For in several significant respects, women's roles in the confusing collaborative process of American musical theater [...] have indeed been marginalized [author's emphasis]. 2 Feeding this misconception is the “body of evidence” ...
Author: Bud Coleman
Category: Performing Arts
Throughout the twentieth century women have made significant contributions to the creation of American musical theatre. Directing, choreographing, writing, arranging, producing and designing musicals in a variety of venues throughout America, women have played a significant role in shaping the development of musical theatre both on and off Broadway and in regional, educational, and community venues. The essays in this book examine the history of women in musical theatre, providing biographical descriptions of the women themselves; analyses and interpretations of their productions; and several accounts of how being a woman affected the artists' careers. Topics include the similarities among the careers of successful but neglected lyricists Rida Johnson Young, Anne Caldwell, and Dorothy Donnelly; the Depression-era productions of Hallie Flanagan and Cheryl Crawford; the transformation of the classic "showgirl" image through the dances and stage movement created by prominent female choreographers; and a survey of numerical data highlighting the discrepancy between the number of men versus the number of women hired to direct professional musical productions in various venues across the United States.
Women in American Music Writings on America's women musicians may be located in biographical studies that cover American music in general , as , for instance , the works surveyed in chapter 8 ; or in women in music , as , for instance ...
Information from Diana Ruth Hallman, “The Pianist Fannie Bloomfield Zeisler in American Music and Society” (M.M. thesis, University of Maryland, 1983). 19. See Susan Kagan, “Camilla Urso: A Nineteenth Century Violinist's View,” Signs: ...
Author: Karin Pendle
Publisher: Indiana University Press
Women & Music now features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women & Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.
Eileen Southern, The Music of Black Americans: A History, 3rd edition (New York: W. W. Norton, 1997), 224–31. 26. Judith Tick, “Passed Away Is the Piano Girl: Changes in American Musical Life, 1870–1900,” in Women MakingMusic: The ...
Author: Sondra Wieland Howe
Publisher: Scarecrow Press
Although women have been teaching and performing music for centuries, their stories are often missing from traditional accounts of the history of music education. In Women Music Educators in the United States: A History, Sondra Wieland Howe provides a comprehensive narrative of women teaching music in the United States from colonial days until the end of the twentieth century. Defining music education broadly to include home, community, and institutional settings, Howe draws on sources from musicology, the history of education, and social history to offer a new perspective on the topic.
London: Sage. Hatten, Robert. 1985. “The Place of Intertextuality in Music Studies.” American Journal of Semiotics 3 (4): 69–82. Haug, Frigga. 1987. Female Sexualization: A Collective Work of Memory. London: Verso. Hearn, Alison. 2008.
Author: Benjamin J. Harbert
Publisher: Wesleyan University Press
Documentary filmmakers have been making films about music for a half-century. American Music Documentary looks at five key films to begin to imagine how we might produce, edit, and watch films from an ethnomusicological point of view. Reconsidering Albert and David Maysles’s Gimme Shelter, Jill Godmilow’s Antonia: A Portrait of the Woman, Shirley Clarke’s Ornette: Made in America, D.A. Pennebaker’s and Chris Hegedus’s Depeche Mode: 101, and Jem Cohen’s and Fugazi’s Instrument, Harbert lays the foundations for the study and practice of “ciné-ethnomusicology.” Interviews with directors and rich analysis from the disciplinary perspectives of film studies and ethnomusicology make this book a critical companion to some of the most celebrated music documentaries of the twentieth century.
My aim is to insert the experiences of Black performers of “women's music” into the genealogy of African American music, addressing, in particular, issues of realness that arose in this sphere during the course of my research.
Author: Portia K. Maultsby
Publisher: Taylor & Francis
Issues in African American Music: Power, Gender, Race, Representation is a collection of twenty-one essays by leading scholars, surveying vital themes in the history of African American music. Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their communities. Revised and expanded to reflect the latest scholarship, with six all-new essays, this book both complements the previously published volume African American Music: An Introduction and stands on its own. Each chapter features a discography of recommended listening for further study. From the antebellum period to the present, and from classical music to hip hop, this wide-ranging volume provides a nuanced introduction for students and anyone seeking to understand the history, social context, and cultural impact of African American music.
Author: Jacqueline Edmondson Ph.D.Publish On: 2013-10-03
In 1898 the National Federation of Music Clubs (NFMC) was formed, and over 200,000 members of women's music clubs were part of this organization. NFMC's role was to support American music and composers. It has become one of the world's ...
Author: Jacqueline Edmondson Ph.D.
A fascinating exploration of the relationship between American culture and music as defined by musicians, scholars, and critics from around the world.
She began to further explore the history of African American music and musicians in the U.S. , from Mahalia Jackson to Jessye Norman and Dizzy Gillespie and from the Negro spiritual to nationalistic and electronic music .
Author: Jessie Carney Smith
Publisher: VNR AG
Provides brief biographies of business executives, writers, journalists, lawyers, physicians, actresses, singers, musicians, artists, educators, religious leaders, civil rights activists, politicians, aviators, athletes, and scientists
with that of the barbershop quartet is clearly in evidence in their music and most notably, perhaps, in their best-known gospel recording, "Jesus Met the Woman at the Well", performed a cappella. Their father founded a barbershop ...
Author: Nicolae Sfetcu
Publisher: Nicolae Sfetcu
The music of the United States is so cool! It reflects the country’s multicultural population through a diverse array of styles. Rock and roll, hip hop, country, rhythm and blues, and jazz are among the country’s most internationally renowned genres. Since the beginning of the 20th century, popular recorded music from the United States has become increasingly known across the world, to the point where some forms of American popular music is listened to almost everywhere. A history and an introduction in the ethnic music in the United States, American Indian music, classical music, folk music, hip hop, march music, popular music, patriotic music, as well as the American pop, rock, barbershop music, bluegrass music, blues, bounce music, Doo-wop, gospel, heavy metal, jazz, R&B, and the North American Western music.
To this end, Stark transformed the marketing of rags by eliminating stereotypical images of African Americans on his sheet music ... Images on printed music, however, tended to portray African American and White women quite differently.
Author: Mellonee V. Burnim
American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and a new audio CD bring the music to life.