Relevant bibliographies by topics / Society of Women Musicians of Otago

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Society of Women Musicians of Otago'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Society of Women Musicians of Otago"

1

Jones, Jennifer Diann. "‘[S]he acted her own emotions’: George Eliot's Ambivalence towards the Professional Female Artist in Daniel Deronda." Victoriographies 9, no. 2 (July 2019): 112–28. http://dx.doi.org/10.3366/vic.2019.0337.

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Almost all of George Eliot's true musicians are orphans in one way or another, as opposed to accomplished women who merely mimic their teachers to please their parents or dilettantish men who play to please themselves. Only one of these musicians, however, exults in her orphanhood and the freedom it gives her to pursue her career: the Alcharisi, who is born Leonora Charisi and is the Princess Halm-Eberstein by the time her adult son, Daniel Deronda, meets her. Unlike Eliot's other musicians, not even a memory of one of the Alcharisi's performances is narrated; also unlike the others, there is no sense in which she uses her art to connect sympathetically with those around her. I argue that though Eliot begins her career with a strong belief that art can change society for the better, in the Alcharisi she explicitly expresses her deep ambivalence about the role of art in society. The trajectory of the Alcharisi's career and life suggest that though an artist can inspire love in others, she cannot necessarily learn to feel it herself, which calls Eliot's art and the feeling it inspires in others into question.
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Rohr, Deborah. "Women and the music profession in Victorian England: The Royal Society of Female Musicians, 1839–1866." Journal of Musicological Research 18, no. 4 (January 1999): 307–46. http://dx.doi.org/10.1080/01411899908574762.

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Hines, Jasmine. "Incorporating intersectional musicality within the classroom: Black feminism through Nina Simone and Janelle Monáe." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 311–28. http://dx.doi.org/10.1386/jpme_00034_1.

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In an age of social justice advocacy within education, the work of Black women continues to be excluded from the hegemonic educational canon despite the long history of Black feminists advocating for the eradication of systemic oppressive systems in education. By examining the livelihoods and music created by Black feminist musicians, music educators may begin to reflect on how Black women’s positionality within society has had a direct influence on the music they created within a White culturally dominant society. The purpose of this article is to conceptualize how the intersectional musicality of Nina Simone and Janelle Monáe – informed by the conceptual framework of Black Feminist Thought – can speak to the experiences that Black girls and women face within music education and society.
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Gergis, Sonia. "The Power of Women Musicians in the Ancient and Near East: The Roots of Prejudice." British Journal of Music Education 10, no. 3 (November 1993): 189–96. http://dx.doi.org/10.1017/s0265051700001741.

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Amongst the most fascinating discoveries made in recent years was the identification of the Egyptian songstress Iti (2450 BC) as the first woman composer to have been mentioned by name in musical history. This paper examines the status of professional women musicians in Ancient Egypt, their role in society and their contribution to various aspects of life and death. Reviewing the range of styles, practices and variety of instrumental and vocal ensembles in which women took part as composers, performers and instructors, the author traces the development of a musical tradition which would appear to throw light upon some long standing prejudices, and to have important implications for music education in multi-cultural schools today.
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Milsom, John. "Songs and society in early Tudor London." Early Music History 16 (October 1997): 235–93. http://dx.doi.org/10.1017/s026112790000173x.

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Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich deposits of evidence: not only high-art music, itself often notated in fine books, but also detailed records of expenditure, of the contractual duties carried out by or expected of musicians, and of valuable assets such as books and musical instruments. Moreover, where magnificence is on show there will often be eyewitness accounts to report on what has been seen and heard. All of those forms of evidence survive in quantity from early Tudor England, and it is hard not to be drawn to them.
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Sangari, Esmaeil. "L’iconographie et le statut de femmes sur les bas-reliefs sassanides (224-651 apr. J.-C.)." Iran and the Caucasus 24, no. 2 (June 23, 2020): 139–66. http://dx.doi.org/10.1163/1573384x-20200203.

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So far, more than forty Sasanian bas-reliefs have been discovered in numerous archaeological sites. Among them, eleven bas-reliefs in seven archaeological sites represent women on them. In this article, the eleven bas-reliefs and the women’s images and their characteristics in different scenes have been analyzed and studied. It can be concluded that women on these bas-reliefs have been represented in the social-cultural fields, such as in the royal family or as goddesses, musicians, etc. Most of the female characters on the bas-reliefs belong to the upper classes of the Iranian society.
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Ekmekçioğlu, Neslihan. "Aemilia Bassano Lanier’s New Perspective on Women in the Poem Salve Deus Rex Judaeorum." European Judaism 51, no. 2 (September 1, 2018): 22–29. http://dx.doi.org/10.3167/ej.2017.510205.

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Aemilia Bassano Lanier was partially of Jewish origin and came from a Venetian family of court musicians. She was brought up in the court and was educated by Countess Susan Bertie and the Duchess of Suffolk. Her work entitled Salve Deus Rex Judaeorum is a long narrative poem articulating a woman-centred account of the Bible. As a woman of partial Jewish descent, Aemilia, who has ‘a voice of her own’, deals with the maltreatment of women and compares them to Christ in their silent suffering. At her time, women were often expected to be silent within society, creating an absence rooted in their lack of voice. Both Christ and women sacrifice themselves for the betterment of mankind. This article will deal with Aemilia Lanier’s new perspective upon biblical women and the Passion of Christ as reflected in Salve Deus Rex Judaeorum.
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Ekmekçioğlu, Neslihan. "Aemilia Bassano Lanier’s New Perspective on Women in the Poem Salve Deus Rex Judaeorum." European Judaism 51, no. 2 (September 1, 2018): 22–29. http://dx.doi.org/10.3167/ej.2018.510205.

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Abstract Aemilia Bassano Lanier was partially of Jewish origin and came from a Venetian family of court musicians. She was brought up in the court and was educated by Countess Susan Bertie and the Duchess of Suffolk. Her work entitled Salve Deus Rex Judaeorum is a long narrative poem articulating a woman-centred account of the Bible. As a woman of partial Jewish descent, Aemilia, who has ‘a voice of her own’, deals with the maltreatment of women and compares them to Christ in their silent suffering. At her time, women were often expected to be silent within society, creating an absence rooted in their lack of voice. Both Christ and women sacrifice themselves for the betterment of mankind. This article will deal with Aemilia Lanier’s new perspective upon biblical women and the Passion of Christ as reflected in Salve Deus Rex Judaeorum.
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9

Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history." Organised Sound 22, no. 2 (July 12, 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.

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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.
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Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.

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Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience. भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।
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Dissertations / Theses on the topic "Society of Women Musicians of Otago"

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Hamilton, Julia. "Political Songs in Polite Society: Singing about Africans in the Time of the British Abolition Movement, 1787 to 1807." Thesis, 2021. https://doi.org/10.7916/d8-16hc-gm90.

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This dissertation asks how the British anti-slave-trade movement permeated musical culture of the late eighteenth and nineteenth centuries and how musical activities, in turn, were used to support the cause. It examines a group of newly discovered musical scores—described here as “serious antislavery songs”—that were published in the years between the founding of the Society for Effecting the Abolition of the Slave Trade (1787) and the passage of the Slave Trade Act of 1807. Highlighting the inclusion of such scores in extant personal music collections of contemporary British women, the study explores both who used the scores and how they used them. The dissertation thus paints a detailed picture of musical abolitionism and argues that composing, collecting, practicing, and performing serious antislavery songs enabled female amateur musicians to promote opposition to human trafficking from their homes. The study joins close readings of ideas—found in letters, poems, and musical content—with analyses of activities, such as private musical practice and polite shopping. The first chapter discusses the music of Ignatius Sancho, who died before the start of widespread mobilization against the slave trade but who nevertheless used his music to make a powerful, if subtle, antislavery statement. The second chapter moves to the beginning of the British abolition movement, examining two politically charged poems written in 1788 that became popular songs among female amateur musicians. The next three chapters explore the varied ways that these women incorporated serious antislavery songs into their everyday lives. Chapter 3 maps out the London musical marketplace for scores where women could purchase a variety of songs, including abolitionist and anti-abolitionist songs alike. The fourth chapter explores the activity of music-making and argues that practicing from musical scores and singing through them among friends was a form of conversation. It therefore introduces the term “sociable abolitionism,” of which “musical abolitionism” was one key component. Finally, Chapter 5 uses extant music collections that were once owned by British women to unpack the ethical tensions involved in white Britons’ practice of singing serious, sympathetic songs whose lyrics were written from the imagined perspective of enslaved Africans. The chapter argues that singing these songs was a kind of “musical masquerade”—one where singers could indulge in identity play while encouraging abolitionism from their listeners. The dissertation addresses a major gap in the literature on abolitionism: while literary, theatrical, and visual contributions to the movement have been received ample scholarly treatment, musical scores have remained virtually absent from discussions of antislavery activism. Scores are presented here as key sources for understanding the ways women enacted their opposition to human trafficking and bondage. Problematic but politically useful, scores incorporated easily into the activities of British women’s everyday lives and contributed to the widespread culture of abolitionism.
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Books on the topic "Society of Women Musicians of Otago"

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Chilton, Karen. Hazel Scott: The pioneering journey of a jazz pianist from Café Society to Hollywood to HUAC. Ann Arbor: University of Michigan Press, 2008.

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Chilton, Karen. Hazel Scott: The pioneering journey of a jazz pianist from Café Society to Hollywood to HUAC. Prince Frederick, MD: Recorded Books, 2009.

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Chilton, Karen. Hazel Scott: The pioneering journey of a jazz pianist from Café Society to Hollywood to HUAC. Ann Arbor: University of Michigan Press, 2008.

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4

Music, gender, education. New York: Cambridge University Press, 1997.

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5

Green, Lucy. Music, gender, education. Cambridge: Cambridge University Press, 1997.

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1966-, Press Joy, ed. The sex revolts: Gender, rebellion, and rock 'n' roll. Cambridge, Mass: Harvard University Press, 1995.

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Reynolds, Simon. The sex revolts: Gender, rebellion, and rock'n'roll. Cambridge, Mass: Harvard University Press, 1995.

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Reynolds, Simon. The sex revolts: Gender, rebellion, and rock 'n' roll. London: Serpent's Tail, 1995.

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Chilton, Karen. Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Cafe Society to Hollywood to HUAC. University of Michigan Press, 2011.

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Hazel Scott: The Pioneering Journey of a Jazz Pianist, From Cafe Society to Hollywood to HUAC. University of Michigan Press, 2008.

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Book chapters on the topic "Society of Women Musicians of Otago"

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"The Society of Women Musicians." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 75–91. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-11.

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