Durante la Transición española, el diario ABC buscó el modo de abandonar una línea editorial afín al franquismo para encajar con las nuevas estructuras culturales y sociales que traía la democracia. ...A pesar de que en esta etapa las mujeres fueron adquiriendo protagonismo en la sociedad y en los diferentes espacios públicos, su presencia en las redacciones de los periódicos era aún escasa. De modo que eran los hombres quienes tenían reservada la tarea de hablar sobre las mujeres, con un evidente impacto en los discursos imperantes sobre la mujer. En este trabajo exponemos la presencia de las mujeres en el ABC, como periodistas y como músicas, observando cómo están incluidas o excluidas en el discurso en torno a la música del diario y cuál es la imagen que se propone de ellas, así como los perfiles de las periodistas que colaboraron con el periódico.
The design analysis of the media presented in this article focuses on the representation of female musicians, looking at the ways in which they stage both themselves and their gender in music videos. ...According to my observation, the visual portrayal of female artists has been defined by a long history of stereotypical gender representations that have to be overcome. In the music videos published by female musicians, we can observe design strategies for selfportrayal and gender staging, as well as sources of aesthetic inspirations and trends. Different oppositional design strategies are described that either blur gender, provoke the viewer or overcome stereotypical gender representations.
This article examines the impacts of Covid19 on musicians and music professionals in the Iranian music industry, an industry that heavily depends on concerts and live performance. Placing the ...pandemic-related restrictions in the context of larger regulatory limitations imposed by the state, we explore how musicians navigate and exploit existing and emerging restrictions through a number of paradoxical developments. Addressing women's presence in the Iranian music industry, we also argue that focusing exclusively on the state's restrictions on female singers reduces women's agency and ignores the important ways in which female musicians challenge existing restrictions and create opportunities for themselves.
In light of recent discussions on the importance of shared visions in teacher education, this inquiry raises necessary questions as to whose visions shape unified and shared visions, and whose remain ...absent, unspoken, or silenced in the margins. The starting point for this inquiry was a set of visions for music education in Nepal that were co-constructed with over 50 musician-teachers working in the Kathmandu Valley, during a series of 16 workshops guided by Appreciative Inquiry’s 4D cycle. Despite the challenges female musician-teachers encounter in their pursuit of music in Nepal, no reference to these injustices was apparent in the resulting shared visions. This inquiry therefore engages with the nature and possible causes of this lack of reference, leaning on economist and philosopher Amartya Sen’s (2009) idea of justice and social-cultural anthropologist Arjun Appadurai’s (2004) notions of the capacity to aspire and the capacity for voice. The critical (Kuntz, 2015) and reflexive (Alvesson & Sköldberg, 2009) work guiding this inquiry suggests that while the workshops were guided by the aim to be inclusive, the need to come to consensus when co-constructing shared visions both reflected and obscured the injustices experienced by female musician-teachers. The article concludes by offering insights for music teacher education.
María Rafaela Villalverche, también conocida como María de Mendoza, nació a mediados del siglo XVI en Madrid, de padres desconocidos. Fue educada por Alonso Villalverche, un ciudadano francés ...afincado en Madrid que trabajaba al servicio de Benito de Cisneros. Recibió instrucción musical y en su juventud se dedicó de forma profesional a la música, primero al servicio de la marquesa de Alcañices, y más tarde cantando y tañendo en casas aristocráticas y señoriales de Madrid. Sus cualidades personales y su talento musical le granjearon el amor de Iñigo López de Mendoza, hijo del III marqués de Mondéjar, con el cual contrajo matrimonio. La mayor parte de su vida transcurrió en Alcalá de Henares, de cuya Universidad fue catedrático su esposo Iñigo de Mendoza, hasta que en 1592 Felipe II le eligió como parte de una importante misión diplomática en París que fue seguida por una breve estancia en Bruselas como miembro del Consejo de Estado y Guerra. En 1595 fue nombrado embajador ante la República de Venecia. María de Mendoza acompañó a su esposo en esta embajada y falleció poco tiempo después en Venecia, donde la República le organizó un fastuoso funeral y encargó a Enea Piccolomini la oración fúnebre que se leyó en sus exequias.
The aim of this present study is to examine the status and role of female slaves in the music art of early Islamic centuries. The major roles of these slaves in promotion of music during early ...Islamic centuries are including playing music, singing, composing music, teaching music, keeping and reproducing the music of other musicians, criticizing and holding discussions, and creating a dynamic musical environment in the society. The study employed a descriptive-analytical method, and the data were collected through secondary research. Theorizing about music was the only aspect not addressed by them, which was considered to be a masculine area due to its technical and scientific nature. A manifestation of the prominent position and capability of these women is their role in education and training of their contemporary musicians. The apprenticeship of men under women in the patriarchal society of the time was common, which is particularly interesting. The social status of female musicians during the early Islamic centuries featured a kind of contradiction or duality. On the one hand, music was promoting the status of female slaves who would reach a distinguished social status by teaching music, sometimes acquiring considerable wealth and fame similar to princes and princesses. On the other hand, involvement of women from higher and aristocrat classes with music degraded their social status. The free women and royals were familiar with music. However, their engagement with music was considered below their social ranks, since music was a profession associated with female slaves. In general, the society of the time had a dual standard toward music. The musicians of this period enjoyed a prominent position, while there was a negative attitude toward music itself.
This article examines creative projects amongst second-generation, British Tamil diasporic female musicians (focused on Sri Lankan examples) located within London's Carnatic music scene. Several ...scholars have suggested that the twentieth-century Indian nationalist project constructed ideals of femininity that positioned women as bearers of tradition during colonial rule to uphold the inner core of Indian culture Bakrania 2013; Chatterjee 1989, and which were also reflected in the restricted performance and creativity of Carnatic music for female musicians Subramanian 2006; Weidman 2003. This article focuses on second-generation musicians, who combine their Carnatic background and 'South Indian' sound with other everyday sounds in Britain. Their creative projects shift from an aesthetic that was responsive to colonialism in India to highlight female creativity and hybridity in decolonising processes. This article presents examples of how cultural expectations of women as bearers of tradition are decentred, repositioning them as creative agents in a transnational diaspora.
This article presents a case study of a group of approximately 70-year-old women who are learning to play rock band instruments in a formal music school context. The study examines the individual and ...shared meanings that the participants assigned to taking part in the rock band. The study aligns with John Dewey’s view that the meanings of present learning experiences are constructed in a continuum of the past and the future. Narrative techniques are utilized to report the three main themes that emerged from the participants’ accounts, which have implications for increasing empowerment and musical agency: the meanings assigned to learning music in a rock band context, playing rock music repertoire, and performing publicly in a rock band. The study contributes to the increasingly relevant discussion of a growing field in music education, and challenges the common assumptions of what is designated in this article as ‘later adulthood music education’.
The Brass Bodies Study is an exploratory cross-sectional study designed to describe and understand the experience of female brass players. This report discusses selected data from close-ended and ...open-ended responses to questions regarding gender equity, parity, and sexual harassment within a web-based survey that launched the first phase of the study. The survey queried subjects’ physical changes to their brass playing due to various catalysts: life-cycle events; injury, illness, harassment, mental health, racism, and homophobia. The survey instrument further queried whether subjects received support about these changes and the effectiveness of support. The following report discusses survey responses to questions about gender parity and changes to brass playing due to sexual harassment. Additional qualitative data were generated from open-ended questions in the survey and were qualitatively coded and thematically presented to supplement the descriptive statistics provided. The information presented explores and defines salient items and themes of a population that is under researched with the hopes of generating hypotheses for continued research.
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