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1
Johansson, Wictor. "Women Who Play Accordion or Female Accordionists?" Puls - musik- och dansetnologisk tidskrift 7 (1 maggio 2022): 72–95. http://dx.doi.org/10.62779/puls.v7i.19285.
Abstract (sommario):
During the first half of the twentieth century, the accordion was a hugely popular musical instrument that held a strong position within Swedish dance and popular music. Through concerts, record releases and radio performances the accordionists became popular artists, and as skilled musicians, composers and educators they influenced what has come to be defined as accordion music. To most people, the expected image of these accordionists is the one of a male musician. But as a matter of fact, there have been many female accordionists active in Sweden as professional musicians who have been disregarded in music history. In this article, I want to shed light on these women by questioning if and how the stipulations for female accordionists differed from those of their male colleagues. By following about twenty female accordionists, active between the years 1930–1980, I will note that although female accordionists embraced the same repertoire and stylistic ideals as men in accordion music, there have been differences in the qualifications required to be a professional musician. On the one hand, women were expected to combine their musicianship with expected female musical roles such as singers and dancers. On the other hand, they were excluded from areas that were considered reserved for men, such as making records, educational work and composing. I will therefore argue that the phrase “female accordionist” does not just describe a woman playing the accordion. More than that, it sums up societal and patriarchal structures as well as musical ideals that separated female accordion players from the expected male norm of an accordionist. The article is based on interviews, sound recordings, photographs and other archival material from the collections of Svenskt visarkiv (The Centre for Swedish Folk Music and Jazz Research). Printed publications as the magazine Accordion Journalen (1949–1963) and the encyclopedia Svenska dragspelare (1946) have also been used.
2
Ivaldi, Antonia, e Susan O'Neill. "Talking ‘Privilege’: barriers to musical attainment in adolescents’ talk of musical role models". British Journal of Music Education 26, n. 1 (marzo 2009): 43–56. http://dx.doi.org/10.1017/s0265051708008267.
Abstract (sommario):
Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.
3
Jocson-Singh, Joan. "Vigilante feminism as a form of musical protest in extreme metal music". Metal Music Studies 5, n. 2 (1 giugno 2019): 263–73. http://dx.doi.org/10.1386/mms.5.2.263_1.
Abstract (sommario):
Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity and the ways in which female musicians navigate the traditionally masculine-coded subculture. I argue that for some female death metal musicians, vigilante feminism acts as a form of empowerment which enables them to coexist in a liminal space so often dominated by their male counterparts.
4
Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art". International Journal of Cultural and Art Studies 7, n. 1 (30 aprile 2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.
Abstract (sommario):
In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.
5
Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history". Organised Sound 22, n. 2 (12 luglio 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.
Abstract (sommario):
The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.
6
Gómez-Rodríguez, Rosa, Belén Díaz-Pulido, Carlos Gutiérrez-Ortega, Beatriz Sánchez-Sánchez e María Torres-Lacomba. "Prevalence, Disability and Associated Factors of Playing-Related Musculoskeletal Pain among Musicians: A Population-Based Cross-Sectional Descriptive Study". International Journal of Environmental Research and Public Health 17, n. 11 (4 giugno 2020): 3991. http://dx.doi.org/10.3390/ijerph17113991.
Abstract (sommario):
Background: Playing-related musculoskeletal disorders are the most frequent complaints among instrumental musicians. The aims of this study were: to assess the prevalence of musculoskeletal pain; to evaluate neck, shoulder, and lower back disability; and to determine the associated factors with the presence of musculoskeletal pain among musicians. Methods: A population-based, cross-sectional descriptive study was conducted. We selected Spaniard musicians over 16 years old who played a musical instrument for at least five hours per week. They answered the Spanish versions of the Standardised Nordic Questionnaire, the Oswestry Disability Index, Neck Disability Index and Shoulder Pain and Disability Index. Results: We found 94.8% of musicians presented at least one symptomatic region in the last 12 months, and 72.3% in the last seven days. Female musicians (OR 4.38, CI 2.11−9.12), musicians with overweight or obesity (OR 5.32, CI 2.18−12.97), and musicians who play more than 14 h per week (OR 3.86, CI 1.80−8.29)were shown to be a higher risk of suffering musculoskeletal pain. Conclusions: Musculoskeletal disorders symptoms are highly prevalent in musicians. The main risk factors related to musculoskeletal disorders symptoms were gender (being female), overweight, obesity, and spending playing more than 14 h a week practicing. This study highlights the need to provide strategies to prevent occupational disabilities among musicians. Further studies are needed to analyse the prevalence of pain in the musician using other sampling methods.
7
Morucci, Valerio. "Music, patronage and reform in 16th-century Italy: new light on Cardinal Carlo Borromeo". Early Music 47, n. 4 (novembre 2019): 499–513. http://dx.doi.org/10.1093/em/caz071.
Abstract (sommario):
Abstract Music historians are certainly familiar with the figure of Cardinal Carlo Borromeo. Important research has illuminated his association with the composer Vincenzo Ruffo, his reform of female convents, and, more generally, his influence over the musical life of Milan, including local churches and confraternities; more recently, Borromeo’s relationship with the musician Tomás Luis de Victoria has been closely examined. However, our knowledge of his role as a promoter of the so-called ‘Counter-Reformation’ in music is fragmentary. In particular, a comprehensive investigation of Borromeo’s private correspondence is lacking. In order to fill this lacuna, this article uses newly discovered letters (housed in the Biblioteca Ambrosiana, Milan) to illuminate several interrelated aspects of Borromeo’s activity as a patron and reformer in the aftermath of the Council of Trent: firstly, his support for musicians and the much discussed issue of textual intelligibility, and secondly, the prohibition of musical instruments in church and his directives against public musical entertainments.
8
Jeon, Harim, e Julie Ra. "Anna Magdalena Bach, a Female Musician in Modern Period". Journal of the Musicological Society of Korea 25, n. 2 (30 novembre 2022): 11–35. http://dx.doi.org/10.16939/jmsk.2022.25.2.11.
9
Marková, Lucie. "Women in a Men’s Collective in the 1970s and 1980s". History in flux 3, n. 3 (22 dicembre 2021): 177–97. http://dx.doi.org/10.32728/flux.2021.3.8.
Abstract (sommario):
For many years, the Czech Philharmonic Orchestra was an exclusively male organization despite the increasing number of women in Czechoslovakia joining the workforce. This paper, which is based on oral history interviews with members of the orchestra, the paper will attempt to identify the reasons why almost no women were employed there during the period of Czechoslovak Socialism and under what kind of conditions the only two female members worked. Through interpretation and depth analysis of the oral history interview with one of the two female musicians employed by the Philharmonic before 1989, the paper will primarily map the issue of how women reconciled work and family life, which was considered one of the main obstacles for female musicians, while also taking into consideration the Philharmonic’s prestige and its frequent tours abroad. The acquired experience of a female musician is interpreted within the context of male narratives and is embedded in the study’s theoretical framework. This framework is defined by the available research on women’s emancipation and transformations of the gender order of the Czechoslovak socialist society, as well as research comparing the career patterns of musicians (both female and male) and the inclusion of women in the world’s leading symphony orchestras.
10
Kwon, Youngji, e Kiwon Hong. "Analysis on Policy Discourse of Female Traditional Musician in Joseon Era". Journal of Region & Culture 6, n. 3 (30 settembre 2019): 29–53. http://dx.doi.org/10.26654/iagc.2019.6.3.029.
11
Austern, Linda Phyllis. "“Sing Againe Syren“: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature*". Renaissance Quarterly 42, n. 3 (1989): 420–48. http://dx.doi.org/10.2307/2862078.
Abstract (sommario):
To Elizabethan observers in many disciplines, feminine beauty and music offered parallel benefits and dangers that influenced prescriptions for the actual musical behavior of contemporary Englishwomen and also the development of stock literary situations in which female musicians either caused spiritual fulfillment or physical destruction. Conflicting ideologies, based on the most respected ancient authorities and contemporary observers, attributed similarly opposite aspects to women and music, which had both come to be regarded as earthly embodiments of the divine and the damning by the final part of the sixteenth century. Women, who possessed the natures of both Mary and Eve, were regarded as agents alternately of salvation and destruction even as music was perceived as an inspiration to both heavenly rapture and carnal lust.
12
Brandfonbrener, Alice G., Peter C. Amadio e Robert Kalish. "Thumb Pain in an Instrumental Musician". Medical Problems of Performing Artists 19, n. 4 (1 dicembre 2004): 181–85. http://dx.doi.org/10.21091/mppa.2004.xxxx.
Abstract (sommario):
A 49-year-old white female professional pianist and professor of piano at a community music college complains of bilateral thumb pain of 6 months duration. The past summer she began to play golf more intensively than previously and noticed that her thumbs were tender after playing. She says that she first noticed it rather acutely, first in the left thumb only, but soon thereafter it became bilateral. Since the pain became acute 6 months ago she has backed off from playing piano except in teaching. She did not take any medication until very recently when she started to take 1-2 Aleve (naproxen) a day, without noticeable relief. She has used some ice, which seemed more helpful. She consulted her primary care physician, who took x-rays; the results were reported to her as normal. She comes in because she has some upcoming performing obligations and she is concerned that if she resumes playing piano at the level required in preparation for these performances, she might worsen the situation.
13
Treacy, Danielle Shannon. "“Because I’m a girl”: Troubling shared visions for music education". Research Studies in Music Education 42, n. 3 (27 giugno 2019): 310–25. http://dx.doi.org/10.1177/1321103x19845145.
Abstract (sommario):
In light of recent discussions on the importance of shared visions in teacher education, this inquiry raises necessary questions as to whose visions shape unified and shared visions, and whose remain absent, unspoken, or silenced in the margins. The starting point for this inquiry was a set of visions for music education in Nepal that were co-constructed with over 50 musician-teachers working in the Kathmandu Valley, during a series of 16 workshops guided by Appreciative Inquiry’s 4D cycle. Despite the challenges female musician-teachers encounter in their pursuit of music in Nepal, no reference to these injustices was apparent in the resulting shared visions. This inquiry therefore engages with the nature and possible causes of this lack of reference, leaning on economist and philosopher Amartya Sen’s (2009) idea of justice and social-cultural anthropologist Arjun Appadurai’s (2004) notions of the capacity to aspire and the capacity for voice. The critical (Kuntz, 2015) and reflexive (Alvesson & Sköldberg, 2009) work guiding this inquiry suggests that while the workshops were guided by the aim to be inclusive, the need to come to consensus when co-constructing shared visions both reflected and obscured the injustices experienced by female musician-teachers. The article concludes by offering insights for music teacher education.
14
Goldin-Perschbacher, Shana. "The World Has Made Me the Man of My Dreams: Meshell Ndegeocello and the ‘problem’ of Black female masculinity". Popular Music 32, n. 3 (13 settembre 2013): 471–96. http://dx.doi.org/10.1017/s0261143013000329.
Abstract (sommario):
AbstractSinger, bass player and songwriter Meshell Ndegeocello has inspired a growing body of scholarship addressing her funky, political, ‘othered’ musical personae. Existing work celebrates Ndegeocello in the context of identity politics (most commonly feminist, Black Feminist/Womanist, Black Nationalist or Africanist). This tactic not only defies Ndegeocello's rejection of identity politics, but also oversimplifies her complex, sometimes divergent musical negotiations of selfhood. This article highlights the discursive tensions of engaging ‘Black’ with ‘queer’ with ‘woman’ with ‘musician’ by exploring her most contradictory performances of self, particularly those which other scholars argue are ‘feminist’ or ‘queer’. Identifying a scholarly gap around Ndegeocello's strikingly conflicted performances of Black queer gender in songs about same- and opposite-sex relationships, this queer of colour critique explores manner and process over essence, articulating experiential, situational, non-linear and even incoherent perspectives. In doing so, it offers an affect-oriented, politically and musically attentive alternative conceptual frame to identity politics.
15
Yousaf, Anum, Muhammad Yasir Malik, Muhammad Shakir e Tehmina Jamil. "Socio-Cultural Status of Gadvi Walay: An Anthropological Study of Gadvi Walay in Kallur Kot, Bhakkar Pakistan". Pakistan Journal of Humanities and Social Sciences 11, n. 1 (31 marzo 2023): 640–45. http://dx.doi.org/10.52131/pjhss.2023.1101.0380.
Abstract (sommario):
Music is necessary for life. Music is important at every stage of marriage ceremonies. The major focus of the resent research was on Socio-cultural status of Gadvi walay. Research does to know about the cultural significance of gadvi walay’s community. The study finds out the causative factors behind the adoption of folk music as well as knows about the role and status of women to perform these traditional musical patterns and find out the factors of decline of folk music. The marriage ceremonies are color less without traditional entertainer such as “Gadvi walay” and “Dhol walay” (Musician). The recent study was conducted to evaluate the status of “Merrasi” (Traditional Singers) community. This community perform vital role in the marriage and other cultural events. This study was conducted in the rural area of district Bhakhar. The one of union council was selected from the tehsil of kallur Kot. While applying purposive sampling technique, the thirty female respondents were selected (gadvi walay from the local community. Participant observation, Interview guide and in-depth interview methods were used for the data collection. The present study explained the role, status and significance of traditional folk music, musicians songs and singers in their cultural perspective.
16
Tembo, Charles, Allan T. Maganga e Aphios Nenduva. "MUSICIAN AS CULTURE HERO: EXPLORING MALE-FEMALE RELATIONS IN PACHIHERA’S AND SIMON CHIMBETU’S SELECTED SONGS". Commonwealth Youth and Development 13, n. 2 (1 giugno 2016): 129–42. http://dx.doi.org/10.25159/1727-7140/1152.
Abstract (sommario):
This article is a comparative exposition of positive male-female relations in lyrical compositions of selected Zimbabwean singers. Particular attention is on one female voice, Pah Chihera and a male voice, Simon Chimbetu. The argument avowed in this article is that the selected musicians are sober in their appreciation of gender relations in African ontological existence. It further argues that, unlike feminists who view male-female relations as antagonistic, the two musicians celebrate cordial and mutual cohesion, which is part of Shona or African heritage. Against that background, the musicians are regarded as ‘culture heroes’ who connect Shona and other peoples of Africa with their rich and life-furthering heritage. We therefore advance the view that the selected artists’ social vision reflects women who are family centred and in concert with males in struggle, which is to provide a platform for promoting solidarity rather than schism. Critical appreciation of the music renditions of the selected musicians is guided by and oriented towards the Africana womanist paradigm.
17
Sinta Saputra, Maria Sisilia, e Riris Mutiara Paulina Simamora. "The Analysis of Female Masculinity as a Form of Uprising in Song Lyric by Musician Ramengvrl". e-LinguaTera 2, n. 1 (14 luglio 2022): 26–34. http://dx.doi.org/10.31253/lt.v2i1.1199.
Abstract (sommario):
Ramengvrl is one of the female musicians in the world of hip-hop, in this thesis the writer chooses five songs. Those are “Im Da Manâ€, “Decideâ€, “I AM MEâ€, “Look At Me Nowâ€, “Don’t Touch Meâ€. In order to analyze it, this research was conducted by using Female Masculinity and also Liberal Feminism theory. This research used qualitative methodology to analyze the song lyrics. This research sees how Ramengvrl wrote her lyrics as a media to express what she feels and thinks. Moreover, this research aims to find the concept of Female Masculinity depicted in song lyrics by Ramengvrl since she is working in the hip-hop industry where male domination is still quite strong. The research findings can be cited in the research literature in educational institutions and other places. It is also considered to be useful in a variety of ways.
18
Niketta, Reiner. "Rock musicians in Germany and ideas for their promotion". Popular Music 17, n. 3 (ottobre 1998): 311–25. http://dx.doi.org/10.1017/s0261143000008576.
Abstract (sommario):
In the field of scientific research on popular music there are a number of studies of the reception of rock music and various sociological analyses of the music industry, but there are few studies of rock musicians themselves. The empirical musician studies that do exist tend to use qualitative data analysis and to pursue limited research interests. There is thus work on the formation of rock bands (Jones and Harvey 1980; Schäffer 1996), on cover bands (Groce 1989), on group processes and structures (Groce and Dowell 1988; Tennstedt 1979), on female musicians (Groce and Cooper 1990) and on amateur musicians (Clemens 1983). Studies with standardised questionnaire and quantitative data analysis are rarer (but see Wills and Cooper 1988; and in Germany, Dollase, Rüsenberg and Stollenwerk 1974; Ebbecke and Lüschper 1987; Niketta 1986; Niketta, Niepel and Nonninger 1983; Weber 1990). The problem of these studies is their narrow database, and so I want to report here on a research project designed to provide empirically well-founded but broad-based evidence of the situation of rock musicians in West Germany. The research was undertaken in order to inform strategies for promoting rock music making in Germany (see Zickenheiner 1988). It was financed by the Federal Ministry for Education and Science and the Secretariat for Common Cultural Activities, in co-operation with the Centre for Music and Communication Technology, Wuppertal. The original project report was published in 1993 (Niketta and Volke 1993).
19
Robinson, Barbara S. "Rehabilitation of a Cellist After Surgery for de Quervain’s Tenosynovitis and Intersection Syndrome". Medical Problems of Performing Artists 18, n. 3 (1 settembre 2003): 106–12. http://dx.doi.org/10.21091/mppa.2003.3019.
Abstract (sommario):
This article describes the physical therapy intervention for a musician after surgery for de Quervain’s tenosynovitis and intersection syndrome, and briefly reviews these two tendon conditions. The patient, an 18-year-old female cellist, initially presented with symptoms of de Quervain’s tenosynovitis, including marked fibrosis of the first dorsal compartment, to the extent that surgical intervention was required. Seven months after decompression of the first dorsal tunnel, the second dorsal compartment was surgically released secondary to intersection syndrome. Physical therapy included the use of therapeutic exercise, joint mobilization, scar mobilization, soft tissue massage, stretching, and physical agents. Patient education regarding activity modification, management of cello playing, and posture while playing the cello and using a computer keyboard was vital to successful rehabilitation. The musician was able to return to playing the cello at her previous level of performance, practicing and performing an average of 3 to 4 h/day. Conservative treatment intervention during the 10 months preceding the current treatment may have been unsuccessful due to the absence of activity modification.
20
Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II". Journal of Historical Research in Music Education 39, n. 1 (18 gennaio 2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.
Abstract (sommario):
The purpose of this study was to determine how women music teachers became the United States’ first female military band directors. Interviews with seventy-nine World War II military bandswomen revealed that seven of the ten chosen female directors were music teachers prior to their enlistment in the Army, Coast Guard, or Marines—band and orchestra teachers, music supervisors, and a college professor. Six of those seven directors are included in this study. Research questions pertained to their childhood music education, formal schooling, music-teacher employment, why they quit teaching to enlist, military education, military leadership and performance experiences, how they continued music making after the war, and the meaning of this experience for their lives. Corroboration of interview responses with primary and secondary sources—census data, school records, city directories, social security index, newspaper articles, photographs, diaries, military documents, military and WWII books—revealed that these music educators had accurate memories, outstanding music education and performance backgrounds, substantial leadership experiences, and diverse musical backgrounds that made them good choices for leading military bands and ensembles. All were part of significant firsts for women in the military. Near the end of their lives, they believed that their service as a military band director and musician had substantial impact on their lives and in some cases valued as “the most important” experience of their lives.
21
Nagel-Frazel, Maeve. "The Queen of the Violin". Current Musicology, n. 109/110 (6 settembre 2023): 1–24. http://dx.doi.org/10.52214/cm.v109i.8994.
Abstract (sommario):
The commercialized nineteenth century lyceum circuit provided the vehicle for Camilla Urso (1840-1902) to become America's first celebrity female violinist. Vizualizing six seasons between 1873-83 where Urso toured under lyceum bureau management in digital maps of my own creation, I argue industrialized transportation networks combined with the commercialized advertising and publicity of the lyceum circuit created a popular concert model that expanded Urso's audience and raised her concert fees. Urso's time on the lyceum circuit laid the foundation for her transnational career. Urso was never solely a lyceum musician, though exploring the role of lyceums and their bureaus in her career plays a key role in determining how she rose to fame and became America's most celebrated female violinist. Futhermore, Urso's lyceum career argues for classical music as a rural and commercial phenomenon of American popular culture in the nineteenth century.
22
Gembris, Heiner, Andreas Heye e Andreas Seifert. "Health problems of orchestral musicians from a life-span perspective". Music & Science 1 (1 gennaio 2018): 205920431773980. http://dx.doi.org/10.1177/2059204317739801.
Abstract (sommario):
The profession of orchestral musician is often linked to musculoskeletal problems, hearing disorders, and struggles with stage fright. However, data on the prevalence of physical problems are very divergent because of different research methods and sampling procedures. It is to be expected that physical problems generally increase with age, but the literature on medical issues that affect musicians contains very few studies on this aspect. In light of this, the data produced by a cross-sectional study of 2,536 musicians from 133 professional symphony orchestras in Germany were analyzed with regard to a number of health aspects. The data from 894 female (36%) and 1,607 male (64%) professional orchestral musicians aged between 20 and 69 ( M = 45.5, SD = 9.52) were used to study physical problems, their duration and intensity, and psychological difficulties (such as pressure to perform in the orchestra and stage fright) in conjunction with variables such as age, gender, instrument family, position in the orchestra, and category of orchestra. The various health problems were also examined in relation to health behaviors, including preventative actions taken (nutrition, sleep, etc.). The results showed that more than one in two (55%) of the orchestral musicians who took part in the survey were suffering at the time from physical problems that affected their playing. The prevalence increased significantly with advancing age, and string players and harpists had an above-average frequency of experiencing physical problems. Interestingly, there was no significant correlation between the severity of problems and different health behaviors (including preventative action). Around half (49%) of the orchestral musicians said they felt the pressure to perform was intensifying, something that they partly attributed to an increase in artistic demands. The findings are discussed with reference to existing empirical results, potential methods of prevention and treatment, social aspects, and health-care policies.
23
Pellegrino, Kristen, Colleen M. Conway e J. Si Millican. "Tenure and Promotion Experiences of Music Teacher Educators: A Mixed-Methods Study". Journal of Music Teacher Education 27, n. 2 (14 settembre 2017): 82–99. http://dx.doi.org/10.1177/1057083717730085.
Abstract (sommario):
To examine music education faculty members’ promotion and tenure experiences, we interviewed ( N = 9) and surveyed ( N = 124) music teacher educators (MTEs) who were pretenure or tenured within the past 3 years. Findings highlighted MTE’s perceptions of evaluative criteria and standards, mentoring programs and experiences, professional identity, and work-life balance. We found that MTEs valued three aspects of their professional identity: teacher educator, researcher, and musician, although most reported that music activities did not count as scholarly activities. We also found that MTEs need multiple mentors: someone familiar with institutional tenure policy and expectations and MTEs within and/or outside of the same institution. MTE survey respondents (70%) reported feeling stress related to the tenure process. Male respondents were more likely to feel satisfied (63%) with the balance of teaching, research, and service than female respondents (33%), and more likely to feel satisfied with the balance achieved between personal life and professional life (57%) than their female counterparts (36%).
24
Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes". Cambridge Opera Journal 6, n. 3 (novembre 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.
Abstract (sommario):
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.
25
Harder, Brian, e Zach Walston. "Mirror Therapy as an Intervention Following Rotator Cuff Repair: A Case Report". JOSPT Cases 1, n. 3 (agosto 2021): 143–47. http://dx.doi.org/10.2519/josptcases.2021.10383.
Abstract (sommario):
Background Mirror therapy has been studied primarily as an intervention following central sensitization and nociplastic conditions, such as complex regional pain syndrome, post-cerebrovascular accident pain, and phantom-limb pain. Case Presentation This case report is on a 48-year-old female musician treated with physical therapy following a rotator cuff repair with suprascapular nerve release. Outcome and Follow-Up This case report observed the pre-post measurements of range of motion following a mirror therapy protocol. The mean pre-post change in range of motion was 14.0°. Discussion Based on the results of the protocol, continued investigation of the application of mirror therapy in orthopaedic populations that have experienced prolonged immobilization may be warranted. JOSPT Cases 2021;1(3):143–147. doi:10.2519/josptcases.2021.10383
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Michailowsky, Alexei. "Patsy Gallant and Video Games". Journal of Sound and Music in Games 3, n. 4 (2022): 29–47. http://dx.doi.org/10.1525/jsmg.2022.3.4.29.
Abstract (sommario):
Canadian artist Patsy Gallant (born 1948), who achieved worldwide commercial success as a disco queen, released Take Another Look in 1984. The album tells the story of the “High Tech Girl,” a female cyborg character that serves as a metaphor for Patsy herself to address the imminent end of her marriage to musician Dwayne Ford through the album. For the first time in the singer’s discography, synthesizers and MIDI sequencers took a predominant role. Those new digital technologies inspired the construction of a futuristic piece where distinct elements such as the sleeve photos, the lyrics, the musical arrangements, and the final sound interacted with each other according to an unevenly organized concept. Sound effects and repeating short musical loops were created with the synthesizers to represent narrative elements through the tracks. This article combines interpretative studies, musical analysis, semiotics, and studies related to Patsy Gallant’s biography (as well as her accounts of the making of the album during interviews and conversations with the author) to investigate the intersections between Take Another Look and the background music presented in early home console games, as well as the overall influences of early video game music on the album. It takes into consideration some concepts featured in video game design and game audio literature, notably studies of game narrative, the function of audio elements on gameplay, and game semiotics. In the article, Take Another Look is highlighted as an innovative album where video games are important narrative and sonic references. The language of video games impacts the artistic concept of the record and the metaphors related to both the construction of Patsy Gallant’s musical persona and the music for the project.
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Irawan, Endah, R. M. Soedarsono e G. R. Lono L. Simatupang. "Karakter Musikal Lagu Gedé Kepesindenan Karawitan Sunda". Resital: Jurnal Seni Pertunjukan 15, n. 1 (10 novembre 2014): 18–31. http://dx.doi.org/10.24821/resital.v15i1.797.
Abstract (sommario):
Penelitian ini difokuskan pada tiga hal yaitu: (1) menemukan ciri-ciri musikal lagu gedé; (2)menunjukkan perbedaan relasi musikal antara lagu gedé dengan pertunjukan wayang golék dankiliningan; dan (3) menunjukkan kompleksitas hubungan garap di dalam lagu gedé, yaitu hubunganantara nyanyian sindén dengan nyanyian alok, rebaban, gambangan, dan kendangan. Penelitianini menggunakan pendekatan etnomusikologis didasarkan pada cara kerja ala Wim van Zanten,yaitu memadukan aspek musikologis dan antropologis. Musik ditempatkan sebagai objek utamasekaligus dasar relasinya dengan persoalan-persoalan kebudayaan dan masyarakat. Hasil penelitianini menunjukkan bahwa lagu gedé menunjukkan peran, proses, interaksi dan kompleksitas garapnyakhusus. Pada sisi pencipta lagu, lagu gedé diakui sebagai pengguritan yang sulit dan langka. Padasisi penyaji, membawakan lagu gedé diperlukan persyaratan seperti: modal vokal bagus, menguasaiperbendaharaan lagu dan laras, terampil menafsir garap lagu dan memberi sénggol-sénggol unik. Denganketiadaan lagu gedé, mutu garap kesenimanan sinden dan pangrawit dan jalinan interaksi kemampuanmusikal di antara pemeran garap vokal, rébab, gambang, dan kéndang mengalami keterbatasan.The Musical Characters of Lagu Gedé Kepesindenan on Sundanese Karawitan. The researchis mainly focused on the three things: (1) to find the musical characteristics of lagu gedé; (2) to show thedifference on the musical relationship of lagu gedé song with a puppet show and kiliningan; (3) to show thecomplexity of the working relationship on lagu gedé, such as the relationship between the singing of Sindenand the hymns of alok, rebaban, gambangan, and kendangan. The ethno musicological approach of lagugedé is based on the work method of Wim van Zanten which is a musical approach with an anthropologicalperspective. The two aspects – musicological and anthropological – are respectively combined. Music isintensively placed as the main object in order to discover the basis of its relation with cultural and socialissues. The results of the research on lagu gedé show the role, process, interaction, and complexity of the musicalinterpretation which are characterized by a slow tempo. From the composer’s point of view or the musicalcomposition, lagu gedé is recognized as a difficult and rare form of pengguritan. From the performers’ pointof view (the sinden or female vocalist and the pangrawit or musician), a number of special skills are requiredin performing lagu gedé. These may include a good voice, a good command of the musical repertoire, tuning,and musical composition, and the ability to interpret the music and provide the unique sénggol-sénggol aswell. By the absence of lagu gedé, there will be more limited quality of interpretation and artistry of thesinden and pangrawit, and the musical skills and interaction among the musicians (such as the vocalist,rébab, gambang, and kéndang players).
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Patrick, Stephanie. "Life Is But a Story: Female pleasure and agency in Beyoncé’s autobiographical film". Journal of Fandom Studies 8, n. 3 (1 settembre 2020): 251–63. http://dx.doi.org/10.1386/jfs_00022_1.
Abstract (sommario):
While the rise of new media has led to a blurring of stars’ public personae and private, intimate lives, the musician, in particular, has long been expected to share their private, authentic self through their music. This is certainly the case with superstar Beyoncé, whose 2016 solo album Lemonade was widely received as a revealing portrait of her marriage to hip hop mogul Jay-Z. Yet Beyoncé has long been playing with the public‐private divide as a key part of her star persona. Her decision to limit media interviews has allowed her to maintain unprecedented control of her star image; an image that is now corralled through the texts that she herself circulates via her music, videos and other media. One such notable, yet under-examined text is her 2013 autobiographical film Life Is But a Dream. Both the narrative and the production of the film serve to teach audiences how to read the rest of Beyoncé’s cultural work; as work that is fully controlled by her and intended for women. This pedagogical film disrupts common readings of her image and performances as being in the service of a male gaze, thus opening up new pleasures and potentials for female fans more broadly and Black female fans more specifically. Life Is But a Dream is thus a central, rather than a periphery text in Beyoncé’s star image, complementing and complicating the work she produces across other media formats.
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Vesey, Alyxandra. "Room for a Breast or Two". Journal of Popular Music Studies 32, n. 4 (30 novembre 2020): 37–59. http://dx.doi.org/10.1525/jpms.2020.32.4.37.
Abstract (sommario):
This article uses textual and discourse analysis to examine how Annie Clark, who records and performs under the alias St. Vincent, problematized the electric guitar’s gendered address by designing a Signature Collection for Music Man, a subsidiary of equipment manufacturer Ernie Ball. It first contextualizes the industrial efforts to make the electric guitar more accessible to girls during Clark’s adolescence and their limitations. It then analyzes Clark’s promotional strategies for the collection. Most branding opportunities available to female music industry professionals interested in extending their commercial shelf life often affirm conventionally feminine modes of creative self-expression, such as fashion and cosmetics. Clark’s guitar challenges such gender essentialism by highlighting her own virtuosity as a queer musician, songwriter, and producer while giving players a different set of tools with which to create new sounds.
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Popova, Irina. "V.F. Odoyevsky and public music education: the background of the problem and the reception of the scholar’s ideas in Russian folklore". PHILHARMONICA. International Music Journal, n. 2 (febbraio 2021): 70–84. http://dx.doi.org/10.7256/2453-613x.2021.2.35122.
Abstract (sommario):
The author of the article thinks through the views of an outstanding writer, musician, scholar, collector and music folklore and the Old Russian art of singing researcher, Prince Vladimir Fyodorovich Odoyevsky on public music education. The author considers Odoyevsky’s opinion about the education of the lowest tiers of Russian society and female education and the possible ways of public music education. The research is based on Odoyevsky’s letters and diaries, and three articles about primary music education methods and the peculiarities of giving solfegio classes to broad public. The author focuses on the role of “numerical technique” in the development of Russian folklore music notating.The scientific novelty of the research consists in the understanding of Odoyevsky’s contribution to the popularization of the music notating system created by Émile-Joseph-Maurice Chevé. The author of the research is the first to establish Odoyevsky’s priority in developing and supporting government and social initiatives in the field of public music education. The author demonstrates the universal character of approaches of the Russian enlightener to solving educational problems and explains the reception of some scientific ideas of the scholar in Russian folklore milieu. The author uses the examples of typologically homogeneous terms of the theory of music applied by Odoyevsky and still used by folklore musicians.
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Rosset-Llobet, Jaume, Álvaro Pascual-Leone e Sílvia Fàbregas-Molas. "Role of Female Reproductive Hormones in Musicians' Dystonia". Medical Problems of Performing Artists 27, n. 3 (1 settembre 2012): 156–58. http://dx.doi.org/10.21091/mppa.2012.3027.
Abstract (sommario):
Musicians’ dystonia is an occupational focal dystonia affecting men more often than women. METHODS: We identified all patients presenting with musicians’ dystonia and prospectively collected data on reproductive and menstrual history from the women with musician’s dystonia and female musicians without dystonia. RESULTS: 149 men and 23 women (13.37%) with musician’s dystonia where identified. We did not identify any effect of contraceptive hormones, pregnancy, or menstrual phases on dystonia symptoms, but as compared with women without dystonia, those with musician’s dystonia reported oligomenorrhea and menometrorrhagia significantly less frequently. CONCLUSIONS: Our data reinforce the relation between sex hormones variations and musicians’ dystonia. This link should be further explored to identify mechanisms and assess whether certain hormonal interventions might protect from the manifestation of dystonia.
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Davis, Vaginal, e Lewis Church. "My Womanly Story". PAJ: A Journal of Performance and Art 38, n. 2 (maggio 2016): 80–88. http://dx.doi.org/10.1162/pajj_a_00320.
Abstract (sommario):
Ms. Vaginal “Crème” Davis has come to occupy a unique position in the parallel and intertwining histories of performance and live art, punk, and queer subcultures. As lead singer of the Afro Sisters, black fag, Pedro, Muriel & Esther (PME), and ¡Cholita! The Female Menudo, she developed a fearsome reputation and cult following on the alternative music scene of the late 1970s, 1980s, and 1990s, emerging as a prime antagonist of the post-punk subgenre Queercore. Alongside this musical practice, she directs and stars in her own independent films and theatrical productions, and was a central figure in the burgeoning fanzine culture of the 1980s, producing both home-printed magazines and the influential video-zine Fertile La Toyah Jackson. Davis also ran and hosted several highly influential performance/club nights in Los Angeles throughout the 1990s and 2000s including Club Sucker, G.I.M.P., and Bricktops. Now living in Berlin, Davis continues to produce work as a performer, visual artist, sculptor, and writer, and as a musician with her most recent bands Tenderloin and Ruth Fisher. Davis produces work that blends a peculiarly Angeleno understanding of celebrity, glamor, and showbiz with the cultural politics of race, sexuality, privilege, and class, all made within a DIY ethos that stretches back to the earliest days of Californian punk. This interview was recorded in a cold Berlin on December 3, 2014, at Davis's home in Schöneberg.
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Manning, Rita C. "Rousseau's Other Woman: Collette in Le devin du village". Hypatia 16, n. 2 (2001): 27–42. http://dx.doi.org/10.1111/j.1527-2001.2001.tb01057.x.
Abstract (sommario):
The life and work of Rousseau the musician and aesthetician has been forgely neglected in the debate about Rousseau's views on women. In this paper, I shall introduce a new text and a new female figure into the conversation: Collette, the shepherdess in Le devin du village, an opera written by Rousseau in 1752. We see an ambiguity in Collette—the text often expresses one view while the music expresses another. When we take Collette s music seriously the following picture emerges: the natural desire of women to be free, a fairly active female agency, an incipient rebellion against the social role of women, and a final acceptance of the role of wife. This view of Collette supports the thesis that for Rousseau women are not naturally subordinate to men but are taught to be subordinate because it is required for the maintenance of the patriarchal family, the cornerstone of civil society. We see many glimpses of Collette's true, unsocialized, nature, especially in the melodies she sings, it is in song, the first and hence most natural language of humans, that we see Collette's longing for freedom. But she ends by singing the praises of civil society, albeit a rural society, and thus implicitly accepting the subordination she is destined to suffer at Colins hands.
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Olthoff, Arno, Rainer Laskawi e Eberhard Kruse. "Successful Treatment of Autophonia with Botulinum Toxin: Case Report". Annals of Otology, Rhinology & Laryngology 116, n. 8 (agosto 2007): 594–98. http://dx.doi.org/10.1177/000348940711600807.
Abstract (sommario):
Objectives: We sought to treat autophonia due to a patulous eustachian tube using botulinum toxin. Methods: Because we assumed that the patulous eustachian tube was caused by abnormal activity of paratubal muscles (tensor and levator veli palatini muscles and salpingopharyngeus muscle), paralysis was performed via injection of botulinum toxin type A in a 45-year-old female professional musician who had had chronic unilateral autophonia for 20 years. In addition to a patient interview, an endoscopic examination of the nasopharynx (posterior rhinoscopy), ear microscopy, and impedance audiometry were performed to verify the diagnosis and the outcome after treatment. Results: The autophonia disappeared 1 week after treatment. Normalized tympanic ventilation was verified by impedance audiometry after 8 weeks. The period of symptom relief was 9 months. Conclusions: The administration of botulinum toxin type A provides a new option in the treatment of patulous eustachian tube. The reliability of this method and the effect of repeated injections remains to be proved in future studies.
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Gratzke, Michael. "The Meanie Club – Gendered violence and post-punk narratives of love in Miss Farkku-Suomi by Kauko Röyhkä and Dorfpunks by Rocko Schamoni". Forum for Modern Language Studies 56, n. 2 (13 settembre 2019): 135–54. http://dx.doi.org/10.1093/fmls/cqz031.
Abstract (sommario):
Abstract This article examines love, relationships, intimacy and gendered violence in fictionalized punk biographies by authors and post-punk recording artists Kauko Röyhkä and Rocko Schamoni. Punk rock’s DIY aesthetic emphasizes self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualizes these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.
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Novkinić, Sandra. "CONTINUITY OF AFROCENTRIC TROPES ABOUT AFRICAN AMERICAN IDENTITY FORMATION IN THE NOVELS BY PAULE MARSHALL AND GLORIA NAYLOR". Folia linguistica et litteraria X, n. 32 (2020): 27–42. http://dx.doi.org/10.31902/fll.32.2020.2.
Abstract (sommario):
African American literature that is fundamentally a socially symbolic linguistic construct, seeks different ways to expand and continue the use of Afrocentric vernacular tropes of personal and collective identity formation. The five residual oral forms – oratory (including everyday speech acts), myth/ritual performance, legend, tale, and song – as well as satire, irony, and paradox are used by contemporary African American novelists. This paper points to how the legendary black ancestors and elder members of the community, the gifted and often rebellious orator, musician, artist, the spiritual leader, and the messianic figure are equally enduring symbols and tropes. The aim of this work is to show the way in which the contemporary African American novelists Paule Marshall and Gloria Naylor use these (above mentioned) characters and symbols to reconstruct their long struggle as individuals and as community against anti-black racism. Therefore, the focus of this paper is on continuity of Afrocentric tropes in African American personal/collective and female/male identity formation as represented in selected novels by Paule Marshall and Gloria Naylor.
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Diedrick, James. "Mary Gladstone: Late-Victorian Hostess, Salonnière —and New Woman". Victorians: A Journal of Culture and Literature 143, n. 1 (giugno 2023): 1–21. http://dx.doi.org/10.1353/vct.2023.a903689.
Abstract (sommario):
ABSTRACT: Mary Gladstone's identity as an accomplished musician, salonnière , hostess, and ministerial secretary has been well-documented in recent scholarship. So has her close alliance with her father W. E. Gladstone, including their shared commitment to Victorian liberalism, Anglicanism, and the sanctity of the domestic sphere. But her close friendships with heterodox thinkers, her writings, and her work in support of female suffrage and social purity feminism suggest important distinctions between her views and those of her father. They also demonstrate that she occupied another subject position in late-century Britain: that of a proto-New Woman. Viewing her within this discursive field, and analyzing her associations with thinkers like Henry Scott Holland, Josephine Butler, John Jay Chapman, and Olive Schreiner, illuminate important, overlooked aspects of her life and ideological sympathies. Examining her diary entries, publications, and correspondence—especially her exchanges with Chapman and Schreiner—sheds new light on Gladstone's involvement in the socio-political, religious, and gender debates of the fin de siècle and of the distinctly progressive forms of her social and political liberalism.
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Baadjou, Vera AE, Jeanine AMCF Verbunt, Marjon DF van Eijsden-Besseling, Stephanie MD Huysmans e Rob JEM Smeets. "The Musician as (In)Active Athlete? Exploring the Association Between Physical Activity and Musculoskeletal Complaints in Music Students". Medical Problems of Performing Artists 30, n. 4 (1 dicembre 2015): 231–37. http://dx.doi.org/10.21091/mppa.2015.4042.
Abstract (sommario):
OBJECTIVE: Musicians are often compared to athletes because of the physical exertion required to play music. The aim of this study was to explore the physical activity level of music students and to study its relationship with musculoskeletal complaints. A second goal was to assess associations between physical activity and pain, quality of life, and disability. METHODS: This cross-sectional study among third- and fourth-year music students used an electronic survey including measures for physical activity (SQUASH—Short Questionnaire to Assess Health-enhancing physical activity), musculoskeletal complaints (DMQ—Dutch Musculoskeletal Questionnaire), disability (DASH—Disability Arm, Shoulder, Hand questionnaire) and quality of life (Short Form-12). Students were classified as compliers or non-compliers with moderate- and vigorous-intensity physical activity recommendations. Statistical analysis was done using (non)parametric tests (t-test, Pearson chi-square test, Mann-Whitney U-test) and correlational testing. RESULTS: Participants were 132 students, 63.6% female, with a median age of 23 yrs (range 21.3–25.0). 67% reported musculoskeletal complaints in the past 7 days. Their median physical activity level was 6,390 MET-min/wk, and 62% and 10% of the students accomplished recommendations for moderate-intensity and vigorous-intensity physical activity levels, respectively. No significant differences were found in prevalence of musculoskeletal complaints between students who met moderate- or vigorous-intensity physical activity recommendations and students who did not. Physical activity level was not associated with musculoskeletal complaints (r=0.12, p=0.26). Higher pain intensity was associated with a lower quality of life (r=–0.53 p<0.01) and higher disability (r=0.43, p<0.01). CONCLUSIONS: Music students are mainly involved in light- to moderate-intensity physical activities and rarely in vigorous-intensity activities. No correlation was found between physical activity level in the past months and musculoskeletal complaints in music students.
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Liashenko, Tatiana. "The archetypal versatility of the image of Becky Hildebrandt in the J. Franzen's novel "Crossroads"". Филология: научные исследования, n. 4 (aprile 2024): 152–59. http://dx.doi.org/10.7256/2454-0749.2024.4.70281.
Abstract (sommario):
The object of the study is the novel "Crossroads" by American writer Jonathan Franzen, which became widely known outside the United States and was translated into Russian in 2022. The object of the study is one of the female images of this novel - the image of Becky Hildebrandt, which combines a number of archetypal functions: a daughter in relation to parents Marion and Russ, a sister for brothers Clem and Perry, a bride for the young musician Tanner Evans. In the last chapters of the novel, Becky becomes a mother, thus passing through all the female family archetypal roles. Franzen's creative method, which tends to psychological realism, is focused on the specifics of the inner world of the characters, and it can be argued that the deep psychologism of his works is based on a consistent and systematic understanding of archetypal roles. The study of the heroine's image is carried out from the standpoint of an archetypal approach dating back to the works of C.G. Jung. The archetypal approach opens up to the researcher the opportunity to penetrate deeper into the psychological essence of a literary text. Female images, viewed from the point of view of reflecting archetypal features in them, appear in connection with other characters, and the gender-role specificity of their functioning becomes more visible. In the modern world, where the crisis of traditional values is clearly felt, a better understanding of the importance and complementarity of gender roles makes it possible to form moral supports leading both man and society in the direction of mental well-being. Archetypal analysis reveals one of the basic attitudes of the writer: a modern woman is forced to play several roles at once; the mixing of these roles, their instability inevitably lead to problematic situations in the life of not only the woman herself, but also her entire family.
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Brusky, Paula. "The High Prevalence of Injury Among Female Bassoonists". Medical Problems of Performing Artists 25, n. 3 (1 settembre 2010): 120–25. http://dx.doi.org/10.21091/mppa.2010.3025.
Abstract (sommario):
Performance-related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Aspects of the bassoon, such as the weight of the instrument and the musician’s asymmetrical body position, make bassoon players particularly susceptible to PRMDs. The International Bassoonist Questionnaire was distributed via the world wide web (n = 166; 58% male, 42% female) to investigate PRMDs in bassoon players. Great differences between genders were documented in bassoon players; females (100%) reported PRMDs more frequently than males (78%). Female bassoonists were particularly susceptible to PRMDs in the hands, arms, and wrists.
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Thorpe, Lisa, Margaret Cousins e Ros Bramwell. "Implicit knowledge and memory for musical stimuli in musicians and non-musicians". Psychology of Music 48, n. 6 (21 marzo 2019): 836–45. http://dx.doi.org/10.1177/0305735619833456.
Abstract (sommario):
The phoneme monitoring task is a musical priming paradigm that demonstrates that both musicians and non-musicians have gained implicit understanding of prevalent harmonic structures. Little research has focused on implicit music learning in musicians and non-musicians. This current study aimed to investigate whether the phoneme monitoring task would identify any implicit memory differences between musicians and non-musicians. It focuses on both implicit knowledge of musical structure and implicit memory for specific musical sequences. Thirty-two musicians and non-musicians (19 female and 13 male) were asked to listen to a seven-chord sequence and decide as quickly as possible whether the final chord ended on the syllable /di/ or /du/. Overall, musicians were faster at the task, though non-musicians made more gains through the blocks of trials. Implicit memory for musical sequence was evident in both musicians and non-musicians. Both groups of participants reacted quicker to sequences that they had heard more than once but showed no explicit knowledge of the familiar sequences.
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Sandy, Fika Putri Mei, Darisy Syafa'ah e Latif Amrullah. "Erich Fromm's Psychoanalytic Theory: Psychology of Character in Mu'tamar Al-Hub's short story "In a Love Banquet" by Taufiq Al-Hakim". ALSUNIYAT: Jurnal Penelitian Bahasa, Sastra, dan Budaya Arab 5, n. 2 (31 ottobre 2022): 162–83. http://dx.doi.org/10.17509/alsuniyat.v5i2.34937.
Abstract (sommario):
The short story entitled Mu'tamar Al-Hub by Taufiq Al-Hakim is a short story that contains the theme of love. The short story is interesting because it contains different views on the understanding of love. This study examines the psychology of the character in the short story which focuses on the characteristics of each character's love. The method used in this study is a qualitative method with the psychoanalytic theory of Erich Fromm. In this study, researchers found two divisions of the psychology of love in the short story character Mu'tamar Al-Hub. That is, found four forms of essential elements of love and five forms of objects of love. First, the researcher found the psychology of journalist characters who showed an attitude of concern, and responsibility and included in the type of erotic love. Second, the psychology of the musician character shows responsibility and the type of love in the form of motherly love. Third, the psychology of the poet’s character shows the respect and love included in the category of brotherly love and erotic love. Fourth, the psychology of the female character shows that there are aspects of her knowledge and love character in the form of self-love
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Vrana, Laura. "Leyla McCalla’s Tributes to Langston Hughes". Langston Hughes Review 29, n. 1 (marzo 2023): 29–50. http://dx.doi.org/10.5325/langhughrevi.29.1.0029.
Abstract (sommario):
ABSTRACT Classically trained Black musician Leyla McCalla’s album Vari-Colored Songs: A Tribute to Langston Hughes (2014) intertwines innovative folk- and blues-inspired settings of Hughes’s blues poetry, interpretations of traditional Haitian folk songs, and original compositions. This article argues that the album constitutes both a vital homage to Hughes’s impact on Black diasporic culture and a feminist boundary-breaking reshaping of the expectations of the hegemonic, white-washing contemporary music industry. It reads together the album’s ambitious liner notes, accompanying visual elements, and sonic choices of selected tracks to show how McCalla, by innovatively syncretizing typically disparate genres, inherits and extends the radical political and cultural tradition of the blues women whom Hughes’s poetry often depicted. Thus, it draws on frameworks from Hughes criticism and from performance studies scholars such as Daphne Brooks to suggest that Black female artists like McCalla warrant the attention of diasporic cultural critics equally to and alongside aesthetic ancestors like Hughes who inspire them. These women are epistemologically intervening in the construction of literary and cultural history through projects like Vari-Colored Songs, an impressive artifact that wrenchingly brings together traditions to address diasporic problems such as eco-precarity and to celebrate Black women’s resilient persistence through such endemic conditions.
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Edirisooriya, E. M. Indrani. "Female Instrumentalists’ Contribution to the Music Industry in Sri Lanka". Journal of Research in Music 1, n. 1 (25 ottobre 2023): 45–54. http://dx.doi.org/10.4038/jrm.v1i1.5.
Abstract (sommario):
In every field, starting from land to space, both females and males have contributed to its development. However, it can be seen that due to each society’s unique set of cultural, and religious attitudes, women are subjected to certain restrictions that vary across the globe. This study was done to explore such issues faced by women in Sri Lanka, particularly, those who are instrumentalists in the field of music. The research was based on the problem that even though there are many talented2 female instrumentalists in the country, there is fewer number of female music instrumentalists in the music industry of Sri Lanka. Thus, the main purpose of the study was to discover what factors have resulted in Sri Lankan female instrumentalists’ limited contribution or their absence in the music industry. This study analyzed the responses of the chosen participants regarding the difficulties they have faced during their contribution to an occasion related to music. The participants included in the study were selected using the convenience sampling technique. To collect the primary data, a questionnaire was distributed among 17 female musicians that play at least one musical instrument. The questions included open-ended and closed-ended questions. The responses that the participants gave included issues related to male dominance and societal attitudes toward female musical instrumentalists, and the role they have to play in the family as a wife and mother. Additionally, it was evident that females are more reluctant to pursue music from secondary school onwards due to the issues mentioned previously. It could be stated that based on the findings, female musical instrumentalists contribute less to the music business due to the above-mentioned factors.
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McGregor, S., H. Joswig e N. Duggal. "P.092 Hirayama Disease: a diagnostic and therapeutic challenge". Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 44, S2 (giugno 2017): S37. http://dx.doi.org/10.1017/cjn.2017.176.
Abstract (sommario):
Background: Hirayama disease (HD) is characterized by progressive cervical myelopathy caused by repetive neck flexion leading to forward displacement of the posterior dural sack with compression and injury of the spinal cord. Typically, the C7-T1 myotomes become weak and atrophic, while sparing sensation. Here we present two Canadian cases of this rare entity. Methods: Two cases of HD are presented and literature reviewed, showing the diagnostic and therapeutic challenges of this disease. Results: Case 1 is a 17-year-old male professional singer and musician. He presented with bilateral progressive hand weakness, which was aggrevated while playing the violine. Cervical MRI showed increased T2-weighted signaling at C5-7, but a correct diagnosis could not be identified. Eventually, dynamic cervical MRI showed the compression and he underwent an anterior cervical discectomy and fusion (ACDF) at C5-C6 and C6-C7 without complications. Case 2 is a 19-year-old female with progressive right hand weakness. After numerous investigations, a dynamic cervical MRI diagnosed her with HD with classic findings and she underwent an ACDF at C6-C7 without complications. Conclusions: Hiryama’s disease is rare, but should be kept in mind when cervical cord signal changes cannot be explained by standard MRI. Dynamic MRI is imperative to correct diagnosis and anterior fusion shows good outcomes in its management.
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Wen, Qi, e Jiajun Zhong. "The Living Inheritance and Moving Progress of Contemporary Cantonese Opera from the Perspective of Communication". Communications in Humanities Research 17, n. 1 (28 novembre 2023): 52–58. http://dx.doi.org/10.54254/2753-7064/17/20230817.
Abstract (sommario):
Between July 3 and July 28, 2023, Television Broadcasts Limited released the Hong Kong drama Unchained Medley, which used a small village in the countryside and Cantonese Opera as the backdrop for the drama. It tells a tragic and touching story of human-ghost love between pop musician Ivan Zhang and the female ghost Wan Lau Fong (Cantonese transliteration is used). Artistic elements in Unchained Medley - Cantonese Opera is an ancient form of traditional Chinese theater, a local performing art that employs Cantonese as the language of performance, singing, acting, reciting and traditional folk music, along with distinctive stage costumes and abstract forms. When reviewing Chinese and English papers published between 2019 and 2023, research on the analysis of Cantonese opera primarily focused on the transformation of performance forms and the creation of Cantonese opera repertoire content. However, there needs to be more in living inheritance with Cantonese Opera. This paper utilizes James W. Careys The Ritual View of Communication as a theoretical framework. The article mainly adopts methods such as literature review, case studies, and comparative analysis to elucidate the significance and complex dilemmas surrounding the vibrant communications of Cantonese opera in the post-COVID world. It then consolidates and summarizes research experiences related to the protection and universal transmission of Cantonese opera in every aspect, laying the foundation for the in-depth development of Cantonese opera research.
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Kenny, Dianna T., e Anthony Asher. "Gender Differences in Mortality and Morbidity Patterns in Popular Musicians Across the Lifespan". Medical Problems of Performing Artists 32, n. 1 (1 marzo 2017): 13–19. http://dx.doi.org/10.21091/mppa.2017.1004.
Abstract (sommario):
Recent studies have highlighted the disturbing morbidity and early mortality of popular musicians. Most of the studies have focused on male musicians because, until recently, there were relatively few female popular musicians on which to base a population study. With the sharp increase in female popular musicians from fewer than 2% in the 1950s to 32% in the current decade, researchers are better able to examine the health status and mortality profile of female popular musicians. To this end, this paper makes what we believe is the first detailed analysis of mortality and morbidity in female popular musicians. Mortality patterns were similar for male and female musicians, and both were highly discrepant from population curves. Examination of death rates for younger (<45 yrs) and older (>45 yrs) musicians by sex and genre showed that violent deaths continued to dominate cause of death even in older musicians, accounting for 20% of all deaths, a figure three times higher than for a comparable general population. Unlike females in the general population, female gender did not bestow any protection against early death or manner of death by suicide, homicide, or accident compared with male popular musicians.
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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)". Aspects of Historical Musicology 17, n. 17 (15 settembre 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
Abstract (sommario):
Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Castiglione, Claudia, Alberto Rampullo e Silvia Cardullo. "Self representations and music performance anxiety: A study with professional and amateur musicians". Europe’s Journal of Psychology 14, n. 4 (30 novembre 2018): 792–805. http://dx.doi.org/10.5964/ejop.v14i4.1554.
Abstract (sommario):
Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).
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Rini Rahayu. "Rini Rahayu OLAH VOKAL SEBAGAI ALAT DAN BAHAN PENUNJANG SAJIAN TARI". PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (27 gennaio 2020): 211–20. http://dx.doi.org/10.33153/semhas.v2i0.123.
Abstract (sommario):
This research is an analytical description which positions singing as a tool and supporting material in a danceperformance. In order to limit the problem and focus in more detail on the study material, the sindenan forbedhaya Duradasih was chosen as the material object, specifically in the final performance by students fromthe Dance Department at Institut Seni Indonesia (ISI) Surakarta in 2018. The problem addressed is related tocooperation in the process of interpreting the sindenan for bedhaya Duradasih. In a vocal performance, themain tool for interpreting the material is of course the voice. The way in which the voice is produced is relatedto the technique or method used by each musician, in this case the pesinden (female singer) and penggerong(male singer), in interpreting the material. Therefore, cooperation refers to the way the material is treated in anattempt to realize a vocal performance that is rampak and rempeg. Accuracy in the way breathing is regulatedinfluences the sound of the voice because breathing is the basis of producing sound. Naturally, every person,and more specifically every pesinden and penggerong, has a different way of breathing. This leads to differencesin the way sound is produced in the process of interpreting the material to become a pragmatic reality.In addition, differences in habit for determining preferences in the vocal melody between the pesinden andpenggerong when performing their own roles also creates a problem when performing the sindenan for bedhayaDuradasih in unison. Therefore, in order to realize a vocal performance that is rampak and rempeg a solidprocess of interpretation is required. Every treatment, as a form of interpretation of the material, must beperformed with careful consideration. Departing from this problem, it is known that singing in a dance performance,in particular with the sindenan material for bedhaya Duradasih, involves flexible and open cooperation.The principle mad-sinamadan is a manifestation of the treatment of performance material, bearing in mind thedifferent breathing between the musicians. Mad-sinamadan is performed in an endeavour to realize a vocalperformance that is rampak and rempeg, using a breathing technique in which the singers snatch breathswhile they are singing the vocal melody. The purpose of this is to ensure the continuity and unity of the vocalmelody, because the sindenan for bedhaya Duradasih places more emphasis on the continuity and unity of themelodic line rather than the integrality of the vocal text. Therefore, it may be said that breathing techniqueplays an important role in a vocal performance.