Oh Boy! - Jarman-Ivens, Freya
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From Muddy Waters to Mick Jagger, Elvis to Freddie Mercury, and from Jeff Buckley to Justin Timberlake, masculinity in popular music has been an issue explored by performers, critics, and audiences. Oh Boy! is the first serious study of how forms of masculinity are negotiated, constructed, represented and addressed in popular music texts and practices. Written by a group of internationally recognized pop music scholars including: Sheila Whiteley, Richard Middleton, and Judith Alberstam, the essays are anchored by musical analysis or close reading of musical texts and discourses. For students…mehr

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Produktbeschreibung
From Muddy Waters to Mick Jagger, Elvis to Freddie Mercury, and from Jeff Buckley to Justin Timberlake, masculinity in popular music has been an issue explored by performers, critics, and audiences. Oh Boy! is the first serious study of how forms of masculinity are negotiated, constructed, represented and addressed in popular music texts and practices. Written by a group of internationally recognized pop music scholars including: Sheila Whiteley, Richard Middleton, and Judith Alberstam, the essays are anchored by musical analysis or close reading of musical texts and discourses. For students of popular music, performance, and gender studies, this collection focuses on the growing interest in masculinity. Oh Boy! represents a long overdue addition to the fields of popular music studies and gender studies, and is placed firmly at the intersection of these two well-established fields of study.
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Autorenporträt
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.