Дисертації з теми "Female musician"
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1
Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.
Анотація:
This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.M.A.
Department of Sociology
Sciences
Applied Sociology
2
Weliver, Phyllis. "Singing angel or musical demon? : representations of female musicians in Victorian literature." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299032.
3
Benard, Charlène. "Le « metal à chanteuse », un genre musical ? Une enquête sur la construction médiaculturelle d’un genre musical par le gender. Le cas du metal symphonique en France." Electronic Thesis or Diss., Paris 3, 2023. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.
Анотація:
Le metal symphonique est un sous-genre de musique metal qui a la particularité de compter une majorité de groupes où le chant est tenu par une femme : 80% en moyenne, se présentant à la fois comme une spécificité dans une culture musicale majoritairement masculine, autant qu’une régularité dans les musiques populaires où la proportion de chanteuses parmi les musiciennes en représente la grande majorité. Cette thèse a donc pour objectif de mesurer le rôle des femmes d’une part et de vocaliste d’autre part dans la définition d’un genre musical, au prisme d’une approche culturelle des musiques metal d’une part, et de leur situation en France d’autre part, des débuts du metal symphonique en 1996 à nos jours. Musique la plus détestée des Français, le metal compte essentiellement sur ses propres réseaux pour se développer : la presse spécialisée et la scène locale live. L’une et l’autre sont analysées dans cette thèse, entre discours promotionnels et évaluatifs de la presse sur les disques et production de concerts sur le sol français, de l’accueil des groupes étrangers à l’autoproduction locale. Ce travail tend ainsi à mesurer non seulement le rôle des chanteuses en tant qu’interprètes et créatrices de musique mais également leur implication dans l’activité d’une scène souvent présentée comme masculine, où leur place centrale mais négociée suggère d’en nuancer la domination. Complétée d’une enquête par questionnaire et entretiens, cette thèse discute enfin la notion de « goût féminin » et de « féminisation » d’un genre et d’une scène dans une approche compréhensiveSymphonic metal is a subgenre of metal music, which has the particularity of presenting a majority groups lead by female singers (80% on average). This feature is common to both this predominantly male culture, and to popular music more broadly, as the great majority of female musicians tend to be singers. This dissertation aims to measure the role played by women and by singers in the shaping of a musical genre, through a cultural approach of metal culture and of its situation in France, from the genre’s inception in 1996 to the present day.As the most hated genre of music in France, metal must rely mainly on its own networks in order to subsist and foster in this country: its press and local live scenes. Through the analysis of these two elements, this study considers promotional and evaluative media discourses on metal recordings and the production of concerts in France, from foreign bands touring around the country to the grassroots production of local events. Its aim is to consider not only the role female singers play as performers and creators, but also their involvement in the life of a scene often considered as masculine: their position, both central and negotiated, tends to limit the situation of domination. Through a complementary, comprehensive approach based on a questionnaire and interviews, this thesis also discusses the notions of “feminine taste” and of the “feminization” of a genre and a scene
4
Pan, Li-Ming. "The image and social status of female musicians in Taiwan." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/27887/.
Анотація:
In Taiwan, female musicians who play Western classical music have often been considered a group with a fixed image regarding their appearance. The stereotype is common amongst Taiwanese people, including female musicians. It has become an important criterion for assessing whether an individual can be considered legitimate as a female musician. Although the visual factor plays a critical role for Taiwanese female musicians, it has never been seriously investigated. This thesis aims to establish why and how the stereotype is formed, what elements constitute the favoured image, what messages are sent by the principal components, what is its mechanism and how does it affect the life and career of female musicians in Taiwan. First, the thesis traces the development and current condition both of women’s status and of Western classical music in Taiwan to clarify the position of female musicians in Taiwanese society. Due to its association with the hegemonic cultural and imperial powers/domination of the West, Western classical music is considered the embodiment of progress and civilisation in Taiwan. Female musicians are also deemed a group of high class and with an appealing image. This particular status has usually made them popular and advantageous in the marital market. This is partly revealed from the analyses of newspaper reports. The statistics in the present study show that, when female musicians are discussed in newspapers, most topics centre on their marriage and appearance. This demonstrates how most people think of female musicians and which aspects of female musicians are considered important in Taiwanese society. After reviewing the background of the status of female musicians, the thesis analyses what elements constitute the stereotype by scrutinizing the concert poster. The concert poster can be viewed as the most influential medium for displaying female musicians’ images, because of its prevalent circulation, its focus upon directly displaying the appearance of female musicians, and the fact that it is produced by the musicians themselves. The images of female musicians on their posters demonstrate high similarity. The thesis examines the critical elements of the posters by comparing them with ancient and modern women’s images. Through investigating these elements and the culture in which they are rooted, the meanings and connotations involved in the poster image will be clearly demonstrated. The findings show that most images of female musicians are designed from the angle of the male gaze. The interview data further illustrate that the posters are not only designed to satisfy the male gaze, but also relate to real men’s looking pleasure and interests in many cases. This thesis undertakes interviews with 17 female musicians. These in-depth conversations with the participants reveal why most female musicians are brought up to be musicians. It is often a decision made from an early age by their parents due to the gendered stereotype and partly to enhance their marital prospects. Nonetheless, whether or not they conform to the image significantly influences their partner searching and career development. Most participants are so accustomed to the image that it is often hard to detect its presence and operation. Through the examples of the social event and the experiences of the participants, the thesis intends to denaturalise the stereotype. It also explores the possibility of changing the image through concert posters.
5
Au, Wai-man Vivian, and 歐慧敏. "The queer female stardom emerging from transnational Chinese singing contests." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50162755.
Анотація:
This research examines how the popular music industry has fostered queer female stardom in the greater China area since the 1980s. Compared with other forms of media, music seems easier as a platform to normalize, or even promote open, alternative sexual expressions with its highly affective qualities. With special references to mechanisms of regional singing contests, emphasis is placed primarily on three Chinese female champion-singers: Ho Denise Wan See (HOCC) from Hong Kong, Li Chris Yuchun from mainland China, and Zhang Yun-jing from Taiwan. The project argues that these singing contests contribute to the construction of contemporary transnational stardom, and are especially empowering and to the vocal privilege of emerging female singers.
Consumption and reception of their music and sexually indeterminate public imaging will also be discussed as reinforcement of queer stardom and popularity throughout their performance careers. Since the public images and music videos of Ho, Li, and Zhang have constantly involved androgynous outfits and homoerotic imagery, and their subsequent songs loaded with sexually ambivalent or suggestive lyrics, the paper attempts to demonstrate that both their personal life and social responsibilities, both their sexuality and music weigh equally on their career. The star-texts are also important sites for signification and identification to spectators, so issues of fandom will be examined. As the candidate-stars actually grow with their fans in the “player-kill (PK)” context; they serve a mutual projection and monitory entity to mirror one another’s personal conduct and maturation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
6
Reis, Silvanio. "Chiquinha Gonzaga, Brazilian Musical Trailblazer." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/560254.
Анотація:
Music PerformanceD.M.A.
Previous literature on the life and music of the Brazilian composer Francisca Edwiges Neves Gonzaga (1847-1935) reveals her as a historical figure of cultural and musical significance. Her contributions to society include political leadership in Brazilian campaigns for the abolition of slavery and artistic copyright. She also became the first female conductor in Brazil and shaped the music of Carnaval as it is known today in Brazil. However, her music is not well-known outside of Brazil, and her piano music has not received the attention that it merits. In addition to a closer look at her compositions for piano, this monograph offers biographical and musical details of Gonzaga’s unique career, including her role as a female composer amidst a patriarchal society; her pioneering synthesis of traditional Brazilian and European classical style, and a discussion of her place among her better-known Brazilian contemporaries, Ernesto Nazareth and Heitor Villa-Lobos. The last chapter presents interviews with living musicians—a pianist, a traditional folk artist and a musicologist—who have each continued the traditions of Gonzaga’s music to the present day.
Temple University--Theses
7
Lambeth, Dawn. "A woman's place is in the groove: an examination of female jazz musicians, 1900 to the present." Thesis, Boston University, 1994. https://hdl.handle.net/2144/27700.
Анотація:
Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
8
Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.
Анотація:
Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.
In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.
9
McLaughlin, Adria Ryan. "Navigating Gender Inequality in Musical Subgenres." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2600.
Анотація:
This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.
10
MacRory, Pauline Maeve. "She shoots! She scores! : the musical portrayal of female violence in recent Hollywood film." Thesis, University of Strathclyde, 1999. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21400.
Анотація:
This thesis examines the importance of the musical score in creating a film's meaning, through an analysis of the musical scores to several recent Hollywood movies. To show how film music is ideologically loaded, this thesis takes the case of the new, ultra-violent film (anti)heroine and demonstrates how the musical score works to explain, excuse or undermine her violence so that she can remain situated within the standard gender codes of Hollywood film. To do this, the theoretical section first discusses issues about the representation of femininity and the pleasures of movie violence, and then continues with a discussion of theories of musical meaning, both within and without film scores. The analysis section examines the scores to several well-known mainstream Hollywood movies, dividing the heroines into either action heroines or fatal femmes, to show firstly how these women potentially transgress gender codes, and how the music is employed - along with other filmic elements - to lessen the threat of the female character's transgression. It examines the presentation of women as mothers, victims, lesbians and jezebels - all of which roles act to frame the active heroine within some acknowledged stereotype. Finally, the thesis addresses the question of how specific this phenomenon is to Hollywood, by examining the scores to a test-case French film and its Hollywood remake. Through the analyses contained within this thesis, I show how violent Hollywood women are still subject to ideologies which position women as passive and specifically as non-violent, and that the musical score is a particularly effective means of neutralising their potential transgression of gender norms.
11
Wolfgang, Nancy Andersen. "Adolescent Female Musical Theater Belt Pedagogy: Preparation, Approaches, and Experiences of Ohio Music Educators." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1434468398.
12
Hawk, Heather L. "“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500087/.
Анотація:
American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.
13
Moriarty, Bridget Maureen. "Crossing over| Examining the challenges of a classically trained female performing music theater repertoire." Thesis, The University of North Carolina at Greensboro, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3708153.
Анотація:
I. Solo Recital: Friday, April 11, 2013, 7:30 p.m., Taylor Theatre. Cendrillon (Jules Massanet) Opera Role.
II. Solo Recital: Saturday, February 8, 2014, 7:30 p.m., Recital Hall. "Warum betrübst du dich," "Wilst du dein Herz mir schenken" (Johann Sebastian Bach); Bachianas Brasileiras No. 5 (Hector Villa-Lobos); "Kennst du das Land" (Hugo Wolf); "Kennst du das Land" (John Duke); "Nur wer die Sehnsucht kennt" (Robert Schumann); "Net tolko tot kto znal;" (Pyotr Ilyich Tchaikovsky); "Aime-moi" (Pauline Viardot); "Vaga Luna" (Vincenzo Bellini); "Aragonese" (Gioacchino Rossini); "Befreit," "Ruhe Meine Seele," "Ständchen," "Amor" (Richard Strauss).
III. Solo Recital: Thursday, March 5, 2015, 7:30pm., Recital Hall. "Youkali," "J'attends un navire," "Wie lange noch?," "Come up from the Fields, Father" (Kurt Weill); "Tom Sails Away" (Charles Ives); "Le disparu," "Bleuet," "C," "Fêtes galantes" (Francis Poulenc); Ariettes Oubliées (Claude Debussy); Cabaret Songs (Benjamin Britten); "Waldseligkeit," "Selige Nacht," "Hat dich die Liebe berührt" (Joseph Marx).
IV. D.M.A. Research Project. CROSSING OVER: EXAMINING THE CHALLENGES OF A CLASSICALLY TRAINED FEMALE PERFORMING MUSIC THEATER REPERTOIRE. This document explores the pedagogy of a classically trained singer as well as that of a music theater performer exploring similarities and differences. Musical examples are referenced throughout. A discussion of style of the megamusical and the 21st century musical provides context. A final chapter on repertoire suitable for bridging the styles provides a reference for the teacher and singer.
14
Ryan, Charlene Anne. "A study of the differential responses of male and female children to musical performance anxiety /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36788.
Анотація:
The purpose of this study was to examine the responses of male and female children to musical performance anxiety. Twenty-six sixth-grade piano students (11 male, 15 female) performing in a piano recital served as subjects. Boys' and girls' heart rates, behaviour, performance quality, and anxiety levels were examined for possible differences between the genders. It was found that girls had substantially higher heart rates than boys immediately prior to performing, but that this difference was minimal while performing. Significantly more anxious behaviours were noted for both genders prior to performing than during performing, but boys had significantly more anxious behaviours than girls in both cases. Very little difference was noted in boys' anxiety scores (State-trait Anxiety Inventory for Children) between low, medium and high performance quality levels, however girls with moderate performance quality had much higher anxiety than did those with low and high quality performances. As well, girls were found to give significantly higher quality performances than boys. Correlation and regression analyses suggest that the genders respond differently to musical performance anxiety. These analyses were run on the data in three ways: All Children, Boys Only, and Girls Only. It was found that several relationships that emerged in the All Children analysis were driven by a strong relationship in a single gender, but were nearly absent, or in fact opposite, in the other.
15
Joncus, Berta. "A star is born : Kitty Clive and female representation in eighteenth-century English musical theatre." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:1e03037b-89a3-4b00-a5ae-81229ccdf5c7.
Анотація:
Catherine ('Kitty') Clive (1711-1785) was the most famous singer-actress of mideighteenth century London, and one of the first women whom Drury Lane managers sought to popularize specifically as a singer. Drawing on theories of star construction in cinema, this thesis explores how the public persona of Mrs Clive 'composed' the music she sang. A key ingredient in star production is the wide-ranging dissemination of the star's image. The first chapter explains how the mid-eighteenth star was produced, outlining the period equivalents to what film scholars consider the sources of modern stardom: promotion, publicity, criticism and the work. This last means of star production is considered according to period traditions of comic writing, acting and spectatorship. These activities were part of the practice, begun in the Restoration, of creating a 'line' or metacharacter to fit the skills, reputation and unique acting mannerisms of principal players. The second chapter examines the vehicle of Mrs Clive's initial success, ballad opera. Ballad opera brought to the London stage the musical and discursive traditions of the street ballad singer, who typically communicated with audiences directly through indigenous, popular tunes. Direct address and native pedigree were to remain key elements in Mrs Clive's music, regardless of the genre she was singing. Chapters 3 to 5 trace three distinct phases in Mrs Clive's star production. Chapter 3 studies her promotion by Henry Carey, who taught her distinctive vocal techniques ('natural' singing; mimicry of opera singers) and supplied a sophisticated ballad-style repertory of which she was the chief exponent, 1728-32. Through Mrs Clive, Carey promoted his music and convictions - song in 'sublimated ballad style', the attractiveness of native traditions, female rights - and these became hallmarks of the Clive persona. Chapter 4 considers Henry Fielding's Clive publicity in his musical comedies and writings for her, 1732-6. Initially, he vivified the impudent nymph of her first 1729 mezzotint through stage characters, songs and epilogues. The criticism she drew for her refusal to join 1733-4 Drury Lane actors' rebellion forced him to re-invent Mrs Clive as a 'pious daughter'. In order to galvanize support for her, he broadened his publicity and made her an icon of conservative patriotic values and an enemy of Italian opera. Chapter 5 investigates Mrs Clive's management of her own image in her 1736 battle to retain the lead role in The Beggar's Opera. After her triumph, the duties of her new writer James Miller were simply to reflect audience perception of her. Chapters 6 and 7 analyse how the Clive persona, now rooted in public fantasy, shaped her two most important 'high style' musical roles, first in Thomas Arne's Comus, and then in Handel's Samson. Chapter 6 shows how the themes and musical procedures typical of the Clive persona were wedded to Milton's Comus, which then became the imaginative touchstone for a 'Comus' environment at the Vauxhall Pleasure Gardens. Chapter 7 examines her history as mediator of, and collaborator with, Handel, and shows how Handel's conceptualization of Dalilah in Samson mirrored that of Arne's Euphrosyne in Comus. Chapter 8 describes her ascendancy into 'polite society' through her friendship with Horace Walpole, and summarizes the means by which Mrs Clive's talents and audience perception of her shaped the works she performed.
16
Griffin, Amy. "Sally: Understanding Cabaret and the Politics of Female Agency." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1183.
Анотація:
This thesis looks to explore the musical Cabaret through a critical, historical and political lens, with particular focus on Sally Bowles, questioning the creation and agency of this character in contrast with the political and societal values of various productions. Using a socio-political analysis, this thesis discusses the important relationship between politics and theater, using the pro-choice abortion movements of the 1960's as a way to understand Sally Bowles as a complex device for political and social commentary.
17
Ellzey, Delilah. "Musical Cognitive Restructuring Based App for Black Females’ Negative Thoughts and Anxiety." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524174359408583.
18
Björk, Johanna. "Could musical mastery affect how attractive a person is rated as a prospective partner?" Thesis, Umeå universitet, Institutionen för psykologi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-73419.
Анотація:
Evolutionary psychology explains and predicts human behaviour based on its adaptive value. Some apparently non-adaptive behaviours such as humans’ devotion to music can be explained by sexual selection of costly signals, since it takes time and effort to learn to play an instrument well. Here, participants rated pictures of persons of the opposite sex that were said to play a piece of music that was heard while watching each picture. The music performances were either of low, medium, or high level of skill, and a better performance was predicted to lead to higher ratings of partner attractiveness because it is more costly. No effect of the music was found, except that women rated men as less desirable for a long-term relationships when the skill level was high than when it was medium.Evolutionspsykologiska teorier förklarar och predicerar mänskligt beteende utifrån dess adaptiva värde. Vissa uppenbart icke-adaptiva beteenden, som människans hängivenhet till musik, kan förklaras som sexuell selektion av kostsamma signaler, eftersom det kräver tid och möda att lära sig bemästra ett instrument. Deltagare fick skatta bilder på personer av motsatt kön som påstods spela det musikstycke som hördes medan man tittade på varje bild. Musikutförandet var antingen av låg, medel, eller hög skicklighet, och ett bättre utförande förväntades ge högre skattningar av partnerattraktivitet eftersom det är mer kostsamt. Ingen effekt av musiken förelåg, förutom att kvinnorna skattade män som mindre attraktiva för ett längre förhållande när skicklighetsnivån var hög jämfört med när den var medelhög.
19
Cooke, Tracey. "Investigating register preferences in the female singer of contemporary commercial music." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1978.
Анотація:
The middle register is a region of the voice which has been discussed and disputed for many years in the disciplines of vocal pedagogy and voice science. This project, which was inspired by my own experience as a singing teacher in the private studio, seeks to investigate how female professional and pre-professional vocalists relate to their middle register. For the purposes of this dissertation, the middle register is assumed to refer to an area of the trained voice, or of the voice in training.
The project is composed of three studies. In Study One a pilot questionnaire was distributed to 57 vocalists, ranging from secondary and tertiary students to professional singers. The responses to the questionnaire were analysed and the results used in the design and development of Studies Two and Three.
Study Two was made up of interviews with three professional singers, together with an analysis of their vocal technique in performance.
Study Three consisted of case studies of nine singers: three secondary students, three tertiary students, and three professional singers. The nine subjects recorded an a cappella version of “Scarborough Fair” and answered a short questionnaire. The participants’ questionnaire responses and the expert listeners’ survey results were then analysed to discover whether the singers’ ideas of their performance were traceable in the expert listeners’ interpretations, and whether any register preference expressed by the singers could be detected by the expert listeners.
The results of this project indicate that the listening habits of singers greatly affect the way they approach their middle register. A singer’s ability to express register choice, and the degree to which other listeners were able to discern these choices, was found to correlate with level of training. The results also indicate that a register preference for either chest dominance or head dominance existed for a majority of the singers in this study, all of whom were singers of Contemporary Commercial Music (CCM). The implications for teaching singing to students of CCM with a strong register preference are discussed
20
Snyder, Tara. "NOT QUITE THE INGéNUE: THE DEVELOPMENT OF THE MIDDLE-AGED FEMALE CHARACTER IN MUSICAL THEATRE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4085.
Анотація:
Not Quite the Ingénue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and factors which would be vital for a realistic and relevant portrayal of Arlene. This document provides the reader with a working definition of middle age. It also furnishes a sampling of types, or stereotypes, of middle age female characters in musicals. The major thrust of the document emphasizes researching and understanding the importance of key socio-economic events' influence on the creation, direction, or depiction of middle-aged female characters. Three distinct characters are used to develop this theory, Aunt Eller in Oklahoma!, Dolly Levi in Hello, Dolly! and Arlene MacNalley in Baby. Further analysis within the thesis details essential differences between the original version of Arlene and the updated 2006 version of Arlene portrayed in the University of Central Florida's production of Baby. Conclusions drawn from the research, performance and writing processes indicate an increasing significance for the middle age female character as the genre of musical theatre continues to develop.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
21
Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.
Анотація:
The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.
Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.
Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.
Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.
22
Schopf, Fiona Jane. "Musical gender constructs in the operas of Richard Wagner with specific reference to some of the leading female roles." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368797.
23
Mason, Melissa. "The revenge of the second banana a female sidekick's survival guide." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4803.
Анотація:
I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "Charlie" in James Valcq's Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ingenue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience. During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "cold war" and the "space race" that dominated America in the 1950s. The play makes comic use of the "double-red agent" and presents the belief that the space race and cold war inevitably were tied together, while examining Russia's dirty tactics in the struggle for power. In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq's musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "Charlie" Osmanski, is the iconic man-hungry, working girl with a big heart (aka "The Sidekick"). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country. After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "What does an actor need to know in order to become the perfect sidekick?" To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience's relationship to the sidekick; and discussed the character's future as an integral force in contemporary theatre, all in a convenient survival guide. Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick's portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick's place as a relevant and sustainable character for generations to come.ID: 030646275; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 81-83).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre
24
Torrissen, Wenche. "The Gaiety girl as a new, 'new woman' : pleasure, female desire and sexual subversion in late-Victorian and Edwardian musical comedy." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521776.
25
Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.
Анотація:
Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Five of Biddell’s former singing students and professional musical colleagues were invited to participate in an interview to explore the way in which Biddell utilised gestures and techniques to maximise her performance presentation. Each participant recounted their personal knowledge and history of working with Biddell, and analysed a video of Biddell performing live on Australian television to document how she effortlessly translated gestures into captivating performance. Participants reflected on their experience working with Biddell, and described how she was renowned for her stage presence, physical gestures, and facial animation. All described the way in which Biddell would create a scenario to depict the text of the song, and prepare a character to ensure her gestures were authentic and genuine to her audiences. Findings will be considered in the context of recent studies in performance and non-verbal communication. Future work on gesture must consider the work of leading performer/teachers and discover how they conceptualise and communicate gesture to audiences.
26
Figueirêdo, Anne Raelly Pereira de. "A estética vocal de cantoras paraibanas: Marinês, Cátia de França e Elba Ramalho." Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/8674.
Анотація:
Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-20T18:33:29Z
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This paper presents the research results who try to comprehend fundamental definitions aspects of vocal esthetics in musical expressions of Paraíba´s female singers, specifically focused at three state musicians with local, regional and national recognition, they are: Marinês, Elba Ramalho and Cátia de França. This work was based with views of ethnomusicology and related fields. The methodological research evolved bibliographical research, record, sound, documental research, participative observation and half-structured interviews, as well data analysis and organization resources which could generate a clear, wide and contextualized view of the researched reality. Based on the research realized, the discussions and analysis done throw the paper became evident that the vocal esthetics of each singer was defined by the inter-relation of multiple aspects linked to physiological dimensions and voice techniques, to the use of recording technological resources, voice effects and amplifications and to cultural background in general that point the history of each female singer studied.
Este trabalho apresenta resultados de uma pesquisa que buscou compreender aspectos fundamentais definidores da estética vocal na expressão musical de cantoras da Paraíba, contemplando especificamente três intérpretes do Estado de grande destaque local, regional e nacional, quais sejam: Marinês, Elba Ramalho e Cátia de França. O estudo foi realizado a partir de perspectivas da área de etnomusicologia e de outros campos afins ao foco do estudo. A base metodológica da pesquisa abrangeu pesquisa bibliográfica, pesquisa sonoro-documental, observação participante e entrevistas semi-estruturadas, bem como instrumentos de organização e análise dos dados que pudessem propiciar uma leitura abrangente e contextualizada da realidade investigada. A partir da pesquisa realizada e das discussões e análises concretizadas ao longo da dissertação ficou evidente que a estética vocal de cada cantora é definida a partir da inter-relação de diversos aspectos ligados às dimensões fisiológicas e técnicas da voz; ao uso de recursos tecnológicos de gravação, efeitos e amplificação vocal; e às influências e bases culturais em geral que marcam a trajetória das três cantoras estudadas.
27
Tramonte, Marcella [UNESP]. "O Coro Santa Cecília, uma análise documental: o papel da mulher como educadora musical na primeira metade do século XX em São João da Boa Vista." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151758.
Анотація:
Submitted by MARCELLA TRAMONTE null (marcellatramonte@hotmail.com) on 2017-09-28T19:13:03Z
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Made available in DSpace on 2017-09-29T17:39:11Z (GMT). No. of bitstreams: 1 tramonte_m_me_ia.pdf: 8390784 bytes, checksum: f9d1c505ad36f02dcb97657b5d8d6776 (MD5) Previous issue date: 2017-07-31
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, “moderno” para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se encontra em processo de crescimento, se comparado aos demais estudos sobre história da música e educação musical em geral, este trabalho propõe um estudo da função socioeducacional do Coro Santa Cecília associado à Pia União das Filhas de Maria a partir de fontes documentais primárias presentes no Acervo do Museu de Arte Sacra da Diocese de São João da Boa Vista – partituras, atas de reunião, listas de chamada, cartas, artesanato, fotografias, entre outros - e entrevistas realizadas com ex-integrantes do coro e da associação que o abrigava. Assim, a partir da análise desses documentos buscou-se investigar uma possível contribuição dessas mulheres para a formação de uma elite intelectual na cidade de São João da Boa Vista, e que perdura até os dias atuais.
This work focuses on the Santa Cecilia Choir, a female choir belonging to the Catholic Association Pia União das Filhas de Maria in the city of São João da Boa Vista, in the first half of the twentieth century. The vocal group, "modern" for its time, came to obtain considerable regional projection and played an important role in the transmission of knowledge in the city and context referred. Since studies on female education and on the participation of women in music education are still in the process of growth, if compared to other studies on the history of music and music education in general, this work proposes a study of the social and educational function of the Santa Cecilia Choir associated with Pia União das Filhas de Maria, from primary documentary sources present in the collection of the Museu de Arte Sacra da Diocese de São João da Boa Vista – music sheets, meeting minutes, attendance lists, letters, craft items, among others - and interviews with former members of the choir and the association which sheltered it. Thus, the analysis of these documents sought to investigate a possible contribution of these women to the formation of an intellectual elite in the city of São João da Boa Vista, which continues to this present day.
28
Canchola, Amy. ""Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505196/.
Анотація:
María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.
29
Hall, Frances L. "Metal Music and Masculinity in the 1980s: Cultural Markers for the End of the Century." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481478280201701.
30
Gerber, Melissa. "Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/51380.
Анотація:
The 19th-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness.
The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis.
The results show that the 19th-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess, specifically contribute to the representation of madness as power. Elaborate coloratura vocal passages and scant orchestration are the two musical elements used by Donizetti and Thomas to assist in the depiction of female madness as power in the operatic mad scene. Consequently the study establishes that the extravagant vocal virtuosity displayed by the coloratura soprano casts the madwoman as powerful in the operatic mad scene.Mini Dissertation (MMus)--University of Pretoria, 2016.
Music
Unrestricted
31
Lee, In-suk. "Aspects of the Korean traditional vocal genre, kagok : female kagok and the call for a new integrative kagok notation : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury /." Thesis, University of Canterbury. School of Music, 2007. http://hdl.handle.net/10092/994.
Анотація:
Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.
32
Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
Анотація:
Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
33
Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
Анотація:
Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
34
Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.
35
Nicol, Jennifer J. "The relationship between creativity and stress levels in female musicians." Thesis, 1993. http://hdl.handle.net/2429/2133.
Анотація:
Anectodal and theoretical accounts suggest that creativity is a positive attribute that enhances coping abilities. However, there is little empirical evidence to support this contention. This study was designed as a preliminary investigation of the relationship between characteristics of creativity and perceived stress levels in female musicians. It was anticipated that higher levels of creativity would be associated with lower levels of stress. Ninety-five musicians (49 music therapists, and 46 music hobbyists) volunteered for the study. Participants met with the investigator to complete paper and pencil measures. Creativity was conceptualized as a multi-dimensional construct thereby necessitating the use of multiple measures. Five measures were used to assess creativity. These measures captured the constructs of creative thinking, creative personality, creative behavior, complexity, and musical activity. Stress level was measured with a 14-itemscale that measured perceived stress. Preliminary analyses indicated that only 3 of the predictor variables correlated with stress level. Consequently, creative thinking, creative personality, and creative behavior were used to test the hypothesis in an hierarchical regression analysis. The regression equation reached significance, F(7,85) = 2.86, p <.01, and accounted for 19% of the variance in stress level. Creative behavior was a main effect that demonstrated a positive relationship with stress level. However, this main effect disappeared when interactions were studied. Group differences emerged whereby the interaction effect of group by creative thinking was the only significant predictor of stress level. Plotting the interaction effect revealed that there was a negative relationship between creative thinking and stress level for music hobbyists; that is, lower stress levels were associated with higher levels of creative thinking. This was not true of the music therapists. Music therapists manifested a weak positive relationship between creative thinking and stress level. Creative thinking clearly buffered stress levels for music hobbyists. For music therapists, there was little or no relationship between the variables. The findings implicate creative thinking as a possible personal resource in the stress-coping process for adult female music hobbyists. Recommendations are made for future research that will help to clarify this relationship.
36
"Geechie Wiley: An Exploration of Enigmatic Virtuosity." Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9138.
Анотація:
abstract: The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.Dissertation/Thesis
M.A. Music 2011
37
"Three Interviews: Diverse Career Paths of Female-Identifying Professional Trombonists." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63059.
Анотація:
abstract: The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career.Dissertation/Thesis
Doctoral Dissertation Music 2020
38
Lawrence, Sidra Meredith. "It's just this animal called culture : regulatory codes and resistant action among Dagara female musicians." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4251.
Анотація:
This dissertation is an exploration of the African female body as a site of regulation and resistance. Based on ethnographic fieldwork among the Dagara of northwestern Ghana, I illustrate how Dagara women are regulated through narratives of exclusion, through the mobilization of the rhetoric of tradition and cultural authenticity, and the racialization of gender ideologies. I then illustrate how Dagara women carve resistant spaces through song writing, dance, and instrumental performance, pointing to how female bodies in performance essay critiques of existent power structures. I argue that Dagara women redefine the terms of their sexed bodies through performance, as they open up new cultural possibilities. By mediating multiple categories of belonging, Dagara women expand the narrow demarcations that are mapped onto their bodies. Such divisive categories of African/Western, black/white, and traditional/modern are challenged through musical performance. Dagara women subvert regulation in ways that are instructive in re-theorizing the possibilities of resistant and transgressive action.text
39
QUAINTANCE, COURTNEY. "Performing women: opera, sexuality, and the female voice in Seventeenth-Century Italy." Doctoral thesis, 2022. http://hdl.handle.net/11573/1655246.
Анотація:
This study considers how the emergence of opera, its evolution, and the rise of the prima donna influenced literary and musical culture during the seventeenth century. I focus on the remarkable careers and voices of two Roman singers, the sisters Margherita and Anna Francesca Costa, to consider two over-arching questions: first, how were women’s voices—whether in song, in speech, or in writing—received and represented by their contemporaries during the first century of opera? And secondly, how did women singers and writers fashion their public voices—and consequently, their livelihoods—against shifting notions of women’s creative authority, gender norms, and the dynamics of power?
Chapters One and Two reconstruct the lives and performance histories of the Costa sisters and use their experiences as a springboard for an investigation of the social and cultural forces that shaped the performances and patronage strategies of seventeenth-century women singers. Chapter Three investigates the cultural context of the persistent alignment between women singers and prostitutes, investigating the complex relationship between singing and onestà using the archives of the Monastery of S. Maria Maddalena delle Convertite al Corso—a religious institution founded to house repentant prostitutes—to show how the control and regulation of women singers’ behavior influenced both their public images and their financial futures. Chapter Four uses the image of Saint Cecilia as a starting point for an analysis of the complexities of self-fashioning for a singing woman in the seventeenth century, analyzing how three socio-cultural phenomena playing out during this time—the emergence of opera, the climate of religious reform, and the rediscovery of Saint Cecilia’s incorrupt body—shaped the ways in which women singers fashioned their public images and shaped their careers during a period that saw major shifts in norms and prescriptions for women’s speech and song. I focus in particular on Margherita Costa’s narrative poem, Cecilia martire, to show how Costa fashioned herself as a secular Cecilia to appeal to her Barberini patrons in 1644. Chapter Five tells the story of how Anna Francesca Costa stepped beyond the role of prima donna to become one of the few female impresarios of the seventeenth century. Letters exchanged between Anna Francesca and her patron in Florence, Giovan Carlo de’ Medici show that she single-handedly organized successful performances of the opera Ergirodo in Bologna in 1653. Through new archival evidence, I show that the opera was first performed in Paris, where Anna Francesca had sung in the first Italian operas presented at the French court from 1644 to 1647; the opera was conceived to legitimize Anne of Austria’s new regency, explaining its preoccupation with the Salic law used there to exclude women from the throne.
Through its reconstruction and analysis of the extraordinary careers of the Costa sisters, Performing Women shows how women singers, writers, and impresarios fashioned their voices against the same issues that were dramatized in Ergirodo and other operas of the period: new ways of conceiving and resisting women’s power: whether that authority was used to rule empires, to sing, to write, or to take charge of creative enterprises such as the production of opera itself.
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Prince, April Laine. "Der anmutreichen, unschuldsvollen Herrin : Clara Schumann's public personas." 2009. http://hdl.handle.net/2152/7558.
Анотація:
Clara Wieck Schumann sits at a particularly thorny juncture in musicological scholarship, as her career mirrors a period of nineteenth-century transformative social and musical change. The concept of public and private spaces came to be codified, and women's musical interactions, somewhat unsurprisingly, followed suit. In accordance with the now bourgeois concerns for social cultivation and primacy, concert structures were destabilized, programs moved away from an emphasis on miscellany, virtuosity was soundly rejected, and serious musical efforts came to dominate critical inquiry and commentary. The philosophy of Romantic listening hinged on the primacy of absolute, "serious" musics and, similar to the morals of the public bourgeoisie, privileged "masculine" expression. Within these strictures, a female pianist developed into the preeminent symbol for all that was ideal in the public piano recital. Clara Schumann has, for scholars of nineteenth-century music, come to embody the serious music aesthetic: whether it be through her role as interpreter, more homogeneous recital structuring, or allegiance to the goals of transcendental listening, she remains a figure who performed out of duty to her higher, artistic "calling." Nevertheless, scholars have rarely attempted to consider how, in a restrictive gender society, Clara was able to maintain such a successful and highly respected public career. My dissertation seeks to tease out the dynamics of Clara Schumann's reception, in order to elucidate ways she, as a woman, was able to perform in this preeminent public space, and, in fact, embolden (rather than degrade) the ascendancy of the masculine. With a career spanning some 60 years, Clara's 794 German concerts allow us a window into the complex negotiations that permeated her public performances and celebrated personality. For the first time in English translation, Appendix I gives a complete listing of Clara's programming in Germany and Vienna. By considering a wide range of sources--visual images, concert reviews, and programs--I hope to unearth ways that Clara, while challenging the hegemony of the male pianist, nonetheless continued to entrench the mores of the musical masculine to an even greater degree.text
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Turner, Katherine Lynn 1977. "The musical culture of La Concezione : devotion, politics and elitism in post-Tridentine Florence." 2008. http://hdl.handle.net/2152/9812.
Анотація:
The musical culture of the female monastic institution called La Concezione, or il monastero nuovo, reflected the political, social and devotional objectives of the Medici court. In 1562, at the close of the Council of Trent, the convent was founded through the last testament of Grand Duchess Eleonora de Toledo de'Medici with the support of Grand Duke Cosimo I's personal knighthood-- the Cavalieri di Santo Stefano. Glorified as a "reformed" institution reflecting the piety of Florence and the rectitude of the Medici family, the public image of the convent required strict adherence to Catholic Reformation ideals of female virtue. Musically, the women of the convent restricted their public performance to monophonic chant. The only universally approved music for monastics, chant was thought to be the most appropriate form of public musical devotion for the virginal daughters of the court. In private, the patrician women perhaps enjoyed the popular polyphonic music that the vast resources of their families, the Florentine court, and their superiors, afforded them. The public image of perfection was of the utmost importance to the Medici; polyphonic performance was only allowed in the most private spaces of the cloister--away from the public eyes and ears. A counter-example to recent scholarship, this view of female monastic music is in contrast to studies that have highlighted examples of wealthy convents that actively sought opportunities for polyphonic performance as part of their public character. This dissertation relies on various extant archival documents of the convent, the Order of Santo Stefano and the Medici family in an examination of the role that music played in both the public and private spheres of the most elite convent of early modern Florence.text
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Chang, Huei-Wen, and 張慧文. "A Taiwanese Female Singer: Lin Hau''s Musical Life in Japanese Colonial Period(1932-1937)." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/55879604273905745092.
Анотація:
碩士國立臺灣大學
音樂學研究所
90
Lin Hau (1907-1991), born in Tainan (southern city of Taiwan), was a female singer who learned vocal professionally in the early 20th century. This thesis attempts to approach Lin’s musical life in 1930’s through two kinds of methods: the interpretation of historical data and the analysis of musical materials. Through the data interpretation, it was found that there were three channels to make Lin access the western music in her music enlightenment: Japanese style school education, church activities in Tainan area, and phonograph records. After married, with the encouragement of her husband, Mr. Lu Bing-Ding, a significant Taiwanese social movement promoter in late 1920’, she luckily had the chance to keep on her music career. Through the music analysis, it was found that the pieces Lin performed included western, Japanese, Taiwanese composers but the texts were sung mainly in the language of Mandarin, Taiwanese, and Japanese. In addition, it was also found that the characteristics of Taiwanese songs melodies which were mainly established on pentatonic scale, and the orchestration which were arranged by western instruments or half-western, half-Chinese traditional instruments. In conclusion, this thesis interpreted not only the Taiwanese Female singer during the Japanese colonial period, but the interactions of music environment among Taiwan, Japan, Mainland China, and western world.
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Hunt, Katrina Margaret. "The Female Voice in American Musical Theatre (1940-1955): Mary Martin and the Development of Integrated Vocal Style." Phd thesis, 2016. http://hdl.handle.net/1885/101933.
Анотація:
This study examines the changing manner of female vocalisation in
the American Musical (1940-1955) through the development of the
integrated singing techniques of Mary Martin, an icon of American
Musical Theatre. It suggests that the vocal style that she
exemplified changed from a variety of idiosyncratic vocal styles
linked to particular role-types to a more flexible, integrated
style better able to adapt to a range of roles required by the
rapidly changing demands of the entertainment industry. Martin
is situated within the historical trajectory of cultural and
technological change, and the isolation of moments along that
trajectory brings into focus her centrality within those changes
and the intentionality of the development of her vocal style.
Three central genres of early twentieth century musical theatre
(operetta, the musical play and the revue) are considered, along
with the female performers and vocal styles that underpinned
those genres. They are situated in an historical context of
rapidly developing recording technology and the expanding
communications industry. The intrinsic characteristics of three
dominant voice types are analysed through the lens of three
significant performers active between the First and Second World
Wars: Edith Day, Helen Morgan and Ethel Merman. The inability of
these performers to acquiesce to the changing demands of the
entertainment industry during the third and fourth decades of the
twentieth century are identified.
Three quantifiable measures of the voice - tessitura, vibrato and
spectral analysis - are used to isolate Martin’s classical,
legitimate and belt phonations, and to illustrate the emergence
of her distinctive croon style through her early recordings on
stage, screen and the recording studio. A period of intense
vocal development is revealed in Martin’s little known radio
performances on the NBC network in 1942. This was a time in
which she began to consolidate different vocal techniques into a
single vocal style, and to show her to manipulate the perception
of public, personal and private distance through vocal timbre.
An examination of Martin’s stage success in One Touch of Venus
reveals both her integration of vocal techniques in the
characterization of a single role, and the transferal of her
techniques of intimate audience interaction to the live stage.
Also shown is the establishment of Martin as a role model in the
eyes of the media and the general public. The penultimate
chapter of this dissertation portrays a performer unafraid of
breaking new ground, as Martin changes her stage persona in a
national tour of the Merman vehicle Annie Get Your Gun, and
subsequently takes her place in musical theatre history as Nellie
Forbush in the Pulitzer Prize winning South Pacific.
The study concludes with an examination of Martin’s television
performances in the first half of the 1950s, in which she
displays all facets of her vocal technique and range. The
immense popularity of Martin’s variety performances with Ethel
Merman and Noel Coward, and her enduring broadcasts of Peter Pan,
without doubt made Martin a leading role model for emerging
vocalists.
44
Sitko, Katarzyna Maria, and 思夏. "「Analysis of Female Characters in The Musical〝Billy Elliott〞」—Taking Mrs. Wilkinson, the Grandmother and the Mother as examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/gcjp8z.
Анотація:
碩士國立臺灣師範大學
表演藝術研究所
105
The thesis analyzes the role of the female characters in the musical “Billy Elliot”. It is divided into five chapters. Chapter 1 describes the research motivation and thesis framework. Chapter 2 discusses the roots of Billy Elliot's story, encouraging the deeper understanding of its background. Chapter 2 is divided into 3 sections: Section 1 tells the story of who Billy Elliot is. It explores the changes from the real story to the motion picture and onto the musical. Using the real story background and literature reviews we learn about the background and history of the movie. Section 2 presents the music and translation of the lyrics. Section 3 shows the story and background of the musical introducing the director, screen writer, playwriter, actors and music, as well as the full translation of the lyrics. Chapter 3 gathers an in-depth analysis and study of the musical’s female characters that have influenced Billy Elliot during different stages of his life. Chapter 3 is divided into 3 sections: Section 1 is dedicated to the teacher Ms. Wilkinson, focusing on the influence on her students and how she influenced and supported Billy. Section 2 talks about the grandmother and how she influenced Billy and how it influenced the boys character and personality. Section 3 is about his mother. She has passed away but still shows up in the boys imagination. They have conversations and it also influences his character and builds it. Chapter 4 analyzes the songs of the musical with full translation. The chapter is divited into 7 sections: Section 1 is a description of the lyrics and analysis of the song “Shine”. Section 2 describes the song and lyrics “Born to boggie”. Section 3 describes the song and lyrics of “We’d go dancing”. Section 4 is the description and lyrics of the song “Dear Billy (Mom’s letter)”. Section 5: description and lyrics of the song “Dear Billy (Billy’s reply)”. Section 6: description and lyrics of the song “The strars look down”. Section 7: description and lyrics of the song “Once we were kings”. Chapter 5 is the summary of the conversations of female characters in “Billy Elliot”, influence of the drama review, explaining the feelings behind the female characters. Two attachments : 1 script from the play Billy Elliot the musical. 2 a brief interview with the lead role-actor Hanna Elliott.
45
"Stefania Turkevych's Heart of Oksana (1969): A Critical Edition of a Lost Ukrainian Opera." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57052.
Анотація:
abstract: It is no secret that the Soviet Union silenced the voices of many artists, but pieces of this history are still emerging—including the story of Ukraine's first female composer to achieve professional renown: Stefania Turkevych (1898-1977). Although the quantity and quality of Turkevych's compositional output should have established her as a major international figure, most of her work remains unpublished. Turkevych is absent from both Grove Music and Die Musik in Geschichte und Gegenwart (MGG Online). There is a clear need for English-language biographical materials about Turkevych and for publication of her works.
This document represents the first critical edition of Turkevych’s three-act chamber opera, Серце Оксани (The Heart of Oksana), commissioned in 1969 for the 100th anniversary of the creation of Canada’s Province of Manitoba (and its subsequent settlement by members of the Ukrainian diasporic community). The score is prefaced by brief introductions to both Turkevych and Серце Оксани as well as an explanation of editorial procedure and a critical report.
Lost Soviet-era voices carry particular social and political weight as present-day Ukraine reclaims an identity that moves beyond reductive “Russian vs. European” dichotomies, and solidifying that identity seems even more urgent against the backdrop of the current Donbass War (2013-present). This project represents the first step in a much longer-term effort to unearth and share Turkevych’s story and overlooked contributions as a composer, teacher, and lifelong advocate of Ukraine’s language and culture.Dissertation/Thesis
Doctoral Dissertation Music 2020
46
Chung, Tzu-hsuan, and 鐘梓瑄. "A Preliminary Study on Giacomo Puccini’s Opera《Suor Angelica》-The Musical Analysis and Interpretation of the Female Leading Role“Angelica”." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/h9b5wy.
47
Chen, Chien-li, and 陳倩俐. "The Research on Chorus Selections of the Female Chorus Group B of the Junior High School in the National Student Musical Competitions." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/59706389545694242429.
Анотація:
碩士國立臺南大學
音樂學系碩士班
101
The purpose of this study aims to understand the signification of “ The Research on Chorus Selections of the Female Chorus Group B of the Junior High School in the National Student Musical Competitions. ” First, explore the origin and evolution of the “ National Student Musical Competitions ” and the change of the competition regulations. Furthermore, explore the historical development of the Mass and the evolution of the Mass scriptures. Based on the analysis results of the musical performances of three final chosen pieces, repeatedly selected for the musical competitions in the northern, central, and southern areas from 2008 to 2012, twelve choral pieces with lyrics of the Mass scriptures are proposed. In addition to some appropriate singing suggestions, the findings, analysis of the musical performances, are used as reference for chorus educators in need of teaching or instructing.
48
"Run deep: the voice, authorship and musicianship of Chinese female rock musicians (1979-2012) = 尋深 : 中國女性搖滾音樂人的聲音, 作者身份與音樂才能(1979-2012)". 2015. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291957.
Анотація:
Qu, Shuwen.Thesis Ph.D. Chinese University of Hong Kong 2015.
Includes bibliographical references (leaves 306-321).
Abstracts also in Chinese; appendix in Chinese.
Title from PDF title page (viewed on 07, December, 2016).
Qu, Shuwen.
49
Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
Анотація:
Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...