Final draft for this assignment. Need text book to do the Final draft of this assignment. I included the Rough Draft in the attach files. This assignment need a Final Draft. Required Texts/Readings:

Final draft for this assignment. Need text book to do the Final draft of this assignment. I included the Rough Draft in the attach files. This assignment need a Final Draft. Required Texts/Readings:
Women, Music, and Culture Critical Thought Paper #2, Units II & III Power Lost, Power Regained(?): Tracing the Roles of Women in Music from the Enlightenment through the 20th Century Course Objectives Satisfied by this Assignment: 1. Students will identify key female composers from the medieval period to the contemporary moment. 2. Students will describe the methods by which music constructs gender identity. Assignment: Part I: Analyzing historical forces of change. Using specific examples from each of the three musical style periods discussed in units II and III (Enlightenment/Classical of the 1700s, Romantic of the 1800s, and various pop and classical styles of the 20th century), describe how the roles of women in music have changed over time. Part II: Building an argument. In our survey, we saw how the Classical period was the relative high point for women in power. The 19th century then ushered in numerous challenges to these roles, including the rise of private and public spheres due to nationalism, industrialism, and changes in social class. The 20th century was then home to various attempts to regain power resulting in uneven outcomes across classical and popular genres. Using the evidence provided in part one, respond to the following prompt: Do you think the women of the 20th century ever regained a relative position of power in musical cultures? Why or why not? You may also discuss what challenges you think remain. Guidelines: A. Length: Minimum of not less than 4 pages (excluding bibliography), double-spaced with one-inch margins; no max. B. Citations: Footnote citations using Chicago Manual of Style (see style guide on blackboard) C. Number pages. Include a bibliography on your last page. D. The essay must include examples taken from both course texts. You are not required to use outside sources. Points are awarded (not subtracted) for the quality of work in each of the four categories: Category Criteria Points Rough Draft Complete and ontime submission 25 points Paper Consultation Attends required consultation 25 points Writing Style Clear organization at the paragraph level and across the entire essay Proper format and use of citations Writing mechanics (sentence structure, tone, and punctuation) Paper is free from surface errors, typos, and other mistakes 150 points Content Accuracy of statements Supports thesis with evidence Level of discourse (essay is reflective of college-level analysis) 200 points Total: 400 points
Final draft for this assignment. Need text book to do the Final draft of this assignment. I included the Rough Draft in the attach files. This assignment need a Final Draft. Required Texts/Readings:
0 Music, Women, & Culture: Tracing the Roles of Women in Music from the Enlightenment through the 20 th Century Francoise Nellie Tchaya Ngongang FA 232W Music, Women, & Culture 08/15/2021 1 Part I: Analyzing historical forces of change: Women’s roles in music have changed over time across the three musical style periods, such as the enlightenment/classical of the 1700s, romantics of the 1800s, and the various classical and pop styles of the 20 th century. The term “classical” music refers to Western art music. It describes the different Western musical types of the seventeenth century, especially between 1700 and 1800 (Dumnić, 2014). 1 In the traditional West African culture, women had a matriarchal role in guarding the community. During the classical period, women were court performers. They had the best education in music, visual arts, poetry, and writing. They also participated in intellectual exchanges with the male patrons through debates, artistic performances, and conversations. Moreover, the women musically improvised the male patrons’ poetic verses, leading to artistic song creation. For example, in Japanese culture, the female courtesans known as Geisha used the shamisen to develop musical accompaniments that fit the poetry of their patrons. For instance, Arcangelo Corelli was the leading solo and trio composer for the violin and concerti grossi in the 1700s (Bowers and Tick, 1987). 2 In Europe, women had musical roles of offering entertainment, companionship, and intellectual stimulation for the royalty. However, the role of women in music changed vehemently after the renaissance era. In the 1700s-1750, women had various roles in music ranging from paid vocal performance, instrument building, and publishing. In the age of enlightenment, the public musical role of women was curtailed (Dumnić, 2014). 3 However, Baroque embraced women actors and performers. For instance, Margherita took on forbidden for women, expressed her artistic power and independence through creative production. In both the classical and romantic eras, 1 Dumnić, M., 2014. Julie C. Dunbar, Women, Music, Culture: An Introduction, Routledge, New York – London, 2011, pp. XIX+379. Belgrade: Faculty of Music. 2 Bowers, J. and Tick, J., 1987. Women making music. 3 Dumni ć, M., 2014 2 women had musical roles as the musical centerpiece, home entertainers, and by virtue of wealth, art promoters. For instance, the restrictions about women in art music were substantial, particularly in Austria and Germany. Women like Mozart and Schubert were termed as “inferior beings who had no right to expect full integration in society.” In the twentieth century, women played in bands – for example, The Supremes comprising Mary Wilson, Diana Ross, and Florence Ballard. In the pop culture of the twentieth century, women’s roles in music are not far from the roles witnessed in the classical and romantic eras. Women are working with bands and orchestras. They played the roles of vocal soloists. For example, Estelle Liebling became the vocal soloist for Sousa’s band. They also played various musical instruments. A perfect example is Isabele Taliaferro Spiller played baritone and alto saxophone, piano, and trumpet in the Spiller performing group (Dumnić, 2014). 4 The 20 th century also gave women in the music industry a fair chance to compete alongside their male counterparts for equality. For example, Carrie Jacobs-Bond came up and built a globally famous publishing company. Moreover, they also performed tasks such as artwork for the sheet music covers as Carrie did. In this era, women had more musical power. Amidst the male domination of the music industry, women were able to earn theatre performances such as the Fadette, which was a paid opportunity for women. Women also had roles like singing and dancing in white theatrical shows like the Ziegfeld Follies (Dumnić, 2014). 5 In fact, women had various opportunities for stage performance in the 1920s. Indeed, women had equal opportunities to perfume alongside men in more than fifty new shows in the musicals , and Broadway choreographers, and high percentage composers. Part II: Building an argument: 4 Dumnić, 2014 5 Dumni ć, 2014 3 I think the women in the 20 th century regained a relative position of power in musical cultures. The twentieth century provided the world with live performances from men and women regardless of their social class. At home, women and girls freely played keyboard instruments like the piano and even parlor organs to accompany their singing. Young women with financial ability had a chance to acquire musical lessons to gain social symbols. The violin, for instance, was the acceptable musical instrument for the “proper lady.” (Dumnić, 2014). 6 As the puritan ideas of the Europeans faded, women in the twentieth century increased their fight for equal gender rights. In America, for instance, the mores that were put in place to govern gendered musical roles started to bend. The power of women in the musical culture in the 20 th century is evident as Virtuosos like Camilla Urso made public speeches requesting professional ensembles to recruit capable women performers into their groups. However, the challenges that arose at the time include women getting closed out of the professional orchestras. But there were various opportunities open to the expanding ranks of the female violinists. Additionally, the twentieth century was familiar with the challenge of sex-based prejudice that restricted women from accessing professional groups, which led to most women opting for amateur ensembles (Dumnić, 2014). 7 however, on the brighter side, in the 20 th century, women gained more independence in the music culture as there were various expansive gender-segregated groups, especially in America. ‘Ladies’ orchestras had fame for excellent musicality. The power the women had in music in the era commanded more attention and desire as audiences had more desire to see the women play their music as much as they wanted to hear them sing the songs. Indeed, this time demanded more female performers than ever. However, the 6 Dumnić, 2014 7 Dumni ć, 2014 4 performances by the women ensembles were conducted at parties, fairs, park pavilions (Dumnić, 2014). 8 They were not allowed to perform at the concert halls, but the interjection vaudeville acts and the light repertoire made women’s public performances tolerable by societal standards. Besides the challenges, women had opportunities in the music industry, especially in the cities where music clubs enabled women to perform for one another and small audiences. Sequentially, the clubs championed women’s compositions and also facilitated women’s skill development musically. The twentieth century saw women leading major bands as vocal soloists. For example, Sousa’s crew had a primary role for women as vocal soloists, making the female singers widely known. Estelle Liebling, a trained opera singer and the vocal soloist for Sousa’s band, created a great sensation in the American public. The New York Times even announced her engagement in 1905 with a huge headline: “Estelle Liebling, Sausa Band’s Prima Donna, Engaged.” In addition, women gained an acclaimed presence in professional groups and bands. A study conducted by Antoinette Handy between 1931 and 2002 demonstrated that many black women played various roles in the bands and orchestras in 1979 (Dumnić, 2014). 9 The involvement of women in the music culture was noteworthy. Women were significantly involved in the performances of popular songs. However, men had overall domination of the Tin Pan Alley printing and compositions. But against all the odds, Carrie Jacobs-Bond endured and created a publishing company that was renowned globally. The women in the Carte family highly participated in shaping the roots of modern country music. Hence, women regained their power in the musical culture during the 20th century, besides the gender-based challenges. 8 Dumnić, 2014 9 Dumni ć, 2014 5 Bibliography Bowers, J. and Tick, J., 1987. Women making music . Dumnić, M., 2014. Julie C. Dunbar, Women, Music, Culture: An Introduction, Routledge, New York – London, 2011, pp. XIX+379 . Belgrade: Faculty of Music.

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