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Journal articles on the topic 'Women in jazz'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Carter, Mia, and Leslie Gourse. "Madame Jazz: Contemporary Women Instrumentalists." Notes 52, no. 4 (1996): 1145. http://dx.doi.org/10.2307/898380.

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2

Larziz, Paul. "Jazz women : Et pourtant elles swinguent." Cahiers du féminisme 34, no. 1 (1985): 30–31. http://dx.doi.org/10.3406/cafem.1985.3541.

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3

Hennessey, Mike. "The Prejudice Against Women in Jazz." International Jazz Archive Journal 03, no. 1 (2006): 24–29. http://dx.doi.org/10.2307/44758101.

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4

Jabouin, Emilie. "Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s." Canadian Journal of History 56, no. 3 (2021): 229–65. http://dx.doi.org/10.3138/cjh.56-3-2021-0030.

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The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from

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5

McKeage, Kathleen M. "Gender and Participation in High School and College Instrumental Jazz Ensembles." Journal of Research in Music Education 52, no. 4 (2004): 343–56. http://dx.doi.org/10.1177/002242940405200406.

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This study is an examination of the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students ( N=628) representing 15 programs offering degrees in music education were surveyed. Gender and jazz ensemble participation were found to be related at both levels; 52% of women and 80% of men surveyed reported playing jazz in high school, and 14% of women and 50% of men played in colle

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6

McAndrew, Siobhan, and Paul Widdop. "‘The man that got away’: Gender inequalities in the consumption and production of jazz." European Journal of Cultural Studies 24, no. 3 (2021): 690–716. http://dx.doi.org/10.1177/13675494211006091.

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Jazz is remarkable among genres in emerging from marginalised communities to a position of status, and is also evidently male-dominated in terms of both audiences and musicians. Using the Taking Part surveys of cultural participation in England, we investigate the gender gap in jazz and how it compares with classical and rock. We find women are less likely to attend jazz concerts than men. We also report on a unique dataset of 983 musicians, and identify how the position of women in the jazz network differs from men. Women also feature lower recording productivity, an effect appearing to work

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7

Ramanna, Nishlyn. "Musical Echoes: South African Women Thinking in Jazz." Journal of Southern African Studies 38, no. 4 (2012): 1014–15. http://dx.doi.org/10.1080/03057070.2012.749612.

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8

Inglese, Francesca. "Musical Echoes: South African Women Thinking in Jazz." Journal of the Musical Arts in Africa 11, no. 1 (2014): 125–28. http://dx.doi.org/10.2989/18121004.2014.995444.

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9

Gillett, Rachel Anne. "Jazz women, gender politics, and the francophone Atlantic." Atlantic Studies 10, no. 1 (2013): 109–30. http://dx.doi.org/10.1080/14788810.2013.766494.

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10

Bush, Elizabeth. "Sophisticated Ladies: The Great Women of Jazz (review)." Bulletin of the Center for Children's Books 60, no. 6 (2007): 251–52. http://dx.doi.org/10.1353/bcc.2007.0072.

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11

Oliver, Paul. "That certain feeling: blues and jazz … in 1890?" Popular Music 10, no. 1 (1991): 11–19. http://dx.doi.org/10.1017/s0261143000004281.

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‘And this, after all, we do know with certainty: that in the 1880s in and around New Orleans and in other parts of the South, they were beginning to play the music we call jazz.’ So wrote Barry Ulanov who was convinced that jazz ‘reached back to the twelve bar form of the folk tune … and evolved that most durable and most thoroughly adaptable of jazz forms, the blues’. Picked out by ‘men and women in the backwoods and the front parlors making the delicate little changes, insisting upon the famous “blue notes”’, it took shape ‘long before the famous early names of jazz – before Buddy Bolden and

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12

Van Vleet. "Women in Jazz Music: A Hundred Years of Gender Disparity in Jazz Study and Performance (1920–2020)." Jazz Education in Research and Practice 2, no. 1 (2021): 211. http://dx.doi.org/10.2979/jazzeducrese.2.1.16.

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13

Wehr-Flowers, Erin. "Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward Learning Jazz Improvisation." Journal of Research in Music Education 54, no. 4 (2006): 337–49. http://dx.doi.org/10.1177/002242940605400406.

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The purpose of this study was to examine the gender differences in the social-psychological constructs of confidence, anxiety, and attitude as they relate to jazz improvisation participation. Three subscales of the Fennema-Sherman Mathematics Attitude Survey (1976) were modified for this task, and surveys (N = 332) were given to students of various ages participating in jazz programs. Returned surveys (N = 137, 41 % return rate, 83 men, 54 women) were analyzed using a MANOYA design with gender, school level, and instrument choice as the independent variables. A main effect was found for gender

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14

İLBİ, Deniz, and Esra KARAOL. "Women Jazz Instrumentalists in Turkey within the Context of Gender." Musicologist 4, no. 1 (2020): 34–55. http://dx.doi.org/10.33906/musicologist.703748.

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15

Gourse, Leslie. "Playing for Keeps: Women Jazz Musicians Break the Glass Ceiling." Women's Review of Books 18, no. 3 (2000): 7. http://dx.doi.org/10.2307/4023642.

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16

Cion, Sarah Jane, Carline Ray, and Lenora Zenzalai Helm. "When Women Band Together: Three Jazz Artists Share Their Stories." Women's Review of Books 18, no. 3 (2000): 8. http://dx.doi.org/10.2307/4023643.

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17

Wehr, Erin L. "Understanding the experiences of women in jazz: A suggested model." International Journal of Music Education 34, no. 4 (2016): 472–87. http://dx.doi.org/10.1177/0255761415619392.

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18

Rabbani, Golam. "Discrimination in “the City”: Race, Class, and Gender in Toni Morrison’s Jazz." Advances in Language and Literary Studies 10, no. 5 (2019): 128. http://dx.doi.org/10.7575/aiac.alls.v.10n.5p.128.

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Toni Morrison, the African American Nobel laureate author, explores the realities where African American women face multiple discriminations in her novel Jazz (1992). This article, following the qualitative method on the bibliographic study, examines the discriminations entailing race, class, and gender and presents Harlem as a discriminatory space in the novel. Jazz narrates the struggles of African American women who settled in Harlem in the early twentieth-century. Haunted by the memories of slavery, the female African American characters in the novel find themselves subjugated in the socie

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19

Kähäri, Kim, Mats Eklöf, Leif Sandsjö, Gunilla Zachau, and Claes Möller. "Associations Between Hearing and Psychosocial Working Conditions in Rock/Jazz Musicians." Medical Problems of Performing Artists 18, no. 3 (2003): 98–105. http://dx.doi.org/10.21091/mppa.2003.3018.

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A study on the assessment of hearing and hearing disorders in rock/jazz musicians concluded that 74% of the musicians had some kind of disorder. The main hearing disorders found were pure-tone hearing loss, tinnitus (an acoustic sensation of sounds), hyperacusis (a hypersensitivity to low or moderate sound levels), and distortion (music sounds out of tune). Affected musicians often were able to give the exact time of the first appearance of the hearing disorders, which often was associated with a period of excessive sound exposure, high workload, or some form of emotional stress. The aim of th

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20

Kernodle. "Black Women Working Together: Jazz, Gender, and the Politics of Validation." Black Music Research Journal 34, no. 1 (2014): 27. http://dx.doi.org/10.5406/blacmusiresej.34.1.0027.

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21

Akkerman, Gregg. "The Expansion of Jazz through the Life of a South African Singer." Journal of Jazz Studies 8, no. 1 (2012): 100. http://dx.doi.org/10.14713/jjs.v8i1.33.

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Johnny Hartman biographer, Gregg Akkerman, reviews South African singer Sathima Bea Benjamin's life story as related in <em>Musical Echoes:South African Women Thinking in Jazz</em>, by Carol Ann Muller and Benjamin.

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22

Hamelman, Steve. "Women Drummers: A History from Rock and Jazz to Blues and Country." Popular Music and Society 39, no. 1 (2015): 137–39. http://dx.doi.org/10.1080/03007766.2014.994304.

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23

Ilbi, Deniz. "Recension of the Marie Buscatto's Book, Women in Jazz: Musicality, Femininity, Marginalization." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 164–69. http://dx.doi.org/10.21747/21843805/tav5n1r1.

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24

Lee, Hwa Seok. "The Study of Job Satisfaction Follow as Jazz Dance Participation on Working Women." Journal of Sport and Leisure Studies 23 (May 31, 2005): 465–76. http://dx.doi.org/10.51979/kssls.2005.05.23.465.

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25

Mbalia, Doreatha Drummond. "Women Who Run with Wild: The Need for Sisterhoods in Jazz." MFS Modern Fiction Studies 39, no. 3-4 (1993): 623–46. http://dx.doi.org/10.1353/mfs.0.0462.

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26

Wallmann, H., C. Gillis, P. Alpert, and S. Miller. "THE EFFECT OF A MODIFIED JAZZ DANCE CLASS ON BALANCE IN OLDER WOMEN." Journal of Geriatric Physical Therapy 29, no. 3 (2006): 124. http://dx.doi.org/10.1519/00139143-200612000-00024.

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27

Tucker, S. "Telling Performances: Jazz History Remembered and Remade by the Women in the Band." Oral History Review 26, no. 1 (1999): 67–84. http://dx.doi.org/10.1093/ohr/26.1.67.

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28

Wallmann, Harvey W., Carrie B. Gillis, Patricia T. Alpert, and Sally K. Miller. "The Effect of a Senior Jazz Dance Class on Static Balance in Healthy Women Over 50 Years of Age: A Pilot Study." Biological Research For Nursing 10, no. 3 (2008): 257–66. http://dx.doi.org/10.1177/1099800408322600.

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The purpose of this pilot study is to assess the impact of a senior jazz dance class on static balance for healthy women over 50 years of age using the NeuroCom Smart Balance Master System (Balance Master). A total of 12 healthy women aged 54—88 years completed a 15-week jazz dance class which they attended 1 time per week for 90 min per class. Balance data were collected using the Sensory Organization Test (SOT) at baseline (pre), at 7 weeks (mid), and after 15 weeks (post). An equilibrium score measuring postural sway was calculated for each of six different conditions. The composite equilib

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29

Koger, Alicia Kae. "Jazz Form and Jazz Function: An Analysis of Unfinished Women Cry in No Man's Land While a Bird Dies in a Gilded Cage." MELUS 16, no. 3 (1989): 99. http://dx.doi.org/10.2307/467570.

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30

Willis, Vickie. "Be-in-tween the Spa[ ]ces: The Location of Women and Subversion in Jazz." Journal of American Culture 31, no. 3 (2008): 293–301. http://dx.doi.org/10.1111/j.1542-734x.2008.00677.x.

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31

Lespinasse, Patricia G. ""Her Special Music": Wild Women and Jazz in Paule Marshall’s The Fisher King." Anthurium A Caribbean Studies Journal 14, no. 1 (2017): 9. http://dx.doi.org/10.33596/anth.333.

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32

Bell, Thomas McCarthy. "Women Drummers: A History from Rock and Jazz to Blues and Country by Angela Smith." Notes 72, no. 3 (2016): 515–17. http://dx.doi.org/10.1353/not.2016.0031.

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33

Edward R. Schmidtke. "Some Liked It Hot: Jazz Women in Film and Television, 1928-1959 (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 40, no. 1 (2010): 104–6. http://dx.doi.org/10.1353/flm.0.0133.

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34

Björck, Cecilia, and Åsa Bergman. "Making Women in Jazz Visible: Negotiating Discourses of Unity and Diversity in Sweden and the US." IASPM@Journal 8, no. 1 (2018): 42–58. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.5en.

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35

Brown, Mary Jane. "Advocates in the Age of Jazz: Women and the Campaign for the Dyer Anti-Lynching Bill." Peace Change 28, no. 3 (2003): 378–419. http://dx.doi.org/10.1111/1468-0130.00268.

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36

Risner, Doug. "Challenges and Opportunities for Dance Pedagogy: Critical Social Issues and “Unlearning” How to Teach." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 204–9. http://dx.doi.org/10.1017/s2049125500001114.

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Given our panel's focus, I will introduce myself by way of my undergraduate dance pedagogy course and highlight what I will be addressing in my remarks this morning. The young women in my dance pedagogy course bring considerable experience in modern, ballet, and jazz technique and are equally skilled as young performers. These students likely represent a good cross section of students in their third year of undergraduate dance programs in the United States. We begin this pedagogy course by looking at the students'experience of teaching in their own training and dance education.

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37

Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.

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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (201

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38

RIDAN, Tomasz, Katarzyna OGRODZKA-CIECHANOWICZ, Magdalena MOLĘDA, and Ewelina KAMIŃSKA-GWÓŹDŹ. "Analysis of the incidence of ankle joint injuries among dancers representing different dance styles." Medycyna Manualna 1, no. 3 (2020): 39–46. http://dx.doi.org/10.5604/01.3001.0013.8444.

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Introduction. Injuries of the ankle joint are among the most common injuries of the locomotor system, occurring both among athletes and people involved in amateur sports and other recreational activities. The objective of the study was to assess the incidence of injuries to the ankle joint in a group of professional and amateur dancers representing different dance styles. Material and research method. The research initially covered a group of 98 dancers. Ultimately, 64 dancers qualified for the study, including 28 men (44%) and 36 women (56%) aged between 17 and 23 years. The study was conduct

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39

Sin, Hea Sook, and Su Il Oh. "The Relation between Social Support and Self-esteem according to Jazz Dance Participant Women`s Participation Satisfaction." Journal of Sport and Leisure Studies 37 (August 31, 2009): 1525–33. http://dx.doi.org/10.51979/kssls.2009.08.37.1525.

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40

Baber. ""Manhattan Women": Jazz, Blues, and Gender in On the Town and Wonderful Town." American Music 31, no. 1 (2013): 73. http://dx.doi.org/10.5406/americanmusic.31.1.0073.

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41

Skinner. "Musical Echoes: South African Women Thinking in Jazz by Carol Ann Muller and Sathima Bea Benjamin." Research in African Literatures 44, no. 3 (2013): 201. http://dx.doi.org/10.2979/reseafrilite.44.3.201.

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42

Devlin, Paul. ""Good Night, Sweet Blues" and the Legacy of Ida Cox: Jazz, Women, and Agency in Route 66 (1961)." Film & History: An Interdisciplinary Journal 51, no. 2 (2021): 30–42. http://dx.doi.org/10.1353/flm.2021.0006.

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43

Ryoo, Young-Joo. "Effect of Jazz Dance and Iron Intake on Body Composition, Blood Components and Bone Metabolism in Adult Women." Journal of Life Science 18, no. 9 (2008): 1299–304. http://dx.doi.org/10.5352/jls.2008.18.9.1299.

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44

Sayles, Martha Rapp. "Carol Ann Muller and Sathima Bea Benjamin.Musical Echoes: South African Women Thinking in Jazz. Durham: Duke UP, 2011." Women's Studies 41, no. 8 (2012): 997–1002. http://dx.doi.org/10.1080/00497878.2012.718636.

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45

Peters, Penelope. "Deep Rivers: Selected Songs of Florence Price and Margaret Bonds." Canadian University Music Review 16, no. 1 (2013): 74–95. http://dx.doi.org/10.7202/1014417ar.

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This essay examines the songs of two African-American women, Florence Price (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the

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46

Joachim, Joana. "Black Gold: A Black Feminist Art History of 1920s Montréal." Canadian Journal of History 56, no. 3 (2021): 266–91. http://dx.doi.org/10.3138/cjh.56-3-2021-0017.

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The 1920s have been touted as the golden era of jazz and Black history in Montréal. Similarly, the decade is well known for the Harlem Renaissance, a key moment in African American art history. Yet this period in Black Canadian art histories remains largely unknown. As a first step toward shedding some light on this period in Black Canadian art history, I propose to use what I term a Black feminist art-historical (bfah) praxis to discuss some visual art practices undoubtedly active alongside well-known jazz musicians and cultural producers in 1920s Montréal. This paper presents an overview of

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47

WELLS, CHRISTOPHER J. "“Spinnin' the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music." Journal of the Society for American Music 14, no. 2 (2020): 176–96. http://dx.doi.org/10.1017/s1752196320000061.

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AbstractBenny Goodman and Chick Webb's 1937 battle of music has become a mythic event in jazz historical narratives, enshrined as the unique spectacle that defines Harlem's Savoy Ballroom and its legacy. While this battle has been marked as exceptional and unique, as an event it was a relatively typical instantiation of the “battle of music” format, a presentational genre common in black venues during the 1920s and 1930s. Within African American communities, battles of music re-staged ballrooms as symbolically loaded representational spaces where dueling bands regularly served as oppositional

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48

Davies, Helen. "All rock and roll is homosocial: the representation of women in the British rock music press." Popular Music 20, no. 3 (2001): 301–19. http://dx.doi.org/10.1017/s0261143001001519.

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The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched

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49

Potter, John. "The singer, not the song: women singers as composer-poets." Popular Music 13, no. 2 (1994): 191–99. http://dx.doi.org/10.1017/s0261143000007054.

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In his comprehensive celebration of women singers in the twentieth century, Wilfrid Mellers proposed a three-stage socio-musical evolution from the jazz, blues and gospel songs sung by black women, through the black-inspired white singers who followed them, to a new synthesis of singing poet-composers (Mellers 1986). Within this third category, very much the main point of the book, Mellers deals in considerable detail with a range of singer/song writers, from Joni Mitchell and Dory Previn to Rickie Lee Jones and Laurie Anderson. In this article I should like to take this concept of the woman s

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50

Tinsley-Vance, Sara Marie, Najla Al Ali, Somedeb Ball, et al. "Gender Disparities in Myelodysplastic Syndromes: Phenotype, Genotype, and Outcomes." Blood 138, Supplement 1 (2021): 1984. http://dx.doi.org/10.1182/blood-2021-149894.

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Abstract BACKGROUND: Over the past 25 years research has shifted from predominantly focused on men to research that includes both men and women. In addition, myelodysplastic syndromes (MDS) have only been included in the SEER registry since 2001 and are largely understudied. This has resulted in a knowledge gap in the difference in clinical phenotype, genotype, and outcomes between men and women diagnosed with MDS. The aim of this abstract is to identify those gender-based differences. METHODS: This was a retrospective study using a large MDS database at Moffitt Cancer Center. We compared base

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