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Journal articles on the topic 'Women in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Maulana, Indra, Iceu Amira, Hendrawati Hendrawati, and Sukma Senjaya. "Pengaruh Intervensi Terapi Musik pada Tingkat Kecemasan Ibu Hamil: Literature Review." Malahayati Nursing Journal 5, no. 8 (2023): 2386–99. http://dx.doi.org/10.33024/mnj.v5i8.9052.

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ABSTRAK Kecemasan pada kehamilan merupakan reaksi emosional yang terjadi pada ibu hamilterkait dengan kekhawatiran ibu dengan kesejahteraan diri dan janinnya, keberlangsungankehamilan, persalinan, masa setelah persalinan dan ketika telah berperan menjadi ibu. Terapimusik dapat mengurangi kecemasan pasien dan stres, meringankan rasa sakitnya, memodifikasisejumlah parameter fisiologis dan meningkatkan kualitas hidup dalam pengobatan klinis.Penelitian ini bertujuan untuk mengetahui pengaruh terapi musik terhadap kecemasan pada ibuhamil. Penelitian ini menggunakan metode literature review dengan m

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2

Marh, Fahmi, Yang Junchu, Selvi Kasman, and Hafif HR. "BECOMING UNGGAN WOMEN: SUBJECTIVITY AND INDIVIDUALITY." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 24, no. 1 (2022): 12. http://dx.doi.org/10.26887/ekspresi.v24i1.1635.

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The women who play music in Nagari Unggan are Minangkabau women. Nagari Unggan women's freedom to play music without men is an anomaly for the Minangkabau indigenous people. Women's liberation becomes something discordant or taboo. His present free existence can be in the form of subordination, and vice versa can be in respect and emancipation. This paper will reveal the free event of the Unggan Woman as becoming or becoming a woman to being Parewa. This research on the narrative of female music players from Calempong Unggan was analyzed using the Deleuze concept; becoming, subjectivity, and i

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3

Howard, Patricia, and Karin Pendle. "Women and Music." Musical Times 133, no. 1797 (1992): 574. http://dx.doi.org/10.2307/1002586.

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4

Graham, G. "Women in music." British Journal of Aesthetics 40, no. 1 (2000): 103–14. http://dx.doi.org/10.1093/bjaesthetics/40.1.103.

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5

Rodger, Gillian, and Jane A. Bernstein. "Women Making Music." Women's Review of Books 22, no. 1 (2004): 19. http://dx.doi.org/10.2307/4024468.

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6

Jacobi, Roger E. "Women in music education." Music Educators Journal 78, no. 9 (1992): 10. http://dx.doi.org/10.2307/3398421.

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7

Markuszewska, Aneta. "Music-Making Women-Aristocrats." Musicology Today 16, no. 1 (2019): 3–30. http://dx.doi.org/10.2478/muso-2019-0001.

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Abstract The present article reflects on the shortage of studies concerning music-composing women in the 18th-century Polish-Lithuanian Commonwealth, and focuses on one unique figure among those female musicians – Maria Antonia Walpurgis, an aristocrat of Polish descent, who demonstrated versatile talents. Thoroughly educated in her childhood, she was a poet, composer, singer, and director of her own stage works. This paper discusses the aristocratic artist’s most important experiences and achievements in the field of music, as well as analysing her earliest surviving work, the cycle of 6 Aria

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8

Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milic

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9

Yob, Iris M., and Sophie Drinker. "Music and Women: The Story of Women and Their Relation to Music." Journal of Aesthetic Education 31, no. 4 (1997): 116. http://dx.doi.org/10.2307/3333149.

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10

Liao, Peilin. "Contemporary Female Pop Singers Empowerment of Female Self-Consciousness." Communications in Humanities Research 22, no. 1 (2023): 294–301. http://dx.doi.org/10.54254/2753-7064/22/20231853.

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In modern-day society, women are progressively exerting their influence and authority in diverse domains, such as the dynamic realm of the music industry. This transformation indicates a noteworthy progression in the role and impact of women as they persist in defying and adjusting to the traditionally male-dominated landscape of music. This paper comprehensively explores the impact of pop music culture on womens self-awareness from a feminist perspective. The purpose is to analyze the intricate relationship between pop music and womens self-perception in contemporary society. In the first sec

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11

Wirandi, Rika, and Fifie Febryanti Sukman. "POWER PEREMPUAN DALAM TRADISI MUSIK BECANANG DI BENER MERIAH." Gorga : Jurnal Seni Rupa 11, no. 2 (2022): 572. http://dx.doi.org/10.24114/gr.v11i2.40085.

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This study aims to identify and examine the existence and role of women in the bronze musical tradition: becanang in Bener Meriah. The extent of the role of men in Aceh, including various forms of performing arts activities known as Islamic – the becanang music culture has survived for a long time until now with supporters and performers of the culture being women. The importance of this research to be carried out for several reasons and considering the lack of studies on traditional music from a gender perspective to date in Indonesia, especially in Aceh. In addition, the reason for the low i

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12

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 79, no. 5 (2022): 697–99. http://dx.doi.org/10.53830/whek3635.

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13

Radha Andhra Swari and Made Detrichyeni Winaya. "WOMEN UNDERREPRESENTATION IN THE MUSIC INDUSTRY REFLECTED FROM TAYLOR SWIFT’S BILLBOARD “WOMAN OF THE DECADE” SPEECH." KULTURISTIK: Jurnal Bahasa dan Budaya 7, no. 2 (2023): 1–6. http://dx.doi.org/10.22225/kulturistik.7.2.7453.

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Studies on women underrepresentation within various fields have been widely conducted, indicating that people are well-aware of the issue. Nonetheless, little attention has been paid to women underrepresentation in the music industry. Thus, this research focuses on examining the issue through Taylor Swift’s Billboard “Woman of the Decade” speech. Critical Discourse Analysis approach was applied in this research. The data were taken from Taylor Swift’s speech transcript, which was accessible in Billboard’s official website (www.billboard.com). It can be concluded that Taylor Swift’s speech refl

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14

Jones, Stacy Holman. "Women, musics, bodies, and texts: The gesture of women's music." Text and Performance Quarterly 19, no. 3 (1999): 217–35. http://dx.doi.org/10.1080/10462939909366263.

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15

Komariyah, Lilis. "PENGARUH MUSIK ANGKLUNG TERHADAP KUALITAS HIDUP WANITA LANJUT USIA." JURNAL PENDIDIKAN KEPERAWATAN INDONESIA 2, no. 1 (2016): 10. http://dx.doi.org/10.17509/jpki.v2i1.2847.

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ABSTRAKPeningkatan derajat kesehatan menyebabkan bertambahnya usia harapan hidup yang memberikan dampak terhadap meningkatnya jumlah penduduk lanjut usia. Dengan meningkatnya usia harapan hidup maka sangat penting untuk memperbaiki kualitas hidup lansia. Musik angklung merupakan kearifan budaya lokal yang sedang berkembang saat ini. Adapun tujuan penelitian ini untuk menganalisis pengaruh musik angklung terhadap peningkatan kualitas hidup lansia yang tinggal di panti jompo. Metode penelitian yang digunakan adalah penelitian eksperimen dengan pre dan post test design without control. Subjek pen

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16

Tick, Judith, and Karin Pendle. "Women & Music: A History." Notes 49, no. 3 (1993): 1058. http://dx.doi.org/10.2307/898975.

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17

Levande, Meredith. "Women, Pop Music, and Pornography." Meridians: feminism, race, transnationalism 8, no. 1 (2007): 293–321. http://dx.doi.org/10.2979/mer.2007.8.1.293.

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LeVande, Meredith. "Women, Pop Music, and Pornography." Meridians 8, no. 1 (2008): 293–321. http://dx.doi.org/10.2979/mer.2008.8.1.293.

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19

Underwood, Lee. "Women in new age music." Psychological Perspectives 22, no. 1 (1990): 216–17. http://dx.doi.org/10.1080/00332929008408102.

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20

Broe, Carolyn Waters. "Viola Music by Women Composers." American String Teacher 57, no. 3 (2007): 68–71. http://dx.doi.org/10.1177/000313130705700312.

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21

Toktagon, Autolkyn. "Characterization of Women in Kazakh Music Culture." International Journal of Science and Society 1, no. 3 (2019): 87–102. http://dx.doi.org/10.54783/ijsoc.v1i3.32.

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This article discusses the role of women in traditional musical culture in Kazakhstan and addresses the life and creativity of Dina Nurpeisova (1861-1955). Dina was a respected stupid player, student of the famous kyushi [ii] Qurmanghazy and of a super kyuishi. The article examines Dina's life based on archives that became available only after Kazakhstan became independent. From the 1940s to the 1990s, the Soviet media ended the oppressive conditions of the Kazakh women's revolution. He claimed that women in the "wild" Kazakhstan, who had no control or their own culture, achieved happiness unt

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22

Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in th

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23

Vo, Tuan Minh, Anh Huynh, Thao Nguyen Thi Thu, and Lora Claywell. "The effectiveness of music on the result of non-stress test." MedPharmRes 4, no. 3 (2020): 12–18. http://dx.doi.org/10.32895/ump.mpr.4.3.3.

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Objectives: Determined the effects of music on the result of non-stress test at 33 weeks of gestational ages for prenatal assessment. Methods: The cohort design was conducted between 89 women who had regular NST (without music), and 88 women who do NST with music. These are women with a single pregnancy of 33 weeks or older who are not in the risk pregnancy group, with no signs of preterm labor. Results: There were 178 pregnant women participating in the study. The median age of pregnant women in the study group who did not listen to music or listen to music was 30.0 ± 4.60 and 30.4 ± 4.00, re

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24

Lopez, Tara. "Wild Strategies: Women and Music Research." AMP: American Music Perspectives 1, no. 2 (2020): 182–91. http://dx.doi.org/10.5325/ampamermusipers.1.2.0182.

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ABSTRACT In the twenty-first century, women continue to be marginalized in music and music communities. Lopez explores these issues via the lens of her current research on El Paso punk rock. She not only highlights the obstacles in documenting women’s experience in music, but she develops a track list of relevant songs and a manifesto to remind researchers of ways to illuminate the multitude of roles women play in music. Lopez concludes that seeking out and documenting women’s voices is not merely a useful practice, but it is essential to fueling social change.

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25

Kwamboka, Osoro Tabitha, Ernest Patrick Monte, and Marciana Nafula Were. "DETERMINANTS OF MARGINALIZATION OF WOMEN IN THE KENYAN MUSIC EDUCATION SPACE." African Musicology Online 10, no. 2 (2021): 74–96. http://dx.doi.org/10.58721/amo.v10i2.4.

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Women music educators in Kenya have, for long-time, experienced inequalities while navigating the music education space. As pointed out by various feminist scholars in the west and Africa, the oppression of women is experienced in multiple ways on the basis of patriarchy, race, class and sexuality. Thus, this paper explores the determinants of marginalization of women music educators in the Kenyan music education spaces. It focuses on the experiences of women music educators to bring forth discourses of gender, class, western ideologies and sexuality within the music education field. The paper

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26

Otto, Elizabeth A., Shaina A. Kumar, and David DiLillo. "Music’s Impact on the Sexualization of Black Bodies: Examining Links Between Hip-Hop and Sexualization of Black Women." Psi Chi Journal of Psychological Research 27, no. 2 (2022): 145–53. http://dx.doi.org/10.24839/2325-7342.jn27.2.145.

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The pervasiveness of sexualization in Western societies is harmful to women, regardless of racial or ethnic identity. However, predictors of sexualization among Black women are understudied. To address this gap, we examined whether listening to and liking hip-hop music would each independently relate to the sexualization of Black women in everyday life, and if this relation unfolded through greater exposure to objectification of Black women in music. A sample of 215 college students completed self-report questionnaires that assessed preferences for liking and listening to hip-hop music, exposu

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27

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 1 (2023): 99–102. http://dx.doi.org/10.53830/pzwp7713.

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This column includes reviews of two women composers, American Gwyneth Walker (b. 1947) and Pole Grazyna Bacewicz (1909–1969.) The song anthologies presented are Walker’s “No Ordinary Women!” and Bacewicz’ twelve songs, the only ones published. The opera aria anthology series OperAria has released a new book in their series for lyric tenor, an important new collection that combines arias and range, fach, libretto information and provenance, performance history, and descriptions of the vocal/technical and stylistic.

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28

METZELAAR, HELEN. "Women and ‘Kraakgeluiden’: the participation of women improvisers in the Dutch electronic music scene." Organised Sound 9, no. 2 (2004): 199–206. http://dx.doi.org/10.1017/s1355771804000287.

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The field of electroacoustic improvisation in the Netherlands is largely male dominated. Flutist, improviser and composer Anne La Berge signalled this and other problems related to gender in ‘Kraakgeluiden’, a Dutch venue for improvisation in electroacoustic music. Four possible factors contributing to gender discrimination are proposed: the stereotypical gendered concept of an improviser, differences in communicative styles, the dominance of male networks, and music technology itself. This is followed by a consideration of gendered differences in music improvisation. It is posited that male i

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Fucci, Donald, Linda Petrosino, and Molly Banks. "Effects of Gender and Listeners' Preference on Magnitude-Estimation Scaling of Rock Music." Perceptual and Motor Skills 78, no. 3_suppl (1994): 1235–42. http://dx.doi.org/10.2466/pms.1994.78.3c.1235.

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The purpose of the present study was to examine the effects of gender and listener preference on magnitude-estimation scaling of rock music. Four groups of young adults were tested: 14 women who liked rock music, 14 women who disliked rock music, 14 men who liked rock music, and 14 men who disliked rock music. Subjects were instructed to assign numerical values to a random series of nine suprathresh-old intensity levels of a 10-sec. sample of rock music. Analysis indicated that there was no difference in scaling performance between women and men. There was a difference in scaling performance b

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Filocamo, Gioia. "Hungry women: sin and rebellion through food and music in the early modern era." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 101–13. http://dx.doi.org/10.30674/scripta.67449.

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Longing for food has always had different implications for men and women: associated with power and strength for men, it tends to have a worrying proximity to sexual pleasure for women. Showing an interesting parallelism throughout the Cinquecento, Italian humanists and teachers insisted on forbidding women music and gluttony. Food and music were both considered dangerous stimulants for the female senses, and every woman was encouraged to consider herself as a kind of food to be offered to the only human beings authorized to feel and satisfy desires: men and babies. Women could properly expres

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31

Janicka, Jowita. "„Lubiły szczególniej muzykę, która część ich wychowania stanowiła”. Domowa edukacja muzyczna polskich szlachcianek epoki oświecenia." Studia Edukacyjne, no. 60 (March 15, 2021): 263–78. http://dx.doi.org/10.14746/se.2021.60.14.

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The education and upbringing of youth was one of the main issues considered by the aristocracy of Polish-Lithuanian Commonwealth in the age of the Enlightenment. A significant part of this current was music education (learning to play the instruments, singing and dancing) acknowledged as compulsory for women with reading, writing, learning foreign languages and history altogether. Every well-educated woman aristocrat could elegantly play the instrument and sing. They were gaining that knowledge primarily at home from foreign and domestic teachers. Despite the popularity of such education and c

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32

Gatot, Agustinus. "Drupadi: Representasi Perempuan Urban dalam Musik Video Drupadi Melantun Karya Drupadi.id." Urban: Jurnal Seni Urban 3, no. 2 (2020): 99–120. http://dx.doi.org/10.52969/jsu.v3i2.35.

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Drupadi, known as a female character in the Mahabharata epic, was the five Pandawa’s spouse. However, Drupadi’s story is not just about polyandrous woman. Drupadi, the female character in the Mahabarata’s epic has inspired many artists in their work, such as a music video from Drupadi ID. Drupadi ID through Drupadi Melantun on Youtube platform with the title “Semacam Riang”; “Bima’s Dream”; and “Bersama Gelap” tried to show the urban woman figure and their problems. Using the critical approach and semiotic analysis this study has succeeded to capture texts that represent an urban woman through

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33

Setiaji, Denis. "MODEL KOMPOSISI MUSIK TERAPI RELAKSASI UNTUK IBU HAMIL BERBASIS IDIOM MUSIKAL KARAWITAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 1 (2021): 15–27. http://dx.doi.org/10.33153/acy.v13i1.3818.

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ABSTRAK Penelitian ini mencoba untuk melakukan formulasi dalam menciptakan musik yang dapat dijadikan sarana terapi untuk menekan tingkat kecemasan serta memberikan rasa tenang dan nyaman terhadap pendengarnya khususnya ibu hamil. Target jangka panjang dari riset ini ialah bagaimana dampak dari musik terhadap psikologi ibu hamil diharapkan mampu memberikan efek positif terhadap ibu maupun janin yang sedang dikandung. Target jangka pendek yang dihasilkan dari riset dalam proposal berikut yakni mencoba melakukan analalisis kompositoris dan mencermati kaidah-kaidah musik terapi yang dikombinasika

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34

Temperley, Nicholas, and Derek Hyde. "Victorian Women." Musical Times 126, no. 1709 (1985): 408. http://dx.doi.org/10.2307/964352.

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Goodwin, Frederic. "Straight Women." Musical Times 126, no. 1703 (1985): 10. http://dx.doi.org/10.2307/962434.

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36

Njoku, Obianuju Akunna. "TRANSCENDING THE SONIC AND THE TEXTUAL." African Music : Journal of the International Library of African Music 11, no. 4 (2023): 1–24. http://dx.doi.org/10.21504/amj.v11i4.2458.

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Among Muslim women in predominantly Islamic societies, music-making remains a contested subject. At the core of these contestations are questions of boundaries, agency, taboos, resistance, and generalisations of the socio-musical experiences of Muslim women. This article explores the development of senwele music, a socio-religious music form of the Ilorin in northern Nigeria, from its origin as orin-kengbe (calabash music) to its transition into a translocal music form. Given influences of the Yoruba, Hausa-Fulani, and Islam, senwele music is examined as a compendium of history; one that is no

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Manko, Svitlana. "Women musicians from the Middle Ages to the present: The transformation of the image." Revista Amazonia Investiga 11, no. 55 (2022): 107–13. http://dx.doi.org/10.34069/ai/2022.55.07.11.

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The article characterizes the problem of transformation of the image of a woman in musical art from the Middle Ages to the present. The work uses both general scientific methods of research: analysis and synthesis, as well as historical methods. As a result, we consider the formation of women in musical art in the Middle Ages, the problems of salon music-making of the XVII-XVIII centuries, and the problem of transformation of the role of women in musical art at the turn of the XX-XXI centuries is characterized. As a result, it is noted that the music of the Middle Ages was defined by a cappell

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Ponomareff, Alexander. "ForeWomen." Journal of Popular Music Studies 31, no. 1 (2019): 157–74. http://dx.doi.org/10.1525/jpms.2019.311012.

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In June 1954, Eunice Kathleen Waymon performed on an Atlantic City stage for the first time under the name Nina Simone. This performative self-creation is mirrored in the structure and lyrical content of one of her best-known songs, “Four Women,” in which each verse features Simone singing as a different woman. By examining the similarities between the varying accounts of Waymon’s transformation into Simone, and by conducting a close reading of Simone’s performances of “Four Women,” it is possible to understand Simone’s song as challenging representational politics by pluralizing identities. T

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Knobloch, Silvia, and Dolf Zillmann. "Appeal of Love Themes in Popular Music." Psychological Reports 93, no. 3 (2003): 653–58. http://dx.doi.org/10.2466/pr0.2003.93.3.653.

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The relationship between romantic satisfaction versus discontent and a preference for music celebrating versus lamenting love is explored. The satisfaction/discontent was ascertained in 60 college undergraduate women and men who later freely listened to music from a sampling of selections. The duration of their self-determined exposure to love-celebrating versus love-lamenting music was unobtrusively recorded by computer software. Romantically satisfied women and men showed a preference for love-celebrating music, whereas discontented women and men preferred love-lamenting music. Romantically

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Campbell, Patricia Shehan. "‘Girls and Women in Popular Music Education’." Journal of Popular Music Education 6, no. 2 (2022): 137–43. http://dx.doi.org/10.1386/jpme_00080_2.

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Guest Editor Patricia Shehan Campbell introduces this Special Issue of the Journal of Popular Music Education focusing on ‘Girls and Women in Popular Music Education’. Campbell briefly sets the scene, articulating something of the urgency of the need to pay more and long overdue attention to women in popular music – both in and for popular music education. Campbell introduces articles by each of the authors featured in this Special Issue, outlining the thrust and key points in each case. She introduces Claire Anderson’s article on spectaculars; Lloyd McArton’s paper on Toronto indie musicians;

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41

Smith, Catherine Parsons, and James R. Briscoe. "Contemporary Anthology of Music by Women." Notes 55, no. 3 (1999): 760. http://dx.doi.org/10.2307/900460.

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42

Tari, Lujza. "Women, Musical Instruments and Instrumental Music." Studia Musicologica Academiae Scientiarum Hungaricae 40, no. 1/3 (1999): 95. http://dx.doi.org/10.2307/902555.

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43

Warwick, Jacqueline, and Robin Roberts. "Ladies First: Women in Music Videos." South Central Review 15, no. 3/4 (1998): 65. http://dx.doi.org/10.2307/3189840.

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Brown, Rae Linda. "Kaleidoscope: Music by African-American Women." American Music 16, no. 1 (1998): 116. http://dx.doi.org/10.2307/3052687.

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45

Alker, Gwendolyn. "Resource guide on women & Music." Women & Performance: a journal of feminist theory 9, no. 2 (1997): 289–304. http://dx.doi.org/10.1080/07407709708571283.

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Sicoli, M. L. Corbin. "Women winners: Major popular music awards." Popular Music and Society 13, no. 1 (1989): 99–102. http://dx.doi.org/10.1080/03007768908591347.

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Smith, Catherine Parsons. "Women and Music: A History (review)." Notes 58, no. 4 (2002): 807–10. http://dx.doi.org/10.1353/not.2002.0101.

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48

Williams, James Kimo. "Women Entrepreneurs in the Music Industry." International Journal of the Humanities: Annual Review 7, no. 9 (2009): 39–50. http://dx.doi.org/10.18848/1447-9508/cgp/v07i09/42734.

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49

Schippers, Mimi, and Mavis Bayton. "Frock Rock: Women Performing Popular Music." Contemporary Sociology 29, no. 6 (2000): 833. http://dx.doi.org/10.2307/2654102.

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Neale, Micah Anne. "Georgian women: music, money and influence." Early Music 47, no. 1 (2019): 140–41. http://dx.doi.org/10.1093/em/caz007.

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