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Dissertations / Theses on the topic 'Feminism and music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Goh, Talisha. "Re-Composing Feminism: Australian women composers in the new millennium." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2194.

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In the age of postfeminism and fourth-wave feminism online, Australian women composers are theoretically able to “have it all,” however, the proportion of women in the occupation appears to have plateaued in recent years. In this thesis, I explore the multiple ways in which gender and feminism interact with practising Australian women composers. Feminist musicology has had a large impact on the Australian musicological scene, with theorists such as McClary and Macarthur bringing the subject of women in music to the fore in the 1990s, aiding efforts to advocate for reform on behalf of women com

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12

Simon, Jodie Christine. "The derailment of feminism: a qualitative study of girl empowerment and the popular music artist." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5541.

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“Girl Power!” is a message that parents raising young women in today’s media-saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits. I

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13

Mensel, Robert. "A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.

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14

Zurcher, Heather Dawn. "Feminism and the New Woman in the Gilbert & Sullivan Operas." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3537.

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The operas by playwright W. S. Gilbert and composer Arthur Sullivan have been considered some of the most popular and successful pieces of musical theatre in the English language. While their joint creative output neared perfection, Gilbert and Sullivan's working relationship was fraught with conflict. The two men's opposing personalities led them to favor disparate styles and work towards different goals. However, the ability to balance contrasting tones, such as sarcasm and sympathy, resulted in their overwhelming success. I analyze this "winning formula" by looking at the influence of femi

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15

Singer, Stacey Lynn. "I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07072006-134812/.

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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).

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16

Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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17

DeCoste, Kyle. "Street queens| The Original Pinettes and black feminism in New Orleans brass bands." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599202.

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<p> The musical traditions of New Orleans are largely patriarchal. As the predominant sonic signifier of New Orleans, the brass band amplifies this gender bias more than any other musical tradition in the city. Brass band song lyrics can at times revolve around the subjugation and objectification of women, which renders the brass band canon tricky to access for female musicians. These symbolic issues become socially reified in the male control of instruments and the barriers to professionalization experienced by female musicians. Indeed, female brass band musicians are in the minority, constit

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18

Bonshek, Corrina. "Australian deterritorialised music theatre : a theoretical and creative exploration." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.

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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen

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19

Nordström, Marika. "Rocken spelar roll : En etnologisk studie av kvinnliga rockmusiker." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-38159.

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This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participa

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20

D'Alfonso, Chiara. "The language of feminism, womanism, and hip-hop in Beyoncé’s “***Flawless”." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8806/.

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21

Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her

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22

Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her

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23

CHUA, EMILY YAP. "SOCIAL AND DOMESTIC INFLUENCES IN RUTH CRAWFORD'S MUSIC." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021661917.

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24

Scott, Georgia Anne Beresford. "Stigma and Storytelling: An Exploration of Feminism and Disability in Music through the Composition of New Works." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23630.

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Through the composition of the new music represented in this portfolio, this research explores the roles given to women with disabilities in society. It sets out to question and then positively reimagine these roles and to overturn the stigmatisation of disability, highlighting the unique perspective that living with a disability can bring. This research has been undertaken via the composition of three new works, each written over two stages, the second stage being informed by the feedback from the first. The structure of the Sydney Conservatorium of Music’s Composing Women Program afforded t

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25

Gamez, Kristina. "Musik i film : Hur musik används för att beskriva prinsess-karaktärer i animerade Disney-filmer." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3918.

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I läroplanen för gymnasieskolan framgår det att undervisningen bör utgå ifrån elevernas tidigare erfarenheter och intressen. Film och media har idag blivit ett av ungdomars största intressen vilket gör att de får sina flesta musikaliska upplevelser från media. Narrativ mediemusik påverkar åskådaren på ett omedvetet plan och behöver därav analyseras aktivt. Musik i samspel med rörlig bild kan få publiken att tolka rollfigurers karaktärsdrag i film på olika sätt. Syftet med den här studien är att få djupare kunskap om hur musik och andra uttrycksmedel används för att beskriva en karaktär i en an

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26

Cifrino, Emma A. ""Tentative and Feminine": Viola Sonatas by British Women." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467237993.

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27

Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.<br>A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

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28

Nowlain, Kristine. "Collaborative Storytelling through Contemporary Composition : Examining participation in the creation and performance of meaningful works through Judith Weir’s woman.life.song." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2791.

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Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Suc

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29

O'Byrne, Megan Sue. "When the President Talks to God: A Rhetorical Criticism of Anti-Bush Protest Music." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225216520.

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30

Wolwacz, Heinz Natasha. "Vans Warped Tour’s boys club: An analysis of representations of women in alternative music." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1542239624640296.

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31

O'Connor, Flynn. "You Ain’t Woman Enough: Country Music and the Women’s Liberation Movement." Thesis, United States Studies Centre, 2018. http://hdl.handle.net/2123/17815.

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Country music is perceived and presented as an intrinsically conservative genre, built around the cultural paradigms that defined mid-20th Century American conservatism. Often centred around ideals of domesticity, labour and religion, the genre has found a geographic hub within America’s largely conservative Southern states. The logical assumption to follow this would be to assume that the women of country music follow a similar conservative political path. However, when compared to the Women’s Liberation Movement, a largely leftist political movement, we can see that ultimately this is not tr

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32

McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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33

Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.

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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesi

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34

Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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35

Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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36

Bartlett, Loron. "The Women Behind the Moves: A Phenomenological Study of Video Models." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/wsi_theses/25.

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This research studied three women who have performed in hip hop music videos. Previous literature concerning these women, including memoirs, men’s magazine interviews, and Black feminist scholarship, has situated them as video vixens, terminology that all three participants disputed applied to them. The research was completed in two parts—a face-to-face phenomenological interview and a semi-structured telephone interview. In the phenomenological interview, the initial question—what are your experiences as a woman who dances/models in music videos?—was posed. The answers ranged from musings

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37

Carter, Issac Martel. "The discourse of the divine| Radical traditions of Black feminism, musicking, and myth within the Black public sphere (Civil Rights to the present)." Thesis, Florida Atlantic University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730733.

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<p> The Discourse of the Divine: Radical Traditions of Black Feminism, Musicking, and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black female musicians, Nina Simone and Me’shell Ndegéocello. Simone and Ndegéocello

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38

Wallace, Kelsey MacGregor. "Song of the sirens : a qualitative exploration of an all-woman rock band /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7785.

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39

O'Shea, Susan Mary. "The art worlds of punk-inspired feminist networks : a social network analysis of the Ladyfest feminist music and cultural movement in the UK." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-art-worlds-of-punkinspired-feminist-networks--a-social-network-analysis-of-theladyfest-feminist-music-and-cultural-movement-in-the-uk(5d20bada-4101-47be-9442-c58cefe18e4d).html.

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Riot Grrrl, Girls Rock camps and Ladyfest as social movements act as intermediaries in cultural production spaces, where music focused artefacts are made, collaborations forged, distribution networks established and reception practices enacted to create new conventions which can be understood as feminist art worlds. The growing literature on gender and cultural production, particularly in music communities such as Riot Grrrl, frequently speak of networks in qualitative narrative terms and very little is known about Ladyfest as a feminist movement and as a distribution network. This thesis offe

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40

Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.

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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 4

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Brinson, Woodruff Abbie R. "Lady Gaga, Social Media, and Performing an Identity." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345235126.

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42

Brown, Terri L. "Me and my shadow an exploration of doppelgänger as found in the music and text of Susan Glaspell's The verge /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1208826442.

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43

Kirkendoll, Elizabeth. "“Slightly Overlooked Professionally”: Popular Music in Postmillennial Romantic Comedies." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531250614267114.

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44

Norkey, Alec. "Intersectional Androgyny in Cyberspace: Gender, Commercialization, and Vocality in Female Ryouseiruis' Music Videos." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462552660.

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45

Modell, Amanda Renae. ""You Understand Me Now": Sampling Nina Simone in Hip Hop." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4168.

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The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppr

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Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with va

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Weaver, Alexandra Alden. "These Are the Days." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/311.

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The genre of film I decided to produce for my thesis in Media Studies (Film/Production) is that of a hip hop music video. In my written work, I explain how I aim to break out of techniques in hip hop music videos that perpetuate, knowingly or unknowingly, the white capitalist patriarchal heterosexual system of oppression. Instead, I incorporate my own and other positive imagery and techniques used in hip hop music videos that subvert the system of oppression and will reflect my positive lyrics. In addition, I briefly discuss hip hop feminism and its relation to hip hop music videos and social

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48

Psujek, Jennifer Lauren. "The Intersection of Gender, Religion, and Culture in Nineteenth-Century Germanic Salons." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276962447.

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LaBonte, Hillary. "Analyzing Gender Inequality in Contemporary Opera." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562758176443906.

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50

Scangas, Alexis. "Forget the Familiar: The Feminist Voice in Contemporary Dramatic Song." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522672693855537.

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