Bibliografie tematiche / Woman music teachers

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Letteratura scientifica selezionata sul tema "Woman music teachers"

Autore: Grafiati
Pubblicato: 29 luglio 2024
Ultima modifica: 31 luglio 2025

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Articoli di riviste sul tema "Woman music teachers"

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Filocamo, Gioia. "Hungry women: sin and rebellion through food and music in the early modern era." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 101–13. http://dx.doi.org/10.30674/scripta.67449.

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Longing for food has always had different implications for men and women: associated with power and strength for men, it tends to have a worrying proximity to sexual pleasure for women. Showing an interesting parallelism throughout the Cinquecento, Italian humanists and teachers insisted on forbidding women music and gluttony. Food and music were both considered dangerous stimulants for the female senses, and every woman was encouraged to consider herself as a kind of food to be offered to the only human beings authorized to feel and satisfy desires: men and babies. Women could properly expres
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Janicka, Jowita. "„Lubiły szczególniej muzykę, która część ich wychowania stanowiła”. Domowa edukacja muzyczna polskich szlachcianek epoki oświecenia." Studia Edukacyjne, no. 60 (March 15, 2021): 263–78. http://dx.doi.org/10.14746/se.2021.60.14.

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The education and upbringing of youth was one of the main issues considered by the aristocracy of Polish-Lithuanian Commonwealth in the age of the Enlightenment. A significant part of this current was music education (learning to play the instruments, singing and dancing) acknowledged as compulsory for women with reading, writing, learning foreign languages and history altogether. Every well-educated woman aristocrat could elegantly play the instrument and sing. They were gaining that knowledge primarily at home from foreign and domestic teachers. Despite the popularity of such education and c
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Jane, Philip. "The Impact of Professional Music Diplomas on Women Music Teachers in Early Twentieth-Century New Zealand." Journal of Historical Research in Music Education 39, no. 2 (2017): 148–70. http://dx.doi.org/10.1177/1536600617690003.

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At the end of the nineteenth century, music was an accomplishment that many women were encouraged to pursue. For some, this was merely an additional “ornament” to enhance marriage prospects, but a growing number took the opportunity to turn musical ability into a career option. A small group of musically educated women in New Zealand at the start of the twentieth century is studied. At this time, two British examining bodies, Trinity College, London, and the Associated Board, introduced professional diplomas as the culmination of their graded music exams. In their first five years, forty-five
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Fischer-Croneis, Sarah H. "Career Intentions and Experiences of Pre- and In-Service Female Band Teachers." Journal of Research in Music Education 64, no. 2 (2016): 179–201. http://dx.doi.org/10.1177/0022429416650167.

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The purpose of this study was to examine pre- and in-service female band teachers’ perspectives regarding their experiences in realizing their professional goals. Domains guiding this inquiry included (a) gaining entry into the profession of band teaching, (b) navigating the profession, and (c) gender issues. Findings from this multiple case study indicated that numerous outside factors affected the career paths of the participants, resulting in all of the women pursuing elementary, middle, or multi–grade level jobs. These factors included (a) the positions available at the time of the initial
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Tongwei, Pan. "Love, Suffering and the Fight for Freedom: the “New Woman” Image in Nie Er’s Vocal Music." Университетский научный журнал, no. 75 (August 25, 2023): 118–24. http://dx.doi.org/10.25807/22225064_2023_75_118.

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The article is devoted to the “new woman” image in the vocal music of the Chinese composer Nie Er, the founder of Chinese proletarian music. The heyday of his work was in the 1930s, when a large-scale anti-Japanese anti-imperialist struggle took place in China. Nie Er, an active supporter of national salvation, translated national liberation ideas and the spirit of struggle into mass patriotic and lyrical songs. This also applies to songs dedicated to the fate of Chinese women. From simple peasants to educated teachers, the women in Er’s songs, even suffering from injustice and oppression, nev
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Morales Villar, Maria del Coral, and Mercedes Castillo Ferreira. "From prima donna to teacher. Two female pioneers in singing education in the Nineteenth Century: Virginia Boccabadati and Matilde Esteban." Multidisciplinary Journal of Gender Studies 11, no. 2 (2022): 100–123. http://dx.doi.org/10.17583/generos.9045.

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During the 19th-century, the teaching of singing became a career opportunity for the women who had worked in the lyrical stage. The core objective of this article is to reclaim the role of women in music education by studying two prime donnewho, after building a career as successful professional singers, became singing teachers and were pioneers in publishing their methods for female voice education. This research is based on the review and analysis of documentation, mostly historical.
 By looking at the biographies of the Italian singer, Virginia Boccabadati (1830-1922) and the Spanish s
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Tolley, Kim. "Music Teachers in the North Carolina Education Market, 1800-1840." Social Science History 32, no. 1 (2008): 75–106. http://dx.doi.org/10.1017/s0145553200013936.

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Social historians have demonstrated that although men comprised the majority of teachers in North Carolina schools and academies during the early national period, women predominated by the end of the nineteenth century. This study concludes that among the music teachers who taught in academies and venture schools, women gained a majority decades earlier. In an effort to understand some of the underlying social processes that contributed to this shift, the following discussion analyzes the changing proportion of men and women in a sample of 65 music teachers, tracks the tuition they charged in
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Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in th
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Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II." Journal of Historical Research in Music Education 39, no. 1 (2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.

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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 enl
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Wing, Cheong Ku. "Understanding the Pull Motivations of Malaysian Women Music Teachers as Music Entrepreneurs." Malaysian Journal of Music 7 (March 2, 2018): 78–99. http://dx.doi.org/10.37134/mjm.vol7.5.2018.

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Tesi sul tema "Woman music teachers"

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Burgess, Frances Anne. "Narratives of women music teachers in Northern Ireland : beyond identity." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24328.

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This study examined the narratives of three women music teachers’ professional practice, drawing on the research question: Through examining processes of subjectification: (a) How do mid-career women music teachers construct narratives of their professional and musical practice? (b) What are the implications for women music teachers’ professional and musical sustenance? Participants Hayley, Becky and Lynne, all with 12 years teaching experience, told stories of diverse musical participation within and beyond their schools and within a range of social groups and institutional settings. Taking a
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Fischer, Sarah Hope. "Career Intentions and Experiences of Pre- and In-Service Female Band Teachers." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365793694.

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Olovsson, Mika. "Det krävs förebilder överallt : En intervjustudie om slagverkslärares syn på kvinnliga slagverkselevers musicerande ur ett genusperspektiv." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55474.

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Syftet med denna studie är att få insikt kvinnliga slagverkslärares syn på villkor för kvinnliga slagverkselevers musicerande. Studien genomförs utifrån genusteorier och med utgångspunkt i ett socialkonstruktivistiskt perspektiv. Datamaterialet samlades in genom sex semistrukturerade kvalitativa intervjuer, varav en fungerade som pilotintervju. Intervjuerna transkriberades och därefter gjordes en tematisk analys av materialet. Resultatet visar att de intervjuade lärarna förespråkar vikten av kvinnliga förebilder och deras representation i media. Utöver kvinnor lyfts även familjemedlemmar fram
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Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.

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Igayara-Souza, Susana Cecilia Almeida. "Entre palcos e páginas: a produção escrita por mulheres sobre música na história da educação musical no Brasil ( 1907-1958)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-04072011-145947/.

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Abstract (sommario):
Estudo histórico que tem por objetivo localizar e analisar a produção escrita por mulheres sobre música, relacionada a diversos contextos educacionais no Brasil, durante as primeiras cinco décadas do século XX. Como fontes, foram consultadas as publicações inventariadas na pesquisa, documentos manuscritos de arquivos históricos, documentos oficiais, periódicos, iconografia e arquivos pessoais de professoras. O 1º capítulo é dedicado a uma visão de conjunto sobre a produção escrita por mulheres sobre música. O capítulo 2 analisa as primeiras décadas e estabelece uma discussão sobre as represent
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MacKay, Robbie J. "The experiences of Canadian women in popular music: “even on the worst sick no gas freezing Canadian middle of January rockie mountain or Halifax breakdown there is nothing better to do for a living”." Thesis, 2008. http://hdl.handle.net/1974/1091.

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This study examined the personal and professional experiences of Canadian professional female popular musicians. The researcher gathered data in two phases. In phase one, 85 female musicians completed a 105-question on-line survey. In phase two, the researcher interviewed four musicians to expand and elucidate survey data. In keeping with a critical feminist approach, the researcher’s voice is prominent in the report. The study reveals a complex combination of personal and professional circumstances that both compel and impel women to become musicians, and then to cleave to or to abandon caree
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Libri sul tema "Woman music teachers"

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Wilson, Rita M. Ruby Davy, academic and artiste: A biography of Dr. Ruby Davy, Mus. Doc.; Mus. Bac.; A.M.U.A., F.T.C.L., L. Mus. T.C.L., A. Mus. T.C.L., F.V.C.M., L. Eloc. L.C.M., A. Eloc. L.C.M. Australia's first woman Doctor of Music. Salisbury and District Historical Society, 1995.

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Hall, Barbara. The music teacher. Wheeler Pub., 2009.

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Marie, Robertson Eleanor. The gift. Silhouette, 2007.

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Marie, Robertson Eleanor. The gift. Silhouette Books, 2007.

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Diethelm, Rolf. Othmar Schoecks Musiklehrerin Marie Angele und ihre Familie. Gisler, 1993.

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Egilson, Guðrún. Tvístirni: Saga Svanhvítar Egilsdóttur. Almenna bókafélagið, 2002.

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Liebich, Ruth. Indische Miniaturen. Rashedition, 2000.

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Ilgner, Bogusława. Mój pamiętnik. Wydawnictwo Prymat, 2022.

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Hāsāna, Gītāli. Kaṇṭhaśilpī Nīluphāra Iẏāsamīna. Beṅgala Phāuṇḍeśana, 2010.

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Skopal, Sabine. Hilde Langer-Rühl: Leben und Werk. Re Di Roma Verlag, 2011.

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Capitoli di libri sul tema "Woman music teachers"

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Haynes, Missy, and Anita Prest. "Indigenous Feminisms and Music Education." In The Oxford Handbook of Feminism and Music Education. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197612507.013.0005.

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Abstract The British Columbia (BC) provincial government has recently passed legislation to adopt the United Nations Declaration on the Rights of Indigenous Peoples, thus requiring all governmental institutions to use these rights as a framework in all legislations, policies, and practices, including those concerning education. Current BC K-12 professional standards reflect this framework, directing all teachers to embed local Indigenous knowledge, pedagogies, and worldviews in their classes. This work entails developing relationships with school-based cultural workers and local Indigenous com
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Bailey, Candace. "2 “Colored girls under the control of colored teachers”." In Unbinding Gentility. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043758.003.0003.

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Most modern research into the musical experiences of women of color has been confined to oral traditions: Black women in the South sang spirituals, work songs, and other genres not associated with reading music. That situation does not mean, however, that women of color did not learn to read music even if the evidence countering this narrative remains largely hidden....
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Ehrlich, Amira. "Cultural Humility and Ethics of Caring in Multicultural Settings of Music Teacher Education." In The Oxford Handbook of Care in Music Education. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197611654.013.50.

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Abstract This chapter explores a new possible paradigm of multiculturalism in the music classroom. Chang et al. (2012) presented the Chinese word QIAN (humbleness) as an acronym representing the attributes of Questioning, Immersion, Active-Listening, and Negotiation. Exploring the practice of a music teacher education in Israel, this chapter reflects on the relevance of this model to the teacher’s positionality as a Jewish Orthodox woman teaching students from diverse Jewish and Arab socioreligious sectors. Examples from practice are presented and analyzed to show how such processes of collect
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Bailey, Candace. "“She Takes up Music as a Profession”: Women Organists in the Nineteenth-Century South." In Hidden Harmonies. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845375.003.0002.

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This essay examines several women musicians in Mobile, Alabama, and contextualizes their work in both antebellum and Reconstruction practices. In particular, it focuses on Maria Dillon Kowalewski-Poetz, an Irish woman who moved to the United States to follow her husband who seems to have abandoned her soon after their marriage in 1835. She set herself up as a singing teacher in Pensacola, Florida, during the 1840s but moved to Mobile in 1845, where she remained until her death in 1897. In Mobile, she created her own musical opportunities, transitioning from local music teacher to cathedral org
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Bailey, Candace. "5 “Distinguished success … in teaching Music as a science”." In Unbinding Gentility. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043758.003.0006.

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This chapter marks the existence and influence of professional women on women musicians by first defining and contextualizing scientific music, examining how schools approached teaching music as science, and exploring public commentary on music, science, and gentility in combination. Part 3 closely examines specific people who taught in southern schools, from exotic foreign teachers to local familiars. The final section interrogates the circumstances surrounding the women who stretched the ideals of gentility, those who took on more masculine roles (as businesswomen, organists in cathedrals, a
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Isoda, Mitsuko. "Women, LGBTQ, and Music Education in Japan." In The Oxford Handbook of Feminism and Music Education. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197612507.013.0029.

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Abstract Research on feminism in music education began in the late 1990s in Japan, though only approximately 20 articles were published by 2014 and few new articles have been published since then. Despite critical issues concerning feminism, such as the hidden curriculum, the theme of feminism has not received much attention in Japanese music education. For example, the pictures of Western male composers like Bach and Beethoven continue to be posted on the walls of music classrooms throughout the country. Moreover, music teachers are generally unaware that through these images on the wall of m
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Baldauf-Berdes, Jane L. "External Musicians: Maestri and Composers." In Women Musicians of Venice. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198162360.003.0008.

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Abstract PART Three reviews the activity of musicians in the ospedali, the external musicians, that is, male teachers and composers from outside the institutions, those greater and lesser figures in music history who guaranteed acclaim for the cori (this chapter) and exemplars from among some ten generations of internal female musicians (Chapter 8). This chronological scheme covers the three major periods of the history and marks the stages in the ascent of the cori from being noteworthy church choirs to becoming, urban¬ wide, then internationally acclaimed, musical entities. Documents for the
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Siwe, Thomas. "Post World War II—America Rising." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0005.

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Following World War II, thousands of returning servicemen and women enrolled in American colleges and universities with the financial assistance of the GI Bill. Colleges acted in response to the needs of these older students by offering career-oriented courses and by hiring new faculty to teach them. Music departments began hiring full-time percussion teachers and graduating classes of educated and skilled percussionists. Contemporary composers found these new graduates willing to play their works and responded by dramatically increasing the number of works written for percussion, both solo an
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Bond, Jennifer. "Establishing Missionary Schools for Girls in East China." In Dreaming the New Woman. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197654798.003.0002.

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Abstract Chapter 1 traces the development of missionary schools for girls in East China in the context of the changes that were taking place in private and government education for girls. Missionary schools retained some unique selling points throughout the Republican era. They remained the main providers of higher level middle schoolgirls’ education, outside the teacher training system, well into the 1920s. This meant that for the tiny minority of elite women who aspired to go to university in the first few decades of the twentieth century, missionary middle schools often offered the best aca
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Hess, Juliet. "The Imperative of Intersectionality in Music Education." In The Oxford Handbook of Feminism and Music Education. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197612507.013.0013.

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Abstract Feminist movements have often served the interests of white women and have therefore failed to account for the ways that women of color experience gender-based oppression. As an analytical framework, intersectionality provides a tool to consider how gender, race, class, sexual orientation, disability, national origin and status, religion, age, size, and other markers intersect to create multiple, overlapping sites of privilege and oppression. Intersectionality emerged from concerns that feminist movements failed to account sufficiently for race, while anti-racist movements often ignor
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