東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Analyzing Gender Inequality in Conte...

Bowling Green State University., Contemporary Music.

Linked to FindBook

Google Book

Amazon

博客來

Analyzing Gender Inequality in Contemporary Opera.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Analyzing Gender Inequality in Contemporary Opera./
Author:	LaBonte, Hillary.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	136 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27539032
ISBN:	9781687935908

Analyzing Gender Inequality in Contemporary Opera.
LaBonte, Hillary.

Analyzing Gender Inequality in Contemporary Opera. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 136 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (D.M.A.)--Bowling Green State University, 2019.

This item must not be sold to any third party vendors.

Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts.Chapter 1 presents the analysis of all operas in OPERA America's North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like "innovative" or "adventurous" in their mission statement are more likely to have greater female representation in the casts of their commissioned works.Chapter 3 discusses ten contemporary operas that feature at least 50% female casts in a wide variety of stories, with multi-layered female characters and diverse musical styles. The works profiled are Hildegurls Electric Ordo Virtutum (1998) by Kitty Brazelton, Eve Beglarian, Elaine Kaplinsky, and Lisa Bielawa, Amy Beth Kirsten's Ophelia Forever (2005), Catherine Reid and Judith Lane's The Yellow Wallpaper (2008), Ana Sokolovic's Svadba (2011), Errollyn Wallen's ANON (2014), Kate Soper's Here Be Sirens (2014), Kamala Sankaram and Susan Yankowitz's Thumbprint (2014), Sean Ellis Hussey's ...for the sake of a narrative closure (2017), Ellen Reid and Roxie Perkins's prism (2018), and Philip Venables and Sarah Kane's 4.48 Psychosis (2018). These operas contain the kinds of female characters and female-focused stories missing from the traditional repertoire.

ISBN: 9781687935908Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Gender inequality

Analyzing Gender Inequality in Contemporary Opera.
LDR:03434nmm a2200385 4500 001 2271599
005 20201027145236.5
008 220629s2019 ||||||||||||||||| ||eng d
020 $a 9781687935908
035 $a (MiAaPQ)AAI27539032
035 $a (MiAaPQ)OhioLINKbgsu1562758176443906
035 $a AAI27539032
040 $a MiAaPQ $c MiAaPQ
100 1 $a LaBonte, Hillary. $3 3549010
245 1 0 $a Analyzing Gender Inequality in Contemporary Opera.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 136 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
500 $a Advisor: Rodgers, Jane.
502 $a Thesis (D.M.A.)--Bowling Green State University, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts.Chapter 1 presents the analysis of all operas in OPERA America's North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like "innovative" or "adventurous" in their mission statement are more likely to have greater female representation in the casts of their commissioned works.Chapter 3 discusses ten contemporary operas that feature at least 50% female casts in a wide variety of stories, with multi-layered female characters and diverse musical styles. The works profiled are Hildegurls Electric Ordo Virtutum (1998) by Kitty Brazelton, Eve Beglarian, Elaine Kaplinsky, and Lisa Bielawa, Amy Beth Kirsten's Ophelia Forever (2005), Catherine Reid and Judith Lane's The Yellow Wallpaper (2008), Ana Sokolovic's Svadba (2011), Errollyn Wallen's ANON (2014), Kate Soper's Here Be Sirens (2014), Kamala Sankaram and Susan Yankowitz's Thumbprint (2014), Sean Ellis Hussey's ...for the sake of a narrative closure (2017), Ellen Reid and Roxie Perkins's prism (2018), and Philip Venables and Sarah Kane's 4.48 Psychosis (2018). These operas contain the kinds of female characters and female-focused stories missing from the traditional repertoire.
590 $a School code: 0018.
650 4 $a Music. $3 516178
650 4 $a Performing arts. $3 523119
650 4 $a Womens studies. $3 2122688
653 $a Gender inequality
653 $a Feminism
653 $a Equal rights
653 $a Contemporary opera
653 $a Opera companies
690 $a 0413
690 $a 0641
690 $a 0453
710 2 $a Bowling Green State University. $b Contemporary Music. $3 3171795
773 0 $t Dissertations Abstracts International $g 81-05A.
790 $a 0018
791 $a D.M.A.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27539032