Liner Notes for the Revolution offers a startling new perspective on Black women musicians from Bessie Smith to Beyoncé. Informed by the overlooked contributions of women who wrote about the blues, ...rock, and pop, Daphne A. Brooks argues that acclaimed entertainers have also been radical intellectuals, challenging the culture industry to catch up.
Sovereign feminine Head, Matthew William
2013., 20130323, 2013, 2013-05-09
eBook
In the German states in the late eighteenth century, women flourished as musical performers and composers, their achievements measuring the progress of culture and society from barbarism to ...civilization. Female excellence, and related feminocentric values, were celebrated by forward-looking critics who argued for music as a fine art, a component of modern, polite, and commercial culture, rather than a symbol of institutional power. In the eyes of such critics, femininity—a newly emerging and primarily bourgeois ideal—linked women and music under the valorized signs of refinement, sensibility, virtue, patriotism, luxury, and, above all, beauty. This moment in musical history was eclipsed in the first decades of the nineteenth century, and ultimately erased from the music-historical record, by now familiar developments: the formation of musical canons, a musical history based on technical progress, the idea of masterworks, authorial autonomy, the musical sublime, and aggressively essentializing ideas about the relationship between sex, gender and art. In Sovereign Feminine, Matthew Head restores this earlier musical history and explores the role that women played in the development of classical music.
Women in Music Pendle, Karin; Boyd, Melinda
2010, 20120726, 2005, 2005-09-19, 2012-07-26
eBook
Women in Music: A Research and Information Guide is an annotated bibliography emerging from more than twenty-five years of feminist scholarship on music. This book testifies to the great variety of ...subjects and approaches represented in over two decades of published writings on women, their work, and the important roles that feminist outlooks have played in formerly male-oriented academic scholarship or journalistic musings on women and music.
Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas ...suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as "la onda"? These are the "dissonant divas" Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of "la onda.". Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena's integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures' contributions by advancing a notion of musical dissonance-a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture. Incorporating ethnographic fieldwork, oral history, and archival research, Vargas's study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.
During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach ...of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing Painting, one can understand the very important and prominent points of musical life, including the presence and service of female musicians and the instruments and innovations of this art in this period. In the history of Iran after Islam, the Safavid era is also a turning point in terms of important political, cultural, and social changes, and Safavid miniature, like other branches of art, was no exception to this rule. The present article intends to comparatively examine and explain the identity and social status of female musicians with a comparative approach and in a descriptive-analytical and historical method and according to library sources and museum documents left from the Timurid and Safavid eras. The main question of this research is as follows; How are the two dynasties’ insights into female musicians explained in works of art? Studies show that despite the similarity of the maps of these two periods, in the Safavid era, however, greatness and respect for women and musicians were more than the Timurid period. In the Timurid era, female musicians were performed in quiet, unhurried gatherings with the king, usually in the lower house. In the early Safavid period, women were depicted with court men and close to the king, and in the late period, in crowded scenes; Instead of playing more, they dance and their position has seen a temporary decline.
The musica secreta or concerto delle dame of Duke Alfonso II d'Este, an ensemble of virtuoso female musicians that performed behind closed doors at the castello in Ferrara, is well-known to music ...history. Their story is often told by focussing on the Duke's obsessive patronage and the exclusivity of their music. This book examines the music-making of four generations of princesses, noblewomen and nuns in Ferrara, as performers, creators, and patrons from a new perspective. It rethinks the relationships between polyphony and song, sacred and secular, performer and composer, patron and musician, court and convent. With new archival evidence and analysis of music, people, and events over the course of the century, from the role of the princess nun musician, Leonora d'Este, to the fate of the musica secreta's jealously guarded repertoire, this radical approach will appeal to musicians and scholars alike.
This collection presents fresh evidence and new perspectives on the diverse ways in which women created and interacted with cultures of song between c. 600 and c. 1500.
In response to the economic and symbolic difficulties experienced by women musicians, the Union des femmes artistes musiciennes (UFAM), founded in 1910 by Lucy Tassart, set out to provide financial, ...medical and legal assistance to its members. This article examines the history of the early years of the UFAM in the light of the notion of socialization, understanding it as an instance of transformation of the uses and representations linked to the profession of musicienne in early-20th century France.
As the ubiquitous Jamaican musician Bob Marley once famously sang, "half the story has never been told." This rings particularly true for the little-known women in Jamaican music who comprise ...significantly less than half of the Caribbean nation's musical landscape. This book covers the female contribution to Jamaican music and its subgenres through dozens of interviews with vocalists, instrumentalists, bandleaders, producers, deejays and supporters of the arts. Relegated to marginalized spaces, these pioneering women fought for their claim to the spotlight amid oppressive conditions to help create and shape Jamaica's musical heritage.
