the difficulties that can accompany being both Muslim in the diaspora in a time when religious and political tensions are aimed at the Middle East. While each has a unique life history, the participants represented here challenge assumptions about the "inherent" contradictions that are assume to exist for those who are both Muslim and queer due to constructions of Islam as sexually and socially conservative. They also offer insight into the usefulness of the current international LGBTQ movement for Muslim lesbians. Using the in-depth interviews from eight women, as well as several first-person published narratives, the aim of this research is to explore how each of these individuals to experience their identities in the diaspora.
2
Mundell, Mel. « Remember Who You Are : The Story of Portland Dykecore ». PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1377.
Texte intégralRésumé :
From the dumpster-diving spiky haired dykes of the 1990s to the land-loving political lesbian folkies of the 1970s, queer women in Portland, OR have a long history of non-consumer-driven culture making, separatism and guitars. Remember Who You Are: The Story of Portland Dykecore explores the roots of the all-ages dyke-made music scene that exploded between 1990 and 2000.
3
Zeb, Farah. « Ethical conundrums and lived praxis : queer Muslim women in Malaysia and Lebanon ». Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/28915.
Texte intégralRésumé :
Applying a queer Muslim feminists lens, this thesis interrogates ways in which a heterosexual world-view appropriates the domain of sexuality within two specific Muslim contexts. The study focuses on, is informed and enriched by the experiences of Queer Muslim women who navigate within the contextual spaces they inhabit, multiple sites which ultimately propel them to question and contest the heterosexual norms that they are expected to repeatedly perform in the name of religion. Through their questioning, they name the various challenges they experience and the strategies they employ in navigating realms of family, state and society, as well their relationship with the Divine. This study, both foregrounds and contributes to understanding Muslim queer women's subjectivity in the production of religious meaning. More succinctly, this thesis contributes to appreciating how Queer Muslim women understand their existence in the face of religious and societal criticism, and how their experiences can serve as the threshold from which to formulate ethically and theologically enriched considerations deeply rooted in the Qur'ān. By looking at two specific contexts, namely Malaysia and Lebanon, this thesis carefully uncovers multiple sites of oppression, layer by layer. The purpose is to lay bear the political personality of states, which often employ religion to coerce those it deems different and thus a threat, in this case to standards of sexual morality. In direct tension with the two nation-states in question, are alternative fringe actors who occupy contested middle spaces. It is from these crucial middles spaces i.e. spaces of potential friction and tension that subliminal spaces for dialogue and discussion then arise. Finally, remaining within an Islamic frame of reference, this thesis takes a nuanced route via Queer Theology, to argue that alternative queer sexual subcultures need not be a source of fear, or threat, or condemnation, but can quite possibly and realistically live alongside a diverse range of sexual subjectivities, ethically and conscientiously, no more, no less than anyone who defines or sees themselves as Muslim.
4
Kendall, Laurie J. « From the liminal to the land : building Amazon culture at the Michigan Womyn's Music Festival / ». College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3499.
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5
Wilson, Angela 1979. « After the riot : taking new feminist youth subcultures seriously ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.
Texte intégralRésumé :
This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia.
Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.
6
Duvall, Brown Timothy A. « Multiple minority identities : Queer and Muslim Arab Americans ». Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1268.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Psychology
7
Wester, Emelie. « Between Allah and me : God is the judge ». Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-322742.
Texte intégralRésumé :
The purpose of this research was to look into the issues one might encounter as a gay and lesbian Muslim with especial focus on the individual experience. I was interested in analyzing the dynamics of one's sexual identity interconnecting with one's religious identity with the assistance of identity theory, personality and culture concepts. I interviewed three different individuals who are all practicing Muslims and live openly as gay in their community, and gathered secondary resources to gain insights from gay, lesbian and transgender Muslims from other communities. The research disclosed individuals’ perceptions on the legitimacy of homosexuality in Islam and their lived experiences regarding their sexuality and the role their culture has played.Presentationen skedde genom Skype där lärarna satt i Uppsala och jag själv vid datorn hemma, boende i Paris, Frankrike.
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Plitt, Joel Ivan. « History museum and archive of the lesbian and gay community of New York City ». Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/53383.
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This thesis is an exercise in responsibility regarding my actions as an architect. It is based upon the belief that architecture is a product conveying culture. While architecture can convey culture, it also has the potential to shape and facilitate change q in culture. Therefore, one can view the architect as more than a technician, making architecture stand and work properly, or an artist, concerned with the aesthetic/architectonic qualities of architecture, but rather as an active entity who can both convey and change cultural values through the built environment. The struggle in this thesis regarding responsibility has been to make my role more than an active entity in culture, but a consciously active entity in culture. Since I have long viewed culture as a political product and one's existence in culture as a political act, then one’s responsibility as an architect could be to make architecture as the conscious embodiment of a political ideology. For me, feminism is the political ideology, and Liberative Architecture is the conscious embodiment.Master of Architecture
9
Hu, Maria Theresa. « Daughters of the lesbian poet| Contemporary feminist interpretation of Sappho's poems through song ». Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1596463.
Texte intégralRésumé :
This thesis examines the seven song and/or choral settings of Sappho’s poetry by contemporary women composers Carol Barnett, Sheila Silver, Elizabeth Vercoe, Liza Lim, Augusta Read Thomas, Mary Ellen Childs, and Patricia Van Ness. Each composer has set Sappho’s poems in her own creative and artistic interpretation through diverse modern musical styles, giving the Greek poetess a modern, gendered female voice. This paper presents connections between the poetry chosen, its themes and interpretations, as well as the expressive musical devices employed. The various methodological approaches include historical and textual criticism, sociomusicology, and gender and sexual studies. The setting of Sappho’s poetry and the commonalities of the poetic themes set to music help us understand how modern women view Sappho’s image, hear, and give voice to the poetess of the ancient world.
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COYLE, PATRICK O. « SIGNIFICANT MALE VOICE REPERTORY COMMISSIONED BY AMERICAN GAY MEN'S CHORUSES ». University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151349055.
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Boone, F. Khalilah. « Really Daddy : A Collection of Stories ». Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/77482.
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Really, Daddy is a collection of twelve stories that explore the dynamics of racial, intra-racial, gender, and religious power clashes. In narratives that range from realistic to postmodern, characters move through conflicts on a path to self-realization. Ostensibly the responsible ones, the protagonists’ identities are elucidated in the context of the burdens that they carry.
At the center of this collection are women and fathers in crisis, as they attempt to save their families or to nourish their own spirits. Whether the character is an African-American Muslim mother shocked into indecision when the Qur’an doesn’t lead her family in its crisis, or an enslaved woman torturing other slaves out of anger over losing her female love, fabulist techniques are combined with realism to unfold the haunting and humorous tales of the imposition of family responsibilities on the lives of the most vulnerable. Here, the reader will find the lapsed Catholic and her wife seeking help from African religion devotees who don’t approve of lesbian relationships, the maid who sacrifices her daughter to a lecherous boss so the rest of her family can eat, and the gay Muslim brother and his lesbian sister in conflict over what to do with his baby. Reflecting the contemporary world in which people live in overlapping marginal spaces of society, these are the stories of America’s forgotten subcultures.Master of Fine Arts
12
Hayes, Eileen M. « Black women performers of women-identified music : "they cut off my voice, I grew two voices" / ». Thesis, Connect to this title online ; UW restricted, 1999. http://hdl.handle.net/1773/10623.
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Mensel, Robert. « A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses / ». view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.
14
Spatz, Garrett M. « Born (Again) This Way : Popular Music, GLBTQ Identity, and Religion ». Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351359017.
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Zackery, Shane M. « The Genre Formerly Known As Punk : A Queer Person of Color's Perspective on the Scene ». Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/334.
Texte intégralRésumé :
This video is a visual representation of the frustrations that I suffered from when I, a queer, gender non-conforming, person of color, went to “pasty normals” (a term defined by Jose Esteban Munoz to describe normative, non-exotic individuals) to get a definition of what Punk meant and where I fit into it. In this video, I personify the Punk music movement. Through my actions, I depart from the grainy, low-quality, amateur aesthetics of the Punk film and music genres and create a new world where the Queer Person of Color defines Punk. In the piece, Punk definitively says, “Don’t try to define me. Shut up and leave me to rest.”
16
Macune, Emily. « Uncovering Alice Bag : An Alternative Punk History ». Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1242.
Texte intégralRésumé :
The intention of this thesis is to provide an alternative counter-narrative to the mainstream histories of punk that center white men. By focusing on the contributions of fem queer and POC punks, I aim to legitimize punk music as a form of resistance against systems of oppression that are oppositional to the commodified forms of mainstream punk. Using Alice Bag, as my central case study as a fem queer punk that is often left out of punk historical narratives, I contextualize her work through feminist, queer, and media studies lenses to bridge the gap between academia and forgotten personal experience.
17
Esch, David B. « Trans Terrains : Gendered Embodiments and Religious Landscapes in Yogyakarta, Indonesia ». FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1829.
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Transgendered Indonesians live in the fourth most populated nation in the world with more Muslims than any other country. This thesis summarizes an ethnography conducted on one religiously oriented male-to-female transgender community known in the city of Yogyakarta as the waria. This study analyzes the waria’s gender and religious identities from an emic and etic perspective, focusing on how individuals comport themselves inside the world’s first transgender mosque-like institution called a pesantren waria. The waria take their name from the Indonesian words wanita (woman) and pria (man). I will chart how this male-to-female population create spaces of spiritual belonging and physical security within a territory that has experienced geo-religio-political insecurity: natural disasters, fundamentalist movements, and toppling dictatorships. This work illuminates how the waria see themselves as biologically male, not men. Anatomy is not what gives the waria their gender, their feminine expression and sexual attraction does. Although the waria self-identity as women/waria, in a religious context they perform as men, not women.
18
Taylor, Jodie. « Playing It Queer : Understanding Queer Gender, Sexual and Musical Praxis in a 'New' Musicological Context ». Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366992.
Texte intégralRésumé :
Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study.
An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. It also raises questions surrounding the corpus of queer musical practice—that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. A grounded theoretical analysis of the data gathered in these case studies provides the necessary material to argue that musical performance provides a creative context for the expression of queer identities and the empowerment of queer agency, as well as oppositional responses to and criticism of heterosexual hegemony, and the homogenisation and assimilation of mainstream gay culture. Resulting from this exploration of queer musical cultures, localised data gathering and analysis, this research also supposes a set of ideologies and sensibilities that can be considered indicative and potentially determinant of queer musical practice generally.
Recognising that queer theory offers a useful theoretical discourse for understanding the complexities and flexibility of gender and sexual identities—particularly those that resist the binary logics of heteronormativity—this project foregrounds a question that is relatively unanswered in musicological work. It asks: how can musicology make use of queer theory in order to produce queer readings and new, anti-oppressive knowledge regarding musical performance, composition and participation? To answer this, it investigates the history of resistance towards embodied studies of music; the disjuncture between competing discourses of traditional and ‘new’ musicology; and recent developments in the pursuit of queer visibility within music studies. Building upon these recent developments, this work concludes that the integration of queer theoretical perspectives and queer aesthetic sensibilities within musicological discourse allows for a serious reconsideration of musical meaning and signification. In the development of a queer musicology, a committed awareness of queer theory, histories, styles and sensibilities, together with an embodied scholarly approach to music, is paramount. It is through this discursive nexus that musicology will be able to engage more fully with the troubling, performative and contingent qualities of gender, sexuality and desire.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Queensland Conservatorium of Music
Full Text
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Edmundson, Joshua R. « THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & ; THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958 ». CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
Texte intégralRésumé :
The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
20
Chen, Hsin-Ju, et 陳信儒. « A Research on Lesbian Culture Applied to Digital Music Video ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/73193223073531031152.
Texte intégralRésumé :
碩士銘傳大學
設計創作研究所碩士班
98
After the United States Stonewall Events opened a prologue of gay movement in 1969, it has since combined with the women’s movement and gender liberation movement, causing profound changes in the Western social, political, and academic sectors. The studies on homosexuality are also increasing day by day with the nourishment of the women’s movement. Before the martial law was lifted in Taiwan in 1987, the closed social ideology at the time made the word lesbian generally unacceptable in public, and until today, lesbians in Taiwan society were groups still being oppressed. Hence, the purpose of this creative design is to use the creative elements of pop music in combination with the story, music, and images to help lesbians find their own positioning, and to create lesbian audio and video channel of “POTS” type. This creative design through the literature review and case studies further examines the status of Taiwan lesbian studies. The analysis of the sub-culture, the sub-cultural gay theory, and subsequent extension of the lesbian and feminist theory help to establish an in-depth understanding of the lesbian world. Furthermore, the connotation between ideology and symbols is also used to analyze Taiwan lesbian’s music video works for the studies. The digital music video works of this creative design use the narrative music videos as the main form of expression, and by adopting the symbolic color meanings of green and purple in a six-color rainbow flag as the basis for color application, the symbolic language of color is explored in-depth and linked with the digital music video.
21
Houser, Russell John. « Staged lives : identity construction of lesbian, bisexual, and gay wind band conductors in the Midwest ». Thesis, 2020. https://hdl.handle.net/2144/41677.
Texte intégralRésumé :
This study investigates how identity construction of lesbian, bisexual, and gay wind band conductors in the Midwest was complicated by stigma and compulsory heterosexuality. The study was motivated by three research questions that considered how environment shapes identity, how agency shapes identity, and how, upon reflection, band conductors describe their identities. Extant research on the subject of LGBTQIA+ band conductors identity included discussion of music teacher identity; however, there was no detailed examination of lesbian, bisexual, or gay identity construction of conductors. In this study I identified stigma and how these conductors subsequently managed their identity in response, while in a position power as well as a position of vulnerability. Additionally, I examined the social environment and the interpersonal relationships with their instrumentalists to understand how these conductors defined themselves in relation to their environment and others in that environment. In order to understand these self- definitions, I interviewed each conductor three times, in a semi-structured format, that moved from general background to specific reflection on their work. The interviews were transcribed, and portions that were representative of the conductors, were extracted and edited to include non-verbal details. These extracts were analyzed used positioning theory analysis to precisely identify how conductors deployed language to describe themselves, events, interactions, and others, directly, indirectly, spatially and temporally. These analyses showed how conductors managed identities while focusing on the welfare of their musicians through caregiver, observer, actor, and activist identities. Additionally, I found stigma and compulsory heterosexuality limited interactions of these conductors with their musicians which was stressful to the conductors. Finally, I considered ways that LGBTQIA+ conductors and students may be able to break some of the silence in music education through formal opportunities at NAfME conferences through performances by LGBA bands and research by LGBTQIA+ educators. Additionally, I considered future research questions regarding how much homophobia and compulsory heterosexuality do music educators tolerate until it becomes a point of resentment, how bands fare with success if programs rebalanced co-equally between musical development and personal development, and finally how might experts include personal development to their students during band development on the podium.
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Wu, Tzu-Min, et 吳咨閔. « Exhibiting and Performing the Notions of Body : Gay, Lesbian, Bisexual, Transgender History Museum in Castro, San Francisco ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/32zp82.
Texte intégralRésumé :
碩士國立臺北藝術大學
博物館研究所碩士班
103
The goal of this thesis is three-fold: (i) I study the corporal reality of queerness as shown in museum exhibitions; (ii) based on the findings in (i), I then shift my focus to how lived experience of queer bodies is summoned through such museum exhibition; (iii) finally, I address the issue of the foundation and the limitations of visibility and diversity. The major issue of this thesis is to investigate how the queer community and museum resources community is San Francisco, assisted by the museum techniques of the GLBT History Museum in Castro, present the controversial exhibition/performance of queer bodies. In the context of how Neoliberalism shapes human experience, I study how the ideology of Neoliberalism reframes the visibility and diversity of American museums performance and exhibition. In addition, the GLBT History Museum in Castro, inheriting the spirit of activities promoting civil rights, aims to improve the inter-racial relations in the United States. However, the attack encountered by the GLBT History Museum in early 2012 reflected how the mission of museum community of promoting the awareness of cultural and biological diversity since the ‘80s offended the borderline of diversity perceived by Americans. Besides, the exhibition/performance of queer bodies is a controversial and challenging task. Given that the practices of queer bodies oftentimes offend the social norms formed by the heterosexuals, queerness not only is hidden in narrative axis of heterosexuality, but also embodies the heterogeneousness of gender politics within the queer community.
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Green, Christina. « Nomadic journeys of lesbian composers : thinking my compositional processes alongside Pauline Oliveros and Eve Beglarian ». Thesis, 2019. http://hdl.handle.net/1959.7/uws:53677.
Texte intégralRésumé :
This portfolio of compositions and exegesis document the development of my compositional processes, exploring how they interact with the creative work of two lesbian composers, Pauline Oliveros and Eve Beglarian. Each composer is shown to have her own distinctive voice. Yet, as I want to suggest, part of that distinctiveness arises from her embodiment of music as a lesbian. This is not to say that the lesbian can be reduced to a homogenous, static identity as my contention is that each composer, including myself, takes up the idea of ‘being a lesbian’ in very different ways. To avoid essentialising the lesbian, I draw on concepts from the future-oriented philosophy of Gilles Deleuze, and Deleuze with Félix Guattari, to focus on the connections rather than the meanings made by these composers. I explore the ways in which they each take up an identity that is fluid and multi-stranded, each travelling on a nomadic, future-oriented journey that, in a Deleuzian sense, would be conceived as becomings. It needs to be noted, however, that I do not employ Deleuze’s concepts as a theorist would. Rather, I take these concepts to inform a way of thinking about composing and its processes from the practitioner perspective. As well as this connection with Oliveros and Beglarian, I am interested in the impact of image on my work, exploring how image interacts with my pre-composition techniques. I also make use of ideas that are drawn from the lesbian composer/writer Jennifer Rycenga. Oliveros and Beglarian are lesbian composers from different generations and each has very different sets of life experiences. Of interest to this project is how we might engage with sexuality as an aspect of the compositional process. I locate Oliveros’s partnership and artistic collaborative relationship with Ione (Carole Ione Lewis) as central to the creation of her lesbian/musical voice. The composer’s focus on women’s issues and on creating works informed by lesbian/feminist ideas that involve non-specialist participants, such as in her Sonic Meditations (1974) with the ♀ Ensemble, can also be read as informing this voice. Beglarian is a younger generation composer than Oliveros. Her move from an ‘Uptown/conservatory’ art music background to a ‘Downtown/experimental’ context went hand-in-hand with her coming out as a lesbian. I examine works by Beglarian that involve strands from her lesbian life experiences and themes related to women’s issues. Here, arguably, I make a new contribution to the literature exploring her works. As a contemporary of Beglarian, I trace the ways in which strands from her work, and that of Oliveros, have informed and transformed my own compositional practice. I highlight the meditations and text scores of Oliveros and their impact on my work, and the inspiration of lesbian content drawn from the works of Beglarian. Finally, spirituality is an area that inspires my compositional processes and is an intangible idea that underpins the work of all three composers. VOLUME 1: EXEGESIS ONLY TO BE MADE PUBLICLY AVAILABLE.
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Allphin, Penrose M. « Imagining the Trans Symphony : Integrating Transgender Composer Identity in Music Analysis ». 2021. https://scholarworks.umass.edu/masters_theses_2/1031.
Texte intégralRésumé :
Contemporary music analysts have generally downplayed the relevance of composer intent, a dismissal which ignores the potential for an enhanced expressive context afforded by composers' own assessments and also contributes to the silencing of already othered voices, such as in the case of queer and trans composers. Allowing the trans composer a voice in the reading of their work affirms the integral part of the trans experience that is self-determination. Over time, this project to tell trans stories evolved into a series of vignette-like analyses of trans composers’ works in which I use a methodology that incorporates the voices of living composers while building on and modifying the work of music theorists and queer theorists, and moving queer musicology towards a new trans musicology that includes non-binary genders. This thesis demonstrates my theoretical framework using interviews of six transgender composers to supplement my analyses of their works. By analyzing the work with the added context of the composer’s statements about their own music, my analyses paint more nuanced and complete pictures of the work that reinvest music analysis with the trans voice behind the composition.
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« “Do I really want to do this now?” Negotiations of Sexual Identity and Professional Identity : An Intergenerational Collaboration with Six Gay and Lesbian K-12 Music Educators ». Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.51622.
Texte intégralRésumé :
abstract: LGBTQ research in music education has become more available and accepted in the past ten years. LGBTQ studies in music education have focused on how gay and lesbian music educators negotiate their identities, the role of music education in the lives of transgender students, and the inclusion of LGBTQ issues in music teacher education programs. Studies have been limited to a singular content experience, such as gay vocal music educators or lesbian band directors. Additionally, studies have not explored multiple generations of LGBTQ music educators. The purpose of this study was to explore the lives as lived of six K-12 music teachers. Six individuals, from various career points, various generations, and various career paths shared their stories with me. To guide my analysis, I considered the following questions:
• How do lesbian and gay music educators describe their sexual identity and professional identity?
• How do gay and lesbian music educators negotiate the tensions between these identities?
• What internal and external factors influence these negotiations?
• What are the similarities and differences among the participants of different generations?
Two large emerged from the analysis that provided a better understanding of the participants’ lives: finding sexual identity and finding professional identity. Within those themes, smaller sub-themes helped to better understand how the participants came to understand their sexuality and professional identity. External factors such as social and family support, religion, and cultural and generational movements influenced the ways in which the participants came to understand their sexual identity. Participants desired to be seen first as a competent music teacher, but also understood that they could have an impact on a student as a gay or lesbian role model or mentor. Sexual identity and professional identity did not function as separate constructs; rather they were interwoven throughout these lesbian and gay music educator’s self-identities.
In order to connect the reader with the participants, I engaged in a creative non-fiction writing process to (re)tell participant’s stories. Each story is unique and crafted in a way that the participant’s voice is privileged over my own. The stories come from the conversations and journal entries that the participants shared with me. The purpose of the stories is to provide the reader with a contextual understanding of each participant’s life, and to offer some considerations for ways in which we can engage with and support our lesbian and gay music educator colleagues.
This paper does not end with a tidy conclusion, but rather more questions and provocations that will continue the conversations. I hope this document will encourage thoughtful and critical conversations in the music education profession to help us move us forward to a place that is more empathetic, socially-just, and equitable.Dissertation/Thesis
Doctoral Dissertation Music Education 2018