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Extreme metal is a masculine space, yet more and more women join in. They face a contradiction: as women, they are expected to adopt feminine behaviours; however, they are part of a subculture that valorizes warrior masculinity. I sought to understand the gender expectations of the Montreal extreme metal scene and interpret the contradictions encountered by women in this scene with the help of Schippers’ (2007) theoretical framework on gender. To do so, I conducted 16 individual interviews with women and men who take part in the scene. This research fills a gap in the literature on gender that derives from Connell and Schippers’ writings and addresses issues that the field of metal studies has brushed over. I found that metal men are the “default” participants in the scene. They are expected to be fine music connoisseurs and even become musicians. In contrast, women’s presence is heterosexualized and attributed to a romantic or sexual interest in metal men. Women are suspected of being “poseuses” or groupies with no real interest in the music until proven otherwise. To become legitimate participants, they have to overcome those expectations and prove that they are worthy of being viewed through the prism of masculinity rather than femininity. They do so by proving their exceptionality through manhood acts and distancing themselves from other women. Despite their gender transgressions, women’s presence does not fundamentally question gender relations but reaffirms the overall primacy of masculinity over femininity.
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Cette recherche examine comment des pratiques artistiques influencées par la culture Hip Hop se déroulant dans un studio d’enregistrement communautaire participent au développement personnel et social de jeunes Montréalais·e·s racialisé·e·s. Il est soutenu qu’en incarnant des principes et valeurs associées au Hip Hop, le studio canalise et stimule un cadre permettant aux jeunes l’exploration de leurs identités multiples et marginalisées ce qui s’accompagne d’une part, d’une prise de conscience et d’émancipation en mobilisant des éléments de la culture Hip Hop pour stimuler une croissance personnelle reposant sur la liberté créatrice. D’une autre part, cette communauté ouvre la porte à la création du sentiment d’appartenance pour les jeunes Montréalais·e·s racialisé·e·s reposant sur la constitution de fondations et réseaux alternatifs au sein de la communauté du studio, de la scène locale et mondiale du Hip Hop. Ce faisant, le studio engendre l’émergence de solidarités affinitaires lui conférant un rôle de carrefour et de point d’ancrage pour cette communauté.
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"This thesis explores embodiment and gender within the contemporary Montreal swing dance community. Drawing on scholarship in musicology, dance studies, jazz studies, and gender studies, I investigate the relationship between dancers and musicians/DJs. I explore the many facets of this choreomusical conversation and trace this dialogic and collaborative relationship on the social dance floor. The contemporary community is a product of the swing revival and navigating issues of authenticity thus becomes an important consideration for dancers, musicians, and DJs alike. One product of this revival is the set of heteronormative values that underpin the contemporary community. I investigate to what extent these values are reified, challenged, or altogether subverted by participants through musical and choreomusical choices. To this end I conducted interviews with six informants, each of whom has experience as both a dancer and musician and/or DJ. Their privileged position arising from their dual experience affords them insight on the ways in which dancers and musicians/DJs function within the community. This thesis builds on existing scholarship by situating the voices of individuals with choreomusical experience in dialogue with existing scholarship, and ultimately revalues the importance of both embodied knowledge and gender within the swing community"-- Author's abstract
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This document explores sacred music by women composers for the Revised Common Lectionary (RCL) of the Catholic and Christian churches. The study researches exclusively choral and vocal solo music by women composers for the church season of Lent. Other primary limitations include music in English, and music from the nineteenth century to the present. The main question answered in this document is: what sacred music has been published by women composers that may be programmed in church services? This question is answered in the included appendices. These appendices list the music by women composers appropriate for the specific RCL readings for each Sunday of Lent, as well as the holidays of Ash Wednesday, Maundy Thursday, and Good Friday. There are also appendices of choral and solo vocal pieces that are generally appropriate for the Lenten season. Every attempt was made to be as thorough as possible in identifying this music, with the understanding that no one compilation of this kind can ever be complete. Additionally, selected works by six composers are explored in this document: Emma Lou Diemer (b. 1927), Arletta O’Hearn (b. ca 1928), Jane M. Marshall (1924 – 2019), Rebecca Clarke (1886 – 1979), Violet Archer (1913 – 2000), and Undine Smith Moore (1904 – 1989). These composers are representative of the variety of styles, diversity, history, and levels of musical complexity within this body of music.
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Cette thèse se propose de faire une analyse du discours sur les représentations du féminin et les implications du sexe/genre dans la chanson québécoise contemporaine, à travers les œuvres et la persona de trois auteur·ice·s-compositeur·ice·s-interprètes (ACI): Ariane Moffatt, Pierre Lapointe et Philémon Cimon. Notre analyse part d’abord du constat que les chansons de Moffatt, Lapointe et Cimon figurent des sujets lyriques, dont la parole et le geste sont modulés par les enjeux énonciatifs que posent le lyrisme. Pour rendre compte de la spécificité de la chanson comme pratique poétique réunissant paroles, musique et interprétation, nous proposons de faire une étude sémantique des chansons pour chacun·e des ACI, en nous attardant dans un premier temps aux questions soulevées par le lyrisme, puis en faisant la somme des aspects relevant du sexe/genre présents dans leurs univers sonores respectifs avec le renfort de la théorie féministe et des études de genre, d’après une perspective postmoderne. Notre lecture cherche à souligner les reconduites et les poncifs liés au féminin, mais également à saisir les propositions et les configurations qui s’écartent des lieux communs, tant pour les modèles féminins valorisés que pour les modèles amoureux et les rapports sociaux de sexe et de genre suggérés par les chansons. La comparaison entre les chansons des trois artistes permet ainsi de dégager des points de convergence, tout en révélant les particularités de leurs œuvres.