Women & Music now features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women & Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.
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.
This volume offers an introduction to the field of women, music, and culture, examining the implications of gender upon music performance. The presentation focuses on women from many different countries, cultures and historical periods--from the professional musician to the village preserver of traditional music and culture, from the young woman of the 19th century of hymnody tradition of the U.S. to the female tayu or chanter in the male dominated Gidayu narrative tradition of Japan.
"Through narrative stories, explores female muscicians who have made major contributions to music and culture"--Provided by publisher.
In 2015, the US Supreme Court legalized same-sex marriage throughout the country in the decision in the case Obergefell v. Hodges. The Legalization of Same-Sex Marriage examines this historic event from multiple perspectives, including those of Jim Obergefell, one of the men involved in the case, activist Edith Windsor, and the Supreme Court justices who decided the case. Easy-to-read text, vivid images, and helpful back matter give readers a clear look at this subject. Features include a table of contents, infographics, a glossary, additional resources, and an index. Aligned to Common Core Standards and correlated to state standards. Core Library is an imprint of Abdo Publishing, a division of ABDO.
A comprehensive musical reference that follows a calendar format with daily entries documenting women's contributions to music reveals hundreds of facts about the women who have lent their powerful voices to shaping the history of music as we know it. Original.
This updated, expanded, and reorganized edition of Women and Music features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women and Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers
35 in-depth interviews with independent, woman-identified musicians like Ferron, Joan Osborne, Ani DiFranco, and Sweet Honey in the Rock. Laura Post has provided a comprehensive collection of interviews with thirty-five vibrant women musicians. In an industry characterized by corporate packaging and promotion, these women have distinguished themselves as independent and assertive voices. Alix Dobkin, June Millington, Margie Adams, Holly Near, Sweet Honey in the Rock, Ani DiFranco, Ferron, Avotcja and Joan Osborne to name only a few have attained legendary status through their great musicianship and the ardent support of the women in their audiences. Here is an intimate glimpse into the personal and political lives of rock, folk and jazz musicians, whose songs of empowerment have influenced and enriched generations of women.
Although music videos are frequently criticized for "sexist" portrayals of women, this book shows that videos in many music genres are frequently vehicles of expression for a variety of women's concerns and issues. Acknowledging the presence of female voices, Robin Roberts looks here at the ways feminist political statements operate in music videos and, surprisingly, even in MTV's much criticized Beavis and Butt-Head.More women are now involved behind the scenes at the executive level in the video industry, and they have recognized the medium's feminist possibilities. Country music performers, for instance, draw on a tradition of sincerity and storytelling to recount women's issues. Rap artists use the self-promotion inherent in their rap vernacular in uplifting women's rights. Female performers expose flaws they perceive in feminine paradigms by deconstructing stereotypical gender roles and, without alienating viewers, use an inviting sense of humor to criticize portrayals of male dominance. With skillful performances and clever lyrics, these artists assert the right of women to be sexual and to express their sexuality.Queen Latifah's "Ladies First", Salt 'n' Pepa's "Shake Your Thang", Martina McBride's "Independence Day", and Julie Brown's "Home, coming Queen's Got a Gun" are among the feminist videos Robin Roberts discusses in documenting how video has moved feminism to the forefront.A video featuring excerpts from MTV performances is included free with every book.
This book traces the development of music in the late 20th and early 21st centuries with regards to the work of six women composers: Sofia Gubaidulina, Joan Tower, Ellen Taaffe Zwilich, Libby Larsen, Chen Yi, and Judith Weir. The study integrates cultural contexts with the composers’ biographies, their diverse compositional styles, and provides in-depth analyses of their musical works. The Kaleidoscope of Women’s Sounds in Music of the Late 20th and Early 21st Centuries offers a more detailed guide to not only these composers, but also their musical characters and styles, than previous studies on women’s music. It discusses several aspects of these women’s compositional perspectives and their personal experiences as they developed their music careers. The book also places emphasis on how these composers incorporated diverse musical styles and the idioms of others into the development of their own distinctly personal styles. The analytical approach adopted in this book is supplemented with illustrations of musical examples in order to provide a more complete understanding of the work of these composers.
Pugh attempts to explain why women play subordinate or restricted roles in the fields of performance, composition, conducting, the music technology industry and music teaching, despite better records at school for performance and better examination results than boys. She argues that while some of the reasons are historical, reflecting the status of women in society in general, a major contributing factor is the lack of positive images presented to children.