An Introduction to Music as Social Experience Chapter 5: Music and Gender

Understanding Gender Choices of clothing Gender is performed Body stance Speech Gesture Cornelius-Natvig, Chapter 5: Music and Gender

Perceptions of gender in music Reflections of cultural ideals Ex: Strings and woodwinds as “gentle feminine” Ex: Brass and percussion as “brawny masculine” Women excluded from Instruments/ensembles in some rituals Composition activities Cornelius-Natvig, Chapter 5: Music and Gender

Gender in Popular Music Popular music performance – both aural and visual Early rock ‘n’ roll dominated by white males “Girl groups” in 1960s Diminutive names: Bobettes, Ronettes, etc. Song lyrics perpetuated restrictive gender roles Cornelius-Natvig, Chapter 5: Music and Gender

Aretha Franklin (b. 1942) “Respect” Gospel, Soul singer Composed and recorded by Otis Redding in 1965 Defensive male perspective: disillusionment with infidelity Recorded by Aretha Franklin in 1967 Strong female perspective: demands respect, no infidelity Cornelius-Natvig, Chapter 5: Music and Gender

Androgyny in 1970s Glam Rock Male performers in makeup, jewelry, platform shoes Gender ambiguity for shock value, redefining “sexy” Elvis Presley (1935-1977): hyper-masculine or effeminate? David Bowie (b. 1947): androgyny as exotic? Cornelius-Natvig, Chapter 5: Music and Gender

Gender in the World Balinese gamelan – percussion orchestra Men’s gamelan Intrinsic to Hindu temple festivals Emphasize gaya Performance with energy, showmanship Women’s gamelan Informal performances, outside Hindu temple Modest, reserved performance style Cornelius-Natvig, Chapter 5: Music and Gender

Women’s laments Songs associated with death rituals Learned through oral tradition Facilitate emotional catharsis Performance characteristics: Wailing Speech-like song Non-tonal pitch inflection Cornelius-Natvig, Chapter 5: Music and Gender

“Mă Guariţă,” Romanian lament for a dead brother Bocet – Transylvanian lament Partially improvised Descending four-note, modal melody Short phrases, ending on same pitch Descending melodic contour, sigh-like “ah” Cornelius-Natvig, Chapter 5: Music and Gender

Habanera from the opera Carmen by Georges Bizet (1875) Gender on Stage: Opera Libretto often reflects stereotyped gender roles Elements of music may enhance aspects of character’s role Habanera from the opera Carmen by Georges Bizet (1875) Orchestra communicates character traits African-Cuban rhythms of habanera signal sensuality Chromatic harmonies convey exoticism and seduction Cornelius-Natvig, Chapter 5: Music and Gender

Act II/Scene 2, from the opera Siegfried by Richard Wagner (1871) Expanded orchestral forces, harmonies Leitmotives tell story Horn call (Siegfried leitmotive) Tonally stable Represents youth, bravery Chromatic, low brass (Fafner/dragon leitmotive) Tonally unstable Represents brutality, danger Cornelius-Natvig, Chapter 5: Music and Gender

Gender Confusion in Opera Gender ideals change in history Boy soprano voice => castrato Countertenors sing in falsetto Cross-gender humor: Pants roles Cornelius-Natvig, Chapter 5: Music and Gender

“Non so piu cosa son,” Act I from the opera Marriage of Figaro by Mozart (1786) Cherubino: pants role Adolescent male character sung by female soprano Syncopated rhythms, fast tempo represent Adolescent hormones Racing heartbeat Volatile emotions Cornelius-Natvig, Chapter 5: Music and Gender

Lesbian and Gay Issues Openly gay performance groups: choruses “Camp” as code, signaling themes of homosexuality Womyn’s Music emphasizing social justice Cornelius-Natvig, Chapter 5: Music and Gender

Music is rarely gender-neutral Sensitive listening reveals: Emotional power of music through projections of gender Personal/social identity of composers, performers in their music Reinforced social constructs Ambiguities challenging social norms Cornelius-Natvig, Chapter 5: Music and Gender