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Books on the topic 'Society of Women Musicians of Otago'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

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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2

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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3

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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6

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

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7

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

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8

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

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9

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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10

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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11

ICTM Study Group on Music and Gender (Corporate Author), Marcia Herndon (Editor), and Susanne Ziegler (Editor), eds. Music, Gender and Culture/23-593 (Intercultural Music Studies, 1). C F Peters Corp, 1990.

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12

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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13

Kimberly, Marshall, ed. Rediscovering the muses: Women's musical traditions. Boston: Northeastern University Press, 1993.

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14

Nielson, Lisa. Visibility and Performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0005.

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The chapter looks at the role of slave women as court musicians during the early Abbasid Empire and their variegated activity as entertainers, intimate companions, and symbols of status for visiting dignitaries and urban society at large. From the eighth century onward, the demand for singing girls in Abbasid cities and courts led quickly to the foundation of music centers, specialized trade in musical concubines, and the development of a complex hierarchy among court musicians organized around the intersection of musical prowess, extramusical performance, and gender. The chapter brings together social history, gender, and the development of performance tradition in the medieval Middle East.

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15

Sunardi, Christina. Maintaining Female Power through Male Style Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0002.

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This chapter explores some of the ways female dancers, as well as the mostly male musicians who accompany them, are maintaining and making cultural space for the expression of women's magnetic female power through women's performance of male style dance. It first establishes that for centuries, women in Java have expressed and embodied a magnetic power that is connected to their femaleness and that they have done so in myriad ways, and moreover that a certain ambivalence in the Javanese imagination has surrounded these expressions of female power. The chapter argues that, by performing male style dance, female dancers and (mostly) male musicians negotiated boundaries of gender and sex visually and sonically, maintaining and making cultural space for women's expression of female power despite pressures from state and society to control and subdue it.

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