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"A burgeoning mega-club in the heart of Montreal's gay village, Sky embodies many forces active in gay club cultures and villages across North America at the end of the twentieth century. This project documents the daily operations of Sky--as a complex architectural site, a complicated set of managerial practices, and a popular space in Montreal's Village--and outlines the theoretical implications of such an establishment for both the gay community and for club culture more generally. A large entertainment complex currently undergoing a major expansion, Sky cannot be theorized as either a wholly oppressive or completely liberatory development. Although Sky presents some of the advantages of a mega-club for the gay community--increased diversity, accessibility and community--it also highlights the disadvantages in the development of such establishments: concentration of ownership, the removal of a gay presence from city streets, and the promotion of certain gay identities and cultures over others."
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Girls in male-dominated youth subcultures confront ideologies of gender which remain largely invisible and often tacitly accepted in many women's everyday lives. Punk girls choose to construct their femininity within a highly male-dominated, "masculinist," context; girls are present in such youth subcultures, but the masculine definition of their norms problematizes their participation. Thus, punk girls struggle to accommodate female gender norms within subcultural identities which are deliberately coded as "masculine." Although young women in America encounter the norms of the female gender role on a daily basis, punk girls' negotiations between the norms of femininity and those of punk open these prescriptions to critical examination which they might not otherwise be accorded. In this dissertation, I explore accounts of punk girls' engagements with both mainstream and subcultural gender norms. In constructing this account of girls' lived experiences in the punk subculture, I rely primarily upon the phenomenology, or experiential narrative, of punk girls' everyday lives. I elicited these accounts within the context of conducting participant observation m the punk scenes of four North American cities (Atlanta, Montreal, New Orleans, and San Francisco) from 1993 to 1995, conducting ethnographic interviews with forty punk girls. In the following, I explore various facets of punk girls' engagements with gender norms, including punk girls' narratives of engagement with the subculture; the construction of punk as a discourse of masculinity; punk girls' stylistic, behavioral, and discursive reconstructions of femininity; punk girls' experiences of public harassment and sexual harassment, and their strategic responses to these. I argue that these girls use the punk subculture in order to carry out resistances to varied forms of gender oppression, thereby developing stronger self-concepts in the face of adversity.
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Vicissitudes is a composition for orchestra with a duration of approximately 13$ sp prime$ 30$ sp{ prime prime}$. The main idea of the piece, the subdivision of the orchestra into small soloistic groups along with larger ensembles, was inspired by the principles of one of the Baroque forms, namely the Concerto Grosso.
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The ensuing four chapters present analyses of the selected works. The discussion of each composition begins with a brief introduction about its background, stylistic traits, and influences. A structural analysis follows, addressing traditional musical parameters and how they are manipulated by Archer's contemporary style. Analytical elements include the investigation of main sections, tonal areas, character, compositional devices, and style. An additional aesthetic goal of the analysis is to consider the musical elements of the works with regard to a listener's possible perceptions.
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This document is written in support of a recital of sacred songs and arias by women composers. It is divided into two sections: a survey of sacred music, specifically sacred arts songs and sacred arias from larger works, and a performer's analysis of selected works drawn from the research of the first part. The survey begins with the commercial printing of music around 1500 and extends to 1994. Countries from around the world are represented, some more broadly than others. Biographical information, when available, is given for each composer featured in the survey as well as some discussion of her general compositional style and output. Greater attention is given to the composer's sacred music, especially compositions that involve the solo voice. Composers who wrote very little sacred music for the solo voice are mentioned only briefly. The performer's analysis includes biographical information on each composer as well as a discussion of her general style, significant compositions, honors and awards and sphere of influence. In the analysis of the pieces, attention is focused on elements in the music that affect its performance. The selected works include Volo Jesum, a solo motet by Isabella Leonarda, "An Maria," "Stille der Andacht" and "Die Blume der Blumen," three art songs by Luise Reichardt, "Benedictus" from Mass in D by Ethel Smyth, Violet Archer's Three Biblical Songs, Five Spirituals by Margaret Bonds and Missa Patrinae Rerum Domini, a setting of the mass for solo voice by Edith Borroff. The appendices include work lists of the selected composers, IPA transcriptions of the pieces, a chronological listing of composers, and a copy of the program, program notes and lecture from the recital. An extensive bibliography is included.
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La chanson, comme toutes les formes d'expression, s'inspire largement de la quotidiennete, elle subit donc inevitablement l'influence de la realite urbaine qui, depuis le debut du XX$\sp{e}$ siecle, occupe une place preponderante dans la societe quebecoise. La ville est tout d'abord percue de facon negative par des gens qui se sont exiles de la campagne afin de pouvoir survivre; lentement, elle devient un espace essentiel dont on subit l'influence. Le but de ce memoire est de dresser, dans un premier temps, un portrait de l'evolution de la notion d'urbanite et des valeurs qui s'y rattachent dans la chanson quebecoise, puis, dans un deuxieme temps, de decrire le processus de modification de la perception de la ville dans l'imaginaire quebecois, des annees 1930 aux annees 1990.