Women in Music

Music ◽  
2011 ◽  
Author(s):  
Heather Hadlock
Keyword(s):  
Musical Training ◽  
Art Music ◽  
Geographic Region ◽  
Social Contexts ◽  
Historical Narrative ◽  
Musical Aesthetics ◽  
Feminist Activism ◽  
Women In Music ◽  
Training Resources ◽  
Musical Activities

Our current understanding of women in music began to take shape within the context of second-wave feminist activism of the 1970s, with its mission of promoting women’s voices and perspectives in contemporary arts and in the history of the arts. In the domains of both popular and art music, female musicians promoted each others’ work through women-centered orchestras, choruses, bands, and ensembles; concerts and festivals of women’s music; female networks for teaching, collaboration, and mentorship; and independent labels for recording and distributing music by women. Composers such as Pauline Oliveros explored and cultivated feminist musical aesthetics. Historical researchers sought to recover female composers previously neglected by historians, and to integrate their lives and works into the music-historical narrative and art music canon. At the same time, the framing of issues in terms of “women and music” created new tensions. Gender-based advocacy, in the form of courses, journals, concerts, festivals, and record labels, was indispensable for raising awareness and creating opportunities for women in music, but also threatened to perpetuate their status as marginal to the dominant discourses and institutions of music. Third-wave feminists of the late 1980s and 1990s pointed out that norms of feminine and masculine roles and behavior vary widely across social contexts, and that there is no universal experience of “women.” Research on women in music increasingly focuses on how gender is enmeshed with other categories such as race, ethnicity, social class, geographic region, political affiliation, and sexual orientation. In any particular time and place, the intersection of all these factors creates the conditions for women’s access to musical training, resources, audiences, publication, and professional careers. Women’s musical activities and contributions have become more visible in musicology as the discipline has deepened its engagement with performers, with popular music, with nonwritten musical activities, and with music as social event and embodied practice. The study of women in music thus takes place within broader theoretical investigations of how music reproduces, affirms, subverts, and transforms cultural norms of gender and sexuality.

scholarly journals “Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity

2020 ◽  
Vol 3 ◽  
pp. 205920432094906
Author(s):  
Aaron Carter-Ényì ◽  
Quintina Carter-Ényì
Keyword(s):  
19Th Century ◽  
Primary Source ◽  
Art Music ◽  
Musical Aesthetics ◽  
Linguistic Features ◽  
Music Practice ◽  
Interval Size ◽  
Two Measures ◽  
Tone Level ◽  
The 19Th Century

Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

scholarly journals Words of Witnesses: Toward a pluralization of the historical narrative

2014 ◽  
Vol 15 ◽  
pp. 137-159 ◽  
Author(s):  
Danièle Tosato-Rigo
Keyword(s):  
Cultural History ◽  
Teacher Educators ◽  
History Of Education ◽  
Social Contexts ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Long Period ◽  
Biographical Approach ◽  
History Of ◽  
The Individual

The return of the individual and the singular in the writing of history is one of the major changes in socio-cultural history from the 1980s onward. The biographical approach has been rehabilitated after a long period in which the macro-historical narratives and the serial history dominated. The biographical approach emerged, enlarged and transformed, as an inseparable part of the understanding of social contexts. Going back to this change of paradigm, this article focuses on two currents that opened new perspectives that could be further developed in history of education: the research of “egodocuments,” and the microhistory. As an example, I analyze a local, non-spectacular “educational case” – the institutionalization of a formative course for teacher educators in the mid eighteenth century – by examining the traces that have been left in archives. DOI:http://dx.doi.org/10.15572/ENCO2014.08

scholarly journals O ENSINO DE HISTÓRIA E UM TEXTO EM CONTEXTOS: uma leitura sobre o livro “História da Liberdade no Brasil” de Viriato Corrêa

2017 ◽  
Vol 3 (2) ◽  
pp. 309
Author(s):  
Vasni De Almeida ◽  
Cristiano Gomes Lopes ◽  
Dhiogo Rezende Gomes
Keyword(s):  
Historical Context ◽  
Social Contexts ◽  
Historical Narrative ◽  
Recent History ◽  
Military Coup ◽  
Central Theme ◽  
History Teaching ◽  
Palabras Clave ◽  
History Of

Este trabalho tem como foco o ensino de História e a análise do livro A História da Liberdade no Brasil de Viriato Corrêa, que em diferentes contextos históricos, a citada obra foi utilizada com finalidades diferentes. O discurso e a narrativa histórica extraídas da fonte em questão, produziu, em três momentos distintos, diferentes reorientações de sentidos, o seu lançamento em 1962, seu uso como tema de enredo de samba pela Salgueiro no carnaval de 1967 e na sua 2ª coedição pelo Instituto Nacional do Livro (INL) em 1974. Além dos contextos culturais e sociais, destaca-se o político na história recente do Brasil, na transição entre a democracia e a ditadura com o advento do golpe civil-militar de 1964. O tema central da nossa reflexão é “luta por liberdade no Brasil”, perpassando contextos políticos e históricos, correlacionando repercussões das abordagens no ensino de História.   PALAVRAS-CHAVE: Ensino de História, Contexto histórico, Discurso histórico, Narrativa histórica.     ABSTRACT This work focuses on the teaching of History and the analysis of the book The History of Freedom in Brazil by Viriato Corrêa, that in different historical contexts, the mentioned work was used for different purposes. The discourse and historical narrative extracted from the source in question produced, in three distinct moments, different reorientations of meanings, its launching in 1962, its use as theme of samba story by the Salgueiro in the carnival of 1967 and in its second coedition by the National Institute of the Book (INL) in 1974. In addition to the cultural and social contexts, the politician stands out in the recent history of Brazil, in the transition between democracy and dictatorship with the advent of the civil-military coup of 1964. The central theme Of our reflection is "struggle for freedom in Brazil", crossing political and historical contexts, correlating repercussions of the approaches in the teaching of History.   KEYWORDS: History Teaching, Historical context, Historical speech, Historical narrative.         RESUMEN Este trabajo se centra en la enseñanza de la historia y el análisis de lo libro Libertad de historia en Brasil de Viriato Correa, que en diferentes contextos históricos, se utilizó el trabajo citado para diferentes propósitos. El discurso y la narrativa histórica extraída de la fuente en cuestión, producido en tres ocasiones diferentes, diferentes reorientaciones de los sentidos, su lanzamiento en 1962, su uso como el tema de samba Salgueiro trama del carnaval 1967 y su segundo co-editado en español por Instituto nacional del libro (INL) en 1974. Además de los contextos culturales y sociales, existe el político en la historia reciente de Brasil, en la transición entre la democracia y la dictadura con el advenimiento del golpe cívico-militar de 1964. el tema central nuestra reflexión es "la libertad luchando en Brasil," que impregna contextos políticos e históricos, efectos de los enfoques de la historia de la enseñanza de la correlación.   PALABRAS CLAVE: Enseñanza de la historia, contexto histórico, discurso histórico, narrativa histórica.

scholarly journals Survival of musical activities. When do young people stop making music?

PLoS ONE ◽  
2021 ◽  
Vol 16 (11) ◽  
pp. e0259105
Author(s):  
Nicolas Ruth ◽  
Daniel Müllensiefen
Keyword(s):  
Home Environment ◽  
Linear Models ◽  
Musical Training ◽  
Leisure Activity ◽  
Drop Out ◽  
School Students ◽  
Pedagogical Strategies ◽  
Musical Engagement ◽  
The Uk ◽  
Musical Activities

Although making music is a popular leisure activity for children and adolescents, few stay musically engaged. Previous research has focused on finding reasons for quitting musical activities, pedagogical strategies to keep students engaged with music, and motivational factors of musical training. Nonetheless, we know very little about how the proportion of musically active children changes with age and what traits influence the survival of musical engagement. This study used longitudinal data from secondary school students in the UK and Germany aged between 10 and 17 years. A survival analysis was applied to investigate the trajectories of musical activities across this age span. Other factors like type of learned instrument, gender, personality and intelligence were taken into account for further analyses using generalized linear models. Results indicate that about 50% of all students drop out of music lessons and other musical activities by the time they turn 17 years old, with most students quitting between the ages of 15 and 17. Musical home environment is an important factor that is associated with lower drop out rates while conscientiousness and theory of musicality showed smaller significant associations.

Enhanced linguistic prosodic skills in musically trained individuals with Williams syndrome

2019 ◽  
Vol 11 (3) ◽  
pp. 455-478
Author(s):  
PASTORA MARTÍNEZ-CASTILLA ◽  
RUTH CAMPOS ◽  
MARÍA SOTILLO
Keyword(s):  
Williams Syndrome ◽  
Musical Training ◽  
Language Transfer ◽  
Typical Development ◽  
Typically Developing ◽  
Transfer Effects ◽  
Acoustic Parameters ◽  
Processing Mechanisms ◽  
Musical Activities

abstractIndividuals with Williams syndrome (WS) present prosodic impairments. They are also interested in musical activities. In typical development, a body of research has shown that the linguistic prosodic skills of musically trained individuals are enhanced. However, it is not known whether, in WS, musical training is also associated with enhanced prosodic performance, a question this study sought to answer. We compared the performance on linguistic prosodic tasks among seven musically trained and fourteen musically untrained individuals with WS, and typically developing peers. Among those with WS, musically trained participants outperformed their musically untrained counterparts on the perception of acoustic parameters involved in prosody, the understanding of questioning and declarative intonation, and the comprehension of prefinal contrastive stress. The results suggest that musical training facilitates prosodic performance in WS. Our findings also suggest common processing mechanisms for acoustic parameters involved in both prosody and music, and that positive music-to-language transfer effects could take place in WS. We discuss the implications of these results for intervention purposes.

Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)

Africa ◽  
1994 ◽  
Vol 64 (4) ◽  
pp. 533-543 ◽  
Author(s):  
Olabode F. Omojola
Keyword(s):  
Nineteenth Century ◽  
Contemporary Art ◽  
Classical Music ◽  
Musical Training ◽  
Art Music ◽  
Historical Factors ◽  
Introductory Note ◽  
Christian Missionary ◽  
British Colonial ◽  
Musical Elements

The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.

scholarly journals Disability Incidence Rates for Men and Women in 23 Countries: Evidence on Health Effects of Gender Inequality

2020 ◽  
Author(s):  
Jinkook Lee ◽  
Erik Meijer ◽  
Drystan Phillips ◽  
Peifeng Hu
Keyword(s):  
Gender Differences ◽  
Gender Inequality ◽  
Good Health ◽  
The United States ◽  
Geographic Region ◽  
Incidence Rates ◽  
Social Contexts ◽  
Macro Level ◽  
Pool Data ◽  
Men And Women

Abstract Background Inequality in gender varies across social contexts, which may influence the health of both men and women. Based on theories of gender as a social system, we examine whether systematic gender inequality at the macro-level influences health of men and women. Method Using harmonized panel data from the Gateway to Global Aging Data in 23 high- and middle-income countries (N = 168 873), we estimate disability prevalence and incidence for men and women ages 55–89 (2000–2016). Within each country or geographic region, we also investigate gender differences in age gradients of the probability of disability onset. We, then, pool data from all countries and test the hypothesis that gender inequality increases the probability of disability onset. Results We found substantial cross-country variation in disability incidence rates, and this variation is greater for women than for men. Among ages 65–69, disability incidence rates ranged from 0.4 to 5.0 for men and from 0.5 to 9.4 for women. Our within-country analysis showed significant gender differences in age gradients of the probability of disability onset in the United States, Korea, Southern Europe, Mexico, and China, but not in Northern, Central, and Eastern Europe, England, and Israel. Testing hypothesized effects of gender inequality, we find that gender inequality is significantly associated with the probability of disability onset for women, but not for men. Conclusions Macro-level societal gender inequality is significantly associated with the probability of disability onset for women. Reducing and eliminating gender inequality is crucial to achieving good health for women.

scholarly journals MUSICAL ART AS A MEANS FOR DEVELOPING EMOTIONAL SKILLS IN CHILDREN WITH SPECIAL EDUCATIONAL NEEDS

2018 ◽  
Vol 28 (3) ◽  
pp. 1057-1061
Author(s):  
Penka Marcheva
Keyword(s):  
Emotional Intelligence ◽  
Inclusive Education ◽  
Musical Training ◽  
Fine Arts ◽  
Art Music ◽  
Educational Needs ◽  
Special Educational Needs ◽  
Educational Training ◽  
Normative Basis ◽  
The Individual

The purpose of this publication is to conduct a theoretical and applied study of some technological practices through which to work on emotional intelligence in terms of musical education with children with special educational needs. The object of our study are some technological practices developing children's emotional intelligence.In the theoretical part are examined views of a number of authors related to the nature of emotional intelligence and the specific features of children with special educational needs. The normative basis for pedagogical interaction in this direction is presented. The views of some authors on the specifics of pedagogical activity related to children with special educational needs are discussed. The main parameters of inclusive education are also outlined.Some of the technological possibilities of musical training have been studied in practical aspects. In contrast to empathy in general, artistic empathy requires a particular art language, comprehensible for the individual. Therefore, in order to develop emotional intelligence of children with special educational needs, it is important that specific technological methods are applied, through which their musical experience is developed. The main focus of the publication is the presentation of a copyright educational training aid, related to the development of emotional intelligence of children with special educational needs through the means of art. Its creation and development is based on the theory of artistic emotions (Holopova, 2009).It is applicable in pedagogical activities with children with special educational needs, both in elementary school and kindergarten. It is possible to work through different types of art - music, literature, fine arts. The publication presents a way to use art based on music.

A History of Emotion in Western Music

2020 ◽  
Author(s):  
Michael Spitzer
Keyword(s):  
Intellectual History ◽  
Contemporary Music ◽  
Art Music ◽  
Historical Narrative ◽  
Western Music ◽  
Musical Structure ◽  
Basic Emotions ◽  
Western Art ◽  
History Of ◽  
Musical Emotion

This book is the first history of musical emotion in any language. Combining intellectual history, music studies, philosophy, and cognitive psychology, it unfolds a history of musical emotion across a thousand years of Western art music, from chant to pop. It affords a new way of analyzing music, revealing the relationship between emotion and musical structure. The book also provides an introduction to the latest approaches to emotion research, as well as an original theory of how musical emotion works. The book is disposed in two parts. Part I (Chapters 1–4) comprises the theoretical foundation of the book. Part II (Chapters 5–9) provides an historical narrative from medieval to contemporary music. Chapter 1 summarizes contemporary theories of emotion in general, and of musical emotion in particular, bringing together seminal philosophers and psychologists. Chapter 2 contains the core of the book’s original thesis: that five basic emotions (happiness, sadness, anger, tenderness, and fear) constitute five categories of musical emotion throughout the common-practice period. Chapter 3 outlines a variety of complex musical emotions, such as wonder, nostalgia, envy, and disgust. Chapter 4 explores the historiography of emotion, including the seminal writings of Elias, Rosenwein, and Reddy. Part II of the book (Chapters 5–9) explores a millennium of Western music in terms of shifting categories of emotion: from affections and passions through sentiments, emotions proper, to modern affect.

The relationship between musical training and musical empathizing and systemizing traits

2018 ◽  
Vol 24 (1) ◽  
pp. 113-129
Author(s):  
Hadas Dahary ◽  
Tania Palma Fernandes ◽  
Eve-Marie Quintin
Keyword(s):  
Autism Spectrum Disorder ◽  
Individual Differences ◽  
Musical Training ◽  
Autism Spectrum ◽  
Spectrum Disorder ◽  
Formal Training ◽  
Music Training ◽  
The Relationship ◽  
And Training ◽  
Musical Activities

Although individual differences in engagement with and response to music are well documented, little is known about variations in musical empathizing and systemizing (E-S) traits and their relation to musical sophistication, including musical training. The current study examines the relationship between musical and general (non-musical) E-S traits and how musical sophistication and specific aspects of musical training are related to musical E-S traits. A total of 81 respondents reported on their level of musical sophistication and training (e.g., musical abilities, formal training, and engagement in musical activities) and endorsement of musical and general E-S traits. Participants were asked to complete the Goldsmiths Musical Sophistication Index (musical sophistication and training), the Empathizing and Systemizing quotients (general, non-musical E-S traits), and the Musical Empathizing and Systemizing inventory (musical E-S traits). Results suggest that general E-S traits are related to musical E-S traits and that musical sophistication, including but not limited to formal training, is positively associated with musical E-S traits. Furthermore, greater music training, as measured by the number of instruments played and years of formal instrumental and theory training, is related to greater endorsement of E-S traits. This study provides grounds for assessing the link between musical sophistication and training and musical E-S traits within clinical populations that have atypicalities in empathizing (e.g., autism spectrum disorder).

Sign in / Sign up

Export Citation Format

Share Document