Ticket is a composition for four percussionists and a vocal performer that presents a general femalewoman’s experience of gender socialization and rape. Ticket follows the protagonist ; from the societal expectations at birth to the oversexualization as a pre-teen. This composition is for four percussionists and a vocal performer. Each movement focuses on an age range and the according correlative social normsexpectations, with each those contributing to possible rape scenarios in the final movement. The music is a score for the stage elements, and a representation of the vocal performer’s internal struggles with the problematic aspects of female socialization. The percussionists also act as performers in some of the theatrical elements of the piece; they are asked to speak and interact with the vocalist multiple times throughout the piece.
The first half of this essay focuses on my preparation for composing Ticket. I decided to do my own research to have a larger understanding of gender socialization and its effects on rape culture. I discuss the research I found that validates my own experience reflected in Ticket. There is also personal inspiration for the piece discussed before breaking down the movements and music of Ticket. The essay’s second half provides excerpts from the score and analysis of the movements. This concludes with notes from the performers and reception of the piece.
|Commitee:||Lindau, Elizabeth, Atkatz, Ted|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 81/4(E), Masters Abstracts International|
|Keywords:||composition, gender studies, new music, percussion, performance art, rape culture|
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