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007			cr un uuuua
008			230131s2023 gw sb 001 0 eng d
010			_a 2022048712
020			_a9789004534971 _q(print)
020			_a9789004534988 _q(electronic book)
024	7		_a10.1163/9789004534988 _2DOI
035			_a(OCoLC)1347375637
040			_aNL-LeKB _cNL-LeKB _erda
041			_aeng
050		4	_aML82
072		7	_aEDU _x000000 _2bisacsh
072		7	_aJN _2bicssc
082	0	4	_a781.64082 _223
100	1		_aShaw III, Paul Ambrose, _eauthor.
245	1	4	_aThe Women’s Music Movement : _bMusic as Feminist Praxis, 1973–1980 / _cPaul Ambrose Shaw III.
264		1	_aLeiden ; _aBoston : _bBrill, _c2023.
264		4	_c©2023
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aArts, Creativities, and Learning Environments in Global Perspectives ; _v8
490	1		_aEducational Research E-Books Online, Collection 2022
504			_aIncludes bibliographical references and index.
505	0		_tPreliminary Material / _rPaul Ambrose Shaw III -- Copyright page / _rPaul Ambrose Shaw III -- Dedication / _rPaul Ambrose Shaw III -- Preface / _rPaul Ambrose Shaw III -- Acknowledgements / _rPaul Ambrose Shaw III -- Introduction Why This Study? / _rPaul Ambrose Shaw III -- Chapter 1 Feminism and Women’s Music / _rPaul Ambrose Shaw III -- Chapter 2 Considerations / _rPaul Ambrose Shaw III -- Chapter 3 Music as Social, Personal, and Political / _rPaul Ambrose Shaw III -- Chapter 4 Analysis Process / _rPaul Ambrose Shaw III -- Chapter 5 Meg Christian’s “Valentine Song” / _rPaul Ambrose Shaw III -- Chapter 6 Ferron’s “Ain’t Life a Brook” / _rPaul Ambrose Shaw III -- Chapter 7 Cris Williamson’s “Sister” / _rPaul Ambrose Shaw III -- Chapter 8 Holly Near’s “Riverboat” / _rPaul Ambrose Shaw III -- Chapter 9 Linda Tillery’s “Womanly Way” / _rPaul Ambrose Shaw III -- Chapter 10 Conclusion / _rPaul Ambrose Shaw III -- References / _rPaul Ambrose Shaw III -- Index / _rPaul Ambrose Shaw III.
520			_aScholarship 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.
546			_aEnglish
588			_aDescription based on print version record.
650		0	_aFeminism and music.
650		0	_aWomen's music _xHistory and criticism.
650		0	_aWomen's music.
776	0	8	_iPrint version: _tThe Women’s Music Movement : Music as Feminist Praxis, 1973–1980. _dLeiden ; Boston : Brill, 2023. _z9789004534971 _w(DLC) 2022048711 _w(OCoLC)1350734627
830		0	_aArts, Creativities, and Learning Environments in Global Perspectives ; _v8.
830		0	_aEducational Research E-Books Online, Collection 2022.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789004534988
999			_c27203 _d27203