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Articles de revues sur le sujet « Women in music – england »

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Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 26 juillet 2024

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1

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

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

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

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

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

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

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

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

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

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

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Nine book reviews in the May 2000 issue of Notes and Records . Penelope Gouk, Music, science and natural magic in seventeenth-century England . J.M. Olson and J.M. Pasachoff, Fire in the sky: comets and meteors, the decisive centuries, in British art and science . Nuncius, Annali di Storia della Scienza . Anno XIV, fasc. 1. Olschki, Firenze, 1999. Pp. 417, Lit. 200 000 per year outside Italy. Desmond King-Hele, Erasmus Darwin, a life of unequalled achievement . John E. Thornes, John Constable's skies: a fusion of art and science . Colin A. Russell, Edward Frankland: chemistry, controversy and conspiracy in Victorian England . J. R. Smith, Everest: the man and the mountain . Barbara T. Gates, Kindred nature: Victorian and Edwardian women embrace the living world . Karl Sabbagh, A rum affair .
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Monta (author, first book), Susannah Brietz, Megan L. Hickerson (author, second book) et Scott N. Kindred-Barnes (review author). « Martyrdom and Literature in Early Modern England Making Women Martyrs in Tudor England ». Renaissance and Reformation 40, no 2 (1 janvier 2004) : 136–37. http://dx.doi.org/10.33137/rr.v40i2.9022.

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Rainwater, Crescent. « Netta Syrett, Nobody’s Fault, and Female Decadence : The Story of a Wagnerite ». Journal of Victorian Culture 25, no 2 (14 décembre 2019) : 185–99. http://dx.doi.org/10.1093/jvcult/vcz057.

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Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel condemns an antifeminist form of decadence that is associated with elitist male artists who indulge in a superficial manipulation of language and treat women as art objects. The novel’s resistance to exclusionary forms of aesthetic experience is modelled in its straightforward narrative style and strategic engagement with familiar New Woman themes. This middlebrow narrative thus made Syrett’s intervention into debates about women and decadence accessible to a middle-class female audience. When we recognize that the history of decadence includes its appeal to feminist writers such as Syrett rather than an exclusively antifeminist legacy, we can begin to uncover a more nuanced history of feminism and decadence in England at the fin de siècle.
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Stevens, Robin S. « Pathfinder and Role Model : Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher ». Journal of Historical Research in Music Education 39, no 2 (18 janvier 2017) : 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Losseff, Nicky. « Musical Women in England, 1870-1914 : "Encroaching on All Man's Privileges" ; (review) ». Notes 57, no 4 (2001) : 905–7. http://dx.doi.org/10.1353/not.2001.0098.

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Bassnett (book author), Madeline, et David B. Goldstein (review author). « Women, Food Exchange, and Governance in Early Modern England ». Renaissance and Reformation 41, no 4 (1 avril 2019) : 203–5. http://dx.doi.org/10.33137/rr.v41i4.32464.

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Pickles, Vernon. « Music and the Third Age ». Psychology of Music 31, no 4 (octobre 2003) : 415–23. http://dx.doi.org/10.1177/03057356030314006.

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Questionnaires were sent to members of some UK University of the Third Age (U3A) music groups and to other people of similar ages, enquiring into their present and past musical tastes and practices, and inviting free comment. This information was intended to identify factors either improving or impairing the enjoyment of music, and to indicate the value of music at that time of life. The first stage of the survey was directed to members of Sheffield U3A music groups, and this was followed by a further selective survey of U3A members throughout England and Wales. In all, 119 responses were received. Where the details were clearly stated, women respondents outnumbered men by about 2 to 1. The range of ages as stated by 38 respondents in the first stage of the survey was 58-86 (mean 68) years. Most groups contacted were devoted to music appreciation and concert-going, and two others to practical music-making. A general preference for music of the baroque, classical, romantic and late-romantic periods had remained unchanged over the recollected years, but many respondents expressed their appreciation of being introduced to more recent works. However, some contemporary music remained impenetrable. Questions of hearing aids and other kinds of instrumentation are considered, as are the benefits of group activities, especially under an expert leader. Further individual comments were received from members of the Incorporated Society of Musicians (ISM). The many individual free statements from all sources spoke of the great value of music, especially in helping to overcome the personal difficulties of that stage of life. A plea is made for better understanding of the musical needs and opportunities of this age group.
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17

Russell, Dave. « Key Workers : Toward an Occupational History of the Private Music Teacher in England and Wales, c.1861–c.1921 ». Royal Musical Association Research Chronicle 47 (2016) : 145–72. http://dx.doi.org/10.1080/14723808.2016.1140369.

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Making particular use of material drawn from the Census of England and Wales, this article confirms that music teaching was above all an urban activity, increasingly dominated by women, albeit with some local variation, and that the highest provision of teaching was invariably in middle-class areas. Seaside resorts and suburbia were especially prominent market locations by the early twentieth century, with the south-east particularly favoured. The often-derided part-time teacher is shown to have been a key figure in working-class communities. While teachers showed little interest in formal professionalization, it is argued that they were probably better paid than has been assumed and were able at least to maintain a social position within the lower-middle and skilled working classes that most were born into. Although women's careers were frequently short, for a growing minority, music teaching was a serious career option. It is suggested that teachers met contemporary needs rather more effectively than some have claimed.
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Parker, Mary Ann. « Women Writing Music in Late Eighteenth-Century England : Social Harmony in Literature and Performance (review) ». University of Toronto Quarterly 80, no 2 (2011) : 348–49. http://dx.doi.org/10.1353/utq.2011.0096.

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Perry, Ruth. « Women Writing Music in Late Eighteenth-Century England : Social Harmony in Literature and Performance (review) ». Eighteenth-Century Fiction 23, no 2 (2010) : 434–38. http://dx.doi.org/10.1353/ecf.2010.0036.

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Ellen T. Harris. « Women Writing Music in Late Eighteenth-Century England : Social Harmony in Literature and Performance (review) ». Eighteenth-Century Studies 43, no 4 (2010) : 538–40. http://dx.doi.org/10.1353/ecs.0.0174.

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Lingas, Ann. « Women Writing Music in Late Eighteenth-Century England : Social Harmony in Literature and Performance - By Leslie Ritchie ». Journal for Eighteenth-Century Studies 35, no 2 (24 mai 2012) : 263–64. http://dx.doi.org/10.1111/j.1754-0208.2010.00359.x.

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Gowing (book author), Laura, et Helen Berry (review author). « Common Bodies. Women, Touch and Power in Seventeenth-Century England ». Renaissance and Reformation 39, no 3 (1 janvier 2003) : 118–20. http://dx.doi.org/10.33137/rr.v39i3.8911.

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BOZIWICK, GEORGE. « “My Business is to Sing” : Emily Dickinson's Musical Borrowings ». Journal of the Society for American Music 8, no 2 (mai 2014) : 130–66. http://dx.doi.org/10.1017/s1752196314000054.

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AbstractThe daily musical activities of poet Emily Dickinson (1830–86)—home performances at the piano, collecting sheet music, and attending concerts—provided a vital and necessary backdrop for her emerging artistic persona. Dickinson's active musical life reveals a great deal about the cultural offerings available to a woman of her time, place, and class. Moreover, her encounters with the music-making of the Dickinson family servants and the New England hymn tradition encouraged artistic borrowings and boundary crossings that had a deep and continuing influence on her writing. Through her engagement with music, Dickinson was able to fashion an identity served by musical longings, one that would ultimately serve a vital role in the formation of her unique poetic voice.
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Parapar, Cristina. « Black Music and Desublimation : Contravening Expectations in Marcusean Aesthetics ». Artefilosofia 19, no 35 (21 juin 2024) : 1. http://dx.doi.org/10.69640/raf.v19i35.7264.

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In 1968, Herbert Marcuse spoke to a packed audience of students at the New England Conservatory. The author of "One-Dimensional Man" urged young composers and performers to fight against the sublimating, harmonizing, and consoling forms of tradition. In other words, he encouraged them to create music that responded to the needs of the historical moment they were living in. Marcuse realized that both serious and popular music could not divorce themselves from their political dimension, and thus, they could contribute to the task of emancipation. In this speech, the philosopher declared that the musical counterculture of the 60s and 70s was the outcry of men and women who had lost patience, who had felt the lie, the hypocrisy, and the indifference of late capitalism, and who wanted music from other planets, very real and very close planets. This later reference to a speech by Arnold Schönberg serves as the motivation for this investigation, which has a dual purpose. On the one hand, this article aims to examine Marcuse's comments and notes on musical counterculture from the late 60s until his passing. Certainly, the German philosopher was primarily interested in the Black music of his time because he believed it revealed the fissures of one-dimensional society and participated in the desublimation of the real. For this reason, the goal is to delve into the forms and musical strategies that led Marcuse to consider that Black music contributed to the task of denouncing the brutality of one-dimensional society. Secondly, this article seeks to evaluate the ongoing relevance of Marcuse's radical aesthetics in the context of contemporary popular music.
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ELLIS, BRONWYN. « LESLIE RITCHIE WOMEN WRITING MUSIC IN LATE EIGHTEENTH-CENTURY ENGLAND : SOCIAL HARMONY IN LITERATURE AND PERFORMANCEAldershot : Ashgate, 2008 pp. x + 269, isbn978 0 7546 6333 1 ». Eighteenth Century Music 7, no 2 (30 juillet 2010) : 289–91. http://dx.doi.org/10.1017/s1478570610000126.

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Goldstein, David B. « Bassnett, Madeline. Women, Food Exchange, and Governance in Early Modern England ». Renaissance and Reformation 41, no 4 (2018) : 203. http://dx.doi.org/10.7202/1061928ar.

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Johnson (book author), Sarah E., et Mark Albert Johnston (review author). « Staging Women and the Soul-Body Dynamic in Early Modern England ». Renaissance and Reformation 37, no 3 (5 mars 2015) : 296–98. http://dx.doi.org/10.33137/rr.v37i3.22477.

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Schleiner (author, first book), Louise, Jean R. Brink (editor, second book) et Jean LeDrew Metcalfe (review author). « Tudor and Stuart Women Writers;Privileging Gender in Early Modern England ». Renaissance and Reformation 32, no 1 (1 février 2009) : 87–89. http://dx.doi.org/10.33137/rr.v32i1.11781.

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Johnson, Bruce. « Deportation Blues <br> ; doi:10.5429/2079-3871(2010)v1i1.5en ». IASPM Journal 1, no 1 (8 avril 2010) : 1–13. http://dx.doi.org/10.5429/297.

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The history of popular music in the twentieth century has been regularly intersected by outbreaks of moral panic regarding the debilitating influence of particular genres, for which the association between 'blackness' and degradation has provide especially inflammable fuel. In Australia this has been intensified by virtue of a strain of racism and xenophobia, most recently manifested in the government's refusal of entry to Rapper Snoop Dogg in April 2007 after failing a 'character test'. One case from 1928 resulted in a generic quarantine that affected the development of popular music in Australia for decades. Throughout the 1920s there were vigorous union lobbies against jazz, and especially the importation of bands from the US and England. The complaints drew their authority from the criteria of art and morality and the two obligingly converged when the first African-American jazz band toured with the revue 'The Coloured Idea' in 1928. During its season in Melbourne, collusion between the local yellow press tabloid Truth, the intelligence organization the Commonwealth Investigation Branch, and the local police, led to members of the band being caught in drug and alcohol-fuelled frolics with local women. In a unique act of censorship, the whole band was deported, and union proscriptions introduced on black musicians made it the last African American jazz band allowed into the country for decades. This paper provides an account of this episode, and a discussion of the issues regarding popular music, race and gender on which it pivoted.
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Kramer, Lawrence. « Fin-de-siècle fantasies : Elektra, degeneration and sexual science ». Cambridge Opera Journal 5, no 2 (juillet 1993) : 141–65. http://dx.doi.org/10.1017/s0954586700003967.

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In 1903, Otto Weininger, twenty-three, Viennese, Jewish, and an imminent suicide, published his misogynist manifesto Sex and Character and created an international sensation. ‘One began’, reported a contemporary, ‘to hear in the men's clubs of England and in the cafés of France and Germany – one began to hear singular mutterings among men. Even in the United States where men never talk about women, certain whispers might be heard. The idea was that a new gospel had appeared.’ Weininger's new gospel tied the spiritual progress of the human race to the repudiation of its female half. Women, said Weininger, are purely material beings, mindless, sensuous, animalistic and amoral; lacking individuality, they act only at the behest of a ‘universalised, generalised, impersonal’ sexual instinct. For humanity to achieve its spiritual destiny, men – particularly ‘Aryan’ men, who had not suffered a racial degeneracy that made the task impossible – must achieve the individualistic supremacy first revealed by the philosophy of Immanuel Kant. In order to do this, they must both rid themselves of the femininity within them and reject their sexual desires for the women around them.
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Campbell, Heather. « Women, Beauty and Power in Early Modern England : A Feminist Literary History ». Renaissance and Reformation 42, no 3 (11 décembre 2019) : 259–61. http://dx.doi.org/10.7202/1066397ar.

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Abate (author, first book), Corinne S., Mihoko Suzuki (author, second book) et Sylvia Brown (review author). « Privacy, Domesticity, and Women in Early Modern England ; Subordinate Subjects : Gender, the Political Nation, and Literary Form in England, 1588-1688 ». Renaissance and Reformation 38, no 3 (1 janvier 2002) : 38–41. http://dx.doi.org/10.33137/rr.v38i3.8803.

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Hunt, T. L. « Musical Women in England, 1870-1914 : "Encroaching on All Man's Privileges." By Paula Gillett and Women Performing Music : The Emergence of American Women as Instrumentalists and Conductors. By Beth Abelson Macleod ». Journal of Social History 36, no 1 (1 septembre 2002) : 223–27. http://dx.doi.org/10.1353/jsh.2002.0082.

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Woodfield, Ian. « The ‘Hindostannie Air’ : English Attempts to Understand Indian Music in the Late Eighteenth Century ». Journal of the Royal Musical Association 119, no 2 (1994) : 189–211. http://dx.doi.org/10.1093/jrma/119.2.189.

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A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the use of a key signature, a time signature and a harmonization in a European idiom. At the height of the fashion, pieces were performed regularly at the fashionable soirées of Calcutta society, often to great applause, with the singers sometimes adopting Indian dress to add to the ‘authenticity’ of the presentation. At the same time the repertory began to attract the attention of the small group of orientalists led by Sir William Jones, who were engaged in the first serious European attempt to understand the principles that lay behind Indian music. By the turn of the century, with Anglo-Indian attitudes to Indian culture becoming steadily more hostile, the genre began to decline in popularity, but it was then taken up by scholars in England. ‘Hindostannie’ specimens from collections brought back from India provided important material for the compilations of national airs published by Crotch, Jones and others. Having thus established a small but distinctive niche in popular English culture as exotic imports, Indian tunes of one kind or another continued to appear throughout the nineteenth century.
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Campbell, Heather. « Snook, Edith. Women, Beauty and Power in Early Modern England : A Feminist Literary History ». Renaissance and Reformation 42, no 3 (4 décembre 2019) : 259–61. http://dx.doi.org/10.33137/rr.v42i3.33431.

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Rgwan Abdalhameed Shuash, Researcher, et Rese Rana Ali Mhoodar. « Gender and Authority in Caryl Churchill’s Vinegar Tom (1976) ». لارك 2, no 50 (30 juin 2023) : 1011–992. http://dx.doi.org/10.31185/lark.vol2.iss50.3201.

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This article gives a feminist examination of Caryl Churchill’s Vinegar Tom (1976). This play is in reality, Churchill’s feminist lens through which the playwright offers an account of interactions of gender and authority via the 17th-century witchcraft trials in England from a distinctly feminist standpoint. It is – as a research article – a freshly developed consideration of that age that might build a different sort of history to the authorized male-made. In a significant way, part from this article, is to assess Churchill’s in terms of form and substance. The dramatist personifies revolutionary ideas presented in a fresh and original way. She majorly concentrates on the female-subjective status via her dramatic depiction and also builds a new women’s portrayal through the eyes of women instead of men. Janelle Reinelt (1989)’s feminist theory and the problem of performance is adopted to set a focus on two major concepts, namely gender and class. The subject of Vinegar Tom deals with extremely sensitive themes such, subjugation of women within a masculine society, rights, gender formation, women identity and sexual orientations. Such controversial issues are depicted via the employment of several inventive instruments and approaches. The majority of Churchill’s use of theatrical elements consists of doubling, monologues, music, and songs. Taking everything into consideration, this article searches in Churchill’s Vinegar Tom dramatically, theatrically, and historically. Using a variety of theatrical approaches to historical reconstruction, it portrays Churchill as a self-identified socialist feminist.
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Logan, Jeremy. « Synesthesia and feminism : A case study on Amy Beach (1867-1944) ». New Sound, no 46 (2015) : 130–40. http://dx.doi.org/10.5937/newso1546130l.

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As one of the most notable American woman composers of the early 20th Century, Amy Beach had to struggle with her social role as a woman born into the middle class of New England, USA. Before marrying into the upper class, she was already established as a concert pianist. Her husband pressured her not to perform in public, which affected her emotionally and compositionally. This paper will re-evaluate the work of Amy Beach within the context of her struggles as a woman composer and more specifically focus on her synesthesia and how it influenced her choice of keys and modes within her music. The colors of her keys will be compared to affects according to color psychology, as well as affects of key signatures.
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Pope, Rebecca A. « Musical Women in England, 1870-1914 : "Encroaching on All Men's Privileges", and : Women Musicians in Victorian Fiction, 1860-1900 : Representations of Music, Science and Gender in the Leisured Home (review) ». Victorian Studies 45, no 1 (2002) : 186–88. http://dx.doi.org/10.1353/vic.2003.0060.

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Wayal, Sonali, Catherine Mercer, Victoria L. Gilbart, Emma Garnett, Lorna J. Sutcliffe, Peter Weatherburn et Gwenda Hughes. « O25 ‘Side chicks’, and ‘side dicks’ : understanding typologies and drivers of concurrent partnerships to prevent sti transmission among people of black caribbean ethnicity in england ». Sexually Transmitted Infections 93, Suppl 1 (juin 2017) : A9.2—A9. http://dx.doi.org/10.1136/sextrans-2017-053232.25.

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IntroductionIn Britain, STI diagnoses rates and concurrent partnerships are higher among black Caribbeans than other ethnic groups. Concurrency (having sexual partnerships overlapping in time), especially when condoms are not used, can enhance STI transmission probabilities. We sought to understand concurrency typologies and drivers among black Caribbeans in England.Methods52 black Caribbeans (n=20 men) aged 15–70 years were recruited from community settings and STI clinics. 4 audio-recorded focus group discussions (n=28 participants) and in-depth interviews (n=24) were conducted from June 2014–December 2015. Transcribed data were thematically analysed to identify concurrency typologies and reasons.ResultsOpen, situational, and experimental concurrent partnerships were described. Open concurrent partnerships involved having a main partner and additionally men and women having sex with ‘side chicks’/‘thots’and‘side dicks’, respectively. Situational partnerships involved sex with an ex-partner, especially their child’s parent, while also having another partner. These partnerships were usually long-term, and condomless sex was common due to emotional attachment, to ‘entice’the ex-partner back, or because the relationship was founded on sexual pleasure. Experimental partnerships, common among single participants who were unsure about the type of partner to settle down with, were usually short-term and mostly involved condom use. Concurrency was perceived to be normalised in black Caribbean popular music, on social media, and fuelled by ease of ‘ordering sex via app’.DiscussionUnderstanding of different types of concurrent partnerships experienced by black Caribbeans during clinic consultations can increase the likelihood of effective partner notification. Interventions addressing normative drivers of concurrency are also needed.
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Davis, Jim. « Imperial Transgressions : the Ideology of Drury Lane Pantomime in the Late Nineteenth Century ». New Theatre Quarterly 12, no 46 (mai 1996) : 147–55. http://dx.doi.org/10.1017/s0266464x00009970.

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How far do popular theatre forms express popular sentiments, and how far populist? This is one of the issues explored in the following article, in which Jim Davis looks at the ideology, explicit and underlying, of the spectacular Drury Lane pantomimes of the late nineteenth century. At once imperialist and redolent of Little England, the pantomimes often displayed an ambiguous attitude to the moral concerns of the time, from temperance reform to ‘the woman question’ – to the influence of the music hall from which they drew their most popular performers. The prevailing tone, it becomes clear, was lower middle rather than working class, despite the irony of such class imperatives being energised by a form which has always transgressed sexual and racial identities. Jim Davis, who teaches in the Department of Theatre and Film Studies in the University of New South Wales, has published widely in the field of nineteenth-century theatre: his earlier contributions to New Theatre Quarterly have included a survey of nautical melodrama in NTQ14 (1988), a study of the ‘reform’ of the East End theatres in NTQ23 (1990), and an analysis of the melodramas played at the Britannia, Hoxton, in NTQ28 (1991).
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Pope, Rebecca A. « BOOK REVIEW : Paula Gillett.MUSICAL WOMEN IN ENGLAND, 1870-1914 : ?ENCROACHING ON ALL MEN'S PRIVILEGES,?. and Phyllis Weliver.WOMEN MUSICIANS IN VICTORIAN FICTION, 1860-1900 : REPRESENTATIONS OF MUSIC, SCIENCE AND GENDER IN THE LEISURED HOME. » Victorian Studies 45, no 1 (octobre 2002) : 186–88. http://dx.doi.org/10.2979/vic.2002.45.1.186.

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Phillippy (author, first book), Patricia, Aileen Ribeiro (author, second book), Ann Hollinshead Hurley (author, third book) et Katherine Acheson (review author). « Painting Women : Cosmetics, Canvases & ; Early Modern Culture ; Fashion and Fiction : Dress in Art and Literature in Stuart England ; John Donne's Poetry and Early Modern Visual Culture ». Renaissance and Reformation 31, no 2 (1 janvier 2008) : 134–40. http://dx.doi.org/10.33137/rr.v31i2.9192.

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Cherniavska, M. S. « Clara Wieck Schumann in the European scientific discourse ». Aspects of Historical Musicology 17, no 17 (15 septembre 2019) : 213–31. http://dx.doi.org/10.34064/khnum2-17.14.

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Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore &#214;sterschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. F&#233;tis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on clich&#233; about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite this, during the twentieth century, Clara Schumann’s work continues to be carefully studied by the researchers of Germany (B. Litzmann, W. Kleefeld, K. H&#246;cker, R. Hohenemser, A. Meurer, E. Wickop), France (R. Pitrou), England (P. Susskind, J. Chissell, N. Reich). During the last forty years, interest to Clara Wick Schumann’s creativity has grown substantially, possibly due to activation of the feminist movements in the world. Clara became one of the main objects of research about women who wrote and performed musical compositions. The culmination of this process can be called the emergence of the fundamental monograph by Janina Klassen “Clara Wieck-Schuman. Die Virtuosin als Komponistin” (1990), where the composer’s creative efforts are most fully analyzed, as well as valuable references to rare historical sources are given, including the letters from the Robert Schumann’s house in Zwickau, which have not yet been published. Conclusions. Thus, the presented large array of literary sources, being systematized by chronology and the subjects, gives an idea of the state of the studying and analysis of the cultural heritage of Clara Wieck Schumann today. The author hopes that the information collected will ease orientation in finding answers to questions arising to musicologists who explore her creativity. Summing up, we can present the generalized classification of the literature considered. So, Clara’s diaries including the records making by her father and relating to the early period of her creation, give the understanding of how the pianist’s outlook was formed. Estimative judgments about the value of composition as an important area of Clara’s creation should be sought in her epistolary heritage, in particular, in the correspondence with R. Schumann and J. Brahms. At the same place one should to look for the motives and emotional boundaries of her creativity. Answers the many questions that may arise to a performer who interprets of Clara Schumann’s music can be found in the fundamental biographical study by B. Litzmann and the articles by F. Liszt. A large layer of modern researches, which has been published since the 80s of the twentieth century, cannot be discounted as the authors rely on modern methods of analysis. Therefore, it is as if the resolved problems are being considered on a new level: from the research of forgotten pages of “XIX century women’s music” (J. Klassen), new data about Clara’s life outlook formation, and ending with issues of her music style. All these aspects give the opportunity to “collect” the creative and personal “portrait” of a genius woman of the nineteenth century.
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Borwick, Susan. « Musical Women in England, 1870-1914 : "Encroaching on All Man's Privileges", and : Amy Beach, Passionate Victorian : The Life and Work of an American Composer, 1867-1944, and : Ruth Crawford Seeger : A Composer's Search for American Music (review) ». NWSA Journal 13, no 2 (2001) : 161–66. http://dx.doi.org/10.1353/nwsa.2001.0029.

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Borwick, Susan. « BOOK REVIEW : Paula Gillett.MUSICAL WOMEN IN ENGLAND, 1870-1914 : ?ENCROACHING ON ALL MAN'S PRIVILEGES?. and Adrienne Fried Block.AMY BEACH, PASSIONATE VICTORIAN : THE LIFE AND WORK OF AN AMERICAN COMPOSER, 1867-1944. and Judith Tick.RUTH CRAWFORD SEEGER : A COMPOSER'S SEARCH FOR AMERICAN MUSIC. » NWSA Journal 13, no 2 (juillet 2001) : 161–66. http://dx.doi.org/10.2979/nws.2001.13.2.161.

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Davis, William B. « Music Therapy in Victorian England ». Journal of British Music Therapy 2, no 1 (juin 1988) : 10–16. http://dx.doi.org/10.1177/135945758800200103.

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The purpose of this article was to trace the growth and development of the Guild of St. Cecilia. This late nineteenth century organisation was founded by Frederick Kill Harford in London to provide music therapy to hospitalised patients. All information was derived from letters written by Harford and editorials that appeared in British medical and music periodicals. Initially, the Guild enjoyed great success and was endorsed by important people such as Florence Nightingale and Sir Richard Quain, physician to Queen Victoria. The Rev. Harford was astute in his observations that the effects of music must be tested to find the most beneficial ways for it to be used as therapy. He envisaged an association that would provide live and transmitted music via telephone to London's hospitals. Ultimately, due to the lack of support from the press, limited financial resources and Harford's ill health the organisation failed to prosper. Despite this, the Guild of St. Cecilia remains important because it kept alive the idea that music could be used therapeutically to benefit physically and mentally ill people.
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MCVEIGH, S. « 'CHAMBER MUSIC FROM GEORGIAN ENGLAND' ». Music and Letters 69, no 3 (1 juillet 1988) : 448–49. http://dx.doi.org/10.1093/ml/69.3.448.

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Haggh, Barbara. « Liturgical music in medieval England ». Early Music XXII, no 2 (mai 1994) : 325–28. http://dx.doi.org/10.1093/earlyj/xxii.2.325.

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Leech, P. « Devotional music from Stuart England ». Early Music 35, no 4 (1 novembre 2007) : 644–47. http://dx.doi.org/10.1093/em/cam065.

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Trendell, D. « Renaissance vocal music from England ». Early Music 40, no 3 (1 août 2012) : 517–20. http://dx.doi.org/10.1093/em/cas091.

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