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Dissertations / Theses on the topic 'Women in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.

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<p> This thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups

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8

Mau, Amelia. "Background Structures and Narrative in Music by Women." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22697.

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This thesis explores the use of modified Schenkerian analysis and how it relates to a feminine narrative in a piece of music. In music theory literature about music by women, Schenkerian analysis is a tool that is often ignored; some scholars claim that the goal-oriented nature of Schenkerian analysis prevents it from being an effective tool to analyze music that doesn’t adhere to traditional tonal models, including modern works by women composers. In this study, it was found that modifying the Urlinie and Bassbrechung to reflect salience rather than a traditional harmonic structure allowed fo

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9

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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10

Acee, Dana F. "Women in Sha'bi Music: Globalization, Mass Media and Popular Music in the Arab World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1321368508.

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11

Aube, Meghan Georgina. "Women in percussion: the emergence of women as professional percussionists in the United States, 1930-present." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/920.

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12

Rothenberg, Florie. "Music for clarinet and string quartet by women composers." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requiremen

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13

Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with va

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14

Higgins, Lisa L. "Reconstructing gender, personal narrative, and performance at the Michigan Womyn's Music Festival." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5561.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 8, 2009) Vita. Includes bibliographical references.

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15

Burke, Victoria Elizabeth. "Women and seventeenth century manuscript culture : miscellanies, commonplace books, and song books compiled by English and Scottish women, 1600-1660." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338746.

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16

Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /." Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.

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17

Manasseh, Sara. "Women in music performance : the Iraqi Jewish experience in Israel." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298109.

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18

Burgess, Frances Anne. "Narratives of women music teachers in Northern Ireland : beyond identity." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24328.

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This study examined the narratives of three women music teachers’ professional practice, drawing on the research question: Through examining processes of subjectification: (a) How do mid-career women music teachers construct narratives of their professional and musical practice? (b) What are the implications for women music teachers’ professional and musical sustenance? Participants Hayley, Becky and Lynne, all with 12 years teaching experience, told stories of diverse musical participation within and beyond their schools and within a range of social groups and institutional settings. Taking a

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19

Fife, Jennifer L. "Pioneer Harmonies: Mormon Women and Music in Utah, 1847-1900." DigitalCommons@USU, 1994. https://digitalcommons.usu.edu/etd/7480.

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By drawing on local newspapers and the diaries, journals, and autobiographies of nearly fifty pioneers, this thesis examined the varied musical experiences of Utah's Latter-day Saint women during the years 1847-1900, and sought to determine whether they followed national gender trends in music during this era. Women in nineteenth-century Utah participated in a wide variety of musical activities, including using music in their homes, taking lessons, and teaching. Women also composed and wrote song lyrics. Many women performed in community musical events, such as concerts and operas. Despite the

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20

Shifflet, Brian R. "A History of Ten Influential Women in Music Education 1885-1997." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182255855.

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21

Hayes, Eileen M. "Black women performers of women-identified music : "they cut off my voice, I grew two voices" /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10623.

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22

Loungsangroong, Manchusa. "First-wave Women Clarinetists Retrospective: A Guide to Women Clarinetists Born Before 1930." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492472880913857.

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23

Bayton, Mavis. "How women become rock musicians." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34719/.

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This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdl

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24

Fuller, Sophie. "Women composers during the British musical renaissance, 1880-1918." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.

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25

Lim, Lemy Sungyoun. "The reception of women pianists in London, 1950-60." Thesis, City University London, 2010. http://openaccess.city.ac.uk/1210/.

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This study investigates the reception of women pianists in London in the decade 1950-60, based on reviews published in three music journals, Music and Musicians, Musical Opinion, The Musical Times, and one national daily newspaper, The Times. In the eighteenth and nineteenth centuries, women pianists, both amateur and professional, suffered from the notion that women were innately unable to engage with a superior art form such as music: thus argue scholars including Katharine Ellis, Richard Leppert, Ruth Solie and Judith Tick. Yet, such attitudes did not prevent a strong tradition of women pia

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26

Feasel, Brandon L. "The relationship between attitudes towards women and violence and music preference." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293372.

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This study examines attitudes regarding general violence, violence against women, gender roles, and rape myth and how they relate to music preference. Surveys were completed by 321 students from two large introductory sociology classes at a midsize Midwestern university. Data were analyzed using Ordinary Least Squares (OLS) regression. The results indicate that those who listen to predominantly rap and r&b music are more accepting of general violence and violence against women. Also, findings support the idea that amount of music videos viewed affects views on gender roles. Results show no sup

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27

Bruseker, A. "No neutral fantasy : women, gender and music in Britain 1880-1920." Thesis, University of Liverpool, 2016. http://livrepository.liverpool.ac.uk/3001633/.

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This study examines the relationship between an English music hall performer, Vesta Tilley, and her largely female working-class audience through the lens of the Barthesian concept of the Neutral. The primary sources investigated include published autobiographies, but also an important collection of scrapbooks held by the Worcester Archives and Archaeology Service, containing extensive newspaper clippings as well as letters written by fans. An examination of these texts was undertaken alongside genealogical research to add greater depth to the lives of the historical actors investigated here.

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28

Fu, Chang-Chi Musetta. "Music therapy and women's health effects of music-assisted relaxation on women graduate students' stress and anxiety levels /." Diss., Connect to online resource - MSU authorized users, 2008.

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29

Bartlow, Dianne. "On the relationship between altruism and African-American women in contemporary popular music /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992377.

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30

Gómez, Acuña Beatriz. "Women and the transmission of the romancero : coded messages /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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31

Ehmer, Emily A. "An attitudinal study of music videos portraying violence, sex-role stereotypes, and objectification of women among young women." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390657.

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This study investigated the relationships between young women's attitudes and exposure to violence, objectification of women, and sex-role stereotypes. The research analyzed whether or not viewing sexual content or violence in music videos affected young women's current moods or changed attitudes about sexual beliefs. Music videos were selected from cable television networks and music Web sites. Sixty-six undergraduate women at a Midwest university were exposed to six music videos with violent, sexual, or neutral content. Pretests and post-tests were used to assess any change of mood or attitu

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32

Brenner, Phyllis Ann. "The emergence of the English contralto /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10909540.

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Thesis (Ed.D)--Teachers College, Columbia University, 1989.<br>Typescript; issued also on microfilm. Includes appendices. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Bibliography: leaves 195-212.

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33

KIRKDOFFER, MICHELLE BURKE. "TRAILBLAZERS: AMERICAN WOMEN ORCHESTRAL OBOISTS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1028831783.

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34

Marcho, Trevor K. "Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.

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35

Salido, Caroline Besana. "The Piano Compositional Style of Lucrecia Roces Kasilag." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.

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36

Maidlow, Sarah. "The experiences, attitudes and expectations of music students : from a feminist perspective." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296635.

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37

Leverick, Jane. "A field of women, exploring meanings at the Michigan Womyn's Music Festival." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ58351.pdf.

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38

Seddon, Laura. "The instrumental music of British women composers in the early twentieth century." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.

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This study focuses in detail on instrumental chamber music produced by women in the early twentieth century, a particularly fertile and under-represented period with regard to this topic and it draws on aspects of women’s history, British music history and feminist musicology. It argues that the Cobbett competitions instigated by Walter Willson Cobbett in 1905 and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music, including phantasies, written by women in this period. It highlights women’s place in British musical society leading up to a

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39

Allen, L. V. "Representation, gender and women in Black South African popular music, 1948-1960." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595465.

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The emergence of the commercial mass media catering for urban black South African audiences during the 1950s provided opportunities for the negotiation of new professional spaces for women musicians; they became ambiguous icons of urban black aspirant identity, and sites for the contestation of emergent gender relations. From the black Christian, educated elite, which controlled urban, non-traditional moral values and definitions of cultural worth until the late 1940s, they inherited a dichotomous model of respectability versus deviance. However, parallel shifts in power from the elite to the

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40

Purslow, Vicki T. "Women administrators supervising departments and divisions of music in California community colleges." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2792.

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The purpose of this study was to investigate the impact that the affirmative action principle of equal employment opportunity for women administrators of music departments has had on the California Community College system. Specifically, the study examined female music department chairs and division deans of the performing arts (whose assignment includes supervising music departments) to determine if there had been any change in the ratio between male and female administrators from 1970 to the present. The study also investigated demographic, psychological, and organizational factors that may

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41

Chuse, Loren. "The cantaoras : music, gender, and identity in flamenco song /." New York : Routledge, 2003. http://www.loc.gov/catdir/enhancements/fy0647/2002190800-d.html.

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42

Matthys, Joel W. "Physica, a Composition for Women ´s Choir and Live Electronics." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367938890.

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43

Richards, Melanie Ann. "A selected bibliography of music for clarinet and one other instrument by women composers." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244141413.

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44

Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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<p> This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.</p><p> In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The proje

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45

Boateng, Samuel. "POPULAR MUSIC IN GHANA: WOMEN AND THE CHANGING PERSPECTIVES ON GENDER AND SEXUALITY." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1466179979.

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46

Patterson, DeAnna Rose. "A History of Three African-American Women Who Made Important Contributions to Music Education Between 1903 and 1960." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182182858.

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47

Ramsey, Katherine Elizabeth. "Frédérique Petrides and the Orchestrette Classique: a women's orchestra performing contemporary American music." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1894.

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Because few women were permitted to join professional orchestras before World War II, women’s orchestras developed in major American cities, including Boston, New York, Chicago, and Philadelphia, during the interwar period. The Orchestrette Classique, a women’s chamber orchestra, performed in New York City between 1933 and 1944 under the direction of conductor and violinist Frédérique Petrides. Over the course of its tenure, the ensemble became known for its unusual concert programs, which often juxtaposed contemporary compositions with more traditional classical repertoire. Using primary sour

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48

George, Aimée. "An exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33739.

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This research explores the dynamics of gender, sexuality and power for women performers within the jazz community in Cape Town. Although the history and development of South African jazz has been extensively researched, very few texts mention the presence and impact of women performers and has yet to include how questions of gender, power and sexuality influence both the cultures of jazz and the experiences of women jazz artists. The current study is strongly influenced by feminist theory, which seeks to uncover experiences obscured by patriarchal epistemologies. A qualitative methodology is u

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49

Branstetter, Leah Tallen. "Women in Rock and Roll's First Wave." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1555003265733456.

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50

GOOD, AMBER DIANA. "LADY, WHAT DO YOU DO ALL DAY? PEGGY SEEGER'S ANTHEMS OF ANGLO-AMERICAN FEMINISM." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021638964.

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