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Journal articles on the topic 'Women and music patrons'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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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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2

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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3

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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6

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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8

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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9

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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10

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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Citron, Marcia J. "Cultivating Music in America: Women Patrons and Activists since 1860. Ralph P. Locke , Cyrilla BarrMusic, Gender, Education. Lucy GreenRuth Crawford Seeger: A Composer's Search for American Music. Judith Tick." Signs: Journal of Women in Culture and Society 26, no. 1 (2000): 324–28. http://dx.doi.org/10.1086/495594.

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12

Curtis, Liane. "BOOK REVIEW: Ralph P. Locke and Cyrilla Barr.CULTIVATING MUSIC IN AMERICA: WOMEN PATRONS AND ACTIVISTS SINCE 1860 Berkeley: University of California Press, 1997." NWSA Journal 11, no. 1 (1999): 210–12. http://dx.doi.org/10.2979/nws.1999.11.1.210.

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13

MILLER, LETA E. "Practical Idealism: The Musical Patronage of Phoebe Apperson Hearst." Journal of the Society for American Music 10, no. 4 (2016): 383–421. http://dx.doi.org/10.1017/s175219631600033x.

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AbstractPhoebe Apperson Hearst, called “California's greatest woman” at her death in 1919, was very rich—and very philanthropic. Despite attending school in rural Missouri only a year or so past the eighth grade, Hearst directed her most influential benefactions toward education, particularly for women. She became a prime mover in the kindergarten movement and PTA, established women's scholarships at UC Berkeley, and was UC's first female regent.This article, drawing on Hearst's extensive archive, describes music's role in her philanthropy. She supported individual artists and ensembles, stage

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14

Demers, Patricia. "Tails of Cross-Channel Comets: From Acclaim to Obscurity." Renaissance and Reformation 43, no. 2 (2020): 213–34. http://dx.doi.org/10.33137/rr.v43i2.34797.

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This article explores the diverse materialities of texts created by three female luminaries that expand our understanding of translation and transformation in early modern Europe. Lady Anne Cooke Bacon’s translation of Bishop Jewel’s Apologia was praised as the official text of the Elizabethan Settlement and printed without change for the edification of both English readers and Continental sceptics. Yet despite its centrality in the vitriolic controversy between Jewel and Louvain Romanist Thomas Harding, within a generation Bacon’s name disappeared. Bilingual calligrapher and miniaturist Esthe

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15

Clark, Caryl. "Ralph P. Locke and Cyrilla Barr, eds. Cultivating Music in America: Women Patrons and Activists since 1860. Berkeley and Los Angeles: University of California Press, 1997. xi, 357 pp. ISBN 0-520-083-954 (hardcover) Mona Mender. Extraordinary Women in Support of Music. Lanham, Md., and London: Scarecrow Press, 1997. x, 309 pp. ISBN 0-8108-3278-X (hardcover)." Canadian University Music Review 20, no. 2 (2000): 148. http://dx.doi.org/10.7202/1014471ar.

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16

Simeone, Nigel, and Myriam Chimènes. "Parisian Patrons." Musical Times 148, no. 1899 (2007): 109. http://dx.doi.org/10.2307/25434465.

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17

Locke, Ralph P. "Paradoxes of the Woman Music Patron in America." Musical Quarterly 78, no. 4 (1994): 798–825. http://dx.doi.org/10.1093/mq/78.4.798.

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18

McCarthy, K. "Byrd's Patrons at Prayer." Music and Letters 89, no. 4 (2008): 499–509. http://dx.doi.org/10.1093/ml/gcn019.

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19

Hammond, F. "Popes, patrons and publishers." Early Music 36, no. 1 (2008): 116–17. http://dx.doi.org/10.1093/em/cam126.

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20

Rubin, Patricia. "Renaissance Women Patrons Caterine King." English Historical Review 115, no. 463 (2000): 955. http://dx.doi.org/10.1093/enghis/115.463.955.

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Rubin, P. "Renaissance Women Patrons Caterine King." English Historical Review 115, no. 463 (2000): 955. http://dx.doi.org/10.1093/ehr/115.463.955.

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22

Matthews, Lora, and Paul A. Merkley. "Josquin Desprez and His Milanese Patrons." Journal of Musicology 12, no. 4 (1994): 434–63. http://dx.doi.org/10.2307/763971.

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23

Matthews, Lora, and Paul A. Merkley. "Josquin Desprez and His Milanese Patrons." Journal of Musicology 12, no. 4 (1994): 434–63. http://dx.doi.org/10.1525/jm.1994.12.4.03a00030.

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24

Newcomb, Anthony. "Giovanni Maria Nanino’s Early Patrons in Rome." Journal of Musicology 30, no. 1 (2013): 103–27. http://dx.doi.org/10.1525/jm.2013.30.1.103.

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The first edition of the First Book for five voices of Giovanni Maria Nanino has been lost, and with it its dedication. A close reading of several of the texts in the book offers clues to the date of that first edition and the circle or circles of patronage that may have nourished the book’s origin. This study is concerned principally with the final group of four “occasional” texts in the book—texts apparently referring to particular persons or occasions—and the much-set amorous lyric in the center of the book. I propose that these five madrigals are connected to a circle of patronage in the l

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25

Sadler, Graham. "Patrons and Pasquinades: Rameau in the 1730s." Journal of the Royal Musical Association 113, no. 2 (1988): 314–37. http://dx.doi.org/10.1093/jrma/113.2.314.

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Rameau's late entry into the world of opera is one of the best-known features of his biography. When Hippolyte et Aricie, his first tragédie, burst upon an unsuspecting public at the Académie royale de musique in October 1733, the composer had just turned 50. Of his earlier music, only the second and third books of harpsichord pieces and the cantata Le Berger fidèle would have been at all well known. Yet by the end of the decade, with the appearance of two further tragédies, Castor et Pollux (1737) and Dardanus (1739), and two opéra-ballets, Les Indes galantes (1735) and Les Fêtes d'Hébé (1739

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26

Koh, Donna. "Music Catalog for Blind and Visually Impaired Patrons." Music Reference Services Quarterly 22, no. 1-2 (2019): 30–41. http://dx.doi.org/10.1080/10588167.2019.1583494.

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27

Schutte, Valerie. "Royal Tudor Women as Patrons and Curators." Early Modern Women: An Interdisciplinary Journal 9, no. 1 (2014): 79–88. http://dx.doi.org/10.1086/emw26431283.

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28

Qureshi, Regula Burckhardt, and Joan L. Erdman. "Patrons and Performers in Rajasthan: The Subtle Tradition." Yearbook for Traditional Music 21 (1989): 125. http://dx.doi.org/10.2307/767778.

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29

Scarimbolo, Justin. "On the secretive ustād: Pride among musicians and patrons in North India." Indian Theatre Journal 4, no. 1 (2020): 59–76. http://dx.doi.org/10.1386/itj_00006_1.

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Why did Muslim masters of Hindustani music or ustāds of the past century sometimes refuse to record, perform or teach? These acts appear to justify a common depiction of ustāds, propagated by their detractors and defenders alike as jealously guarding their hereditary knowledge. A deeper look, however, reveals that ustāds withheld their music for fear that it would be played in lowly places, consumed by ill-mannered audiences or taught to disloyal students. Drawing on the oral history of one aristocratic family’s relationship with their Muslim teachers, I argue that the pride that prevented som

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30

Fromson, Michele. "Themes of Exile in Willaert's Musica nova." Journal of the American Musicological Society 47, no. 3 (1994): 442–87. http://dx.doi.org/10.2307/3128799.

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The present study proposes that Willaert's Musica nova was written to commemorate the city of Florence, homeland of two of the composer's most devoted patrons, Neri Capponi and Ruberto Strozzi. Supporting evidence for this new hypothesis is culled from extant documents relating to the composition, publication, performance, and reception history of this music; the texts Willaert set in his madrigals and motets; and perhaps most unexpectedly, the texts of numerous liturgical melodies whose opening phrases are quoted in his dense counterpoint. For Willaert's Florentine patrons, these melodic cita

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31

Getz, Christine. "The Sforza restoration and the founding of the ducal chapels at Santa Maria della Scala in Milan and Sant'Ambrogio in Vigevano." Early Music History 17 (October 1998): 109–59. http://dx.doi.org/10.1017/s0261127900001625.

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Although a number of motet, madrigal and lute collections supported by local Milanese patrons were printed in Milan and Venice during the first half of the sixteenth century, modern scholars continue to regard this period in Milanese history as fallow in musical activity. This phenomenon has resulted from a lack of documentary evidence regarding both the activities of the musicians who contributed to these collections and the musical institutions with which these musicians and their patrons were associated. While several studies on music at the Duomo of Milan during the first half of the sixte

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32

Locke, Ralph P. "Music Lovers, Patrons, and the "Sacralization" of Culture in America." 19th-Century Music 17, no. 2 (1993): 149–73. http://dx.doi.org/10.2307/746331.

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33

Locke, Ralph P. "Music Lovers, Patrons, and the "Sacralization" of Culture in America." 19th-Century Music 17, no. 2 (1993): 149–73. http://dx.doi.org/10.1525/ncm.1993.17.2.02a00030.

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34

Pruett, Kyle D. "First Patrons: Parenting the Musician." Medical Problems of Performing Artists 19, no. 4 (2004): 154–59. http://dx.doi.org/10.21091/mppa.2004.4025.

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This discussion of the parental influences on musicians’ development begins with a review of the high-stress environment of the 21st-century family, including the increasing burdens on parents’ time and the increasing influence of the media. The author provides a list of transcultural qualities of “good enough” parenting, especially in the context of raising a musical child. Parenthood is regarded as a developmental phase itself, with unique competencies needed to care for children in different age groups, from toddlers to adolescents. A brief discussion of the different motivations, both posi

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35

ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties." Journal of the Society for American Music 14, no. 4 (2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.

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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and

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36

Hunter, D. "Bridging the gap: the patrons-in-common of Purcell and Handel." Early Music 37, no. 4 (2009): 621–32. http://dx.doi.org/10.1093/em/cap111.

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37

Dougan, Kirstin. "The “Black Box”: How Students Use a Single Search Box to Search for Music Materials." Information Technology and Libraries 37, no. 4 (2018): 81–106. http://dx.doi.org/10.6017/ital.v37i4.10702.

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Given the inherent challenges music materials present to systems and searchers (formats, title forms and languages, and the presence of additional metadata such as work numbers and keys), it is reasonable that those searching for music develop distinctive search habits compared to patrons in other subject areas. This study uses transaction log analysis of the music and performing arts module of a library’s federated discovery tool to determine how patrons search for music materials. It also makes a top-level comparison of searches done using other broadly defined subject disciplines’ modules i

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38

AbuThahir, Sharmeela-Banu Syed, and Gengeswari Krishnapillai. "How does the Ambience of Cafe Affect the Revisit Intention Among its Patrons? A S on the Cafes in Ipoh, Perak." MATEC Web of Conferences 150 (2018): 05074. http://dx.doi.org/10.1051/matecconf/201815005074.

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Food service industry is growing rapidly as a result of the changing consumer lifestyle. The food service industry is highly competitive due to the increasing number of new entrants offering inventive food products and services. In order to be outstanding in such competitive industry, retailers nowadays opt to emphasize on their store environment. Past studies discovered that store environment stimulates emotions that significantly boost customer revisit intention. As a result, retailers attempt to differentiate their store by combining various environmental stimuli to create an attractive amb

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39

Humphreys, R. Stephen. "Women as Patrons of Religious Architecture in Ayyubid Damascus." Muqarnas 11 (1994): 35. http://dx.doi.org/10.2307/1523208.

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40

Marks, Susan. "Follow That Crown: Or, Rhetoric, Rabbis, and Women Patrons." Journal of Feminist Studies in Religion 24, no. 2 (2008): 77–96. http://dx.doi.org/10.2979/fsr.2008.24.2.77.

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41

Stephen Humphreys, R. "WOMEN AS PATRONS OF RELIGIOUS ARCHITECTURE IN AWUBID DAMASCUS." Muqarnas Online 11, no. 1 (1993): 35–54. http://dx.doi.org/10.1163/22118993-90000331.

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42

Hall Mc Cash, June. "Negotiating the Text: Women Patrons in the Poetic Process." Romance Philology 57, no. 1 (2003): 27–43. http://dx.doi.org/10.1484/j.rph.2.304517.

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43

Daniel, Dominique. "Ethnographic Study at a Music Library Found Students Prefer Short Stopovers and Longer Solitary Study." Evidence Based Library and Information Practice 9, no. 1 (2014): 45. http://dx.doi.org/10.18438/b8js5j.

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Objective – To identify patterns of patron behaviour in the library in order to improve space utilization.  Design – Ethnographic data-gathering, including observations and a qualitative survey.  Setting – Music library of a large public university.  Subjects – Library patrons, primarily music students but also music faculty, other students and faculty, and regional music professionals and amateurs.  Methods – In the exploratory phase, complete (i.e., incognito) participant observers recorded patron characteristics and behaviours in four zones of

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44

Symes, Carol. "Reviews: The Musical Sounds of Medieval French Cities: Players, Patrons, and Politics." Journal of the American Musicological Society 67, no. 3 (2014): 825–28. http://dx.doi.org/10.1525/jams.2014.67.3.825.

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45

BUTLER BROWN, KATHERINE. "The Social Liminality of Musicians: Case Studies from Mughal India and Beyond." Twentieth-Century Music 3, no. 1 (2007): 13–49. http://dx.doi.org/10.1017/s147857220700031x.

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AbstractThis paper offers a new, cross-cultural paradigm for understanding the location of professional musicians in modern social hierarchies. Basing my argument on Victor Turner’s theories of liminality and on primary-source research on North Indian musicians in the Mughal empire (c. 1658–1858), I maintain that professional musicians in most, if not all, societies possess institutionally liminal status. Although the occupation of ‘musician’ is relatively low, being essentially both service profession and cultural labour, the cultural capital that accrues to the product of their labour – thei

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46

Brookshaw, Dominic Parviz. "Women in Praise of Women: Female Poets and Female Patrons in Qajar Iran." Iranian Studies 46, no. 1 (2013): 17–48. http://dx.doi.org/10.1080/00210862.2012.740902.

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47

Milliman, Ronald E. "The Influence of Background Music on the Behavior of Restaurant Patrons." Journal of Consumer Research 13, no. 2 (1986): 286. http://dx.doi.org/10.1086/209068.

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48

Miller, Amanda C. "Cut from the same cloth: A study of female patrons in Luke–Acts and the Roman Empire." Review & Expositor 114, no. 2 (2017): 203–10. http://dx.doi.org/10.1177/0034637317705104.

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This article discusses how women acted as patrons and benefactors in the social hierarchy of the Roman Empire, and how that sociohistorical context enlightens our understanding of women portrayed as patrons in the Gospel of Luke and Acts of the Apostles. Specifically in view are Mary Magdalene, Joanna, Susanna, and other unnamed women in Luke 8:1–3, and the businesswoman Lydia in Acts 16. Miller argues that Luke’s reading communities would have understood these women as important and influential members of the early Jesus movement, and that Luke blurs the lines between patron and client as par

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49

Dorji, Gampo, Chukwuemeka Umeh, B. M. Ramesh, Shajy Isac, Robert Lorway, and James Blanchard. "Predictors of multiple sexual partnerships among women and men in two urban townships in Bhutan." Bhutan Health Journal 2, no. 1 (2016): 18–24. http://dx.doi.org/10.47811/bhj.17.

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Introduction: Multiple sexual partnering is a known predictor for risk of STI and HIV transmission. This study explored the multiple sexual partnering and its predictors among people who visited public social venues (bars, restaurants, hotels, lodges, cafes, karaokes and discos) in Bhutan’s two largest townships of Thimphu and Phuntsholing. Methods: We interviewed 755 sexually active venue patrons from 102 randomly selected venues (56 in Thimphu, 46 in Phuntsholing) from a list of all venues identified as having sex workers or patrons seeking sexual partners. Both bivariate and multivariate an

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50

Roberts, Ann M., Sheryl E. Reiss, and David G. Wilkins. "Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy." Sixteenth Century Journal 33, no. 4 (2002): 1204. http://dx.doi.org/10.2307/4144208.

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