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Women and Music: A Journal of Gender and Culture
Number of Followers: 12

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ISSN (Print) 1090-7505 - ISSN (Online) 1553-0612
Published by U of Nebraska

[32 journals]

Playing Together: Gender Roles and Transformative Displays in the
Christmas Bands Movement in Cape Town, South Africa
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  Abstract: The Christmas Bands Movement is a parading practice unique to the Western Cape Province of South Africa in which wind and string instruments are used to accompany street parades, performing Christian hymns, marches, or Christmas carols. I have researched these bands over many years. They encompass generations of family members, and each band usually recruits its membership on the basis of family and friends, so that any one band can feel like a large family gathering. One of the annual practices of the Christmas bands is to visit their membership, as well as sick and elderly supporters of the band, during which they commune with them by playing Christian hymns or Christmas carols and sharing prayers, Bible verses ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Transcription of Anonymous, "Si el hado cruel y fiero"
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  Abstract: This transcription reproduces a part from a mid-eighteenth-century da capo aria duet for the Feast of the Virgin of Sorrows. It was originally sung by Puebla's Santísima Trinidad Convent nuns.1 Through the silences notated by rests, where the missing ritornello and first tiple (soprano) voice dialogued with the transcribed extant middle voice, we can reflect on the liminal state of women musicians who took the veil in colonial Mexico. Who were the women who were allowed to sing' Catholic legislation established racial exclusions within nuns' orders that marginalized Black, Indigenous, and mixed-race women, prohibiting them from professing and silencing them from singing for salvation, which was the main duty of the ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Housework Lock (her) Down
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  Abstract: Housework Lock (her) Down (2020), for three or four Embedded Irons in telematic performance, is part of Women's Labor, a feminist project directed by Ho that uses embedded technologies to transform domestic tools into new electronic musical instruments. These musical instruments are featured in sound installations, new compositions by female composers, participant workshops, and performance.Women's Labor addresses gender and class inequality in domestic labor division and challenges persistent gendered social norms through music-art activism. While public policies have made strides in promoting workplace gender equality, women continue to shoulder the majority of unpaid domestic work in opposite-sex households. ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Survivors' Songs in Opera: What the Vulnerable Voice Can Do
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  Abstract: Stories matter, and it matters how they are told.When Dr. Christine Blasey Ford described her sexual assault before the U.S. Senate Judiciary Committee in September 2018, the trauma she had experienced was communicated by the vulnerability in her voice and expression as much as by her words themselves. I was among the millions of people, especially women, who felt compelled to watch the proceedings, in my case livestreamed to my office computer. Feminists, survivors, and activists watched her testify and admired her strength, but they also braced for the backlash that Professor Anita Hill's courageous testimony nearly three decades earlier, in 1991, had taught two generations of us to expect. If we were prepared ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Expected Face
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  Abstract: For voice and piano, commissioned by Long Beach Opera, with text by A.Martinez from the poem "The Longest Improvisation" (duration, six minutes), 2020.Expected Face was commissioned by Long Beach Opera in the fall of 2020 as part of its "2020 Songbook," collecting songs "about 2020." Around that time, A.Martinez published her poem "The Longest Improvisation" in the journal Contratiempo in a Spanish translation by Miguel Marzana. A poet, visual artist, mother, and community and arts organizer based in Chicago, Martinez is a friend, colleague, and fellow artist-mama whom I deeply admire. Martinez wrote her poem in March 2019, yet "The Longest Improvisation"—describing a solitary moment of self-reflection at the end ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Black Women Rap Battles: A Textual Analysis of U.S. Rap Diss Songs
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  Abstract: On February 25, 2017, rapper Reminisce "Remy Ma" Mackie sent the hip-hop community and the Internet into a frenzy when she released "ShETHER," a seven-minute diss song aimed at the self-proclaimed "Queen of Rap," Onika "Nicki Minaj" Maraj.1 The song was made less than forty-eight hours after Nicki Minaj made a subtle reference to Remy Ma's disappointing album sales in a collaboration with Radric "Gucci Mane" Davis entitled "Make Love." Sampling Nasir "Nas" Jones's 2001 diss song to Shawn "Jay-Z" Carter entitled "Ether," "ShETHER" was neither the first nor reportedly the last time Remy Ma and Nicki Minaj disagreed with one another; consequently, it reignited a decade-long rap feud and brought attention to a lineage ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
"Mirrors"
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  Abstract: Mirrors produce symmetries and make the world deeper.A short, ironic musical theme, as a single arpeggiated chord, is mirrored through time. The short theme and its retrograde, taken together as question and answer, form a palindrome.Palindromes are here and there in this piece, like a game of mirrors.Written during the lockdown, the terrible March 2020 when Italians were closed in their homes, "Mirrors" is an homage to symmetry and to the way in which mirrors seem to enlarge indoor spaces.In physics, "symmetry" is an invariance with respect to a change. As the physics Nobel Prize winner Franck Wilczek said, this is a "Change without a Change." In music, there can be mirroring of structures of counterpoint (as used ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Sonic Femininity: The Ronettes' Transgressive Gender Performance
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  Abstract: Looking and looking back, black women involve ourselves in a process whereby we see our history as counter-memory, using it as a way to know the present and invent the future.On September 28, 1963, the Ronettes performed on Dick Clark's American Bandstand for the first time.1 The curtain unfurls to reveal three singers exemplifying the uniformity and apparent demureness imposed by norms of classic sixties femininity: their slim bodies are dressed in identical long-sleeved pencil dresses, their hair is partially swept up in identical half-bouffants, and their eyes are thickly lined in black kohl. They sway their hips and arms awkwardly to the opening bars of "Be My Baby," and then Ronnie Spector, standing on the ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Curating Koreanness: Musical Activities of Elite Korean Women in Hawai'i
during the Japanese Colonial Period, 1910–1945
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  Abstract: During the early twentieth century, residents of Honolulu regularly witnessed multiethnic groups dressed in traditional costumes presenting music and dance of their own culture onstage for tourists and residents. Koreans were among such performers. Beginning in the late 1920s, an increasing number of Korean cultural organizations in Hawai'i prompted a surge of cultural interaction among diverse ethnic groups, including those from Japan, China, and the Philippines. At such multicultural events, where immigrant communities shared their traditional culture, Koreans frequently performed traditional dance, folk songs, and new dramatic plays incorporating Korean folktales. Traditionally in Korea, the works of preserving ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Letter from the Editor in Chief
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  Abstract: This issue is my last as editor in chief of Women & Music: A Journal of Gender and Culture, bringing to a close a long period of my life and work. Beginning in 2007, I spent seven years working as managing editor under Suzanne G. Cusick, three more under Ellie Hisama (including WAM 19, which I guest edited as a festschrift in honor of Suzanne), and now five years as editor in chief. As managing editor, the most rewarding part of the job was seeing the issue make it into print—a genuine, tangible object existing in the world. Working more closely with the individual authors as editor in chief, however, my deepest and most powerful reward has been the opportunity to see these articles improve over the long process ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
A Green Jaded Winter
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  Abstract: A Green Jaded Winter for solo cello was inspired by my family's immigration to Australia at the end of 2004, when I was just six years old. I remember sitting on our luggage cart as my parents wheeled my brother and me through the gates of the Shanghai international terminal and watching my tearful grandma slowly disappear behind the gates.The work synergizes Western and Eastern musical aesthetics to embody a personal journey of accepting my cultural identity as Chinese Australian. The sonorities of the cello weave through moments of gut-wrenching tension and delicate resolution. It sonically paints my fear-ridden childhood through to my turbulent adolescence, when I was insecure and deeply troubled by the color of ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
The Valise Correspondence: A Reconsideration of Nadia and Lili Boulanger,
Composers
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  Abstract: When Nadia Boulanger died, the executors of her estate donated an extensive collection of primary sources to the Bibliothèque nationale de France. The contents of a specific valise, or suitcase, were meant to be left unopened until 2011, and scholars are now gaining access to these sensitive materials. Most recently, Fiorella Sassanelli published a comprehensive inventory of the suitcase in her book Lili Boulanger: Frammenti ritrovati di una vita interotta (2018). Sassanelli's text also contains the transcription and translation from French into Italian of more than sixty letters exchanged between the Boulanger sisters from 1905 to 1917. This correspondence begs for an extensive English-language treatment. Doing so ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
"Ant Queen Aria"
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  Abstract: "Ant Queen Aria" looks to the ant colony as a means to reflect on gendered roles and social hierarchy. With original lyrics by Emma Komlos-Hrobsky, the aria depicts the transformation of a woman into an ant queen laying eggs. As the sole reproducer for the ant colony, the ant queen has the formidable task of laying twenty thousand to two hundred thousand eggs. Meanwhile, a handful of males appear fleetingly, and a half million sterile female workers— sisters of the queen—find food and tend to the young. The ant colony's division of labor prompts a reflection on gendered divisions of labor in human society and the struggle many women face when balancing family and work. "Ant Queen Aria" is scored for soprano and ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Turning the Madwoman Upside Down: Altisidora's Transgressions in The
Comical History of Don Quixote
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  Abstract: The soprano-actresses Anne Bracegirdle (1671–1748) and Letitia Cross (ca. 1682–1737) both sang mad songs in Thomas D'Urfey's stage play The Comical History of Don Quixote (hereAfter TCH). A dramatic adaptation of Miguel de Cervantes's celebrated novel telling the adventurous and often absurd tales of the knight-errant Don Quixote, D'Urfey's trilogy premiered in three stand-alone parts in 1694 and 1695 at the Dorset Garden Theatre in London.1 Spectators were absolutely obsessed with Bracegirdle's performance as the madwoman Marcella, who sings John Eccles's mad song "I Burn, My Brain Consumes to Ashes" (hereafter "I Burn") in Part II of TCH. The playwright himself lavished heavy praise on her performance, saying it ... Read More
  PubDate: 2021-10-18T00:00:00-05:00
Sara Levy's World: Gender, Judaism, and the Bach Tradition in
Enlightenment Berlin ed. by Rebecca Cypess and Nancy Sinkoff (review)
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  Abstract: In late 1823 or early 1824, Babette "Bella" Salomon gave her grandson Felix Mendelssohn a gift: a manuscript copy of the score of J. S. Bach's St. Matthew Passion. What might we do with such a historical fact' One option would be to put it in the backstory to the work's performance led by Mendelssohn in Berlin just over five years later, a landmark event in the revival of Bach's music and its linkage to German national identity. Another would be to interrogate the religious tensions in and around the gift, a Christian work passed from a woman committed to her Jewish faith to her converted descendant. Another would be to turn attention to Babette Salomon as a woman, someone whose gift exemplifies the active ... Read More
  PubDate: 2021-10-18T00:00:00-05:00