The women's music movement: music as feminist praxis, 1973-1980
"Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women's Music Movement: Music as Feminist Praxis, 1973-1980, Paul Ambrose Shaw III contends the women's music movement (W...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Leiden ; Boston
Brill
[2023]
|
| Schriftenreihe: | Arts, creativities, and learning environments in global perspectives
volume 8 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women's Music Movement: Music as Feminist Praxis, 1973-1980, Paul Ambrose Shaw III contends the women's music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women's music movement? Was the women's music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM-Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery-Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity"-- |
| Beschreibung: | IX, 130 Seiten |
| ISBN: | 9789004534964 9789004534971 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents Preface xi Acknowledgements хи Introduction: Why This Study? i i How a Musical Lens Can Inform swf Narratives 4 1 Feminism and Women’s Music: Definitions, Context, and Terms 1 Intersectionality 9 2 Background 11 3 Context 12 4 Abbreviations 12 2 Considerations: Epistemology, Feminist Criteria, Gender and Pop 14 1 Epistemology and Feminist Art Criteria 16 2 A Case for More Musical, Lyrical (Semiotic) Scholarship: Gender and Pop 20 3 Music as Social, Personal, and Political 4 Analysis Process: Limitations, the Songwriters, and the Songs 1 A Note on Process 34 2 Limitations and Assumptions 37 3 The Songwriters 38 4 The Songs 39 5 Meg Christian’s “Valentine Song” 43 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 43 2 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 47 3 Form and Style (Variation, Unity, Repetition) 48 4 Dynamics 49 5 Musical Example 49 6 Timbre (Color, Tone, Inflection) 50 7 Lyrics 50 8 Valentine Song (Meg Christian) Guitar Capo ist Fret (Actual key-Ab) 50 9 Conclusion 52 7 27 33
VIII CONTENTS 6 Ferron’s “Ain’t Life a Brook” 54 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 54 2 Musical Example 60 3 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 60 4 Form and Style (Variation, Unity, Repetition) 62 5 Dynamics 62 6 Timbre (Color, Tone, Inflection) 63 7 Lyrics 63 8 Ain’t Life a Brook (Ferron) Guitar Capo 7th Fret (Actual Key-D) 63 9 Conclusion 67 7 Cris Williamson’s “Sister” 68 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 68 2 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 74 3 Form and Style (Variation, Unity, Repetition) 75 4 Dynamics 76 5 Musical Example 77 6 Timbre (Color, Tone, Inflection) 77 7 Lyrics 78 8 Sister (Cris Williamson) Original Key-C (for Piano or Guitar) 78 9 Conclusion 81 8 Holly Near’s “Riverboat” 83 1 A Note on Inclusion: Why Near? 83 2 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 86 3 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 89 4 Form and Style (Variation, Unity, Repetition) 91 5 Dynamics 91 6 Timbre (Color, Tone, Inflection) 92 7 Musical Example 93 8 Lyrics 93 9 Riverboat (Holly Near) Original Key-D (for Piano or Guitar) 94 10 Conclusion 96
IX CONTENTS 9 Linda Tillery’s “Womanly Way” 98 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 99 2 Musical Example 101 3 Musical Example 102 4 Musical Example 103 5 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 104 6 Form and Style (Variation, Unity, Repetition) 105 7 Dynamics 106 8 Timbre (Color, Tone, Inflection) 106 9 Lyrics 107 10 Womanly Way (Linda Tillery) Original Key-Bb (for Piano or Guitar) 108 11 Conclusion 113 10 Conclusion 115 References 123 Index 129
|
| adam_txt |
Contents Preface xi Acknowledgements хи Introduction: Why This Study? i i How a Musical Lens Can Inform swf Narratives 4 1 Feminism and Women’s Music: Definitions, Context, and Terms 1 Intersectionality 9 2 Background 11 3 Context 12 4 Abbreviations 12 2 Considerations: Epistemology, Feminist Criteria, Gender and Pop 14 1 Epistemology and Feminist Art Criteria 16 2 A Case for More Musical, Lyrical (Semiotic) Scholarship: Gender and Pop 20 3 Music as Social, Personal, and Political 4 Analysis Process: Limitations, the Songwriters, and the Songs 1 A Note on Process 34 2 Limitations and Assumptions 37 3 The Songwriters 38 4 The Songs 39 5 Meg Christian’s “Valentine Song” 43 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 43 2 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 47 3 Form and Style (Variation, Unity, Repetition) 48 4 Dynamics 49 5 Musical Example 49 6 Timbre (Color, Tone, Inflection) 50 7 Lyrics 50 8 Valentine Song (Meg Christian) Guitar Capo ist Fret (Actual key-Ab) 50 9 Conclusion 52 7 27 33
VIII CONTENTS 6 Ferron’s “Ain’t Life a Brook” 54 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 54 2 Musical Example 60 3 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 60 4 Form and Style (Variation, Unity, Repetition) 62 5 Dynamics 62 6 Timbre (Color, Tone, Inflection) 63 7 Lyrics 63 8 Ain’t Life a Brook (Ferron) Guitar Capo 7th Fret (Actual Key-D) 63 9 Conclusion 67 7 Cris Williamson’s “Sister” 68 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 68 2 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 74 3 Form and Style (Variation, Unity, Repetition) 75 4 Dynamics 76 5 Musical Example 77 6 Timbre (Color, Tone, Inflection) 77 7 Lyrics 78 8 Sister (Cris Williamson) Original Key-C (for Piano or Guitar) 78 9 Conclusion 81 8 Holly Near’s “Riverboat” 83 1 A Note on Inclusion: Why Near? 83 2 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 86 3 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 89 4 Form and Style (Variation, Unity, Repetition) 91 5 Dynamics 91 6 Timbre (Color, Tone, Inflection) 92 7 Musical Example 93 8 Lyrics 93 9 Riverboat (Holly Near) Original Key-D (for Piano or Guitar) 94 10 Conclusion 96
IX CONTENTS 9 Linda Tillery’s “Womanly Way” 98 1 Rhythm (Foundational Rhythm, Time Signature, Tempo, Delay, Anticipation, Repetition) 99 2 Musical Example 101 3 Musical Example 102 4 Musical Example 103 5 Melodic and Harmonic Features (Key Signature, Vocal Range, Homophony, Polyphony, Texture) 104 6 Form and Style (Variation, Unity, Repetition) 105 7 Dynamics 106 8 Timbre (Color, Tone, Inflection) 106 9 Lyrics 107 10 Womanly Way (Linda Tillery) Original Key-Bb (for Piano or Guitar) 108 11 Conclusion 113 10 Conclusion 115 References 123 Index 129 |
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| index_date | 2024-07-03T21:40:32Z |
| indexdate | 2024-07-10T09:47:50Z |
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| series | Arts, creativities, and learning environments in global perspectives |
| series2 | Arts, creativities, and learning environments in global perspectives |
| spelling | Shaw, Paul Ambrose, III Verfasser (DE-588)1291242848 aut The women's music movement music as feminist praxis, 1973-1980 by Paul Ambrose Shaw III Leiden ; Boston Brill [2023] © 2023 IX, 130 Seiten txt rdacontent n rdamedia nc rdacarrier Arts, creativities, and learning environments in global perspectives volume 8 "Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women's Music Movement: Music as Feminist Praxis, 1973-1980, Paul Ambrose Shaw III contends the women's music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women's music movement? Was the women's music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM-Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery-Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity"-- Geschichte 1973-1980 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Song (DE-588)4138544-5 gnd rswk-swf Frauenbewegung (DE-588)4071428-7 gnd rswk-swf Feminismus (DE-588)4222126-2 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Women's music / History and criticism Women's music / Analysis, appreciation Feminist music / United States / History and criticism Feminism and music / United States Feminism and music Feminist music Women's music United States Criticism, interpretation, etc USA (DE-588)4078704-7 g Musik (DE-588)4040802-4 s Frauenbewegung (DE-588)4071428-7 s Feminismus (DE-588)4222126-2 s Song (DE-588)4138544-5 s Musikalische Analyse (DE-588)4040814-0 s Geschichte 1973-1980 z DE-604 Erscheint auch als Online-Ausgabe 978-90-04-53498-8 Arts, creativities, and learning environments in global perspectives volume 8 (DE-604)BV047854456 8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034117526&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Shaw, Paul Ambrose, III The women's music movement music as feminist praxis, 1973-1980 Arts, creativities, and learning environments in global perspectives Musikalische Analyse (DE-588)4040814-0 gnd Musik (DE-588)4040802-4 gnd Song (DE-588)4138544-5 gnd Frauenbewegung (DE-588)4071428-7 gnd Feminismus (DE-588)4222126-2 gnd |
| subject_GND | (DE-588)4040814-0 (DE-588)4040802-4 (DE-588)4138544-5 (DE-588)4071428-7 (DE-588)4222126-2 (DE-588)4078704-7 |
| title | The women's music movement music as feminist praxis, 1973-1980 |
| title_auth | The women's music movement music as feminist praxis, 1973-1980 |
| title_exact_search | The women's music movement music as feminist praxis, 1973-1980 |
| title_exact_search_txtP | The women's music movement music as feminist praxis, 1973-1980 |
| title_full | The women's music movement music as feminist praxis, 1973-1980 by Paul Ambrose Shaw III |
| title_fullStr | The women's music movement music as feminist praxis, 1973-1980 by Paul Ambrose Shaw III |
| title_full_unstemmed | The women's music movement music as feminist praxis, 1973-1980 by Paul Ambrose Shaw III |
| title_short | The women's music movement |
| title_sort | the women s music movement music as feminist praxis 1973 1980 |
| title_sub | music as feminist praxis, 1973-1980 |
| topic | Musikalische Analyse (DE-588)4040814-0 gnd Musik (DE-588)4040802-4 gnd Song (DE-588)4138544-5 gnd Frauenbewegung (DE-588)4071428-7 gnd Feminismus (DE-588)4222126-2 gnd |
| topic_facet | Musikalische Analyse Musik Song Frauenbewegung Feminismus USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034117526&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV047854456 |
| work_keys_str_mv | AT shawpaulambroseiii thewomensmusicmovementmusicasfeministpraxis19731980 |