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"Boise, Sam de"
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Men, masculinity, music and emotions
\"This book examines how we can reconcile the widely held belief that men are 'less emotional' than women, with a history of emotions in music. A belief that men identify with an ideal of rationality - understood as the separation of emotion from rational action - has informed critical studies on men and masculinities. Yet engaging with a wide range of music to stimulate, reflect and express, as well as manage particular types of emotions continues to be the key to music's appeal. Through detailing how judgments about emotions are expressed in relation to music tastes and distastes, this book demonstrates that emotions are as much social, value judgments as embodied, affective responses. It therefore raises the importance of looking at music listening contexts, culture, personal experience and a history of emotions in order to contest the orthodoxy that men's privilege stems from the 'repression' of emotions\"-- Provided by publisher.
Book
Music and misogyny: a content analysis of misogynistic, antifeminist forums
Research exploring the relationship between misogyny and music has been divided between those who argue that certain music causes, confirms or is a manifestation of misogyny. Yet this often takes for granted the link between certain genres (predominantly hip hop, rap and metal) and misogynistic 'messages'. Instead of asking what types of music might be misogynistic, this article instead asks how music is discussed amongst those who actively espouse misogynistic views. Through content analysis of 1173 posts, from 6 ‘misogynistic antifeminist movement’ (MAM) forums, it shows that whilst hip hop, rap and metal genres and artists are the most commonly mentioned, there is significant variation in terms of musical preferences and justifications. Whilst masculinist lyrics were the main reasons for music preferences, this study shows how MAM communities’ musical judgments are a confluence of sonic and extra-musical discourses which are shaped and amplified within these online communities.
Journal Article
Gender Inequalities and Higher Music Education: Comparing the UK and Sweden
Whilst the impact of gender inequalities has been studied in relation to music education, especially in the UK, relatively little has been written about their impact on higher music education (HME). This article compares data on HME programs and courses, in the UK and Sweden, from 2010 to 2014. It looks at similarities and differences in the numbers of men and women who applied to HME subjects, compared to those who were offered a place on their chosen program or course, in both nations. Through this it demonstrates that whilst a Swedish HME appears to show less institutional discrimination against women, there are still similar transnational divisions in men's and women's HME subject choices. However the article uses these data to build on existing critiques around a need for intersectional understandings of gender inequalities, before arguing that a critique of neoliberalism is essential to tackling gender inequalities in HME.
Journal Article
Broadening research in gender and music practice
This article builds on research about gender in music practice, concerned with skewed musical canons, ratios and quotas of gender representation, unfair treatment and power dynamics, and the exclusionary enmeshment with music technologies. The aim is to critically discuss what ‘gender’ is understood to be, how it has been studied and how gendered power has been challenged, in order to suggest new routes for research on gender and music practice. While we count ourselves among the scholars working in the field and critically investigate our own work as well as that of others, the article addresses some additional concerns to those of previous studies by examining how gender is ontologically constructed in these studies, how intersectional approaches can enrich analyses of gender in music practice and how the material dimensions of music practice can be actively addressed. The conclusions outline suggestions for broadening research in gender and music practice.
Journal Article
Cheer up emo kid: rethinking the ‘crisis of masculinity’ in emo
‘Emo’, an abbreviation of the word ‘emotional’, is a term both used to describe music which places public emphasis on introspective displays of emotion and a pejorative phrase applied to fans of a diverse range of music. It is overwhelmingly male-dominated in terms of production and it has been suggested that the development of emo can be explained with reference to a ‘crisis in masculinity’. This implies that explicit, male emotional expression is historically incompatible with the performance of Western ‘masculinity’. This article first briefly explores how emo emerged and how it has been linked to the idea of a crisis. It then moves on to conduct a lyrical, discursive analysis around three themes: emotional expression and relationships; overt chauvinism; and ‘beta male misogyny’. Through these concepts I suggest that, rather than indicating a crisis or ‘softening’ of masculinity, there are actually a number of historical continuities with masculinities as a means of sustaining gendered inequalities.
Journal Article
Masculinities, music, emotion and affect
Background: Gendered inequalities have historically been legitimated through the discursive enforcement of ‘natural’ sexual difference. One particular fallacy that has denied females a political voice, is that white, Western, males are more ‘naturally’ equipped for rational thought or strive for emotional suppression. In starting from the premise that this is always the case however, critical approaches to masculinities underestimate how adherence to the discursive ideal of rationality is mediated through emotional experience. Purpose: Using concepts of ‘habitus’ and ‘affect’ this thesis challenges the assumption that the perceived rejection of emotions, is firstly how masculinities are constructed. Secondly, because ‘individual’ emotions are a prerequisite to social action, it foregrounds the importance of a nuanced understanding of male emotional narratives explicitly through music. Culturally, music consumption is overtly concerned with ‘individual’ emotional experience and group interaction. Therefore male domination of music production and consumption, stands at odds with discourses of ‘rationality’, offering a means of understanding socially patterned, male emotional experience.Methods: A two-stage, mixed methods approach was undertaken, with males ranging from ages 16-64 participating. The first stage was an online survey and the final sample included 361 males, spanning various demographics. The second stage was a series of six, life-history case studies with participants selected from those who had completed the survey, based on the richness of data they provided and stratified by age.Conclusions: Both survey and life-history accounts demonstrated a wealth of emotional experience. Whilst music was primarily used as a tool for emotional expression, it was also perceived to manage ‘undesirable’ emotions. Respondents’ emotional engagement with music differed over the course of their lives, in line with socially patterned expectations. This has implications for the notion of ‘learning to be affected’ through the construction of masculinities, indicating new ways of theorising about masculinities as social embodiment.
Dissertation
How low can you go? Widespread challenges in measuring low stream discharge and a path forward
International audience
Journal Article