Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.8EN
Charity Marsh
In this article, I analyze the ways in which community-based arts projects have the potential to challenge the gendered power dynamics of the music industries by creating productive spaces that encourage accessibility, promotion of female artists, and connection amongst girls and female-identified professionals. Specifically, I share my reflections on the inaugural Girls Rock Regina (GRR) camp, which took place in July 2017 in Regina, Saskatchewan, Canada. Drawing on interview data collected from the GRR organizing crew, participating musicians, volunteers and campers, as well as from my participatory experience as Canada Research Chair in Interactive Media and Popular Music, and Director of the IMP Labs whose research often focuses on community arts-based research in popular music genres and creative technologies, I highlight the ways in which hegemonic ideas around the gendering of creativity, music technologies, and the music industries are being challenged.
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Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.2EN
C. Strong, S. Raine
This is the editorial introduction for a special issue of IASPM@Journal entitled Gender Politics in the Music Industry.
这是《IASPM@Journal》专刊《音乐界的性别政治》的社论介绍。
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Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.6EN
H. Reddington
A process of ventriloquism, with male producers speaking through the mouthpieces of the women they produce, can reinforce gender delineations in pop. After discussing ventriloquism in pop and demonstrating different ways in which this has happened using historical examples, the author’s original interviews with women who record male artists are examined to discover whether a similar process takes place when roles are reversed. The author concludes that aspects of ventriloquism are inherent in production, although some women producers have questioned gender roles during this process. She also notes that as more female mediators enter the profession, we may hear more authentic expressions of women’s identities in popular music.
{"title":"Gender Ventriloquism in Studio Production","authors":"H. Reddington","doi":"10.5429/2079-3871(2018)V8I1.6EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.6EN","url":null,"abstract":"A process of ventriloquism, with male producers speaking through the mouthpieces of the women they produce, can reinforce gender delineations in pop. After discussing ventriloquism in pop and demonstrating different ways in which this has happened using historical examples, the author’s original interviews with women who record male artists are examined to discover whether a similar process takes place when roles are reversed. The author concludes that aspects of ventriloquism are inherent in production, although some women producers have questioned gender roles during this process. She also notes that as more female mediators enter the profession, we may hear more authentic expressions of women’s identities in popular music.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41318011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.4EN
Toby Bennett
This article considers the critique of inequality, exploitation and exclusion in contemporary UK music industries, in light of the latter’s growing internal concerns over work-based gender relations. The creative sector’s persistent inequalities are at odds with its professed liberal, egalitarian, meritocratic values and attitudes. Yet, within music’s industrial production cultures, a dismissive postfeminist sensibility has come under pressure through a reflexive critical moment of popular feminist discourse, expressed in trade press critique, between 2013 and the present moment. Drawing from a study of intermediary work in UK major record labels, the article takes a pragmatist approach to documenting and theorizing this critique – alongside institutional mechanisms, like company policies and corporate PR, that respond to it – in terms of growing industrial reflexivity. Tensions over the representation of work, the nature of inequality, intergenerational and epistemic injustice emerge as key themes, with implications for critical research on popular music industries.
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Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.10EN
Adrian Sledmere
This article considers Amy Winehouse through the lens of the Female Gothic. With a specific focus on her song “Back to Black” (2007) and its accompanying video, an attempt is made to Gothicize the artist: to delineate an identity forged out of a variety of personalities and metaphors drawn from the Gothic. The various themes and tropes which emerge from this genre speak to a sense of continuity in terms of the structural constraints and anxieties that women face in society. To deploy the Gothic in relation to Amy Winehouse aims to give voice to gender related issues of power and autonomy. As part of the discussion I will foreground the significance of place in relation to both her narrative and music, by embracing a psychogeographic approach. This is to exploit a natural connection between Psychogeography and the Gothic by considering the possibility of darker currents and resonances via a relationship with the uncanny which they both share.
本文从女性哥特式的视角来审视艾米·怀恩豪斯。特别关注她的歌曲“Back to Black”(2007)及其附带的视频，试图将艺术家哥特化:描绘出从哥特式中提取的各种个性和隐喻中形成的身份。从这种体裁中出现的各种主题和比喻表明了一种连续性，即妇女在社会中面临的结构性限制和焦虑。将哥特与艾米·怀恩豪斯联系起来，旨在表达与性别有关的权力和自主问题。作为讨论的一部分，我将通过采用心理地理学的方法，突出与她的叙事和音乐相关的地方的重要性。这是利用心理地理学和哥特之间的自然联系，考虑到黑暗潮流和共鸣的可能性，通过与神秘的关系，他们都分享。
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Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.12EN
Verónica Dávila
{"title":"REVIEW | The Great Woman Singer: Gender and Voice in Puerto Rican Music","authors":"Verónica Dávila","doi":"10.5429/2079-3871(2018)V8I1.12EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.12EN","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44920846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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