Women composers have not traditionally been at the forefront of genre development. Western classical musical genres and formal structures tend to operate by conventions codified by male composers of European and North American descent, and, accordingly, reflect patriarchal aesthetics and viewpoints. The nascent genre of vocal theatre, however, has been primarily defined by the works of women composer/performers. Artists Meredith Monk, Diamanda Galas, and Pauline Oliveros have created new modes of theatre for the voice; in their personal explorations of extended vocal technique, the female voice is used as a tool for discovering, activating, remembering, and uncovering a consciousness that is primordial, pre/anti-logical, and oracular. My thesis proposes that the vocal theatre of these women functions as musical ecriture feminine, a term first introduced by French feminist theorist Helene Cixous. As a theoretical framework, ecriture feminine provides a particularly useful tool for interpreting these works, which, in the importance they place on openness, transcending language, embodied performances, and personal visions of womanhood, reveal aesthetic concerns that in many ways have more in common with the literary genre of ecriture feminine than those of canonical Western art music. I argue that these works are important not only as musical ecriture feminine, but as examples of an alternative, "feminine" compositional practice that prioritizes collaboration, improvisation, and intuitive modes of creativity. In doing so, they destabilize the traditional "maleness" of genre creation.
| Identifer | oai:union.ndltd.org:uvic.ca/oai:dspace.library.uvic.ca:1828/1838 |
| Date | 12 November 2009 |
| Creators | Anaka, Nicole Elaine |
| Contributors | Hammond, Susan Lewis |
| Source Sets | University of Victoria |
| Language | English, English |
| Detected Language | English |
| Type | Thesis |
| Rights | Available to the World Wide Web |
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