This mixed methods study investigates an aspect of learning which is often overlooked: that of gender interaction in one-to-one instrumental music lessons. The gender of teacher and pupil may contribute to differences in behaviour and expectations, which could impact upon teaching and learning processes and outcomes. The study asks the following questions: ‘Do instrumental teachers and pupils hold gendered beliefs about each other and about their lessons, and if so, how do these beliefs affect their interactions, and what might be the consequences for learning?’ Three linked studies - a teachers’ and pupils’ questionnaire study, a lesson observation study, and an interview study - were conducted to offer different perspectives on these research questions. The questionnaire studies found that participants held several stereotypical expectations. Teachers believed that girls were more conscientious than boys; pupils believed that male teachers were more ‘likely to set challenges’ than female teachers, who were more likely to be characterised as ‘patient’. The observation study found many similarities in the ways men and women interacted with boys and girls. Some important variations were identified, however, including the findings that during lessons male teachers were likely to play their instruments more frequently than female teachers, and that boy pupils were less likely than girls to look at their teacher's face. In the interview study, teachers and pupils offered background information and opinions which helped to contextualise the earlier findings. A ‘good’ relationship was seen by all participants as a key factor for successful teaching and learning, but this was defined in different ways. Men and boys were most concerned with the technicalities of playing the instrument well. Women and girls, while valuing skill, also maintained the importance of more affective issues, such as mood, personal likes and dislikes. As well as contributing to educational psychology by exploring an under-researched area, the findings will be of practical use to instrumental teachers and to conservatoires, universities and teacher educators in general education. Awareness of gender issues, and particularly of the need to avoid stereotypical expectations, will help teachers to provide equity for pupils, in order that all can achieve their potential.

<p> Mouth whistling is one of the oldest forms of commination known to humans. Though often overlooked and underappreciated, whistling has been a powerful, universal tactic of message sending for millennia. Research reveals historical contexts of whistling as an uncouth, unlucky and unladylike act reserved for the working class. This has resulted in the disparagement of all forms of whistling. Despite its status as a marginalized act, people around the world partake of whistling for many purposes, including music. Competitive whistling events which showcase virtuosic musical talent have existed for over forty years, yet the art form does not receive the respect other musical instruments have been awarded. This thesis explores the rhetorical influences that have consigned whistling to low-culture, muting its voice and restricting its existence as a legitimate musical art form. It examines how essentialist perspectives, empowered by hegemonic ideologies of gender and class, have constrained the potential of musical whistling to grow as a culturally credible musical contribution. Patriarchal hierarchies and gendered, linguistic cues promote subtle sexist practices which marginalize people and practices based on arbitrary cultural constructs. Historically, women have been expressly forbidden from whistling. Direct and subtle sexist messages, perpetuated through language and folklore have sustained the status quo across generations, silencing women&rsquo;s voices and whistles. Exposing unconscious acts which support and sustain the status quo reveal subtle, marginalizing forces which promulgate ideologies across generations. Nescience is investigated as a powerful element sustaining archaic ideological perspectives. Through autoethnography, the author, a world-champion whistler, describes strategic rhetorical processes employed with the intention of reframing and transforming musical whistling from noise to art.</p><p>

<p> The Discourse of the Divine: Radical Traditions of Black Feminism, Musicking, and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black female musicians, Nina Simone and Me&rsquo;shell Ndeg&eacute;ocello. Simone and Ndeg&eacute;ocello, The High Priestess of Soul and the Mother of Neo-Soul, respectively, distend the commodified confines of Black music and identity by challenging the established norms of music and knowledge production. These artists&rsquo; lyrics, politics, and representations substantiate the &ldquo;Signifyin(g)&rdquo; elements of West and Central African feminist mythologies and musicmaking traditions. </p>

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Clara Wieck Schumann sits at a particularly thorny juncture in musicological scholarship, as her career mirrors a period of nineteenth-century transformative social and musical change. The concept of public and private spaces came to be codified, and women's musical interactions, somewhat unsurprisingly, followed suit. In accordance with the now bourgeois concerns for social cultivation and primacy, concert structures were destabilized, programs moved away from an emphasis on miscellany, virtuosity was soundly rejected, and serious musical efforts came to dominate critical inquiry and commentary. The philosophy of Romantic listening hinged on the primacy of absolute, "serious" musics and, similar to the morals of the public bourgeoisie, privileged "masculine" expression. Within these strictures, a female pianist developed into the preeminent symbol for all that was ideal in the public piano recital. Clara Schumann has, for scholars of nineteenth-century music, come to embody the serious music aesthetic: whether it be through her role as interpreter, more homogeneous recital structuring, or allegiance to the goals of transcendental listening, she remains a figure who performed out of duty to her higher, artistic "calling." Nevertheless, scholars have rarely attempted to consider how, in a restrictive gender society, Clara was able to maintain such a successful and highly respected public career. My dissertation seeks to tease out the dynamics of Clara Schumann's reception, in order to elucidate ways she, as a woman, was able to perform in this preeminent public space, and, in fact, embolden (rather than degrade) the ascendancy of the masculine. With a career spanning some 60 years, Clara's 794 German concerts allow us a window into the complex negotiations that permeated her public performances and celebrated personality. For the first time in English translation, Appendix I gives a complete listing of Clara's programming in Germany and Vienna. By considering a wide range of sources--visual images, concert reviews, and programs--I hope to unearth ways that Clara, while challenging the hegemony of the male pianist, nonetheless continued to entrench the mores of the musical masculine to an even greater degree. / text

On a May morning in 2013 news broke that a unique figure within British musical life had died unexpectedly in his sleep at the age of fifty-eight. First coming to notoriety in the early 1980s, the composer Steve Martland's output spanned fusions of classical and popular instruments, a song cycle/pop album released on an independent alternative label, a predilection for string music descended as much from Dutch and American minimalists as his more pastoral English forebears, works for his own band of winds, guitars and drums, and ended with a choir piece giving traditional seafaring texts a minimalist treatment. Paralleling this stylistic evolution, all the while he was an opinionated and outspoken left-winger, frequently commenting on both the politics of music-making and broader socio-political topics. But from my perspective most compelling is how he sought to address these concerns with his compositions. With little sustained attention having been paid to Martland beyond journalistic writings and some from a sociological perspective, this dissertation seeks both to be the first tracing of his career but have as its central focus an examination of just how his politics were expressed in his compositions and how this evolved. I cast a critical eye toward the works themselves, sketches held at the British Library and interviews and reviews to build insight into an idiosyncratic artistic response to a period of great social and cultural change in Britain that reveals itself to be a great deal more nuanced, conscientious and sometimes contradictory than it first appears.

abstract: "Recontextualizing Music for Social Change" proposes alternative ways through which the traditional setup of a vocal recital may be transformed into a multidisciplinary performance with a specific social purpose. This task might be achieved by the conscious use and merging of elements such as innovation, ritualistic significance of music, and hopes for social change. Rather than exclusively analyzing the nature of these three elements, this document seeks to exemplify the artistic use of these tools through the description of two doctoral recitals. These performances focus on the portrayal of two specific social issues concerning gender identity: the femme fatale, and sexual identity. The first performance, "Defatalizing the Femme Fatale: The Voice behind a Stereotype," reflects on the negative connotations of the French femme fatale stereotype. This dangerous image has been perpetuated through popular and mass media since the nineteenth century. The femme fatale has achieved an iconic status thanks to her appealing, damaging, unrealistic, and hypersexualized traits. Nevertheless, this male-constructed stereotype was actually conceived as a parody of female emancipation. "Defatalizing the Femme Fatale" seeks to create awareness of this image through a staged approach of Shostakovich's Michelangelo Suite, feminist poetry and prose, and euphonium music. The second performance, "Un-Labelling Love: A Scientific Study of Romantic Attachment in Four Seasons," analyses the biological nature of love. According to this perspective, "Un-Labelling Love" transforms a vocal recital into a scientific lecture. This lecture examines four developmental stages of romantic love through the performance of art songs and the inclusion of a narrator, who describes the biological and psychological changes experienced by two research subjects--the performers--during these love stages. Through a plot-twist at the end of the performance, "Un-Labelling Love" also questions the patriarchal assumption that heterosexual kinship represents, by default, the unmarked category of adult pair-bonding. In summary, and based on scientific facts, this vocal performance seeks to encourage social assimilation of non-heterosexual kinship systems. / Dissertation/Thesis / Doctoral Dissertation Music 2014

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-05-18T20:12:26Z No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-19T10:47:51Z (GMT) No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-19T10:47:51Z (GMT). No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to analyze and present a brief biographical account and the work of Brazilian women composers, with an analysis of the works made in the 1970s. As secondary objectives we search for the contribution to the national repertoire, in the sense of giving visibility to works not much known and played, and to highlight the participation of women in the scenario of Brazilian musical composition, turning the attention to the production of guitar music. To find the works, various search engines were used, such as: catalogs of works, books, as well as interviews conducted during the research. The composers found here are: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar and Maria Helena da Costa. Of the diverse works found, we selected only one piece of each composer, representing their languages and stylistic aspects. The main reference used for the analysis was the book by John White (1976), The Analysis of Music. We also include the precepts of Schoenberg (1996) and Kostka (1999). The results found were some stylistic similarity between some works analyzed here, as well as features that dialogue with the stylistic aspects of the analyzed period. / O presente trabalho tem como objetivo analisar e apresentar um breve relato biográfico e a obra de compositoras brasileiras compostas na década de 1970. Entre os objetivos secundários estão a contribuição para o repertório violonístico nacional, no sentido de dar visibilidade a obras pouco conhecidas e tocadas, e evidenciar a participação da mulher no cenário da composição musical brasileira, voltando o olhar para a produção violonística. Para encontrar as obras, foram utilizadas fontes de busca diversas, como: catálogos de obras, livros, bem como entrevistas realizadas durante a pesquisa. As compositoras encontradas e aqui abordadas são: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar e Maria Helena da Costa. Das diversas obras encontradas, selecionamos apenas uma peça de cada compositora, representando suas linguagens e vertentes estilísticas. O referencial principal utilizado para as análises foi o livro de John White (1976), The Analysis of Music. Incluímos ainda os preceitos de Schoenberg (1996) e Kostka (1999). Os resultados encontrados foram algumas congruências estilísticas entre algumas obras aqui analisadas, bem como aspectos que dialogam com as vertentes estilísticas do período analisado.

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This thesis deals with the issue of gender stereotypes, which are presented in music videos in actual popular songs. The work is divided into two parts. The first, theoretical part is focused on defining the basic concepts and definitions, which are linked to the gender theory, media and media communications. Next part is showing gender in media communications with an emphasis on advertising messages and popular music. The second part deals with the actual practical research, which is primary based on Goffman's view of gender stereotyping in advertising messages. In the continuity of the theoretical part there are analyzed selected music videos. The focus is concentrated on identifying and describing the mechanisms by which the gender stereotypes in popular music are reproduced. Selected music clips were analyzed by procedures established under the content analysis. The results show how the masculinity and the femininity are displayed in contemporary popular music video clips.