Journal articles: 'Men in music'

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Anderson, Robert, David Blum, Guarneri Quartet, and Melvin Berger. "Men and Music." Musical Times 128, no. 1734 (August 1987): 439. http://dx.doi.org/10.2307/965010.

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Hill, Rosemary Lucy. "Men, masculinity, music and emotions." Information, Communication & Society 19, no. 12 (March 4, 2016): 1784–86. http://dx.doi.org/10.1080/1369118x.2016.1157621.

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Macht, Alexandra. "Men, masculinity, music and emotion." NORMA 13, no. 1 (May 24, 2017): 59–61. http://dx.doi.org/10.1080/18902138.2017.1330567.

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McDowell, Amy D. "Aggressive And Loving Men." Gender & Society 31, no. 2 (March 16, 2017): 223–44. http://dx.doi.org/10.1177/0891243217694824.

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This research uses Christian Hardcore punk to show how evangelical Christian men respond to changes in gender relations that threaten hegemonic masculinity through a music subculture. Drawing on interviews and participant observations of live music shows, I find that Christian Hardcore ministry involves a hybrid mix of aggressive and loving performances of manhood. Christian Hardcore punk men fortify the idea that men and women are essentially opposites through discourse and the segregation of music spaces, even as they deviate from dominant ideas of what makes a man in their strategy of openly expressing the “loving” of secular men. The mechanism for this is the interactions in concert spaces. These findings offer a conceptual move away from studying “godly” masculinity as intrinsically distinct from secular masculinity and illustrate how religious masculinities can be both hegemonic and “soft.”

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Mellers, Wilfrid, and Michael Broyles. "Odd men in." Musical Times 146, no. 1890 (April 1, 2005): 109. http://dx.doi.org/10.2307/30044078.

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Heavisides, Canon Neil. "Men of Glass." Musical Times 138, no. 1847 (January 1997): 2. http://dx.doi.org/10.2307/1003407.

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McKissack, Fraser. "Book Review: Men, Masculinity, Music and Emotions." Cultural Sociology 11, no. 1 (February 15, 2017): 131–33. http://dx.doi.org/10.1177/1749975516689520a.

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Jenkins, Martin, John Philip Sousa, and Paul E. Bierley. "Marching along: Recollections of Men, Women and Music." Notes 52, no. 2 (December 1995): 480. http://dx.doi.org/10.2307/899060.

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Fucci, Donald, Linda Petrosino, and Molly Banks. "Effects of Gender and Listeners' Preference on Magnitude-Estimation Scaling of Rock Music." Perceptual and Motor Skills 78, no. 3_suppl (June 1994): 1235–42. http://dx.doi.org/10.2466/pms.1994.78.3c.1235.

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The purpose of the present study was to examine the effects of gender and listener preference on magnitude-estimation scaling of rock music. Four groups of young adults were tested: 14 women who liked rock music, 14 women who disliked rock music, 14 men who liked rock music, and 14 men who disliked rock music. Subjects were instructed to assign numerical values to a random series of nine suprathresh-old intensity levels of a 10-sec. sample of rock music. Analysis indicated that there was no difference in scaling performance between women and men. There was a difference in scaling performance between the group of women who liked rock music and the group of women who disliked rock music. There was no difference in the way the two groups of men performed the scaling task. These results suggest that men and women perform magnitude-estimation scaling of rock music similarly. Women, however, allow preference to influence how they choose numbers during magnitude-estimation scaling tasks whereas men do not.

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Knobloch, Silvia, and Dolf Zillmann. "Appeal of Love Themes in Popular Music." Psychological Reports 93, no. 3 (December 2003): 653–58. http://dx.doi.org/10.2466/pr0.2003.93.3.653.

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The relationship between romantic satisfaction versus discontent and a preference for music celebrating versus lamenting love is explored. The satisfaction/discontent was ascertained in 60 college undergraduate women and men who later freely listened to music from a sampling of selections. The duration of their self-determined exposure to love-celebrating versus love-lamenting music was unobtrusively recorded by computer software. Romantically satisfied women and men showed a preference for love-celebrating music, whereas discontented women and men preferred love-lamenting music. Romantically discontent women and men preferred love-lamenting music presented by performers of their own sex. The findings indicate young adults' inclination to match emotions expressed in music about love with the emotions experienced in their own romantic situation.

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Harsawibawa, Harsawibawa. "Disrupsi dalam Musik." Resital: Jurnal Seni Pertunjukan 18, no. 3 (November 26, 2019): 144–58. http://dx.doi.org/10.24821/resital.v18i3.3337.

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Disrupsi identik dengan keadaan khaos bagi manusia akibat perkembangan teknologi; utamanya gagasan mesin menggantikan manusia. Musik yang merupakan bagian dari kehidupan manusia tidak luput dari khaos yang dihasilkan oleh disrupsi. Karena keadaan khaos itu tidak mengherankan bila banyak orang menduga bahwa disrupsi tidak mungkin memiliki kerangka pikir yang jelas. Tulisan ini, dengan mengadaptasi pemikiran di dalam ilmu teknik berhasil memformulasikan sebuah metodologi untuk memahami disrupsi di dalam musik. Metodologi itu memiliki tiga aspek di dalamnya, yaitu aspek horizontal yang berbicara mengenai percampuran genre musik dengan genre seni lainnya, aspek vertikal yang berbicara mengenai percampuran di dalam genre musik, dan aspek aksiologis yang berbicara mengenai hubungan musik dengan bidang-bidang lain yang bersifat non-musik. Metodologi disrupsi di dalam musik memperlihatkan bahwa disrupsi bukan masalah yang besar; disrupsi merupakan sesuatu yang melekat di dalam musik. Disrupsi adalah sesuatu yang hakiki di dalam musik. Ia tidak mengancam musik, tetapi merupakan sebuah situasi yang memperkaya musik dalam hubungannya dengan dirinya sendiri dan bidang-bidang lain yang bersifat seni maupun non-seni.Disruption in Music. Disruption is identical to chaotic state which is disrupted by the advance of technology especially with its notion of machine replaces men in work. It is said that music as part of men’s life are not immune from those chaotic states. Because of its seemingly chaotic state, it is not surprising that no one thought of disruption as having a clear methodology. By adopting a methodology of technical engeneering, this paper has succeded in forming a methodology which is able to explain musical disruption. This methodology has three aspects, i.e.: horizontal aspect which is about the mixing of musical genre with other art genres; vertical aspect which is about the the mixing of subgenres in musical genre; and axiological aspect which is about the interaction between music and non-music disciplines. The method of disruption in music shows that disruption is not a big problem; disruption is something inherent in music. Disruption is something essential in music. It does not pose a real threat to music; it is a condition which enriches the music in its relations to itself, other arts and non-music disciplines.Keywords: music disruption; liberal arts

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Altschuler, Eric Lewin, and William Jansen. "Thomas Weelkes's Text Authors: Men of Letters." Musical Times 143, no. 1879 (2002): 17. http://dx.doi.org/10.2307/1004594.

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MacDonald, Michael B. "“The Best Laid Plans of Marx and Men”." Ethnologies 30, no. 2 (February 16, 2009): 73–91. http://dx.doi.org/10.7202/019946ar.

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Mitch Podolak said, “Pete Seeger and Leon Trotsky lead to everything in my life, especially the Winnipeg Folk Festival.” This article discusses the creation of the Winnipeg Folk Festival (WFF) in 1974 as Podolak’s first attempt to fuse his ten years of Trotskyist political training with his love for folk music. His intention was to create a Canadian folk festival which would embody the politically resistant nature of the Trotskyist international movement for the purpose of challenging the Canadian liberal capitalist democratic system on a cultural front. Heavily influenced by the American Communist Party’s use of folk music, Podolak believed that the folk song and its performance were socially important. This importance, he believed, stemmed from the social cohesion that could be created within a festival performance space. This space, when thoughtfully organized, could have the ability to create meaning. The relationships between the artistic director, the folk singer, the folk song and the festival audience become intertwined to dialectically create the meaning of the song and the space simultaneously defining folk music

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Werner, Ann. "REVIEW | Making Aboriginal Men and Music in Central Australia." IASPM@Journal 6, no. 2 (December 31, 2016): 189–91. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.14en.

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Jury, Brendan. "Boys to men: Afrikaans alternative popular music 1986–1990." African Languages and Cultures 9, no. 2 (January 1996): 99–109. http://dx.doi.org/10.1080/09544169608717804.

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Rhodes, Larry A., Daniel C. David, and Allan L. Combs. "Absorption and Enjoyment of Music." Perceptual and Motor Skills 66, no. 3 (June 1988): 737–38. http://dx.doi.org/10.2466/pms.1988.66.3.737.

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For 35 participants, 12 men and 23 women, scores on the Tellegen Absorption Scale significantly correlated with ratings of how much they liked music. After completing the scale, each participant listened to eight 4-min. selections of music presented in quasirandom order. These were excerpts from classical, new age, rock, and country music. Each was rated on a scale from 1, for strongly disliked, to 5, for strongly liked. The Pearson correlation of .51 between the Absorption Scale scores and the mean rating scores collapsed across all types of music was significantly greater than zero. Correlations for each of the various types of music were .51 for classical music, .40 for new age music, .20 for rock music, and .11 for country music.

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Wester, Stephen R., Cynthia L. Crown, Gerald L. Quatman, and Martin Heesacker. "The Influence of Sexually Violent Rap Music on Attitudes of Men with Little Prior Exposure." Psychology of Women Quarterly 21, no. 4 (December 1997): 497–508. http://dx.doi.org/10.1111/j.1471-6402.1997.tb00127.x.

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This article is among the first to focus on commercially available, sexually violent rap music, so-called “gangsta” rap (GR) and its influence on attitudes toward women. Collegiate males with little experience with GR were exposed to GR music, lyrics, both, or neither. Thus the effect of GR music and lyrics were isolated from each other and from acculturation to GR. Collapsing across all attitude measures, neither lyrics alone nor lyrics with music resulted in significantly more negative attitudes toward women than music-only or no-treatment control conditions. Participants in the lyrics conditions had significantly greater adversarial sexual beliefs than no-lyrics participants, however.

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McGeary, Thomas. "Music, men and masculinity on the Grand Tour: British flautists in Italy." Early Music 49, no. 1 (February 1, 2021): 101–28. http://dx.doi.org/10.1093/em/caab023.

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Abstract The Grand Tour was the highpoint of the education of the sons of many members of the British upper classes. Despite its contributions to British culture, the Tour came in for contemporary objection and satire. More recently Richard Leppert has used his construct of 18th-century British ideology of gender, class and music to argue that men’s musical activities on the Tour were devalued. This article re-assesses the role of music-making of males on the Grand Tour. It questions the basis of Leppert’s account, and documents an array of paintings depicting Grand Tourists with instruments. The paintings range from highly finished, formal portraits by Pompeo Batoni, to the personal caricatures by Joshua Reynolds, and the informal chalk sketches by Thomas Patch. The article also uses the newly discovered account book of the Hon. Charles Stanhope to show the attention and expenses he devoted to music while on his Grand Tour.

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LAURAND, VALERY. "LES EFFETS ÈTHIQUES DE LA MUSIQUE : LA LECTURE PROBLÈMATIQUE DE DIOGÈNE DE BABYLONE PAR PHILODÈME DE GADARA." Méthexis 27, no. 1 (March 30, 2014): 197–214. http://dx.doi.org/10.1163/24680974-90000639.

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This paper deals with the place Diogenus of Babylon grants music within the realm of ethical education and training, as reported in Philodemus of Gadara’s (partisan) testimony in his De Musica, wherein it is stated that music encourages men to cultivate virtue and strengthen it. By exploring the controversy between Epicureanism and Stoicism, this paper aims to understand how, according to Stoic thought, cognitive sense-perception (ἐπɩστημoνKὴ σἲσθησɩᴤ) could have an ethical outcome, the sensory experience thus proving its expertise within the field of ethics, and succeeding in changing man's varying states of pleasure and pain. In fact, music like poetry turns out to be the resounding image of rationality that holds direct sway over the rational soul.

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Bertsch, Sharon, H. Donald Knee, and Jeffrey L. Webb. "Functional Cerebral Distance and the Effect of Emotional Music on Spatial Rotation Scores in Undergraduate Women and Men." Psychological Reports 108, no. 1 (February 2011): 14–22. http://dx.doi.org/10.2466/04.23.27.pr0.108.1.14-22.

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The influence of listening to music on subsequent spatial rotation scores has a controversial history. The effect is unreliable, seeming to depend on several as yet unexplored factors. Using a large sample (167 women, 160 men; M age = 18.9 yr.), two related variables were investigated: participants' sex and the emotion conveyed by the music. Participants listened to 90 sec. of music that portrayed emotions of approach (happiness), or withdrawal (anger), or heard no music at all. They then performed a two-dimensional spatial rotation task. No significant difference was found in spatial rotation scores between groups exposed to music and those who were not. However, a significant interaction was found based on the sex of the participants and the emotion portrayed in the music they heard. Women's scores increased (relative to a no-music condition) only after hearing withdrawal-based music, while men's scores increased only after listening to the approach-based music. These changes were explained using the theory of Functional Cerebral Distance.

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Ikeke, Mark Omorovie. "Feminist Ethics and Gender Portrayals in Urhobo (African) Traditional Music." East African Journal of Traditions, Culture and Religion 3, no. 2 (June 22, 2021): 1–10. http://dx.doi.org/10.37284/eajtcr.3.1.347.

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Essential concern of feminist ethics is that the moral perspectives and experiences of women are not often taken into cognizance in ethical discussion and that there is an unjust power structure in a culture that discriminates against women and privileges the position and rights of men over women. The moral ideal is often based on the male evaluation. The moral views on what ought to be just relationships between men and women permeate almost all aspects of cultural life, including music. Urhobo traditional music is not an exception. Urhobo traditional music which is a reflection of African traditional values that endorses patriarchy portrays women as inferior to men and women are to be subservient to men in decision-making in society. The paper will use critical analytic and hermeneutic methods to do a feminist ethical critique of gender portrayal in Urhobo traditional music. Excerpts from Urhobo traditional music will be presented, translated and their meaning evaluated. The paper finds and concludes that there is a need to create traditional music that projects the equality of men and women, just relationships among the sexes, and enhances the positive values of feminist ethics.

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Katz, M. "Men, Women, and Turntables: Gender and the DJ Battle." Musical Quarterly 89, no. 4 (November 27, 2007): 580–99. http://dx.doi.org/10.1093/musqtl/gdm007.

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Knobloch, Silvia, Kerstin Weisbach, and Dolf Zillmann. "Love Lamentation in Pop Songs: Music for Unhappy Lovers?" Zeitschrift für Medienpsychologie 16, no. 3 (July 2004): 116–24. http://dx.doi.org/10.1026/1617-6383.16.3.116.

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Abstract. The investigation builds on and extends demonstrations in the U.S. that romantically disenchanted men and women are attracted to love-lamenting music. The current focus is on preferences of young German adults (n = 52). Ascertainment of respondents’ romantic situation was followed by a period in which they could listen to top-chart love songs, with lyrics expressing either celebration of happy love or lamentation of unrequited/lost love. Songs were presented via computer in a private listening situation. For a restricted period, respondents freely sampled from available songs. Exposure to sad love music was unobtrusively recorded. Amorously frustrated men exposed themselves longer to love-lamenting music than did more content men. Romantically disenchanted women similarly favored such music more than more hopeful women did. However, women in happy relationships exhibited an unexpectedly strong preference for music denouncing love. Thus, regarding men, findings fully replicate earlier observations; regarding women, the replication was only partial.

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Whitesell, Lloyd. "Men with a Past: Music and the "Anxiety of Influence"." 19th-Century Music 18, no. 2 (1994): 152–67. http://dx.doi.org/10.2307/746358.

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Whitesell, Lloyd. "Men with a Past: Music and the "Anxiety of Influence"." 19th-Century Music 18, no. 2 (October 1994): 152–67. http://dx.doi.org/10.1525/ncm.1994.18.2.02a00050.

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Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (March 1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in the curriculum of schools and colleges. Practical suggestions are made as to how this can be achieved despite the current lack of resources.

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Bailey, Betty A., and Jane W. Davidson. "Adaptive Characteristics of Group Singing: Perceptions from Members of a Choir Forhomeless Men." Musicae Scientiae 6, no. 2 (September 2002): 221–56. http://dx.doi.org/10.1177/102986490200600206.

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There is considerable evidence to suggest that music has adaptive characteristics. Individuals use recorded music to transform the emotional landscape to coincide with transitory needs and desires. Also, music has frequently been reported to provoke uncommon emotional and physical reactions often referred to as peak experiences. In many cultures, that have limited industrial and technological development, active participation in musical activities is pervasive and all individuals are considered musical. In contrast, the musical elitism that has evolved in the Western world intimates that musical ability is specific to a talented minority. The elitist notion of musicality restricts the majority to procurers of rather than producers of music. However, experimental and theoretical sources indicate that music is an innate and universal ability and, therefore, active participation in music may have adaptive characteristics at many levels of proficiency. Positive life transformations that occurred for members of a choir for homeless men, since joining the choir, provided an opportunity to determine if group singing was a factor in promoting adaptive behaviour. A phenomenological approach utilizing a semi-structured interview wasemployed to explore the choristers' group singing experience. Analysis of the interviews indicated that group singing appears positively to influence emotional, social and cognitive processes. The choristers' perceptions of the adaptive characteristics of group singing fell within four principal categories: clinical-type benefits, benefits derived from audience-choir reciprocity, benefits associated with group process and benefits related tomental engagement. Active participation in singing may act to alleviate depression, increase self-esteem, improve social interaction skills and induce cognitive stimulation. The themes adhere to the tenets of flow theory which advocate the importance of mental stimulation and social interaction in increased life satisfaction. The emergent themes provide a preliminary basis for the development of a theory of the adaptive characteristics of group singing and also provide a framework for further investigation in this area.

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Aronoff, Uri. "A music therapy group for gay men: thoughts and considerations." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 10. http://dx.doi.org/10.1080/08098131.2016.1179880.

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Aronoff, Uri, and Avi Gilboa. "Music and the closet: The roles music plays for gay men in the “coming out” process." Psychology of Music 43, no. 3 (January 23, 2014): 423–37. http://dx.doi.org/10.1177/0305735613515943.

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Latifah, Diah. "EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH." Jurnal Penelitian dan Evaluasi Pendidikan 16, no. 2 (January 14, 2013): 457–73. http://dx.doi.org/10.21831/pep.v16i2.1127.

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Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand, the research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation

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Bick, Sally. ""Of Mice and Men": Copland, Hollywood, and American Musical Modernism." American Music 23, no. 4 (2005): 426. http://dx.doi.org/10.2307/4153069.

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HAAS, KARL J. "Subjunctive Masculinities: Making Men Through Music and Ritual in Northern Ghana." Yearbook for Traditional Music 51 (November 2019): 217–45. http://dx.doi.org/10.1017/ytm.2019.4.

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Abstract (Dagbanli)Dini niŋ ka tuma kalinsi mini pukparigu ni labiri nyanga saha ŋɔ la zuɣu, dabba ban be Tuduyaɣili polo (Northern Region) di niŋdi tom pam tiba zaŋ jandi bɛ biɛhigu ni bɛ laɣi dibo soya diyi ti kana dotali polo. To ayi yuli zaŋ chaŋ kali wahi din jandi Dagbamba Sapashin nim polo, sabbu ŋɔ wuhirila waligimsim din be dotali mini kali wahi yeltɔɣa. Gun Gon nyala kali tuun kpeiŋ din wuhiri dotali tuun tumsa Sapashin nim ni Dagbaŋ pulini, kadi wuhiri ka kpaŋsiri dotali ni nye sheli zaŋ ti dabba ban tumdili.

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Tanabe, Paula, Ronald Thomas, Judith Paice, Mary Spiller, and Richard Marcantonio. "The effect of standard care, ibuprofen, and music on pain relief and patient satisfaction in adults with musculoskeletal trauma." Journal of Emergency Nursing 27, no. 2 (April 2001): 124–31. http://dx.doi.org/10.1067/men.2001.114386.

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Benmassoud, Jihane, and Fatima Zohra Kroum. "THE DEPICTION OF GENDER IN MOROCCAN POP LYRICS." International Journal of Applied Language Studies and Culture 2, no. 2 (July 30, 2019): 11–18. http://dx.doi.org/10.34301/alsc.v2i2.20.

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The aim of the study is to investigate song lyrics within the most popular Moroccan Pop music from a cultural and a gender perspective, focusing on the depiction of both women and men. More specifically, the question that motivated the present study was: What cultural messages about women and men have been depicted to society through Moroccan song lyrics? Listening to music is the dominant hobby of a great majority of the population, as well as the fact that the lyrics of some popular songs are highly restrictive of gender roles (Weitzer & Kubrin, 2009). The study questions the way the Moroccan Pop music reflects and constructs gender in society. The study used content analysis approach and analyzed twenty Moroccan popular pop song lyrics from 2016 to 2018 based on most watched music videos on YouTube. The investigation focuses on the gender of songwriters, and the nouns the songwriter use to refer to the concept of WOMAN and MAN.

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Daryana, Hinhin Agung, Aquarini Priyatna, and Raden Muhammad Mulyadi. "The New Metal Men: Exploring Model of Flexible Masculinity in the Bandung Metal Scene." Masculinities & Social Change 9, no. 2 (June 21, 2020): 148. http://dx.doi.org/10.17583/mcs.2020.5020.

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The global metal scene has long provided narratives and methods for solving issues of masculinities since in their particular environment in the music industry, and they are generally considered masculine. This article explores the stereotypical construction of masculinities in the Bandung metal music scene. This analysis based on in-depth interviews with Bandung professional metal male musicians who are aged 39-44 years old and are married. This investigation examines how these metal musicians negotiate alternative masculinities in various contexts, taking into account the predominantly Muslim culture in Indonesia. Using an ethnographic approach and borrowing from Millett's concepts of temperament, role, and status, this paper argues that metal music, which is generally considered hypermasculine, does not display the same construction in their performing their functions in the family. Through their roles as breadwinner, musicians maintain normative Indonesian masculinity, as well as fulfilling their responsibility to their family. However, they negotiate equity in the private space, which regards household labor division, childcare, and sharing of income. This paper argues that to some extent, musicians in the metal music scene in Bandung provide a role model of masculinity that is more gender-sensitive and egalitarian.

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Jensen-Moulton. "Intellectual Disability in Carlisle Floyd's Of Mice and Men." American Music 30, no. 2 (2012): 129. http://dx.doi.org/10.5406/americanmusic.30.2.0129.

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Lam, Joseph. "Male Bonding in Ming China." NAN NÜ 9, no. 1 (2007): 70–110. http://dx.doi.org/10.1163/138768007x171722.

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AbstractMaking friends and making music are two fundamental activities through which people construct their personal identities and social relationships in their historical, cultural, and engendered times and spaces. To probe such activities as revealing facets of Ming history and culture, this essay presents three case studies of Ming men making music and bonding with male friends. To highlight the expressive, cultural, and social significance of music, this essay postulates that music catalyzed male bonding in Ming China by providing a tool, a site, and a process for Ming men to express and negotiate their masculine desires, identities, and roles.

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Bohlin, MC, SE Widén, E. Sorbring, and SI Erlandsson. "Risks and music - Patterns among young women and men in Sweden." Noise and Health 13, no. 53 (2011): 310. http://dx.doi.org/10.4103/1463-1741.82964.

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Meyer. "Dystopia and Transcendence: Tavener's Music for Children of Men." Music and the Moving Image 13, no. 1 (2020): 43. http://dx.doi.org/10.5406/musimoviimag.13.1.0043.

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Dicciani, Marc J., and Frederic Dannen. "Hit Men: Power Brokers and Fast Money inside the Music Business." Notes 48, no. 4 (June 1992): 1302. http://dx.doi.org/10.2307/942147.

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Brown, Huntly P. "Black Masculinity and Hip-Hop Music: Black Gay Men Who Rap." Journal of Black Sexuality and Relationships 6, no. 4 (2019): 115–19. http://dx.doi.org/10.1353/bsr.2019.0029.

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Dooley, Gillian. "A Most Luxurious State: Men and Music in Jane Austen’s Novels." English Studies 98, no. 6 (May 17, 2017): 598–607. http://dx.doi.org/10.1080/0013838x.2017.1322386.

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Saucier, Karen A. "Healers and Heartbreakers: Images of Women and Men in Country Music." Journal of Popular Culture 20, no. 3 (December 1986): 147–66. http://dx.doi.org/10.1111/j.0022-3840.1986.2003_147.x.

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Wollman, Elizabeth L. "Men, music, and marketing at Q104.3 (WAXQ‐FM New York)1." Popular Music and Society 22, no. 4 (December 1998): 1–23. http://dx.doi.org/10.1080/03007769808591716.

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Cowlishaw, Gillian. "Making Aboriginal Men and Music in Central Australia - By Åse Ottosson." Oceania 86, no. 2 (July 2016): 212–13. http://dx.doi.org/10.1002/ocea.5128.

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Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.

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In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess of Music and Learning, is represented as seated on a white lotus playing on the Veena. The great sage Narada first brought the art to earth and taught it to men.

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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.

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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.

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Nagatomi, Mari. "Remapping Country Music in the Pacific." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 162–77. http://dx.doi.org/10.1525/jpms.2020.32.2.162.

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Studies that introduced country musicians outside the US have expanded our views on the creators of American country music. They have, however, reinforced our notion that non-US country musicians merely imitate the American “original.” More recent studies have advanced the field by asking how non-US actors use country music to manipulate the borders between their countries and the US by playing country music. Yet they emphasize that non-US actors exclusively encounter US culture through country music. This paper pushes the field forward to mapping country music onto post-war Japan, locating it within a Japanese domestic context, and showing how non-US actors used country to control the ideological context created there. By doing so, it rejects the common perception that the Japanese merely imitated the “authentic” American country music. Japanese men enjoyed American country music not simply because it was American, but precisely because they could make it their own. This paper examines why certain male musicians played country music as they recovered from defeat in World War II between 1945 and the mid-1950s. To do so, it illustrates how men—country musicians and their critics alike—performed and discussed country music during this period. Ultimately, this paper argues that country musicians played country to embody an alternative masculinity that could serve as both a deviation and critique of the expectations and direction of mainstream Japanese society.

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Lesser, Andrew. "Toward a New Vision of Equality: Perspectives of Male Teachers in the Elementary Music Classroom." Update: Applications of Research in Music Education 36, no. 1 (July 22, 2016): 20–27. http://dx.doi.org/10.1177/8755123316661854.

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Research concerning men working in predominantly female environments has suggested that stereotyping can occur when gender norms are violated, such as men teaching at the elementary school level. The present study investigated the presence and perspectives of male elementary school music teachers in specific geographical regions of the Northeastern United States. A qualitative analysis of six public school districts representing multiple states in the Northeastern United States revealed that women still hold a majority among elementary music teachers. Interviews were then conducted with three selected male elementary music teachers to determine if any of them felt discriminated or marginalized among their female colleagues. While these men did claim that their masculinity indeed caused various issues relating to male discrimination, all three felt content with their positions regardless of their gender identification.

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Cipolla, Frank J., Margaret Hindle Hazen, and Robert M. Hazen. "The Music Men: An Illustrated History of Brass Bands in America, 1800-1920." American Music 7, no. 3 (1989): 329. http://dx.doi.org/10.2307/3052079.

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Journal articles on the topic 'Men in music'

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