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  1. Sounding feminine
    women's voices in British musical culture, 1780-1850
    Autor*in: Kennerley, David
    Erschienen: 2020
    Verlag:  Oxford University Press, New York

    Introduction. Sounding Feminine -- Instructing women's voices in conduct literature -- Encountering women's voices in letters, diaries, and life-writing -- Criticising women's voices in the musical press -- Dorothea Solly's musical world : Class,... mehr

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Signatur:
    8 A 6671
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Gemeinsamer Bibliotheksverbund (GBV)

    Standort:
    Hochschule für Musik, Theater und Medien Hannover, Bibliothek
    Signatur:
    inventarisiert mit Zg.-Nr. 2020/10126
    Fernleihe:
    keine Fernleihe
    Link zum Verbundkatalog:
    Gemeinsamer Bibliotheksverbund (GBV)

    Standort:
    Universität Konstanz, Kommunikations-, Informations-, Medienzentrum (KIM)
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Südwestdeutscher Bibliotheksverbund (SWB)

    Standort:
    Klassik Stiftung Weimar / Herzogin Anna Amalia Bibliothek
    Signatur:
    LQ 84005 K36
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Link zum Verbundkatalog:
    Gemeinsamer Bibliotheksverbund (GBV)

     

    Introduction. Sounding Feminine -- Instructing women's voices in conduct literature -- Encountering women's voices in letters, diaries, and life-writing -- Criticising women's voices in the musical press -- Dorothea Solly's musical world : Class, religion, and the cultivation of the female voice -- The lives and voices of professional female singers : three vignettes -- Epilogue. Voicing a new femininity. "This book examines the uses and meanings of women's voices in British society and musical culture between 1780 and 1850. As previous scholars have argued, during these decades patriarchal power increasingly came to rest upon a particular understanding of the essentially different nature of male and female physiology and psychology. As a result, this book contends, the female voice-believed to blend both physical and mental attributes-became central to maintaining, and challenging, gendered power structures. It argues that the varying ways women used their voices-the sounds that they made, as much as the words they spoke or sang-were understood by contemporaries as aural markers of different kinds of femininity. Consequently, contemporary divisions over feminine ideals were both expressed and contested through women's use of their voices and audiences' responses to them. Following an introduction that lays out the book's theoretical frameworks and main arguments, the first three chapters explore how contemporary responses to different styles of female vocality were shaped by class, religious and national discourses, through an exploration of conduct literature, letters, diaries, life-writing, and music criticism and reportage in newspapers and periodicals. Two case studies then extend the argument further through detailed analysis of the use and meaning of women's voices on the part of both amateur and professional female singers respectively. A closing epilogue draws together the book's major themes and discusses their implications for the gender history of this period"--

     
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    Quelle: Herzogin Anna Amalia Bibliothek
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9780190097561
    Schriftenreihe: The new cultural history of music series
    Schlagworte: Women singers; Women singers; Music; Music; Singers; Femininity in music
    Umfang: xii, 220 Seiten, Notenbeispiele
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