Women and Music-A Journal of Gender and Culture最新文献

The Impact of Two-Child Policy on Discrimination against Women Workers in China 二孩政策对中国女工歧视的影响

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Women and Music-A Journal of Gender and Culture Pub Date : 2023-06-30 DOI: 10.20992/gc.2023.06.16.1.117

Mengyao Hu, Joohee Lee

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Engraving Obscenity on Bathing Woman"s Body 在洗澡的女人身上刻字猥亵

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Women and Music-A Journal of Gender and Culture Pub Date : 2023-06-30 DOI: 10.20992/gc.2023.06.16.1.153

Hongchul Bae

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The Experiences of Women in their 50s and 60s During Overseas Free Travel : Rest, Healing and Self-Recognition 五六十岁女性海外自由行经历:休息、疗愈与自我认知

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Women and Music-A Journal of Gender and Culture Pub Date : 2023-06-30 DOI: 10.20992/gc.2023.06.16.1.79

Dong-ok Lee

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Doing and Being-with in Caring Labor : Reflections from a Paid Caregiver Writing Workshop 在照顾劳动中做与与:来自一个有偿照顾者写作工作坊的思考

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Women and Music-A Journal of Gender and Culture Pub Date : 2023-06-30 DOI: 10.20992/gc.2023.06.16.1.7

Jieun Lee

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Unveiling the Housing Experiences of Unmarried Women in Their 20s and 30s : Reconstructing the Discourse of Housing for Vulnerable Youth 揭示二三十岁未婚女性的住房经历:弱势青年住房话语的重构

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Women and Music-A Journal of Gender and Culture Pub Date : 2023-06-30 DOI: 10.20992/gc.2023.06.16.1.43

Mirok Baek

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Unlikely Angel: The Songs of Dolly Parton by Lydia R. Hamessley (review) 不可能的天使:莉迪亚·r·哈梅斯利的《多莉·帕顿之歌》

Women and Music-A Journal of Gender and Culture Pub Date : 2023-01-01 DOI: 10.1353/wam.2023.a912258

Annie Janeiro Randall

{"title":"Unlikely Angel: The Songs of Dolly Parton by Lydia R. Hamessley (review)","authors":"Annie Janeiro Randall","doi":"10.1353/wam.2023.a912258","DOIUrl":"https://doi.org/10.1353/wam.2023.a912258","url":null,"abstract":"Reviewed by: Unlikely Angel: The Songs of Dolly Parton by Lydia R. Hamessley Annie Janeiro Randall Unlikely Angel: The Songs of Dolly Parton. By Lydia R. Hamessley. Urbana: University of Illinois Press, 2020. 312 pp. Unlikely Angel succeeds in its aim to focus on Dolly Parton’s music and creative process rather than the caricatured elements that have dogged the artist’s public persona since the start of her career ca. 1960. Lydia R. Hamessley’s book is a thoroughgoing response to the dilemma described in the opening paragraph by Dolly’s producer, Steve Buckingham: “Over the decades Dolly and I sometimes talked about how the ‘cartoon’ she had created (her word not mine) often overshadowed her talent as a songwriter and musician. We always strove to put the music first” (Foreword). Unlikely Angel plants its flag firmly on “the music first” and maintains sharp focus on the songs for each of the book’s 286 pages yet also addresses Dolly Parton’s clear-eyed relationship to the cartoon, revealing her agency in deploying it commercially while using it as a shield to protect her imaginative world. Hamessley scored a rare coup for an academic by securing Parton’s participation in the book. Thus supported by the artist herself in the form of extensive, tape-recorded answers to the author’s written questions, Hamessley guides us expertly on a journey to, and through, Dolly’s musical imagination. She creates the term “Dolly’s Songwriting Workshop” to represent the imagined “place” where Dolly goes to create her songs; the conceit is effective on many levels, mainly because it spotlights the serious work behind Dolly Parton’s songwriting craft, something that has been glaringly absent from most journalistic writing about her music. We learn, in close detail, what goes on in Dolly’s workshop through careful examination of representative works drawn from the more than 3,000 songs and 450 recordings that Parton has created in her long career. We begin to grasp the reasons for her career’s extraordinary longevity: Parton’s persistent return to the musical well of her Appalachian heritage and her ability to extract material of astonishingly broad appeal from it. Her cross-cultural fan base is witness to this fact. Indeed, very few singer-songwriters have maintained a loyal fan base and international appeal for six decades. Hamessley takes us through the workshop with a mass of carefully curated materials that include contextualized discussions of songs, multiple listening guides, notated examples, and harmonic and melodic analyses. These crisp pedagogical elements display the author’s abundant expertise; fans need not fear that their beloved music will emerge diminished at the end of a reductionist critique. Dolly’s enthusiastic participation in the project would seem to further guarantee it. Steve Buckingham, too, contributes commentary and has allowed Hamessley to publish studio notes and producers’ handwritten lead sheets that provide an insider’s perspective o","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Keynote Talk at Berklee Institute of Jazz and Gender Justice: October 30, 2018 在爵士和性别正义伯克利研究所的主题演讲:2018年10月30日

Women and Music-A Journal of Gender and Culture Pub Date : 2023-01-01 DOI: 10.1353/wam.2023.a912248

Farah Jasmine Griffin

{"title":"Keynote Talk at Berklee Institute of Jazz and Gender Justice: October 30, 2018","authors":"Farah Jasmine Griffin","doi":"10.1353/wam.2023.a912248","DOIUrl":"https://doi.org/10.1353/wam.2023.a912248","url":null,"abstract":"Keynote Talk at Berklee Institute of Jazz and Gender JusticeOctober 30, 2018 Farah Jasmine Griffin Edited Transcription I would be remiss if I did not say that this is a very celebratory occasion for us, but it falls in the midst of some pretty dark and difficult times for our nation, as we are witnessing horrific acts of violence across the country. I think we need to acknowledge when these kinds of things happen: the terrible loss of life, the senseless loss of life we have experienced. That is even more reason why our being here together is important, because we need, especially in times like these, to join together in community, to create community, to sustain it, to share in activities that remind us of our common humanity. Whenever we celebrate art, perhaps especially music, we are reminded of those things that connect rather than divide us. And jazz has always just been that capacious, bringing cultures and peoples in. It is deeply grounded in a specific history and culture, but it has always reached out and welcomed people and influences from far and wide. The music says, “Come in, tell your story, we want to hear it, we want to be in conversation with you.” That is jazz at its best and that is what we are here to do. A second reason why I think it is important that we come together to celebrate the Institute is because it is also a moment of institution building: the opening of this institute occurs at a moment of paradox. On the one hand, the opening is in the midst of the #MeToo movement, a moment of reckoning with issues around sexual harassment and sexual assault. If not a specific product of that movement, it is nonetheless part of the same historic moment that gives it birth, and it too asks that we take a look at questions of gender-based inequality, that we do the work of forging gender justice, together. It appears at the same time as the We Have Voice Collective, a group of fourteen female and nonbinary musicians in jazz and experimental music including Terri Lyne Carrington, Nicole Mitchell, Imani Uzuri, are challenging predatory and sexist behavior, articulating what a [End Page 1] more equitable workplace in music might look like;1 and also the birth of the Women in Jazz Organization, an advocacy group that was founded in 2017.2 It is a paradox, but not without precedent, because an ironic fact of life in America, particularly life for African Americans and for women, is that at times of deepest repression we have given birth to extraordinary cultural forms, contributions, innovations, and institutions committed to justice. The work of social change is the work of individuals joined together for a common goal, sustained by institutions like this one that support and provide space for people to organize, to research, to think, to analyze, and to be together. So we do have much to celebrate today. Not in spite of the horrible things happening in our nation, but because our gathering is actually an antidote to them, a pushback ","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound by Daphne A. Brooks (review) 《革命的内页笔记:黑人女权主义之声的思想生活》达芙妮·a·布鲁克斯著(书评)

Women and Music-A Journal of Gender and Culture Pub Date : 2023-01-01 DOI: 10.1353/wam.2023.a912260

Shanice Wolters

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引用次数: 1

Lessons in Black Women’s Laughter: A Play-Essay on Parisian Jazz Journeys 黑人女性笑声中的教训:一篇关于巴黎爵士之旅的戏剧随笔

Women and Music-A Journal of Gender and Culture Pub Date : 2023-01-01 DOI: 10.1353/wam.2023.a912253

Rashida K. Braggs

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引用次数: 0

Letter from the Guest Editors 客座编辑的来信

Women and Music-A Journal of Gender and Culture Pub Date : 2023-01-01 DOI: 10.1353/wam.2023.a912247

Terri Lyne Carrington, Aja Burrell Wood, Tracy McMullen

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引用次数: 0