Thematische Bibliographien / Feminism and music

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Auswahl der wissenschaftlichen Literatur zum Thema „Feminism and music“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Feminism and music"

Rahmawati, Gema Ariani, and Ichwan Suyudi. "Feminism in God is A Woman MV: A Multimodal Critical Discourse Analysis." Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, no. 1 (May 12, 2023): 57. http://dx.doi.org/10.20527/jetall.v6i1.15279.

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Music as one of the largest media is used to influence audiences, which in this case is woman portrayal or feminism. Ariana Grande released a woman empowerement song and its music video entitled that portrays feminism. The goal of this study is to examine the portrayal of feminism in Ariana Grande's God Is a Woman MV. The data in this qualitative research is analyzed using Multimodal Critical Discourse Analysis (MCDA). The findings revealed that the God is a Woman MV symbolizes post-modern feminism ideology, as shown by Ariana as the primary character who has the freedom to express herself, fu

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Diana, Aprilia Nur, and Murni Fidiyanti. "Liberal Feminism’s Representative of Visual Signs in Katy Perry’s Music Video “Dark Horse”." Journey: Journal of English Language and Pedagogy 6, no. 3 (November 22, 2023): 605–17. http://dx.doi.org/10.33503/journey.v6i3.3647.

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Liberal feminism, a prominent faction within the feminist movement, advocates gender equality, individual freedom, and women's rights. Modern artistic works, notably music videos, often act as implicit visual manifestos for promoting these ideals. This study aimed to analyze visual signs representing liberal feminism in Katy Perry's "Dark Horse" music video and identify the predominant aspects of liberal feminism depicted in it. Employing a qualitative descriptive method, data was collected by downloading a music video and watching it repeatedly to find elements of visual signs in the form of

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. F

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Murphy, Brooklyn. "She Creates, She Controls, She Commands Respect:." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 17–21. http://dx.doi.org/10.29173/crossings281.

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This essay examines how women have been represented in Western rock music through their role as deities. In particular, it aims to understand how these portrayals can reflect the evolution of feminist thought and theory in the Western world. A comparative analysis of Rhiannon by Fleetwood Mac and Lazaretto by Jack White aims to demonstrate how these depictions connect with and respond to Western feminist thought from the second wave of feminism in the 1970s to the fourth wave of feminism in the 2010s. Along with musical characteristics, the analysis of these portrayals focuses on spatial and t

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Sabo, Adriana. "“I’m a feminist, do you hate me?”: Constructions of Feminism by Sajsi MC." IASPM Journal 12, no. 1 (December 16, 2022): 99–112. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.7en.

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The paper focuses on the public persona of a popular female rapper from Serbia, Ivana Rašić, performing under the stage name Sajsi MC. As she openly calls herself a feminist, my goal will be to shed light onto how feminism is constructed in her discourse and music, taking into account the specificities of the post-socialist Serbian society and the transformation of the market (and life in general) into a neoliberal one, as well as certain strategies of the popular music industry. Given that she is active within the music market, and is involved in the creation of various products offered for c

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Orr, Catherine M. "Charting the Currents of the Third Wave." Hypatia 12, no. 3 (1997): 29–45. http://dx.doi.org/10.1111/j.1527-2001.1997.tb00004.x.

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The term “third wave” within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, tines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

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Rahayu, Sukesi, Katrhryn Emerson, and Phakkharawat Sittiprapaporn. "Feminism in song of jineman kenya ndesa laras slendro pathet sanga." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting source

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Josephine, Josephine, and Gregorius Genep Sukendro. "Representasi Feminisme dalam Film Seri Marvel (Analisis Semiotika John Fiske pada Film Serial She-Hulk: Attorney at Law)." Koneksi 7, no. 2 (October 5, 2023): 481–90. http://dx.doi.org/10.24912/kn.v7i2.21612.

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The film is one form of popular mass media which is packaged in such a way that the message it carries can be conveyed. A Film is a popular form of mass media that is widely used by the public. A film's story is packaged in such a way that the message it conveys is conveyed. The film's values can have cognitive, affective, and conative effects on the audience. She-Hulk: Attorney at Law, a 2022 Marvel Cinematic Universe production, is no exception. What is interesting to examine is how the film portrays feminism. The goal of this research is to determine the meaning of the semiotic code in rela

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Ljubijankic, Miriam Lisa. "Plot Twist: Unexpected twists in the sexist narrative of reggaetón." Ensayos: Historia y Teoría del Arte 26, no. 42 (May 10, 2024): 97–119. http://dx.doi.org/10.15446/ensayos.v26n42.114129.

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Building on ideas of feminism and post-feminism, this paper looks at the development and reception of reggaetón, which has been associated with buzzwords such as machismo and sexism, especially at the beginning of its emergence around the turn of the millennium. Its aim is to show what roles these two concepts have played in this Latin American pop music genre since its emergence. It discusses and illuminates ambivalences within the genre on an artistic level as well as impulses and turning points in its reception using examples from artistic projects and post-feminist voices of women who expe

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Bradby, Barbara. "Sampling sexuality: gender, technology and the body in dance music." Popular Music 12, no. 2 (May 1993): 155–76. http://dx.doi.org/10.1017/s0261143000005535.

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Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionalit

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Dissertationen zum Thema "Feminism and music"

Wilson, Angela 1979. "After the riot : taking new feminist youth subcultures seriously." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.

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This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.<br>The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use

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Gamboa, Vera Caisip. "Revolution girl style now, popular music, feminism, and revolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61431.pdf.

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Epstein, Heidi. "Melting the Venusberg : a feminist theology of music." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36766.

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I am writing a feminist theology of music. Feminist musicologists, by studying music's relation to human sexuality (a connection which theologians have neglected, suppressed, or simply ignored), contend that music has always functioned as a metaphor for sexual relations. As such, music constitutes a site where personal and social formation is negotiated and contested. Via repertoires of musical conventions, much like those in film and literature, composers arouse, manipulate, and channel our desires, thereby reinforcing (and sometimes transgressing) cultural norms of sexuality and gender const

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Levine, Lauren E. "Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.

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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 19

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GOOD, AMBER DIANA. "LADY, WHAT DO YOU DO ALL DAY? PEGGY SEEGER'S ANTHEMS OF ANGLO-AMERICAN FEMINISM." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021638964.

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Ewing, Melissa. "Examining the Under-Representation of Female Euphonium Players in the USA." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703396/.

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Females make up the minority in professional euphonium playing and teaching roles in the USA. The purpose of this research is to unveil the reasons behind this imbalance and to discover potential impacts females experience as a minority in the field. Research methods included sending a questionnaire to professional female euphonium players and teachers to document the experiences of participants. A secondary purpose of this study is to further document the existence of past and present potential female euphonium role models. Through a discussion of possible origins of and reasons behind a perc

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Rowe, Carolyn Joyce. "Michigan Womyn's Music Festival : place making and the queer persistence of feminism." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/48485.

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This dissertation research is designed to advance knowledge concerning contemporary conceptions of sexual citizenship, queer history and the context and performative nature of feminism during a time of “post-feminism” (Faludi, 1991; Fraser, 2009; McRobbie, 2004). I investigate feminism as it is enacted at the Michigan Womyn‘s Music Festival (hereafter referred to as the Festival). The Festival is an event that grew out of the second wave feminist movement in the 1960s and 1970s. It has survived decades of liberation movements, identity politics and related political struggles, threats from the

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Donnelly, Ryann. "Radical bodies in music video : feminism, queerness, and subversive performance of gender." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22391/.

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It is the objective of this research to establish how categories of sex and gender have been subverted through queer and feminist performance in music video since the launch of MTV in 1981. It was at this point that music video entered domestic space, and became a fixture of the music industry. The medium’s cultural ubiquity, and its continually provocative aesthetic experimentation since MTV's inception reinforce this period as an arena of study. This project is approached in critical and practical ways, which respond to the following research questions: How is gender performed to subversive

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Troka, Donna Jean. "Homegirls, Riot Grrrls and Spice Girls: Representations and Misrepresentations of Feminism in Music." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392043522.

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GRANT, MARGARET JEAN. "A FEMINIST ANALYSIS OF FRANCIS POULENC'S SONATA FOR OBOE AND PIANO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148187368.

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Bücher zum Thema "Feminism and music"

Min, Ŭn-gi. Ŭmak kwa p'eminijŭm: Music and feminism. Sŏul T'ŭkpyŏlsi: Ŭmak Segye, 2000.

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C, Cook Susan, and Tsou Judy S, eds. Cecilia reclaimed: Feminist perspectives on gender and music. Urbana: University of Illinois Press, 1994.

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Elisabeth. From the middle of an apocalypse. Mt. Airy, MD: The author, 1995.

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López, Pilar Ramos. Feminismo y música: Introducción crítica. Madrid: Narcea, 2003.

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Marcia, Herndon, Ziegler Susanne, and ICTM Study Group on Music and Gender., eds. Music, gender, and culture. Wilhelmshaven: F. Noetzel, 1990.

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Marcus, Sara. Girls to the front: The true story of the Riot grrrl revolution. New York: HarperPerennial, 2010.

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Suárez, Laura Viñuela. La perspectiva de género y la música popular: Dos nuevos retos para la musicología. Oviedo: Ediciones KRK, 2003.

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Hochschule für Musik und Theater (Hamburg, Germany), ed. Modell Maria: Beiträge der Vortragsreihen Gender Studies 2004-2006 an der Hochschule für Musik und Theater Hamburg. Hamburg: Von Bockel, 2007.

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Morris, Bonnie J. Eden built by Eves: The culture of women's music festivals. Los Angeles, Calif: Alyson Books, 1999.

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Railton, Diane. Music video and the politics of representation. Edinburgh: Edinburgh University Press, 2011.

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Buchteile zum Thema "Feminism and music"

Rabaka, Reiland. "Black Musical Feminism." In Black Women's Liberation Movement Music, 39–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427339-3.

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Withers, Polly. "Feminism Ruptured, or Feminism Repaired? Music, Feminisms, and Gender Politics in Palestinian Subcultures." In The Palgrave Handbook of Gender, Media and Communication in the Middle East and North Africa, 427–45. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11980-4_24.

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Pita, Laura. "Teresa Carreño's Repatriation and Revival: Nationalism, Feminism, and the Historical Imagination." In Music and Identity in Venezuela, 305–48. New York: Jenny Stanford Publishing, 2024. http://dx.doi.org/10.1201/9781032679921-10.

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Shonk, Kenneth L., and Daniel Robert McClure. "Waveless: MTV and the “Quiet” Feminism of the 1980s." In Historical Theory and Methods through Popular Music, 1970–2000, 171–98. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_7.

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yamomo, meLê, and Theresa Beyer. "“Framing Europe”—meLê yamomo Interviewed by Theresa Beyer." In New Music and Institutional Critique, 195–205. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_16.

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AbstractYamomo is interviewed by Theresa Beyer about his views on efforts to decolonise New Music, issues of critique that this raises, and how his biographical experience being Dutch and Filipino causes him to reflect on his status in between coloniser and colonised. For Yamomo, decolonialism, as with feminism and queerness before it, has already been eaten up by capitalism and now serves as a way of acquiring more capital. He argues that within contemporary music, the goal must not be to replace one system with another, but rather to focus on understanding the methods through which hierarchies and power positions are perpetuated in order to inform our decision-making as practitioners.

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Smith Owen, Morgan. "The Merry Widow: Freedom and Feminism in the Widowhood of Mrs. H.H.A. Beach." In Legacies of Power in American Music, 263–75. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003275695-15.

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Rabaka, Reiland. "Black Feminist Funksters." In Black Women's Liberation Movement Music, 102–43. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427339-5.

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Golding, Rosemary. "Anon., ‘The Feminine in Music’." In Music in Nineteenth-Century Britain, 275–80. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-30.

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Barna, Emília. "Emotional and Relational Labour in Music from a Feminist Perspective." In Music as Labour, 112–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003150480-8.

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Barham, Jeremy. "Eternally Feminine." In The Routledge Companion to Global Film Music in the Early Sound Era, 97–121. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-7.

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Konferenzberichte zum Thema "Feminism and music"

Blackburn, Manuella, and Paul Harkins. "Finding the Female Users: A Feminist Historiography of the Fairlight CMI." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/feministhistoriography.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs f

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