Women musicians from the Middle Ages to the present: The transformation of the image
| Autor | Svitlana Manko |
| Cargo | PhD in Art Studies, senior instructor of pop singing department State Academy of Culture, Kharkiv, Ukraine |
| Páginas | 107-113 |
Volume 11 - Issue 55
/ July 2022
107
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DOI: https://doi.org/10.34069/AI/2022.55.07.11
How to Cite:
Manko, S. (2022). Women musicians from the Middle Ages to the present: The transformation of the image. Amazonia
Investiga, 11(55), 107-113. https://doi.org/10.34069/AI/2022.55.07.11
Women musicians from the Middle Ages to the present: The
transformation of the image
Las mujeres músicas desde la Edad Media hasta la actualidad: La transformación de la
imagen
Received: July 20, 2022 Accepted: August 26, 2022
Written by:
Manko Svitlana47
https://orcid.org/0000-0001-7143-2597
Abstract
The article characterizes the problem of
transformation of the image of a woman in
musical art from the Middle Ages to the present.
The work uses both general scientific methods of
research: analysis and synthesis, as well as
historical methods. As a result, we consider the
formation of women in musical art in the Middle
Ages, the problems of salon music-making of the
XVII-XVIII centuries, and the problem of
transformation of the role of women in musical
art at the turn of the XX-XXI centuries is
characterized. As a result, it is noted that the
music of the Middle Ages was defined by a
cappella singing and unanimity. The most
famous composer of that time was Hildegard of
Bingen, who is considered the probable founder
of opera. Women-troubadours - medieval
poetesses, songwriters, and their performers -
held a place of honor in the music of the time.
The basic motifs of their songs were different:
some sang the consolation of love, while others
sang the suffering of one-sided love. Despite this,
until the XX century, the attitude towards women
musicians was biased, and the image of music
was often used in literature to r efer to the “new”
woman, i.e., feminist.
Keywords: women, music, history, the
transformation of the image, current state.
Resumen
El artículo caracteriza el problema de la
transformación de la imagen de la mujer en el arte
musical desde la Edad Media hasta la actualidad.
El trabajo utiliza tanto métodos científicos
generales de investigación: análisis y síntesis,
como métodos históricos. Como resultado, se
considera la formación de las mujeres en el arte
musical en la Edad Media, los problemas de la
música de salón de los siglos XVII-XVIII, se
caracteriza el problema de la transformación del
papel de las mujeres en el arte musical en el cambio
de los siglos XX-XXI. Como resultado, se observa
que la música de la Edad Media se definía por el
canto a capela y la unanimidad. El compositor más
famoso de esa época fue Gildegard de Bingen, a
quien se considera el probable fundador de la
ópera. Los motivos básicos de sus canciones eran
diferentes: algunas cantaban el consuelo del amor,
mientras que otras cantaban el sufrimiento del
amor unilateral. Sin embargo, lo que unía sus obras
era que la principal protagonista lírica era una
mujer que contaba sus propias experiencias y
angustias. A pesar de ello, hasta el siglo XX la
actitud hacia las mujeres músicas era sesgada, y la
imagen de la música se utilizaba a menudo en la
literatura para referirse a la “nueva” mujer, es
decir, feminista.
Palabras clave: mujeres, música, historia,
transformación de la imagen, estado actual.
Introduction
Cultural processes undergo a transformation
along with the passage of time. In modern
circumstances, female musicians are popular in
movies, pop culture, computer games, visual arts,
etc. At the same time, such a situation was not
47
PhD in Art Studies, senior instructor of pop singing department State Academy of Culture, Kharkiv, Ukraine.
typical for the times of antiquity, let alone the
periods of earlier history, when attitudes toward
women were extremely prejudiced. For example,
during the Middle Ages, there was a prejudice
against women in the arts, which were seen as an
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