DOCSLIB.ORG

The Programming of Women Composers: Perceptions And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Programming of Women Composers: Perceptions And THE PROGRAMMING OF WOMEN COMPOSERS: PERCEPTIONS AND PRACTICES OF OKLAHOMA SECONDARY SCHOOL BAND DIRECTORS A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF MUSIC EDUCATION JUNE 2020 By STEVEN RANDALL COLLINS Norman, Oklahoma 2020 THE PROGRAMMING OF WOMEN COMPOSERS: PERCEPTIONS AND PRACTICES OF OKLAHOMA SECONDARY SCHOOL BAND DIRECTORS A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Christopher Baumgartner, Chair Dr. Melissa Baughman Dr. Brian Wolfe © Copyright by STEVEN RANDALL COLLINS 2020 All Rights Reserved. Acknowledgements I would like to thank all of my previous music professors for their life-long impact on how I learn, teach, and create music. Specifically, thank you to Dr. Michael Raiber for guiding me through my undergraduate studies and giving me the confidence and tools to pursue my graduate degree. You have been a beacon of student-centric teaching that has molded me into a better version of myself. Thank you to Dr. William Wakefield, Dr. Steven Curtis, Mr. Josh Phelps, and Dr. Irvin Wagner for refining my ears, mind, and technique throughout my time at the University of Oklahoma. I would also like to thank Dr. Christopher Baumgartner for mentoring me through my graduate program and spending invaluable time to make me a more measured, thoughtful researcher. I could not have asked for a better advisor during my graduate studies. Thank you to all of my friends and family for their unconditional support and encouragement. Specifically, I would like to thank Brent and Marilyn Courtney for providing me lodging and company near the university during the summer months. I would not have been able to finish this degree without your gestures of kindness. Thank you to Brandon, my twin, for being the study partner I always needed. Finally, thank you to Caitlin, for everything you are and everything you will be. iv Table of Contents List of Tables .............................................................................................................. viii Abstract ........................................................................................................................... x Chapter 1: Introduction ................................................................................................... 1 History of Women Composers ................................................................................ 1 Male-Dominated Paradigm of Band ................................................................... 2 Wind Band Repertoire ........................................................................................ 4 Programming Wind Band Music ............................................................................ 6 Higher Education Inclusion ................................................................................ 7 Secondary Level Programming ........................................................................... 8 Need for the Study .................................................................................................. 9 Purpose of the Study ............................................................................................. 10 Research Questions ............................................................................................... 10 Definitions ............................................................................................................. 11 Chapter 2: Review of Literature ................................................................................... 12 Historical Context of Women’s Roles in Western Music ..................................... 12 Women’s Roles in Wind Music ............................................................................ 15 Women in American Music .............................................................................. 15 Women as Wind Performers ............................................................................. 17 Women as Wind Band Composers ................................................................... 18 Composer Diversity Databases ..................................................................... 19 Women Band Directors ..................................................................................... 20 Wind Band Programming ...................................................................................... 24 v Quality in Music ............................................................................................... 28 Prescribed Music Lists ...................................................................................... 30 Post-secondary Wind Band Programming ........................................................ 31 Secondary Wind Band Programming Considerations ....................................... 32 Secondary Wind Band Programming Practices ................................................ 35 Gender-Based Wind Band Programming Research ....................................... 35 Summary ............................................................................................................... 37 Chapter 3: Methodology ............................................................................................... 39 Research Design .................................................................................................... 39 Participant Selection ......................................................................................... 40 Survey Instrument ................................................................................................. 40 Section One: Demographics .................................................................................. 41 Section Two: Knowledge, Attitudes, and Programming of Women Composers ................................................................................................ 45 Pilot Testing .......................................................................................................... 50 Data Collection ..................................................................................................... 51 Data Analysis ........................................................................................................ 52 Chapter 4: Results ......................................................................................................... 53 Descriptive Analysis ............................................................................................. 53 Participant Demographics ................................................................................. 53 Programming Perceptions and Considerations of Women Composers ............ 57 Programming Practices of Works by Women Composers ............................... 65 Interactions Between Variables ............................................................................ 68 vi Gender ............................................................................................................... 68 Race/Ethnicity ................................................................................................... 74 Experience ......................................................................................................... 75 OSSAA District Classification ......................................................................... 76 OSSAA Contest Participation ........................................................................... 76 Chapter 5: Discussion ................................................................................................... 79 Summary of Results .............................................................................................. 79 Knowledge of Wind Band Literature by Women Composers .......................... 80 Frequency of Programming Women Composers .............................................. 83 Programming of Specific Wind Band Literature Composed by Women ......... 85 Perceptions and Attitudes Toward Women Composers ................................... 87 Demographic Findings ...................................................................................... 90 Limitations ............................................................................................................ 91 Suggestions for Future Research .......................................................................... 94 Conclusion ............................................................................................................ 96 References ..................................................................................................................... 98 Appendix A: Institution Review Board Documentation ............................................. 111 Appendix B: Study Pilot, Invitation, and Follow-up Messages .................................. 112 Appendix C: Survey Instrument ................................................................................. 116 Section One: Demographics ............................................................................... 118 Section Two: Knowledge, Attitudes, and Programming of Women Composers ............................................................................................. 123 vii List of Tables Table 4.1 Respondents’ Age, Gender, and Race/Ethnicity ............................................ 54 Table 4.2 Respondents’ Years of Experience and Credentials ..................................... 55 Table 4.3 Respondents’ Job Title, Grade Levels Taught, and School Demographics ..........................................................................................
Load more

Recommended publications
  • Connecting Music and Place: Exploring Library Collection Data Using Geo-Visualizations
    Evidence Based Library and Information Practice 2017, 12.2 Evidence Based Library and Information Practice Research Article Connecting Music and Place: Exploring Library Collection Data Using Geo-visualizations Carolyn Doi Music & Education Librarian University Library University of Saskatchewan Saskatoon, Saskatchewan, Canada Email: [email protected] Received: 23 Jan. 2017 Accepted: 26 Mar. 2017 2017 Doi. This is an Open Access article distributed under the terms of the Creative Commons‐Attribution‐ Noncommercial‐Share Alike License 4.0 International (http://creativecommons.org/licenses/by-nc-sa/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly attributed, not used for commercial purposes, and, if transformed, the resulting work is redistributed under the same or similar license to this one. Abstract Objectives – This project had two stated objectives: 1) to compare the location and concentration of Saskatchewan-based large ensembles (bands, orchestras, choirs) within the province, with the intention to draw conclusions about the history of community-based musical activity within the province; and 2) to enable location-based browsing of Saskatchewan music materials through an interactive search interface. Methods – Data was harvested from MARC metadata found in the library catalogue for a special collection of Saskatchewan music at the University of Saskatchewan. Microsoft Excel and OpenRefine were used to screen, clean, and enhance the dataset. Data was imported into ArcGIS software, where it was plotted using a geo-visualization showing location and concentrations of musical activity by large ensembles within the province. The geo-visualization also allows users to filter results based on the ensemble type (band, orchestra, or choir).
    [Show full text]
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Developing a New Text for Music 304 at Iowa State University and Measuring Its Viability
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2006 Developing a new text for Music 304 at Iowa State University and measuring its viability Ryan Dean Sheeler Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Sheeler, Ryan Dean, "Developing a new text for Music 304 at Iowa State University and measuring its viability" (2006). Retrospective Theses and Dissertations. 19085. https://lib.dr.iastate.edu/rtd/19085 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Developing a new text for Music 304 at Iowa State University and measuring its viability by Ryan Dean Sheeler A thesis submitted to the graduate faculty in partial fulf llment of the requirements for the degree of MASTER OF ARTS Major: Interdisciplinary Graduate Studies (Arts and Humanities) Program of Study Committee: David Stuart, Major Professor Debra Marquart, English Jeffrey Prater, Music Iowa State University Ames, Iowa 2006 CopyrightO Ryan Dean Sheeler 2006. All rights reserved. 11 Graduate College Iowa State University This is to certify that master's thesis of Ryan Dean Sheeler has met the thesis requirements of Iowa State University Signatures
    [Show full text]
  • Anexo:Premios Y Nominaciones De Madonna 1 Anexo:Premios Y Nominaciones De Madonna
    Anexo:Premios y nominaciones de Madonna 1 Anexo:Premios y nominaciones de Madonna Premios y nominaciones de Madonna interpretando «Ray of Light» durante la gira Sticky & Sweet en 2008. La canción ganó un MTV Video Music Awards por Video del año y un Grammy a mejor grabación dance. Premios y nominaciones Premio Ganados Nominaciones Total Premios 215 Nominaciones 407 Pendientes Las referencias y notas al pie Madonna es una cantante, compositora y actriz. Nació en Bay City, Michigan, el 16 de agosto de 1958, y creció en Rochester Hills, Michigan, se mudó a Nueva York en 1977 para lanzar su carrera en la danza moderna.[1] Después haber sido miembro de los grupos musicales pop Breakfast Club y Emmy, lanzó su auto-titulado álbum debut, Madonna en 1983 por Sire Records.[2] Recibió la nominación a Mejor artista nuevo en el MTV Video Music Awards (VMA) de 1984 por la canción «Borderline». Madonna fue seguido por una serie de éxitosos sencillos, de sus álbumes de estudio Like a Virgin de 1984 y True Blue en 1986, que le dieron reconocimiento mundial.[3] Madonna, se convirtió en un icono pop, empujando los límites de contenido lírico de la música popular y las imágenes de sus videos musicales, que se convirtió en un fijo en MTV.[4] En 1985, recibió una serie de nominaciones VMA por sus videos musicales y dos nominaciones en a la mejor interpretación vocal pop femenina de los premios Grammy. La revista Billboard la clasificó en lista Top Pop Artist para 1985, así como en el Top Pop Singles Artist en los próximos dos años.
    [Show full text]
  • Czech Multitalented Artist Milli Janatková Working on Her New Album Deep
    Czech multitalented artist Milli Janatková working on her new album Deep Milli Janatková is a distinctive singer, multi-instrumentalist, composer, visual artist and lecturer naturally interconnecting genres and artistic fields. Based in the Czech Republic she has been travelling in Europe, India, USA. Recently she has been working on her original project Deep. It is based on the original arrangements of the oldest Czech and European spiritual songs from the 12th and 14th centuries and presented in vocals, drums and looping. God (Buoh) is a single song released in 2019 as part of the project. The song has won The 17th Independent Music Awards – Vox Populi Award in the World Traditional Song category in New York. Milli is releasing her third album Deep in October 2020. The main melodic line of Buoh is complemented by melodies inspired by traditional Bengali songs from the West Bengal region in India, which Milli visited during a creative tour and residency. Captivated by the Bengali culture and music-making tradition, Milli composed Buoh (the old Czech word for God) to foster communication and connection among people from different cultures and different places around the world. Milli’s goal was to show that all human beings are connected through fundamental roots and the quintessential qualities of life, and that they all deserve respect and trust, regardless of their origin. Milli shot the video herself in India where she was invited. “I´m happy Milli accepted our invitation and came here to perform. Her concerts and paintings were fantastic and local people were amazed by her art,” says Amitava Bhattacharya from Banglanatak.com, a social enterprise working across India with a mission to foster inclusive and sustainable development using culture based approaches.
    [Show full text]
  • The Perception of Movement Through Musical Sound: Towards A
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 7-10-2013 The eP rception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance Alexander P. Demos University of Connecticut, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Demos, Alexander P., "The eP rception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance" (2013). Doctoral Dissertations. 155. https://opencommons.uconn.edu/dissertations/155 The Perception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance Alexander Pantelis Demos, PhD University of Connecticut, 2013 Performers’ ancillary body movements, which are generally thought to support sound- production, appear to be related to musical structure and musical expression. Uncovering systematic relationships has, however, been difficult. Researchers have used the framework of embodied gestures, adapted from language research, to categorize and analyze performer’s movements. I have taken a different approach, conceptualizing ancillary movements as continuous actions in space-time within a dynamical systems framework. The framework predicts that the movements of the performer will be complexly, but systematically, related to the musical movement and that listeners will be able to hear both the metaphorical motion implied by the musical structure and the real movements of the performer. In three experiments, I adapted a set of statistical, time-series, and dynamical systems tools to music performance research to examine these predictions. In Experiment 1, I used force plate measurements to examine the postural sway of two trombonists playing two solo pieces with different musical structures in different expressive styles (normal, expressive, non-expressive).
    [Show full text]
  • Abstract Environmental Sustainability of UK Festivals & Events Is Currently
    Abstract Environmental Sustainability of UK Festivals & Events is currently a hot topic, with more criticism directed at Music Festivals for their impact due to their large attendance, general age group and nature. Waste and recycling is a big problem which this research focuses on. Changes are happening from both, organisers and attendees but there still remains a lot of waste left over at the end of a Music Festival in the UK. The use of incentives to attempt behaviour change amongst attendees are used by organisers and there is a big push to implement these green activities in order to be seen as “green”, but what do attendees really want? This research discovers the waste prevention and recycling practices being used at UK Music Festivals to date and compares these with views from attendees. It also highlights un- discussed issues that could be simple solutions to the problem of waste at UK Music Festivals such as Colour Coded Bins and their inconsistency between UK Music Festivals. This study gains primary data by seeking attendees’ views on what aids their recycling by comparing and contrasting with the current practise used with attendees’ preferences. The study also gains primary data from internal (Organisers) and external (Local Councils, Environmental Adviser, Waste Management Companies) stakeholders involved in the process of a Music Festival regarding colour coded bins to provide a richer overall picture and discussion to build upon. Objectives: 1. Review the literature of Environmental Sustainability at UK Music Festivals to date with a focus on recycling. 2. Identify and discuss the current recycling practices used and the inconsistency of Colour Coded recycling bins at UK Music Festivals.
    [Show full text]
  • An Investigation of the Assessment Practices of Elementary General Music Teachers in Iowa
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2017 An investigation of the assessment practices of elementary general music teachers in Iowa Michelle Linn Hyde Swanson University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2017 Michelle Linn Hyde Swanson Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Educational Assessment, Evaluation, and Research Commons, Elementary Education Commons, and the Music Education Commons Recommended Citation Swanson, Michelle Linn Hyde, "An investigation of the assessment practices of elementary general music teachers in Iowa" (2017). Dissertations and Theses @ UNI. 432. https://scholarworks.uni.edu/etd/432 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by MICHELLE LINN HYDE SWANSON © 2017 All Rights Reserved AN INVESTIGATION OF THE ASSESSMENT PRACTICES OF ELEMENTARY GENERAL MUSIC TEACHERS IN IOWA An Abstract of a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree Doctor of Education Approved: _______________________________________ Dr. Robert Boody, Committee Chair _______________________________________ Dr. Kavita Dhanwada Dean of the Graduate College Michelle Linn Hyde Swanson University of Northern Iowa July, 2017 ABSTRACT Assessment, leading to informed decisions, is an integral part of music education and may be a means to justify the importance of music as a valued content subject (Brophy, 2000). The purpose of this study was to describe the elementary general music assessment practices in Iowa.
    [Show full text]
  • Event Management Plan
    Event Management & Operating Plan - BESTIVAL BESTIVAL Event Management & Operating Plan Arreton, Isle of Wight Event Management & Operating Plan - BESTIVAL Document Control Document Title/Version Event Operating Plan / V1.3 FINAL v3 Event Bestival Venue Robin Hill Park & Combley Farm, Duxmore Farm & Little Duxmore Farm Arreton, Isle of Wight Promoter Bestival Ltd Festival Management Loud Sound Ltd LOUDSOUND EVENTS LIMITED 3 Event Management & Operating Plan - BESTIVAL Contents EVENT PLANNING & MANAGEMENT 5 EVENT MANAGEMENT STRUCTURE 8 EMERGENCY LIAISON TEAM STATEMENT OF INTENT 12 EVENT ENTRY POLICY 14 HEALTH & SAFETY POLICY 14 VENUE AND SITE 25 COMMUNICATIONS 29 CROWD MANAGEMENT 30 TRAFFIC MANAGEMENT 31 EXTREME WEATHER PLAN 38 HEARING PROTECTION PLAN 42 ENVIRONMENTAL PLAN 43 TEMPORARY STRUCTURES 44 BARRIERS & FENCING 45 ELECTRICITY SUPPLY AND LIGHTING 45 BARS AND CONCESSIONS 46 MERCHANDISE 48 AMUSEMENTS 48 SANITARY FACILITIES 49 WATER MANAGEMENT 51 LOUDSOUND EVENTS LIMITED 4 Event Management & Operating Plan - BESTIVAL WASTE MANAGEMENT 51 SOUND AND NOISE MANAGEMENT 52 SPECIAL EFFECTS 53 CAMPING 53 FACILITIES FOR DISABLED PEOPLE 54 MEDICAL PROVISION 55 INFORMATION AND WELFARE / LOST PROPERTY 55 LOST CHILDREN 56 ARTISTS 56 TELEVISION AND RADIO BROADCAST 56 Appendices – to be made available separately to key agencies: A. Event Risk Assessment I. Event Capacity & Timings B. Security Plan J. Waste Management Plan C. Statement of Intent for K. Sanitation Plan Medical Cover L. Water Management Plan D. Showstop Procedure M. Responsible Drinking Policy E. Noise Assessment Plan N. Emergency Plan F. Traffic Management Plan O. Fire Management Plan G. Child Protection Policy P. Eviction Policy H. On site Traffic Q. Drugs Policy Management Plan R.
    [Show full text]
  • Producer in the Experience Economy
    J ÖNKÖPING I NTERNATIONAL B USINESS S C H O O L JÖNKÖPING UNIVERSITY Producer in the Experience Economy How to deliver experiences Master Thesis in Business Administration Author: Claesson, Mikaela Nordell, Nina Tutor: Gustafsson, Karl Erik Jönköping June 2006 I NTERNATIONELLA H ANDELSHÖGSKOLAN HÖGSKOLAN I JÖNKÖPING Att vara producent i Upplevelsesamhället Konsten att leverera upplevelser Magisteruppsats inom Företagsekonomi Författare: Claesson, Mikaela Nordell, Nina Handledare: Gustafsson, Karl-Erik Jönköping Juni 2006 Preface The authors would like to give their warmest thanks to the companies that took part in this thesis. These are; Aftonbladet, Air Historic Research AB, Arkitekthuset Jönköping AB, Bonnier Responsmedier Group AB, Complete Film & Multimedia AB, Företags Catering AB, Galleri Bergström, Ord & Form, PowerHouse, Skivfynd, Struktur Design, Skånes Dansteater, the anonymous fashion company and West Vilt. The authors would also like to thanks their supervisor Karl Erik Gustafsson for his supervi- sion and helpful advices during the master thesis. Mikaela Claesson Nina Nordell i Master TThesishesis ininin Business AdministrAdministraaaationtion Title: Producer in the Experience Economy --- How to deliver experiences Authors: Claesson, Mikaela Nordell, Nina Tutor: Gustafsson, KarlKarl----ErikErik Date : 20062006----06060606----02020202 Subject terms: Experience EcEcEconomy,Ec onomy, Experience SocietySociety,, Value AAddedddeddded,, B, BrandB rand Abstract Background and problem: Experiences have become a new trend within the world economy today and a new way to add value to companies. A new economy is emerging named the Experience Economy. The customers’ demands of experiences are increasing and companies need to satisfy these demands and adapt them- selves to this emerging economy. The Experience Economy is today the fastest growing industry in Sweden and has grown steadily during the last decade.
    [Show full text]
  • A Historical Survey of Music Recommendation Systems: Towards Evaluation
    A Historical Survey of Music Recommendation Systems: Towards Evaluation Ying Qin Music Technology Area, Department of Music Research Schulich School of Music McGill University Montreal, Canada April 2013 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Master of Arts in Music Technology. c 2013 Ying Qin i Abstract The development of the Internet and the emergence of audio compression technologies have contributed to the realization of making millions of music titles accessible to millions of users. Due to the extensive distribution of music, consumers are being presented with a problem of information overload, while the music industry is being faced with the challenge of personalized promotion and distribution. Music recommendation systems aim to ease the task of finding the music items that might interest the users by generating meaningful recommendations. The recommendation for music is different from those for books and movies, due to its low cost per item, short consumption time, high per-item reuse, highly contextual usage, and numerous item types. Understanding the patterns of music listening and consumption is important to create accurate and satisfying music recommendations. This thesis reviews state-of-the-art music recommendation and discovery methods with the goal of presenting the historical developments in this area. Traditional music recom- mendation systems can be classified as one of two major kinds: collaborative filtering and content-based filtering. Recently, the research community has broadened its attention to include other aspects, such as hybrid approaches, context awareness, social tagging, music networks, visualization, playlist generation, and group recommendation. For the evaluation of music recommendation systems, researchers or developers need to take into account properties such as accuracy, coverage, confidence, novelty, diversity, and privacy.
    [Show full text]
  • Cynthia Corinne Boucher
    “A Different Starting Place”: DIY festival cycles as queer feminist music scenes by Cynthia Corinne Boucher A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music University of Alberta © Cynthia Corinne Boucher, 2018 Abstract Although music scholarship has addressed queer topics in the past, a focus on lived experiences and community interactions has been notably absent in the literature. This work considers some of the challenges that may be inhibiting the emergence of a queer focus for fieldwork-based music studies: the tendency to read queer subjects in exclusively comparative ways—such as in relation to their contemporary non-queer subjects and environments—or through specific unrelated venues or events. As a remedy, I suggest that ethnomusicological methods may benefit from understanding queer musical practices as rooted in ongoing queer cultural production, an optic which is both historically informed and inwardly focused toward queer communities. Drawing on and expanding concepts from popular music studies, queer scenes are introduced and extended as queer cycles, connecting musical activities across geographic locations (translocal) and across time (transtemporal). The discussion then uses this type of inquiry in its reading of three music-focused queer feminist scenes between 1976 and 2016, including Michigan Womyn’s Music Festival, Riot Grrrl, and Ladyfest, to explore this history from both linear and non-linear perspectives. An in-depth look at one translocal queer feminist music festival scene, called Not Enough, comprises the core of my ethnographic research, providing a sense of how a scene-based approach to queer music can support ethnographic studies.
    [Show full text]