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Music --- Music appreciation. --- Musique --- Social aspects. --- Philosophy and aesthetics. --- Aspect social --- Philosophie et esthétique --- Appréciation --- 316.774:78 --- -Music appreciation --- -#SBIB:309H54 --- #SBIB:316.7C215 --- #SBIB:309H040 --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Analytical guides (Music) --- Appreciation of music --- Musical appreciation --- Musical analysis --- Muziek: communicatiesociologische aspecten --- Philosophy and aesthetics --- Social aspects --- Muzikale communicatie --- Cultuursociologie: muziek --- Populaire cultuur algemeen --- Analysis, appreciation --- Analytical guides --- Appreciation --- Instruction and study --- 316.774:78 Muziek: communicatiesociologische aspecten --- Philosophie et esthétique --- Appréciation --- Music appreciation --- #SBIB:309H54 --- Music and society --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy

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This book focuses on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction musical meanings, Lucy Green shows how women's musical practices and gendered musical meanings have been reproduced, hand in hand, through history. Covering a wide range of music, including classical, jazz and popular styles, Dr Green uses ethnographic methods to convey the everyday interactions and experiences of girls, boys, and their teachers. She views the contemporary school music classroom as a microcosm of the wider society, and reveals the participation of music education in the continued production and reproduction of gendered musical practices and meanings.

Feminism and music --- Feminisme en muziek --- Femmes musiciennes --- Féminisme et musique --- Music and society --- Musique et société --- Muziek en maatschappij --- Vrouwelijke musici --- Women musicians --- Music --- Féminisme et musique --- Musiciennes --- Musique --- Social aspects --- Instruction and study --- Aspect social --- Etude et enseignement --- Secondary education --- Developmental psychology --- Didactics --- Teaching --- Educational psychology --- Sociology of the family. Sociology of sexuality --- Great Britain --- 78.29.2 --- 78.70 --- #SBIB:309H54 --- #SBIB:AANKOOP --- Muzikale communicatie --- Feminism and music. --- Women musicians. --- Social aspects. --- Instruction and study. --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Musicians, Women --- Women as musicians --- Musicians --- Music and feminism --- Study and teaching --- Gender --- Boys --- Academic performance --- Girls --- Education --- Curriculum --- Féminité --- Singing --- Book

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Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it.Drawing on a series of interviews with musicians aged between fifteen and fif

Music --- Popular music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Cover versions --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Instruction and study

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Hear, Listen, Play! is a book for all music teachers who are unfamiliar with, yet curious about the worlds of ear-playing, informal learning, improvisation, and vernacular musics. For decades, or even hundreds of years, a divide has slowly been developing between the realms of notation-based musical transmission, and aural/oral methods. Yet that divide is by no means a necessary aspect of music learning, and musicians who are lucky enough to dwell on both sides of it count themselves as so much the richer for doing so. This book aims to provide a door into those other worlds for any teacher wh

Music --- Improvisation (Music) --- Extemporization (Music) --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Instruction and study. --- Performance --- Study and teaching

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