Oh Boy! is the first serious study of how forms of masculinity are negotiated, constructed, represented and addressed in popular music texts and practices.
Oh Boy! is the first serious study of how forms of masculinity are negotiated, constructed, represented and addressed in popular music texts and practices.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Freya Jarman-Ivens is a lecturer in music at the University of Liverpool. She received her PhD from the University of Newcastle in 2006, and her thesis explored ways in whcih identity is fragmented in late twentieth-century popular music, especially through the use of the voice. Her research interests include queer theory and performativity, psychoanalytic theory, and discourses of technology and musical production. Dr. Jarman-Ivens works on a wide range of musical material, including easy listening, alternative rock, and late nineteenth- and early twentieth-century opera. Her teaching ranges from popular music analysis to the musical construction of character in the Austro-German operatic canon.
Inhaltsangabe
Introduction 1. Which Freddie? Constructions of Masculinity in Freddie Mercury and Justin Hawkins 2. Negotiating Masculinity in an Indonesian Pop Song 3: Moshpit Menace and Masculine Mayhem 4. To See Their Father's Eyes 5. Mum's the Word 6. The Sing-song of Undead Labor 7. A Walking Open Wound 8. Don't Cry, Daddy 9. Queer Voices and Musical Genders 10. (Un)Justified 11. Not With You But Of You 12. Some Of Us Can Only Live In Songs Of Love and Trouble
Introduction 1. Which Freddie? Constructions of Masculinity in Freddie Mercury and Justin Hawkins 2. Negotiating Masculinity in an Indonesian Pop Song 3: Moshpit Menace and Masculine Mayhem 4. To See Their Father's Eyes 5. Mum's the Word 6. The Sing-song of Undead Labor 7. A Walking Open Wound 8. Don't Cry, Daddy 9. Queer Voices and Musical Genders 10. (Un)Justified 11. Not With You But Of You 12. Some Of Us Can Only Live In Songs Of Love and Trouble
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