Song Character Analysis Worksheet - The University of North ...

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Citron, Marcia J. “Feminist Approaches to Musicology.” In Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Edited by Susan C. Cook and Judy S. Tsou. Urbana: University of Illinois Press, 1994. Cox, Renée Lorraine. “Recovering Jouissance: Feminist Aesthetics and Music.” In Women and Music: A History, 2d ed. Bloomington: Indiana University Press, 2001. Cusick, Suzanne. “Gender and the Cultural Work of a Classical Music Performance.” Repercussions 3 (spring 1994); 77-110. Donnelly, Mabel Collins. The American Victorian Woman: The Myth and the Reality. New York: Greenwood Press, 1986. Dyer, Richard, ed. The Matter of Images: Essays on Representations. New York: Routledge, 1993. Eckler, Gisela, ed. Feminist Aesthetics. Translated by Harriet Anderson. Boston: Beacon Press, 1986. Fisher, Lucy. “The Image of Woman as Image: The Optical Politics of Dames. Film Quarterly 30 (fall 1976): 2-11. Freibert, Lucy M. “Images of Women in American Literature.” In Women’s Studies Encyclopedia. Edited by Helen Tierney. Greenwood Press, 2002. Friedan, Betty. The Feminine Mystique, 20th anniversary edition. New York: W.W. Norton, 1983. Fuller, Margaret. Woman in the Nineteenth Century. New York: Greeley & McElrath, 1845. Reprint, New York: W. W. Norton, 1971. Gilbert, Joanne R. Performing Marginality: Humor, Gender, and Cultural Critique. Detroit, MI: Wayne State University, 2004. Gilman, Sander L. Difference and Pathology: Stereotypes of Sex, Race, and Madness. Ithaca, NY: Cornell Press, 1985. Göttner-Abendroth, Heide. The Dancing Goddess: Principles of a Matriarchal Aesthetic. Translated by Maureen T. Krause. Boston: Beacon Press, 1991. Grimké, Sarah. Letters on the Equality of Sexes and Other Essays. Boston, 1838. Reprint, edited by Elizabeth Ann Bartlett, New Haven, CT: Yale University, 1988. “Jewish Women in Comedy: Fanny Brice.” Jewish Women Archive. http://www.jwa.org/discover/comedy/brice.html (accessed 8 October 2005). 115
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Page 1 and 2:
LEWIS, ANNE, D.M.A. An Examination
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APPROVAL PAGE This dissertation has
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TABLE OF CONTENTS iv Page ACKNOWLED
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for research, this paper will explo
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MacDonald, labeled musical theatre
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The musicals that have entered the
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and individually as handwriting.”
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Methodology The base of research fo
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Feminine Character in Selected Libr
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from the 1920s, they are timeless i
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e helpful to recognize the specific
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as a Cinderella-type heiress who ma
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Vereen described the “blackface c
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Casino Theatre in Manhattan. The re
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functional sets, and an eleven-piec
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The History of the Musical, Show Bo
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amount of instrumental music, the d
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Ferber’s novel begins with the na
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Act II begins four years later as G
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CHAPTER III SOCIETAL STEREOTYPES OF
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communion.” 5 This bias continued
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children, however, did allow mother
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unhealthy, sub-human environments.
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dominated by masculine traits in ap
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magazines, including Ladies Home Jo
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Nineteenth Century Stereotypes of W
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usiness. She was responsible for th
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gender) inequality forced them inst
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The 1920s was the Jazz Age, a time
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CHAPTER IV THEATRICAL STEREOTYPES O
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peoples . . . to save us from our o
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separate seating arrangements). The
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Feminine Aesthetic in Theatre Any a
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gossip columns. 17 Exploitation on
Page 69 and 70: means to economic or career advance
Page 71 and 72: Florenz Ziegfeld, reportedly, was q
Page 73 and 74: in a subservient role as a domestic
Page 75 and 76: looked, Magnolia decided, as if the
Page 77 and 78: When he holds me close, Close as we
Page 79 and 80: In the novel, Parthy Ann is a three
Page 81 and 82: opens her handbag and takes out a p
Page 83 and 84: “hero”) and the piano player (t
Page 85 and 86: the nineteenth century’s gender r
Page 87 and 88: of that time. Performance practice
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Page 91 and 92: order while the musical number repr
Page 93 and 94: “Finding in that sound all the ki
Page 95 and 96: often distorts vibrant voices, rend
Page 97 and 98: elationships with other characters
Page 99 and 100: Finally, the process includes a mus
Page 101 and 102: any other theater music heard up to
Page 103 and 104: een presented in previous chapters,
Page 105 and 106: “Though the cold and brutal fact
Page 107 and 108: [Bridge]: When he goes away dat’s
Page 109 and 110: angelically while caught in the act
Page 111 and 112: The song appears twice more as a pl
Page 113 and 114: CHAPTER VI CURTAIN CALL The musical
Page 115 and 116: theatre performance practice. They
Page 117 and 118: BIBLIOGRAPHY General Sources Burkho
Page 119: Long, Mary Anne. “‘All Our Girl
Page 123 and 124: Levine, Lawrence W. The Opening of
Page 125 and 126: Song Title: Show Title: Lyricist: C
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