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Books on the topic 'Women and musical networks project'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

India), Aalochana (Pune, and Towards Strengthening Networks of Women in Panchayati Raj in Pune District (Project), eds. Moving from visibility to effectivity: Report of the project, "Towards Strengthening Networks of Women in Panchayati Raj in Pune District," 2000-2003. Aalochana, Centre for Documentation & Research on Women, 2003.

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2

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. s.n.], 1989.

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3

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. s.n.], 1988.

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4

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. s.n.]., 1986.

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5

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. s.n.], 1991.

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6

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. s.n.], 1990.

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7

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. s.n.], 1994.

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8

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. s.n.], 1992.

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9

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. s.n, 1993.

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10

Kenny, Ailbhe. Music Refuge. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197780169.001.0001.

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Abstract Forced migration has led to the creation of unique contexts where music is made, shared, and experienced. Charting over eight years of research, this book uncovers the musical lives of those seeking asylum and refuge in ‘host’ countries. An expanded understanding of the relationship between music, refuge, and forced migration is offered that moves away from tropes that rely on narratives of victimhood. Rather, the book foregrounds a claiming of space among networks of diverse communities in which adults and children alike shape, and are shaped by, socio-musical encounters. The focus t

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11

Merchant, Tanya. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0007.

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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper foc

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12

Merchant, Tanya. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0001.

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This book explores issues of gender performance and national identity as they are personalized and individualized and then themselves performed by women musicians of Uzbekistan. It considers the rich relationship that dutar music has with women's culture and history in Uzbekistan but shows that the performance of national identity, of femininity, and of a sense of tradition that engaged the modern world was not limited to the dutar but encompassed a wide range of professional musical activities. The book demonstrates the central place of women in the musical project of nationalism, not only as

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13

Wilson Kimber, Marian. Words and Music Ladies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0009.

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Women’s clubs networks supported the careers of composer-performers Frieda Peycke (1884–1964) and Phyllis Fergus (1887–1964). Both women presented herself not as an elocutionist, but as a composer of a musical art form and publicized the spoken word genres in which she performed with a unique label: Fergus’s “story poems,” and Peycke’s “musically-illustrated readings.” Fergus appeared before women’s music clubs in Chicago, groups that had readers as members into the 1940s, and gradual assumed leadership positions. Peycke’s performances in private homes suggests an ongoing women’s salon culture

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14

Kamler, Erin M. Rewriting the Victim. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190840099.001.0001.

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This book unites feminist international research with the writing, composing, and production of a musical designed to critique the discourse about the trafficking of women in Thailand. Through writing and producing “Land of Smiles,” a two-act, fifteen-song musical inspired by field research that includes over fifty interviews with female migrant laborers, sex workers, community-based women’s rights activists, non-governmental organization (NGO) employees, and other development actors in Thailand’s anti-trafficking movement, playwright, composer and feminist scholar Erin Kamler presents one of

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15

Gough, Peter, and Peggy Seeger. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0009.

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This chapter argues that while the Federal Music Project (FMP) and WPA Music Program in the American West reflected many of the societal prejudices of the day, it was the New Deal emphasis on inclusion that distinguishes the musical productions within a historical context. Indeed, participation bridged many previous barriers and included black as well as white; men as well as women; poor and not; conservative, liberal, and radical; symphonic orchestras and orquestas tipicas; African American spirituals; folksong; satirical political revues; and the range of musical expression. These cross-cult

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16

Merchant, Tanya. Ancient Treasures, Modernized. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0003.

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This chapter examines the role of women in the arranged folk music in Uzbekistan in the post-Soviet era. It looks at the rhetoric of Ro'za opa and her students, which focuses much more on musical literacy, virtuosity, and international standards. These priorities stem from the emancipatory impetus, during the Soviet period, to include women in the ethnonational project of creating folk orchestras. The chapter begins with a discussion of the assumptions of youth and femininity associated with certain dutar ensembles. It then traces the origins of dutar ensembles as they share history with simil

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17

Merchant, Tanya. Like Tereshkova in the Cosmos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0004.

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This chapter examines how women perform post-Soviet nationalism using the canon of European classical music by focusing on a project designed to produce Uzbek Western art music, one that retains prominence in independent Uzbekistan. The project has involved getting composers engaged in the creation of a sense of Uzbek style in composition. In Uzbekistan, from remarkably early in the Soviet period, women have been important figures in the performance and promulgation of Uzbek compositions. The chapter first provides a historical overview of Western art music in Soviet Uzbekistan and compares it

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18

Child, Brenda J. Politically Purposeful Work. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037153.003.0016.

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This chapter takes as its starting point an oral history project with a number of inspirational Minnesota Ojibwe women who lived and worked in Minneapolis, among them Gertrude Howard Buckanaga, Pat Bellanger, Rose Robinson, and Vikki Howard, who shared stories about their own mentors in the Indian community. It shows how for these activists personal networks with other Indian people were essential to city survival, and their efforts were an expression of indigenous values, and cultural capital, that resulted in the emergence of distinctive urban Indian communities. Women's networks and their i

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