Academic literature on the topic 'Femmes et musique'
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Journal articles on the topic "Femmes et musique":
Prévost, Hélène. "De la musique de geste à la musique du son, de SuperMémé à I8U." Circuit 19, no. 1 (February 6, 2009): 71–81. http://dx.doi.org/10.7202/019935ar.
Gann, Kyle. "Que signifie et ne signifie pas la musique des femmes ?1." Circuit 19, no. 1 (February 6, 2009): 9–13. http://dx.doi.org/10.7202/019930ar.
Prest, Julia. "Les Femmes au Grand Siècle — Le Baroque: musique et littérature — Musique et liturgie." French Studies LX, no. 1 (January 1, 2006): 101–2. http://dx.doi.org/10.1093/fs/kni307.
Palacio-Quintin, Cléo. "Les femmes et la musique : deux livres révélateurs." Circuit: Musiques contemporaines 22, no. 3 (2012): 83. http://dx.doi.org/10.7202/1014233ar.
Becker, Howard S. "Musiciennes: Enquête sur les femmes et la musique." Contemporary Sociology: A Journal of Reviews 41, no. 4 (June 27, 2012): 510–12. http://dx.doi.org/10.1177/0094306112449614w.
Reverdy, Michèle. "« Qu’est-ce que vous faites dans la vie ? – Je suis compositrice. . . »." Circuit 19, no. 1 (February 6, 2009): 15–21. http://dx.doi.org/10.7202/019931ar.
Lefebvre, Marie-Thérèse. "La semaine annuelle de musique de Montréal sous les auspices du Delphic Study Club, 1923–1937." Canadian University Music Review 21, no. 2 (March 4, 2013): 60–76. http://dx.doi.org/10.7202/1014485ar.
Norci Cagiano, Letizia. "Les femmes au Grand Siècle. Le Baroque: musique et littérature. Musique et liturgie. Edités par David Wetsel et Frédéric Canovas." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 182–84. http://dx.doi.org/10.4000/studifrancesi.40616.
Dubois, Pierre. "Natalie Roulon – Les Femmes et la musique dans l’œuvre de Shakespeare." XVII-XVIII, no. 69 (December 31, 2012): 251–56. http://dx.doi.org/10.4000/1718.626.
Gonidec, Marie-Barbara Le. "Du patriarcat au communisme: les femmes et la musique en Bulgarie." Cahiers de musiques traditionnelles 18 (2005): 173. http://dx.doi.org/10.2307/40240560.
Dissertations / Theses on the topic "Femmes et musique":
Roulon, Natalie. "Les Femmes et la musique dans l'oeuvre de Shakespeare." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20079.
The aim of this dissertation is to show how the questions of women and music intersect in Shakespeare's dramatic and poetic works. The focus is not just on the music interpreted by female characters, but also on the music interpreted for them. What the characters express concerning women and music is analysed as well (metaphors, puns, quotations from songs, references to musical myths and to the symbolism of musical instruments. . . )
Stern, Monika. "Les femmes, les nattes et la musique sur l'île de Pentecôte (Vanuatu)." Paris 4, 2002. https://hal.archives-ouvertes.fr/tel-01987080.
The melanesian archipelago of Vanuatu is made up of a multitude of islands, one of them, is Pentecost. This work is essentially devoted to the music of the women of the island. The first part, describes the sociocultural context and emphasizes on the musics which highlight the important moments in the life of its inhabitants. The ceremonies which include these musics are shown through the observations of the daily life. The second part is devoted to the musical analysis. They are based on a 43 musical examples, which are recorded on a CD enclosed with this work. The analysis is focused on the scales, the intervals, the structures and the rythms. The last part studies the role of music in ceremonial exchanges. A parallel is thus established between music and traditional money in the form of red braids, made exclusively by women. Music under the rule of copyright has an economical aspect which is also studied
Luna, Huertas Paola Andrea. "Musique de femmes. Les adorations à l’Enfant-Dieu à Guapi et Cali, Colombie." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL175.
The Adorations to the Christ-Child consist of a nine-day ritual of adoration that takes place from the week of Epiphany (except on January the 6th) and the beginning of Lent. This ritual is part of a serie of rituals according to the Catholic calendar. Although this ritual is performed outside the church, at home, it shares the ritual of the Catholic Mass of ordinary time. By observing in detail the ritual and the music played there, we will describe gradually the different roles (woman, man and children) that fit perfectly and reveal the functioning of this matriarchal society. Thus, men support women through the constant play of drums. The children and the assembly (representing the society) validate, by responding (respondido) to the call of the women who guide all the ritual
Monnot, Catherine. ""Une musique de jeune fille" ? : apprentissage instrumental et construction du féminin." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0443.
In France and most of industrialized countries, learning to play is a cultural pastime which concerns mostly girls and follows specific modalities, both in terms of the instruments chosen and the types done. This doctoral thesis looks at the processes of construction of sexual identity in young female musicians and their influence in learning traditional gender roles. This study is based on an ethnographical field survey in two different musical establishment in addition to affliated amateur bands. Observations and interviews followed thirty-some young people of both sexes aged 7-21. This thesis proncipally explores the way in which girls are specifically introduced to and then kept in this musical universe, thus the role played by the culture. This study then tries to discover gender norms that girls assimilate through this parctice, the multiple ways in which they immerse themselves in it, but also the limits of this embodiment and the way they may transform and rebuild sexual identities. Finally, this study looks at other forms of sexual learning that these young female musicians achieve in their everyday lives, particularly among peers and through the media, and which exist alongside (and even compete with) feminine musical norms
Röwekamp, Anne. "Entre passion et raison. L’image de la femme dans les tragédies en musique de Jean-Baptiste Lully et Philippe Quinault." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040245.
The collaboration of Jean-Baptiste Lully (1632–1687) and the librettist Philippe Quinault (1635–1688) was remarkably productive and resulted in eleven tragédies en musique. Envisioning that in most of these operas female characters are put in the centre of the plot and have the greatest impact on the action, leads to the question of the conception of the female image in the tragédie en musique. Most different influences affected the creation of the characters in the opus of Quinault and Lully: mythological and literary sources, various concepts of music philosophy and music theory, multiple aesthetic ideas as well as poetic norms. Furthermore the debates about the nature of women and the order of the sexes, which were the main topics of the French querelle des femmes since the 14th century, had a distinct influence on the conception of the opera characters. This thesis analyses these different influences and shows their impact on the construction of female characters and for the first time presents a consistent typology of the characters in the tragédie en musique of Jean-Baptiste Lully and Philippe Quinault
Lai, Daniela. "Puccini et les structures imaginaires de l'opéra : voix et voies des personnages féminins." Toulouse 2, 2005. http://www.theses.fr/2005TOU20094.
Giacomo Puccini's complete works should not be only restricted to his most reputed female characters. They deserve to be foused on one basic element of expression these "puccinian" ladies thouroughly possess : their voices that blessedly connect literrary sources, music, words and singing. First, the transition from an idea and a literary source to the construction of the vocal character. The implementation of the "musician- creator", who is seeking after the voice, comes then into reality ; not merely technically or musically. Starting from tradition, PUCCINI tries to connect both the locked character part and the voice, predetermined, within the very same vocal register. That register is not only used in its acoustic ans physical value. It becomes the voice itself, moving and acting. It turns into a mirror image of the character, and from then on, reflects the vocal female character. Two major voices come out through two characters catalysing Puccini's musical language, and eventually end up on a pause sign where the image is the voice, Turandot's
Jean, Louis Katia. "Genre et musique populaire en Haïti : vers une compréhension sociologique de la réception du rabòday par des femmes." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/66899.
This master’s thesis deals with the reception of rabòday music - a popular musical style known for its obscenity and sexism - by Haitian women. Drawing from a theoretical framework combining Cultural Studies and intersectional feminism, the analysis highlights the ways in which gender and social class shape the reception of this musical style by its female fans. Following Janice Radway’s (2000 [1984]) method, the thesis presents, on the one hand, a content analysis of ten rabòday songs and, on the other hand, a discourse analysis carried out from a series of semi-structured interviews and focus groups with 21 women from the lower working-class neighborhoods of Port-au-Prince. The results show that stereotypes, violence and gender inequalities are at the heart of rabòday music. However, rabòday music describes a social reality to which young women from lower social classes identify. Although they are aware of the sexist and even misogynistic character of rabòday music, the participants in the study believe that rabòday gives visibility to people who, like them, live in precarious conditions. The reception of rabòday music by these Haitian women is thus understood as a “negotiated position” (Hall, 1994 [1973]).
Vilcosqui, Marcel-Jean. "La femme dans la musique française de 1871 à 1946 : étude d'histoire musicale et sociale." Paris 4, 1987. http://www.theses.fr/1987PA040027.
Nancy, Sarah. "La Voix féminine et le plaisir de l'écoute, des rhétoriques à la tragédie en musique." Paris 3, 2007. http://www.theses.fr/2007PA030011.
Why does" tragédie en musique" - the first great french operatic genre, created by Quinault and Lully in 1673 - so few flatter lyrical voices, especially feminine ones? Why does this genre not foster divas? By questionning what the subsequent history of opera shows as a negative symptom, that is to say by questioning the existence of a female voice as a so-called esthetic object, and by exploring the relation-ship between voice, feminine and logos in the arts of speech inthe 17e century, this study aims to reveal the complex movement which contributes to the enjoyment of this genre for its contemporary listeners : neither a transgressive attraction for pure voice, nor a servile allegeance to the order of reason and language, this movement, which one can describe as a fragile balance for the subject being both and desiring subject and a speaking subject, bears witness to a deep preccupation for the capacity of language to sustain the "vivre-ensemble"
Hurson, Lavaud Laurence. "Répertoires féminins et enfantins dans la musique traditionnelle des Lyéla (Burkina Faso)." Toulouse 2, 2006. http://www.theses.fr/2006TOU20082.
Lyéla music (Burkina Faso) structures the life between ritual and non ritual circonstances. This study is about feminine and children repertoire linked to the world of agricultural and familial work. Organological study observes membranophones and aerophones predominance, especially flutes used in whistle system. The music analysis is based on a collection of 11 pieces (children and women songs) recorded between 1999 and 2003. The musical transcriptions, in annex (emic and paradigmatic notations in several versions) bring to light : African constants (cyclic structure, repetition/variation principle, responsorial and antiphonal alternation) and specificities : coexistence of several scale systems, heterophony with thirds, or specific use of standard time line pattern. Feminine and children repertoire differentiate by their cyclic organisation, length of cycles or ambitus (simple/complex)
Books on the topic "Femmes et musique":
Fine, Agnès, and Mathilde Dubesset. Musiciennes. Toulouse: Presses universitaires du Mirail, 2007.
Gourgeon, Liliane. La fiancée du vent. Paris: France Loisirs, 2004.
North American Society for Seventeenth-Century French Literature. Conference. Les femmes au Grand Siècle: Le baroque, musique et littérature : musique et liturgie : actes du 33e Congrès annuel de la North American Society for Seventeenth-Century French Literature, Arizona State University (Tempe), May 2001. Tübingen: Gunter Narr Verlag, 2003.
Brunet, Killy-Ann. L' influence de la musique "RAP" sur la pensée hostile chez les femmes et les hommes: Le rôle de la préférence musicale. Sudbury, Ont: Université Laurentienne, 2007.
M'Bemba-Ndoumba, Gaston. La femme, la ville et l'argent dans la musique congolaise: Regard sociologique sur l'imaginaire urbain. Paris: L'Harmattan, 2007.
North American Society for Seventeenth-C. Les Femmes Au Grand Siecle: Le Baroque, Musique Et Litterature: Musique Et Liturgie: Actes Du 33e Congres Annuel de La North American Society for (Biblio 17,). Gunter Narr Verlag, 2003.
Carol, Neuls-Bates, ed. Women in music: An anthology of source readings from the Middle Ages to the present. 2nd ed. Boston: Northeastern University Press, 1996.
1939-, Pendle Karin, ed. Women & music: A history. Bloomington: Indiana University Press, 1991.
Savage, Ann M. They're Playing Our Songs: Women Talk about Feminist Rock Music. Praeger Publishers, 2003.
Book chapters on the topic "Femmes et musique":
Hickmott, Sarah. "Prelude." In Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou, 1–14. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.003.0001.