TY - BOOK AU - Shaw III,Paul Ambrose TI - The Women’s Music Movement: Music as Feminist Praxis, 1973–1980 T2 - Arts, Creativities, and Learning Environments in Global Perspectives SN - 9789004534971 AV - ML82 U1 - 781.64082 23 PY - 2023/// CY - Leiden, Boston PB - Brill KW - Feminism and music KW - Women's music KW - History and criticism N1 - Includes bibliographical references and index; Preliminary Material; Paul Ambrose Shaw III -- Copyright page; Paul Ambrose Shaw III -- Dedication; Paul Ambrose Shaw III -- Preface; Paul Ambrose Shaw III -- Acknowledgements; Paul Ambrose Shaw III -- Introduction Why This Study?; Paul Ambrose Shaw III -- Chapter 1 Feminism and Women’s Music; Paul Ambrose Shaw III -- Chapter 2 Considerations; Paul Ambrose Shaw III -- Chapter 3 Music as Social, Personal, and Political; Paul Ambrose Shaw III -- Chapter 4 Analysis Process; Paul Ambrose Shaw III -- Chapter 5 Meg Christian’s “Valentine Song”; Paul Ambrose Shaw III -- Chapter 6 Ferron’s “Ain’t Life a Brook”; Paul Ambrose Shaw III -- Chapter 7 Cris Williamson’s “Sister”; Paul Ambrose Shaw III -- Chapter 8 Holly Near’s “Riverboat”; Paul Ambrose Shaw III -- Chapter 9 Linda Tillery’s “Womanly Way”; Paul Ambrose Shaw III -- Chapter 10 Conclusion; Paul Ambrose Shaw III -- References; Paul Ambrose Shaw III -- Index; Paul Ambrose Shaw III N2 - Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women’s Music Movement: Music as Feminist Praxis, 1973–1980 , Paul Ambrose Shaw III contends the women’s music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women’s music movement? Was the women’s music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM—Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery—Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity UR - http://dx.doi.org/10.1163/9789004534988 ER -