Women and Music-A Journal of Gender and Culture最新文献_第4页

Bess Disembodied: Camilla Williams's (Re)Sounding Black Womanhood in Porgy and Bess 脱离肉体的贝丝:卡米拉·威廉姆斯在《波吉与贝丝》中的黑人女性形象

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0001

A. Kim

{"title":"Bess Disembodied: Camilla Williams's (Re)Sounding Black Womanhood in Porgy and Bess","authors":"A. Kim","doi":"10.1353/wam.2022.0001","DOIUrl":"https://doi.org/10.1353/wam.2022.0001","url":null,"abstract":"In the fall of 1951, Columbia Masterworks Records released the first complete recording of George Gershwin’s Porgy and Bess, featuring lyric soprano Camilla Williams (1919– 2012) and bassbaritone Lawrence Winters (1915– 1965) in the title roles. Just five years prior to recording the album, Williams made her operatic debut performing the leading role of CioCioSan in the New York City Opera Company’s first production of Giacomo Puccini’s Madama Butterfly. With this performance, Williams made history as the first Black singer to be regularly contracted with a leading American opera company, and she also became the first Black woman to perform the role of Butterfly. Williams went on to have a successful international career full of other historic achievements: she was the first Black singer to perform a main role at the Vienna State Opera, she sang the “StarSpangled Banner” on the steps of the Lincoln Memorial during the 1963 March on Washington, and she became the first Black professor of voice at Indiana University in 1977. Throughout her prolific career, Williams frequently performed Butterfly on various national and international stages, and critics widely praised her for bringing an unparalleled degree of authenticity and sensitivity to a role that would remain her most celebrated and enduring.1 Unlike the elaborately staged and embodied performances of Butterfly for which she was renowned, however, Williams never performed in a fully staged production of Porgy and Bess. In fact, Williams refused to perform in staged productions of the opera, which she disavowed for its stereotypical stagings and","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"1 1","pages":"25 - 44"},"PeriodicalIF":0.1,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73812918","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

Unbinding Gentility: Women Making Music in the Nineteenth-Century South by Candace Bailey (review) 《不受束缚的文雅:19世纪南方女性的音乐创作》作者:坎迪斯·贝利

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0010

Lucy Caplan

引用次数: 0

Black Diamond Queens: African American Women and Rock and Roll by Maureen Mahon (review) 《黑钻石女王:非裔美国女性与摇滚》作者:莫琳·马洪(书评)

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0011

Kamilla Arku

引用次数: 0

"Is Your Baby Getting Enough Music?": Musical Interventions into Gestational Labor “你的宝宝有足够的音乐吗?”孕期音乐干预

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0006

Eric Drott, Marie Thompson

{"title":"\"Is Your Baby Getting Enough Music?\": Musical Interventions into Gestational Labor","authors":"Eric Drott, Marie Thompson","doi":"10.1353/wam.2022.0006","DOIUrl":"https://doi.org/10.1353/wam.2022.0006","url":null,"abstract":"Introduction In a 2019 video titled “Is Your Baby Getting Enough Music?” for the children’s charity UNICEF, Dr. Ibrahim Baltagi offers a “mini parenting masterclass” on how “music affects your baby’s brain.” Over the course of the fiveminute video, Baltagi, a lecturer in music at Lebanese International University, details the benefits of music for child development in early years. The viewer sees a multiracial cast of infants, children, and parents happily making and listening to music. We are told that for babies and young children, “music ignites all areas of child development and skills for school readiness,” while “learning to play a musical instrument can improve mathematical learning.” In the video Baltagi extends these benefits to the period before birth, and to the fetus in utero. He suggests that listening to music during pregnancy has “a soothing and uplifting effect on the pregnant woman.” It has a “positive influence on the unborn baby” insofar as “it is proven that music has a role in brain development before birth.” Consequently, Baltagi advises the viewer to “start music with your children as early as possible.”1 This video is illustrative of common assertions made in the media and discourse surrounding parenting about music’s capacity to stage valuable interventions into pregnancy. Various sound technologies, playlists, services, educational campaigns, and programs that posit music as a key resource in producing emotionally resilient and intelligent future children, and generating appropriate familial bonds prior to birth, are now available.2 Many of these interventions have focused on AngloAmerican children in the (over)developed","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"37 1","pages":"125 - 147"},"PeriodicalIF":0.1,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90635183","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

"Mother City": Mothering Work, Coloured Respectability, and the Making of Contemporary Kaapse Klopse “母城”:母性工作、有色的体面与当代Kaapse Klopse的制作

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0000

F. Inglese

{"title":"\"Mother City\": Mothering Work, Coloured Respectability, and the Making of Contemporary Kaapse Klopse","authors":"F. Inglese","doi":"10.1353/wam.2022.0000","DOIUrl":"https://doi.org/10.1353/wam.2022.0000","url":null,"abstract":"The apartheid regime’s Population Registration Act (1950) constructed four racial categories: (Black) African, Indian, white, and coloured (mixed). I maintain the South African spelling of coloured to distinguish it from the racially offensive term once used in the US to refer to African Americans. Although some scholars put “coloured” in quotation marks, I have chosen not to because it can imply that coloured racial identity is constructed, unlike purportedly authentic, stable, and primordial Black and white identities. In klopse practice, the term “coon” is often used to refer to individuals who participate in klopse. While the term stems from the American racist slur for African Americans that was circulated to Cape Town via blackface minstrelsy, in Cape Town it would come to take on quite different meanings among troupe members themselves and continues to be used colloquially to signal someone who participates in Carnival. Despite the racial violence connoted by the term, it is, in this particular context, perceived as a nonderogatory term, often even a source of pride for participants. When I, for example, joined the Fabulous Woodstock Starlites (FWS), I was affectionally referred to by my fellow troupe members as a coon. I intentionally italicize the term to distinguish it from its meanings in an American racial context.","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"1 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89675223","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

Performing Maternal Suffering on the Operatic Stage: The Case of Marguerite in Gounod's Faust 在歌剧舞台上表现母亲的痛苦:古诺《浮士德》中玛格丽特的案例

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0004

M. C. Doran

{"title":"Performing Maternal Suffering on the Operatic Stage: The Case of Marguerite in Gounod's Faust","authors":"M. C. Doran","doi":"10.1353/wam.2022.0004","DOIUrl":"https://doi.org/10.1353/wam.2022.0004","url":null,"abstract":"Among the numerous adaptations of Goethe’s Faust, Gounod’s opera stands out for how it highlights the complex emotional journey of the story’s heroine, Marguerite. The demanding role combines challenging music with a traumatic story line that, when taken seriously, invites meaningful, psychologically driven treatment on the stage.1 Throughout the plot, Marguerite faces circumstances that set her apart from many of her counterparts in other nineteenthcentury operas: she experiences social ostracization after becoming pregnant out of wedlock, and she ultimately kills her infant in an act of extreme desperation and possible insanity. Much of the opera’s music and libretto, however, aestheticize and idealize Marguerite’s trauma while effectively silencing the maternityrelated aspects of her suffering. Furthermore, traditional staging decisions depict neither Marguerite’s pregnancy nor her act of infanticide. By omitting visual reminders of Marguerite’s pregnancy and violent experience with motherhood, I suggest that directors from the nineteenth century onward have effectively sanitized her maternal trauma. And in excising the aria “Il ne revient pas” (act 4, scene 1), in which Marguerite expresses her pain and isolation after Faust abandons her, they have suppressed her voice and perspective. Conversely, various twentyfirstcentury productions of Faust have moved in the opposite direction, foregrounding stark depictions of Marguerite’s pregnancy and infanticide. While some of these productions present Marguerite’s maternity and consequent trauma in an empathetic manner that highlights both her troubled","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"45 1","pages":"100 - 74"},"PeriodicalIF":0.1,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82861770","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

Brought to Life by the Voice: Playback Singing and Cultural Politics in South India by Amanda Weidman (review) 《声音赋予生命:南印度的重放歌唱与文化政治》阿曼达·魏德曼著(书评)

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0008

Elizabeth Kramer

{"title":"Brought to Life by the Voice: Playback Singing and Cultural Politics in South India by Amanda Weidman (review)","authors":"Elizabeth Kramer","doi":"10.1353/wam.2022.0008","DOIUrl":"https://doi.org/10.1353/wam.2022.0008","url":null,"abstract":"The global musical community has long been aware of the culturally and commercially significant practice of playback singing in Bollywood films and the distinctive position of female singers within this industry, as long represented by the iconic Lata Mangeshkar (1929– 2022).1 The vast majority of studies have focused on the industry out of Mumbai and the music of Hindilanguage film, acknowledging in the margins that major industries exist for many of India’s languages. In recent years regional film industries have risen in prominence, with Financial Express, a respected daily newspaper distributed across India, reporting that in 2019 regional films, led by Telugu and Tamil cinema in the South, contributed a larger share of box office revenues to the overall industry than Bollywood.2 The change has been fueled by the last decade’s growth of what have been called “panIndian” films, mostly South Indian films simultaneously released in more than five languages.3 Struck by the paucity of scholarly examinations of Indian film culture, especially given the flourishing Indian film industry, and with interests in women’s reallife musical experience and film, music, and culture of South India, I was happy to discover Amanda Weidman’s new book Brought to Life by the Voice: Playback Singing and Cultural Politics in South India.","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"26 1","pages":"170 - 175"},"PeriodicalIF":0.1,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75525980","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

Contractions, Cries, and COVID: The Traumatic Soundscapes of UK Lockdown Hospital Maternity Wards 宫缩、哭泣和COVID:英国封锁医院产科病房的创伤性音景

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0007

M. Meinhart

引用次数: 1

Silencing "Savage" Soundscapes: Hearing C-Section Births in the British Imperial Record 沉默“野蛮”的音景:听到英国帝国记录中的剖腹产分娩

IF 0.1

Women and Music-A Journal of Gender and Culture Pub Date : 2022-10-14 DOI: 10.1353/wam.2022.0005

Erin Johnson-Williams

引用次数: 0

"Thus Do All Women": Comedy, Sentimentality, Ambiguity, and a Così fan tutte for the #MeToo Era 《所有女人都这样》:喜剧、多愁善感、模棱两可，以及#MeToo时代的Così粉丝漫画