Gender Study Misogyny

Topics: Gender, Gender role, Rock music Pages: 5 (1694 words) Published: March 14, 2013
Subargument #1: Amateur female musicians are severely limited in their portrayals of self empowerment because of monopoly of music by males Subargument #2: Amateur female musicians are further limited by social boundaries that occur in music

Jazz Article 1 (Willis)| E/DM 2| Saturday night fever 3| Bass article – Clawson 4| * Women instrumentalists are deliberately avoided/removed in the hegemonic jazz discourse to preserve the construction of jazz as a masculine space. * Women can only perform aspects of identities that are naturalized, and end up being largely written out of jazz. * Languages used to discuss jazz and by print are dominated by white men and center around exclusion, recreating what Judith Butler calls a “heterosexual masculine matrix”. * Singers are not “real” musicians, so women are largely ignored. * Even though feminine gender subversion has taken place, like homosexuality, is largely ignored. * For women to speak within the music, or about the music, as instrumentalists, the subversion of gender needed to occur. * Women jazz singers are generally forced into highly sexualized roles * Men wrote majority of songs and lyrics in jazz, (and women often found themselves figuring out what he was saying) * Despite undoing of the white male matrix, the development of the new space was one where blackmen could assert their own masculinity, and this came at the price of women’s voices – unles they conformed to certain roles. * Although the role of jazz singer allowed these women to be “seen”, their “voices” were stll frequently controlled by men * Women singers were still able to have a “voice” within in jazz, despite singing men’s songs - counter point:even though the some women singers are able to achieve a certain amount of respect, their music is generally not regarded as high as that of men instrumentalists, and their voices in conversation are rarely remarked upon – she must play an instrument. * Many women refuse to play in “all-girl bands because they are afraid of becoming marginalized within jazz discourse. * Because the discourse and music industry are male dominated, most of these women remain unknown, and their invisibility creates no demand for their music. * Even when she is able to speak within the discourse, the woman jazz instrumentalist is still silenced through exclusion from the jazz canon.| * The acquiring of new artists and pieces of music are based on beliefs informed by gender * The dance music industry is gendered – most DJs and producers are men; few women are found in powerful industry positions such as label owners or club managers – existence of “boys club mentality”. * It is much easier for girls to develop skills in fields that are less contested by men. * Like the broader popular music industry, EDM is more open to female participation because not associated with an overtly masculine agenda, but this does not seek to subvert the white, patriarchal structures of the mainstream music establishment * Women are underrepresented in music production - 5-15 percent of working DJs are women, the figure is much smaller for female sound engineers who comprise only 2-5 percent of sound engineers * The studio environment has been constructed as a male space that is generally not available to women whose place in the industry came to be limited to the press department. * Social boundaries rooted in technical knowledge and language also exacerbate studio labor divisions. * “Tricks of the trade” and the associated technical language are inaccessible to women given the informal environements they are shared in the EDM culture. * Female DJs are commonplace in SF because of the visibility that collectives such as SisterSF bring to the field, but female DJs continue to be viewed as exceptions elsewhere. And the industry continue to be male dominated, perpetuating a “boy’s club” mentality, making it difficult for women to obtain gigs without...
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