Gender, Sexualities and Popular Music Research Papers (original) (raw)

Las nuevas realidades abiertas en los mercados han sido una posibilidad de desarrollo personal y social para grupos particularmente desfavorecidos, cuyas condiciones estructurales han pesado a la hora de adoptar decisiones y provocar su... more

Las nuevas realidades abiertas en los mercados han sido una posibilidad de desarrollo personal y social para grupos particularmente desfavorecidos, cuyas condiciones estructurales han pesado a la hora de adoptar decisiones y provocar su promoción personal como artistas, poniendo en valor habilidades fuertemente culturizadas que se convierten en mecanismos óptimos de valoración externa, pero sufriendo también el “peso de la tradición”. Nuestro propósito es analizar el modo por el que los contenidos culturales de los géneros se convierten, en un contexto de mundialización de las artes escénicas, en bienes patrimoniales para la inserción en determinados nichos del mercado de trabajo flamenco. Nos centraremos en las “lecturas femeninas del arte” que se están haciendo en el flamenco, entendidas aquéllas como estrategias de desarrollo por parte de sus protagonistas.
El texto explora la construcción del “don artístico” como valor (generación y género), los límites de “ser mujer”: la profesionalización histórica de las flamencas, las nuevas generaciones de flamencas: una redefinición del “arte” como vía para el desarrollo profesional, el derecho a ser incluidas, la superación de las fronteras étnicas, la redefinición de la familia como grupo de trabajo y el tratamiento de las relaciones interpersonales, finalizando con el paso de “objeto de deseo” a “objeto de comercialidad” y la construcción del cuerpo: estética y disciplina.

Every society possesses pre-existed standpoints on women and women issues in its enclave and these in diverse media of communication manifest from time to time. Popular music is one of the avenues of communicating social realities. It is... more

Every society possesses pre-existed standpoints on women and women issues in its enclave and these in diverse media of communication manifest from time to time. Popular music is one of the avenues of communicating social realities. It is on this basis this article x-rays Ayinla Omowura " s song-texts in order to understand how the artiste as a patriarchal voice interprets these standpoints. Six songs from five of his albums wherein these issues are discussed were critically analysed by looking at specific women issues raised and how they were portrayed. Four themes-polygamy, prostitution, skin bleaching, and with the dominant one, women " s submission, recurred in the songs. Also, the artiste thrived on the use of invectives, curses, proverbs, aphorisms imbued with metaphors as rhetorical strategies. In all, the artiste " s commentaries on women affairs in his society reveal a high level of patriarchal hegemony which dominated his time, as in his trying to explain the psychology of women he further accommodates and lends voice to the manufactured consent for continued gender discrimination.

Today we take remixing, DJ culture and dance club culture for granted. They have become an inextricable part of the modern urban scene and music’s mainstream pop-culture. However, it was only a few decades ago when early DJs broke new... more

A lot has been written in a variety of disciplines about the many challenges the genre of hip-hop faces regarding its representation of gender. Mainstream hip-hop videos have long been known for their images of scantily clad women,... more

A lot has been written in a variety of disciplines about the many challenges the genre of hip-hop faces regarding its representation of gender. Mainstream hip-hop videos have long been known for their images of scantily clad women, extreme materialism, and misogynist and
homophobic lyrics. In this essay I will deal with female masculinity as depicted in a video by hip-hop artist and producer Missy Elliott who breaks with the gender conventions so ably expressed in countless mainstream hip-hop videos. In her performances, Elliott emphatically rejects female stereotypes while toying with male stereotypes, particularly using her vocal
style. I will also discuss the ways in which Elliott’s virtuosic use of studio effects expresses masculinity, as demonstrated in the video.

، ‫جن‬ ‫س‬ ‫آن‬ ‫اجتماعی‬ ‫و‬ ‫ی‬ ‫انجام‬ ‫مطالعات‬ ‫جدیدترین‬ ‫براساس‬ ‫روا‬ ‫علوم‬ ‫دانشمندان‬ ‫توسط‬ ‫شده‬ ‫موسیقی‬ ‫رفتاری،‬ ‫و‬ ‫نشناسی‬ ‫ک‬ ‫هایی‬ ‫هر‬ ‫به‬ ‫ه‬ ‫نوع‬ ‫ژانرهای‬ ‫در‬ ‫شگر‬ ‫پرخا‬ ‫انه‬ 1 ‫می‬ ‫ساخته‬ ‫شنونده‬ ‫در‬... more

، ‫جن‬ ‫س‬ ‫آن‬ ‫اجتماعی‬ ‫و‬ ‫ی‬ ‫انجام‬ ‫مطالعات‬ ‫جدیدترین‬ ‫براساس‬ ‫روا‬ ‫علوم‬ ‫دانشمندان‬ ‫توسط‬ ‫شده‬ ‫موسیقی‬ ‫رفتاری،‬ ‫و‬ ‫نشناسی‬ ‫ک‬ ‫هایی‬ ‫هر‬ ‫به‬ ‫ه‬ ‫نوع‬ ‫ژانرهای‬ ‫در‬ ‫شگر‬ ‫پرخا‬ ‫انه‬ 1 ‫می‬ ‫ساخته‬ ‫شنونده‬ ‫در‬ ‫درازمدتی‬ ‫منفی‬ ‫تأثیرات‬ ‫به‬ ‫شوند‬ ‫منجر‬ ‫می‬ ‫شوند.‬ ‫سه‬ ‫ب‬ ‫دانشمممند‬ ‫ه‬ ‫نام‬ ‫اندرسممون‬ ‫کریگ‬ ‫های‬ 2 ‫کرنگی‬ ‫نیکوالس‬ ‫و‬ 3 ‫یوبانک‬ ‫جینی‬ ‫و‬ ‫ایووا‬ ‫دانشممگاه‬ ‫از‬ 4 ‫دانشممگاه‬ ‫از‬ ‫ت‬ ‫گ‬ ‫اس‬ ‫ا‬ ‫مریکا‬ ‫زمینه‬ ‫این‬ ‫در‬ ‫تحقیقات‬ ‫دامنه‬ ‫دار‬ ‫داده‬ ‫انجام‬ ‫ی‬ ‫که‬ ‫اند‬ ‫در‬ ‫شمار‬ ‫ة‬ ( 5 ) 44 ‫نشری‬ ‫ة‬ ‫شخصیت‬ ‫علمی‬ ‫و‬ ‫اجتماعی‬ ‫می‬ ‫مناسم‬ ‫روانشم‬ 5 ‫تحقی‬ ‫این‬ ‫ماس‬ ‫براسم‬ ‫مت.‬ ‫اسم‬ ‫میده‬ ‫رسم‬ ‫چاپ‬ ‫به‬ ، ‫روی‬ ‫و‬ ‫مختلف‬ ‫فاز‬ ‫پنج‬ ‫در‬ ‫که‬ 555 ‫نفر‬ ‫تعداد‬ ‫ست،‬ ‫ا‬ ‫گرفته‬ ‫انجام‬ 7 ‫شونت‬ ‫خ‬ ‫و‬ ‫شجو‬ ‫پرخا‬ ‫آواز‬ ‫آمی‬ ‫و‬ 4 ‫سط‬ ‫تو‬ ‫شده‬ ‫(اجرا‬ ‫شجویانه‬ ‫پرخا‬ ‫غیر‬ ‫آواز‬ 7 ‫خوانند‬ ‫ة‬ ‫جامع‬ ‫این‬ ‫روی‬ ‫مختلف)‬ ‫ة‬ ‫مطالعه‬ ‫آماری‬ ‫ش‬ ‫د‬ ‫شیو‬ .

Die Kopfstimme ist im Pop omnipräsent – Jimmy Somerville, Morton Harket oder Prince und Michael Jackson in den 80er und 90er, Maroon 5 in den 2000er und The Weeknd sowie Frank Ocean in den 2010er Jahren ließen sich als kleine Auswahl der... more

Die Kopfstimme ist im Pop omnipräsent – Jimmy Somerville, Morton Harket oder Prince und Michael Jackson in den 80er und 90er, Maroon 5 in den 2000er und The Weeknd sowie Frank Ocean in den 2010er Jahren ließen sich als kleine Auswahl der vielzähligen Beispiele anführen, für die diese Stimmlage charakteristisch war und ist. Im Pop gilt sie als Spezialfach von Sängern, nicht Sänger*innen, während sie allgemein – und vor allem im historischen Kontext der Barockoper – als geschlechtsambivalent, wenn nicht gar als ‚gender-bending’, also die Geschlechtskategorien unterlaufend, eingeschätzt wird.Die Kopfstimme scheint aufgrund ihrer besonderen Klanglichkeit scheinbar außerhalb geschlechtlicher Zuschreibungen zu stehen und ist stattdessen von einer gewissen, fast utopisch anmutenden ‚Neutralität’ gekennzeichnet. Dass dies möglicherweise fraglich ist, möchte der folgende Beitrag anhand dreier konkreter Beispiele – den Stimmen Sam Smiths, Eleanor Jacksons von La Roux und Anohni Hegarty, ehemals Antony von Antony and the Johnsons – erörtern und der Art und Weise nachgehen, wie diese spezifischen Stimmen seitens der Medien beschrieben und gedeutet werden. Dabei zielen die Ausführungen sowohl darauf, mögliche Zuschreibungen aufzuzeigen und den Spuren ihrer Verbindung mit Geschlechterkategorien zu folgen, als auch ein Verständnis ‚vokaler Androgynität’ zu konturieren.

Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in... more

Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk-or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene they belong to are the lack of history of female playing and the requirement that they reach the supposedly higher standards of male musicians. This article starts with a brief genealogy of female instrumental music performance from late socialism to the diversity of contemporary popular music in its present neo-liberal context. Against that background it interprets the disciplining mechanisms restricting female musical creativity and performance, addressing the issues of identity and power through female agency in music.