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Relevant bibliographies by topics / Women and music patrons

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Dissertations / Theses
Books
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Academic literature on the topic 'Women and music patrons'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Women and music patrons"

1

Smith, Catherine Parsons, Ralph P. Locke, and Cyrilla Barr. "Cultivating Music in America: Women Patrons and Activists since 1860." American Music 17, no. 2 (1999): 216. http://dx.doi.org/10.2307/3052716.

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Weber, William, Ralph P. Locke, and Cyrilla Barr. "Cultivating Music in America: Women Patrons and Activists since 1860." American Historical Review 104, no. 5 (1999): 1696. http://dx.doi.org/10.2307/2649432.

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Cook, Susan C., Ralph P. Locke, Cyrilla Barr, and Mona Mender. "Cultivating Music in America: Women Patrons and Activists Since 1860." Notes 56, no. 1 (1999): 109. http://dx.doi.org/10.2307/900477.

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Oja, Carol J. "Women Patrons and Activists For Modernist Music: New York in the 1920s." Modernism/modernity 4, no. 1 (1997): 129–55. http://dx.doi.org/10.1353/mod.1997.0004.

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Feldman, Ann E. "Being Heard: Women Composers and Patrons at the 1893 World's Columbian Exposition." Notes 47, no. 1 (1990): 7. http://dx.doi.org/10.2307/940531.

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DE LUCCA, VALERIA. "Strategies of women patrons of music and theatre in Rome: Maria Mancini Colonna, Queen Christina of Sweden, and women of their circles." Renaissance Studies 25, no. 3 (2010): 374–92. http://dx.doi.org/10.1111/j.1477-4658.2010.00676.x.

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Burns, Lucy Mae San Pablo. "“Splendid Dancing”: Filipino “Exceptionalism” in Taxi Dancehalls." Dance Research Journal 40, no. 2 (2008): 23–40. http://dx.doi.org/10.1017/s014976770000036x.

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In the 1920s and early 1930s, Filipino men patronized the popular American social institution of the taxi dancehalls, comprising nearly one quarter of the taxi dancehall patrons in major cities such as Detroit and Los Angeles (see Cressey 1932). Taxi dancehalls were at the height of their popularity during this period, often serving as a key site of sociality amongst and between immigrants. Women were employed as dancers for hire, and men, predominantly immigrants, were their principal patrons. Filipinos, workers and students alike, came dressed in McIntosh suits, eager to spend their hard-ear

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Landers, Beth. "Dido’s Defense: Joachim Du Bellay’s Bid for Female Patronage." Renaissance and Reformation 41, no. 1 (2018): 31–54. http://dx.doi.org/10.33137/rr.v41i1.29520.

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This article argues that French poet Joachim Du Bellay’s interest in the Dido figure and his unusual ventriloquizing of female characters are connected to his practice of cultivating female patrons. Du Bellay’s occasional poems, long ignored by scholars, suggest the impact that these patrons had on Du Bellay’s career. Although his writing for women is inconsistent with recommendations made in the Deffence et illustration de la langue francoyse, Du Bellay’s work for female patrons nonetheless allowed him to fulfill many of his early poetic ambitions. Cet article avance que l’intérêt du po

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Johnson, Jake. "PERFORMING THE PATRON: BETTY FREEMAN AND THE AVANT-GARDE." Tempo 68, no. 269 (2014): 42–49. http://dx.doi.org/10.1017/s0040298214000059.

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AbstractLittle can be said about music during the last century without encountering the men and women who supported it financially. Pierre Bourdieu's impression that the services rendered freely for the good of society reinforce a symbolic debt between giver and recipient complicates motivations behind patronage. Indeed, applying Bourdieu's theory to altruism in general – here, patronage in particular – highlights what could be thought of as a performance of futility: both giver and receiver understand the tenacious terms yet agree nonetheless to act out the process of reaching equilibrium. In

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Ryszka-Komarnicka, Anna. "Italian 17th- and 18th-Century Dramatic Works with Music, Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith*." Musicology Today 17, no. 1 (2020): 45–59. http://dx.doi.org/10.2478/muso-2020-0004.

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Abstract Late 16th- and early 17th-century Italian theatrical works (with or without music) based on the Book of Judith are perceived as associated with women, who acted as their performers (in female monasteries), dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, which evolved in the circles of religious and lay congregations, in which women were either marginalised or altogether excluded. The link between women and the oratorio genre was thus maintained only in the case of the so-called palace oratorios. Or

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Dissertations / Theses on the topic "Women and music patrons"

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Dimitropoulou, Vassiliki. "Komnenian imperial women as patrons of art and architecture : what and why." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404159.

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Woodhull, Margaret Louise. "Building power : women as architectural patrons during the early Roman Empire, 30 BCE-54 CE /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Wahl, Shelbie L. "By women, for women choral works for women's voices composed and texted by women, with an annotated repertoire list /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/788.

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Cooke, Mary Lee. "Southern women, southern voices Civil War songs by southern women /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1477CookeML/umi-uncg-1477.pdf.

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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).

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Daniel, Linda Jean. "Singing out!, Canadian women in country music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0022/NQ49995.pdf.

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Dunlap, Amy L. "Women with Addictions' Experience in Music Therapy." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483647124948226.

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Helbing, Rachel. "Women and Steel Bands in Trinidad." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111087466.

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Gaughan, Evan M. "NATURALISTS, CONNOISSUERS AND CLASSICISTS: COLLECTING AND PATRONAGE AS FEMALE PRACTICE IN BRITAIN, 1715-1825." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2228.

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Thesis (M.A.)--Indiana University, 2010.<br>Title from screen (viewed on July 28, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Melissa Bingmann, Eric L. Lindseth. Includes vitae. Includes bibliographical references (leaves 79-91).

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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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Costley, Carol. "Women, music & culture : equality issues in music education at Key Stage Three." Thesis, University of Surrey, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260254.

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Books on the topic "Women and music patrons"

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1944-, Comer Jim, ed. Jane's window: My spirited life in West Texas and Austin. Texas A&M University Press, 2013.

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Rothschild, Hannah. The Baroness: The search for Nica, the rebellious Rothschild. Virago, 2013.

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Rothschild, Hannah. The Baroness: The search for Nica, the rebellious Rothschild. Windsor/Paragon, 2012.

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Rothschild, Hannah. The baroness: The search for Nica, the rebellious Rothschild. Virago, 2012.

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Nica's dream: The life and legend of the jazz baroness. W. W. Norton, 2011.

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Empress Marie Therese and music at the Viennese court, 1792-1807. Cambridge University Press, 2003.

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Echoes of women's voices: Music, art, and female patronage in early modern Florence. University of Chicago Press, 2006.

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Peknik, Patricia. French Louisiana Music and Its Patrons. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97424-8.

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Barr, Cyrilla. Elizabeth Sprague Coolidge: American patron of music. Schirmer Books, 1998.

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Kiel, Schleswig-Holsteinischer Heimatbund Ortsverein, ed. Heinrich Adolph Meyer und sein "Haus Forsteck" in Kiel. Husum Druck- und Verlagsgesellschaft, 2004.

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Book chapters on the topic "Women and music patrons"

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Wheeldon, Jonathan. "Innovation or Bust: A Short History of Recorded Music." In Patrons, Curators, Inventors and Thieves. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9780230306677_3.

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Peknik, Patricia. "Introduction: “A Wild and Ferocious Waltz”." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_1.

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Peknik, Patricia. "French Louisiana Music from Home and Dance Hall to Radio and Fred’s Lounge." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_2.

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Peknik, Patricia. "From the War on French to the War in France: World War II and Cultural Identity." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_3.

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Peknik, Patricia. "“It’s All French Music”: Patrons on the Trail." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_4.

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Peknik, Patricia. "Brand New Old-Time Southern Americana: Harry Smith’s Anthology Brings French Louisiana Music into the Folk Canon." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_5.

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Peknik, Patricia. "“I Want You to Be/Just like You Used to Be, Darling”: Choreographing the Newport Waltz." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_6.

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Peknik, Patricia. "Utter Strangers: The English and French Language Movements." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_7.

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Peknik, Patricia. "“Les metamorphoses”: Civil Rights, Ethnic Revival, and New Regional Sounds." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_8.

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Peknik, Patricia. "Postscript." In French Louisiana Music and Its Patrons. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97424-8_9.

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Conference papers on the topic "Women and music patrons"

1

Supiarza, Hery. "O.K. Tujuh Putri: Millennial Women in Keroncong Music." In 2nd International Conference on Arts and Design Education (ICADE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.041.

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Vasilchenko, Elena. "WOMEN AND MUSIC IN THE CULTURAL SYSTEMS OF THE FAR EAST AND SOUTH EAST ASIA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.029.

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Treydte, Elisabeth. "Clara Schumann #digital. 40 Jahre Frau und Musik und der Start in die Digitalisierung." 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/10.25366/2020.94.

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The Archives of Women in Music based in Frankfurt a. M. (Germany) was founded in 1979. Its goals are increasing the visibility of women in music, achieving programming parity and making the wealth of creative work by women in music available for performance and research. The Archives assure long-term safe storage of both analogue and digital archive and library content. During the last three years it focused on two collection digitization projects and an oral history project.

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Andreopoulou, Areti, and Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)." In The 23rd International Conference on Auditory Display. The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged

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Jayanti, Ova, and Rosmawati Lubis. "Murottal Music on Dysmenorrhea Pain Among Students in Madrasah Aliyah Sultan Hasanudin, South Jakarta." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.05.

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ABSTRACT Background: The incidence of dysmenorrhea is more than 50% among women in every country. In the United States, an average of 60% with the highest prevalence of dysmenorrhea is among adolescent girls, 15% of whom have severe dysmenorrhea. Dysmenorrhea that is not treated properly can interfere with daily activities. Non-pharmacological handling by listening to murottal music can cause the brain to emit theta waves which cause a sense of calm. This study aimed to examine the murottal music on dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Subjects a

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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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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" 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/10.25366/2020.59.

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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an

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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

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The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global real

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