“Half victims, half accomplices, like everyone else,” as Jean-Paul Sartre famously put it, singers participate in building up the reality that puts them yet in a situation of strong economic, emotional and social dependence.įor women instrumentalists, other social processes make it difficult for them to enter and to remain in the French jazz world. In the conflicting encounter between singers and instrumentalists, millennia-old gendered relations expressed in a musical form are taking place. The association of the role of the singer with mythical images, between seduction and danger, locks them up in undervalued positions. Jazz singer is a “female job” (Buscatto, 2003 Perrot, 1987) and, as such, is denied all specific professional qualities. In return, they find it difficult to be regarded as real musicians endowed with specific qualities and technical skills: their “feminine” qualification is invisible. They rather appear as attractive women, naturally gifted at expressing themselves with their voice and body. It’s all being constructed over time, through multiple choices and social interactions that create women’s great difficulty to live mainly from jazz, even for the most renowned ones.įemale singers are not regarded as professionals of a specific instrument and music. As for the socio-historical analysis of the construction of the genius of Beethoven (DeNora, 1995), I have identified the various social processes that contribute to creating and legitimizing the marginalization of women musicians in the French jazz world. Each and every one of them thus participates in constituting a “masculine” world not very favorable to the careers of women musicians. The social processes, both internal and external to the jazz world, not only make it difficult for female musicians to enter and maintain themselves in this art world, but also situate female singers and instrumentalists in the lower ranks of the musical, professional and economic hierarchy. With some notable exceptions, and generally criticized as such, jazzmen don’t seek out a priori to make life difficult for the women they sometimes play with. The jazz world proves to be a quite unwelcoming world to women, singers and instrumentalists alike, and this outside of any explicit desire to exclude them. (Routledge Milton Park, Abingdon-on-Thames, Oxfordshire) Women in Jazz: Musicality, Femininity, Marginalization Send us feedback about these examples.The Book Cooks: Excerpt from Women in Jazz: Musicality, Femininity, Marginalization These examples are programmatically compiled from various online sources to illustrate current usage of the word 'musicality.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. 2023 But there's a particular musicality to this absurd insult, which Carrie Fisher delivers with equal parts venom and exasperation. 2023 Over the past few years, especially since Stéphane Lambiel, himself a world champion, an Olympic medalist, and a beautiful dancer, became his coach, Uno has refined his technique and deepened his musicality. Robert Abele, Los Angeles Times, 6 Apr. 2022 This movie’s most identifiable musicality, of course, is Wilson’s patented lo-fi lilt, which McAdams treats like a comedy orchestra’s first chair, able to soothe with hilarious self-assurance one minute and be just as funny betraying confused and stupid hurt the next. 2022 The judges rate them based on things like showmanship and musicality. Cnt Editors, Condé Nast Traveler, 1 Dec. 2022 But then additionally, the vocal qualities, the musicality. 2022 The couple have an endearing chemistry and a sensual musicality. 2023 Lovette’s musicality taps into a feeling, an idea that seems autobiographical: that a loner can find hope when dance is the balm. Recent Examples on the Web Was this a groundbreaking album to you just in terms of the musicality of it? - Mankaprr Conteh, Rolling Stone, 10 Feb.
0 Comments
Leave a Reply. |