Academic literature on the topic 'Stereotyping in music'
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Journal articles on the topic "Stereotyping in music"
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Jake Harwood, Jake Harwood. "Music and intergroup relations: Exacerbating conflict and building harmony through music." Review of Communication Research 5 (2017): 1–34. http://dx.doi.org/10.12840/issn.2255-4165.2017.05.01.012.
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This article describes the ways in which music is an important part of identity, and hence serves some similar functions to other forms of identity-related communication (e.g., language). It will describe how music is used to incite intergroup hatred (e.g., among soccer fans, military music) and to support valued identities (anthems, etc.). Relevant literature on stereotyping (including stereotyping of groups related to music) is included. The article also discusses how music is used to reduce intergroup hostility (e.g., via cross-cultural musical collaboration and contact). The article connects the various literatures from communication, social psychology, sociology, and ethnomusicology, providing a broad overview of the many connections between communication, music, and social identity. It closes with a research agenda for those interested in studying intergroup communication and music.
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Susino, Marco, and Emery Schubert. "Cultural stereotyping of emotional responses to music genre." Psychology of Music 47, no. 3 (March 10, 2018): 342–57. http://dx.doi.org/10.1177/0305735618755886.
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This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music samples from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a small number of specific emotions reported for a music genre were the same as stereotypical emotional associations of the corresponding culture. These include peace and calm for Koto music and Japanese culture, and anger and aggression for Heavy Metal music and culture. We explain these results through the stereotype theory of emotion in music (STEM), where an emotion filter is activated that simplifies the assessment process for a music genre that is not very familiar to the listener. Listeners familiar with a genre reported fewer stereotyped emotions than less familiar listeners. The study suggests that stereotyping competes with the psychoacoustic cues in the expression of emotion.
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Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools." British Journal of Music Education 18, no. 1 (March 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.
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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.
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Seidman, Steven A. "Profile:An investigation of sex‐role stereotyping in music videos." Journal of Broadcasting & Electronic Media 36, no. 2 (March 1992): 209–16. http://dx.doi.org/10.1080/08838159209364168.
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Bruce, Rosemary, and Anthony Kemp. "Sex-stereotyping in Children's Preferences for Musical Instruments." British Journal of Music Education 10, no. 3 (November 1993): 213–17. http://dx.doi.org/10.1017/s0265051700001777.
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This paper considers the effects of children's gender associations on their preferences for musical instruments, and questions whether the limited range of instrumental selection made by boys can be regarded as a result of such associations.The research project was devised to investigate the responses of infant school children to male and female musicians. The findings indicated that instrumental preferences were influenced by gender associations which could be lessened by providing positive role models. Whereas girls were more able to cross over gender divisions than boys, boys had a narrower range of interests in instruments. It was shown that the provision of an opposite gendered role model helped to overcome the associations made with particular instruments.
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Anglada-Tort, Manuel. "Measuring Stereotypes in Music: A Commentary on Susino and Schubert (2019)." Empirical Musicology Review 14, no. 1-2 (November 26, 2019): 16. http://dx.doi.org/10.18061/emr.v14i1-2.6659.
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In this commentary, I first discuss the strengths of the target paper and provide suggestions for future research. I proceed to point out an important limitation of the target study as well as contribute considerations relevant to measuring stereotypes in music. Finally, I present a novel theoretical account to explain music stereotyping, namely, the representativeness heuristic (Tversky & Kahneman, 1974), which I discuss within the broader framework of the behavioral economics of music.
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Paull, Emily J., and Wendy L. Morris. "Stereotyping and Nonconformity: The Effects of Punk Music on Social Behavior." Psi Chi Journal of Psychological Research 13, no. 4 (2008): 173–83. http://dx.doi.org/10.24839/1089-4136.jn13.4.173.
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Schwär, Gerhard Helmut, and John Richard Middleton. "Music fan personality stereotyping in a sample of South African young adults." Journal of Psychology in Africa 27, no. 1 (February 21, 2017): 27–32. http://dx.doi.org/10.1080/14330237.2016.1268285.
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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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Harrison, Scott D. "A perennial problem in gendered participation in music: what's happening to the boys?" British Journal of Music Education 24, no. 3 (November 2007): 267–80. http://dx.doi.org/10.1017/s0265051707007577.
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Despite three decades of research, gendered participation in music continues to be problematic. While many aspects of Western society maintain a patriarchal stance in the workplace, it is apparent that girls have made some significant changes in their musical choices. Males, it seems, are maintaining the same preferences for instruments as they did 100 years ago, avoiding ‘gentler pursuits’ like singing and playing the flute. This paper seeks to investigate the continued existence of stereotyping of musical participation and to discover some of the underlying reasons for this in the musical choices for boys through the literature. Furthermore, themes arising from existing research are investigated through fieldwork recently conducted in Australia.
Dissertations / Theses on the topic "Stereotyping in music"
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Pelos, Ellen S. "The Influence of Advertisement Music on Gender Identity and Sex Stereotyping in Young Girls." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/772.
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This paper proposes a study that investigates whether manipulating pitch and tempo in children’s toy advertisement music has an effect on gender identity and sex stereotyping in preschool-aged girls. This particular intersection between advertisement, persuasion, gender identity, and sex stereotyping scholarship has not yet been explored. However, past research does suggest that high pitch and fast tempo have a significant positive impact on mood and arousal, two factors associated with more susceptibility to persuasive messages. The 3- to 4-year-old female participants will be randomly assigned to one of the nine advertisement conditions. The music in the ads for each condition will contain a combination of pitch variation (high, medium, or low pitch) as well as a tempo variation (fast, medium, or slow tempo) to create a fully-crossed design. The dependent variables, gender identity and sex stereotyping, will be measured in the lab before and after a 2-week period in which the the advertisement stimuli will be presented in the children’s homes. Based on previous research, higher pitch and faster tempo are expected to be associated with more stereotypical gender identity and more sex stereotyping in participants.
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Calloway, Cassidy Cheyenne. "Whence Comes the Lady Percussionist? The Changing Role of Females in Professional Percussion Positions in the United States, 2011-2020." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/596.
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Women percussionists have historically been the minority in professional percussion roles. After a discussion of women’s roles as drummers in ancient history, this document reviews the role of women percussionists in the rapidly evolving field of percussion. The purpose of this study was to see if there has been an increase in female percussionists in professional positions since Meghan Aube’s 2011 study, Women in Percussion: The Emergence of Women as Professional Percussionists in the United States, 1930-Present. Because female percussionists have been subject to gender stereotyping of instruments and gender discrimination, this study also aimed to discover if any progress has been made toward the presence of women in percussion education and as performers. In order to update results from Meghan Aube’s study, the personnel lists of the top two tiers of orchestras (the top 11.28 percent of 452 orchestras according to the ranking system established by the League of American Orchestras) were surveyed to find the gender ratio of their percussion sections. Likewise, data collected from the College Music Society directory was used to determine the number of women teaching percussion at universities in the United States. In addition, percussion professors from institutions offering graduate degrees in music were surveyed and asked to provide their experiences with gender discrimination toward female percussionists. This document may serve as a resource for further studies and research on the evolving roles of female percussionists.
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Steinberg, Ella Nora Parks. "“Take a solo”: An analysis of gender participation and interaction at school jazz festivals." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/2469.
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This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a disproportionate percentage of the population (males = 70% and females = 30%). Significantly more males were found on all instruments, with the exception of piano, where females represented the majority (male pianists = 42.5% and female pianists = 57.5%). Solo patterns revealed that even though there were more female pianists, male pianists were featured as a soloist a total of 17 times, in contrast to 5 total solos for female pianists. Categorical data from solo patterns for all instruments showed that males were featured significantly more often as a soloist on saxophone and piano. Given the research on sex-stereotyping of instruments, where saxophone and piano are considered as less “masculine” instruments, this research noted that no significant difference in solo patterns were found between males and females who perform on the more “masculine” instruments (trumpet, trombone, drums, and bass). Overall, males did solo significantly more often than girls, based on the proportion of boys to girls in the total sample. Interaction analysis, using a modification of the INTERSECT observation form utilized by researchers Sadker & Sadker, of post-performance clinics found that males dominated all interactions. Males raised their hands more often, were called on and called-out more often and were asked to play at a higher rate than female performers. Results suggest that jazz education might benefit from intervention strategies similar to those implemented in math and science education to narrow the participation and interaction gap between males and females.
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Mårtensson, Sebastian. "Stereotyper i kontrast : En studie för hur uppfattningen av välkända platser påverkas av stereotypisk musik." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9441.
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Undersökningen ämnade besvara hur bilder på välkända platser påverkas av stereotypisk musik från andra länder. Musikhistoria för de utvalda länderna och relaterad forskning ansågs som relevant bakgrund till arbetet. Stereotypisk musik för fyra länder valdes ut och skapade tillsammans med bildmaterial från fyra storstäder 12 videoklipp. Tre nivåer av olika mängd landmärken med fyra videoklipp i varje nivå. Undersökningen genomfördes med hjälp av respondenter mellan 18 och 30 år som besvarade vad de såg för plats i de olika videoklippen. Resultatet visade att musikens påverkan på det vi ser är stor, men att de tydligaste landmärkena är svåra att förbise. Det visades även möjligt att personer kan uppfatta sig se landet musiken hänvisar till trots att landmärken visas visuellt. En intressant fortsättning på denna undersökning hade kunnat vara att undersöka fler åldersgrupper för att se om musiken har större eller mindre påverkan på uppfattningen av platsen ju äldre respondenterna är. Nyckelord: Kontrast, länder, musik, stereotyper
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Reusch, Kathryn. ""That which was missing" : the archaeology of castration." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:b8118fe7-67cb-4610-9823-b0242dfe900a.
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Castration has a long temporal and geographical span. Its origins are unclear, but likely lie in the Ancient Near East around the time of the Secondary Products Revolution and the increase in social complexity of proto-urban societies. Due to the unique social and gender roles created by castrates’ ambiguous sexual state, human castrates were used heavily in strongly hierarchical social structures such as imperial and religious institutions, and were often close to the ruler of an imperial society. This privileged position, though often occupied by slaves, gave castrates enormous power to affect governmental decisions. This often aroused the jealousy and hatred of intact elite males, who were not afforded as open access to the ruler and virulently condemned castrates in historical documents. These attitudes were passed down to the scholars and doctors who began to study castration in the late 19th and early 20th centuries, affecting the manner in which castration was studied. Osteometric and anthropometric examinations of castrates were carried out during this period, but the two World Wars and a shift in focus meant that castrate bodies were not studied for nearly eighty years. Recent interest in gender and sexuality in the past has revived interest in castration as a topic, but few studies of castrate remains have occurred. As large numbers of castrates are referenced in historical documents, the lack of castrate skeletons may be due to a lack of recognition of the physical effects of castration on the skeleton. The synthesis and generation of methods for more accurate identification of castrate skeletons was undertaken and the results are presented here to improve the ability to identify castrate skeletons within the archaeological record.
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Stonebarger, Phillip Eugene. "Perceptions of musicians: gender stereotyping of instruments in international schools in Japan." Thesis, 2019. https://hdl.handle.net/2144/34799.
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In this study, I examined gender associations of instruments in five international schools in Japan, judgments that student musicians made about other musicians based on perceived social roles, and how those judgments might have been influenced by the participants’ age, gender, nationality, and school type attended. Using social role theory as a framework, I sought to understand how model musicians were perceived as having agentic (masculine), communal (feminine), and gender-neutral qualities based upon the model’s gender and instrument played. Band students at the international schools (N = 491) served as participants in this study, completing surveys that helped to answer (a) the extent to which gender stereotyping of instruments existed in participating schools, (b) the judgments that participants made about model musicians, and (c) how those judgments were influenced by participants’ demographic differences.
Data indicated that gender associations of instruments in participating schools was not as prevalent as has been seen in earlier studies conducted in the U.S. and the U.K. (Fortney, Boyle, & DeCarbo, 1993; Hallam, Rogers, & Creech, 2008; Wrape, Dittloff, & Callahan, 2014). The findings for this study indicated that the flute was played by a high percentage of female participants, and the trombone was played by a high percentage of male participants. The alto saxophone and the trumpet were played by more male than female participants, while the clarinet and percussion were played nearly equally by male and female participants.
Responding to Likert-type questions, participants rated model musicians on three agentic qualities, three communal qualities, and three gender-neutral qualities. MANOVA was used to examine differences in participants’ perceptions of musicians. Participants scored female musicians significantly higher than male musicians in perceptions of leadership, caring, friendliness, comfort, and happiness. Males scored significantly higher in activity. There was little difference between males and females in scores of strength, success, and sensitivity. Instrument played by the model musician, however, seemed to have less impact on participants’ judgments. Flute players scored significantly higher than other musicians on measures of comfort and happiness. Snare drummers scored significantly lower than flutists and trombonists on measures of success.
I further analyzed data to determine how specific demographic variations in participants contributed to differences in perceptions of musicians. I found some significant differences for each characteristic based on the participants’ gender, nationality, and school grade level. By examining interactions among variables, I discovered additional significant differences in perceptions of musicians by participants.
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"East Meets West: Stereotyping the East-Asian Female in Operatic Works from 1885 to 2010." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17843.
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abstract: Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.Dissertation/Thesis
D.M.A. Music 2013
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MacKay, Robbie J. "The experiences of Canadian women in popular music: “even on the worst sick no gas freezing Canadian middle of January rockie mountain or Halifax breakdown there is nothing better to do for a living”." Thesis, 2008. http://hdl.handle.net/1974/1091.
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This study examined the personal and professional experiences of Canadian professional female popular musicians. The researcher gathered data in two phases. In phase one, 85 female musicians completed a 105-question on-line survey. In phase two, the researcher interviewed four musicians to expand and elucidate survey data. In keeping with a critical feminist approach, the researcher’s voice is prominent in the report. The study reveals a complex combination of personal and professional circumstances that both compel and impel women to become musicians, and then to cleave to or to abandon careers in the music industry. Families, peers, role models, and teachers all have some effect on personal and professional choices that musicians make. Gender stereotyping and sexual harassment prevail in both music education and the music industry, making these contested sites for women musicians. However, respondents’ identity as “musician” is a powerful force, in both personal and professional realms, making both education and industry also sites of triumph. Important findings include: respondents’ reflections on what makes for a successful pop musician; data revealed no essential biographical precursors for success in pop music; respondents’ opinions about the importance of music lessons are divided; and, along with credible technical music skills, musicians need to develop strong personal, social, and business skills.Thesis (Master, Education) -- Queen's University, 2008-04-10 10:30:48.856
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Zanardelli, Brandon John. "Social identity in adolescent peer groups: a collective case study of adolescents' use of music as an identity resource." Thesis, 2021. https://hdl.handle.net/2144/41878.
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Small groups of friends—or peer groups—are a central feature of adolescence that contribute to the development of social identity and feelings of self-worth for group members. Additionally, adolescents value music highly and view it as a vital part of their lives. The purpose of this study was to examine and clarify the extent to which adolescents use music as an identity resource in small peer groups. Using Tajfel and Turner’s Social Identity Theory as a framework, I conducted a collective case study to understand (a) the ways in which adolescents use music to form and maintain a peer group, (b) the extent to which peer groups use music for the social categorization and stereotyping of other groups of adolescents, (c) the ways by which adolescents use music associated with their peer group to maintain a positive self-concept, and (d) how the peer group influences members’ enjoyment of music and music participation. I conducted group interviews with three adolescent peer groups that contained 5–8 seventh- and eighth-grade students. The peer group members shared experiences of bonding and socializing as a part of a peer group, and described time spent in their music classes. During the discussions, group members explained the role that music plays in their lives. The group members explained their peer group in the context of the school, describing instances of social categorization and stereotyping, in-group and out-group distinction, and self-concept maintenance made from comparisons to the out-groups. The participants discussed their views on school music courses, advocating for the implementation of new classes that included non-traditional instruments and the inclusion of more popular styles of music.
Keywords: social identity, adolescent peer groups, in-group, out-group, social categorization, self-concept, stereotyping, adolescence music preference, positive distinctness
Books on the topic "Stereotyping in music"
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Dixon, Travis L. Rap Music and Rap Audiences Revisited. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.24.
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This current paper offers a review of some of the early rap studies and discusses some of the more recent rap investigations that have been dominated by negative effects investigations. It argues that the suspicion of negative effects and stereotyping of African Americans have driven support for censorship of this musical genre. Although psychologists and lay critics have focused on the potential negative effects of rap music, the current chapter provides evidence that the effects are not all negative and that rap music audiences may use their culture and “agency” to empower themselves.
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Gough, Peter, and Peggy Seeger. “No One Sings as Convincingly as the Darkies Do”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0006.
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This chapter examines diversity in the Federal Music Project (FMP) programs. Throughout much of the country, the FMP engaged African American musicians to perform spirituals and other traditional songs; by nearly all accounts, these concerts were met with much appreciation and usually played to multiracial audiences. In the West—primarily in California, Oregon, and Washington—Federal Music also funded “all Negro” operas, musical plays, and other performances. However, despite these considerable achievements, African Americans and Hispanics encountered both stereotyping and discrimination throughout the duration of the project. Press accounts, supervisory reports, and personal correspondences all reveal instances of ethnic prejudice in the form of depreciating media descriptions of events, as well as procedural and administrative inequities.
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Snyder, Jean E. The Columbian Exposition—The Chicago World’s Fair. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0006.
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This chapter focuses on Harry T. Burleigh's participation in the 1893 World's Columbian Exposition, also known as the Chicago World's Fair, as representative of African American music. The exposition was designed to celebrate four centuries of progress toward building a lively industrial nation, which Chicago seemed to symbolize. It drew Americans from across the country, in company with Europeans, royals as well as commoners, to see whether the Americans might very literally be able to outshine the Paris Exposition of 1889. Despite resistance by the fair commission, there was some official representation of African Americans. This chapter examines how the World's Fair gave Burleigh, together with Frederick Douglass and Ida B. Wells, the opportunity to address issues of representation and the ambiguous role that music and public performance could play in confronting discrimination and racist stereotyping.
Book chapters on the topic "Stereotyping in music"
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Ford, Biranda. "From a Different Place to a Third Space: Rethinking International Student Pedagogy in the Western Conservatoire." In The Politics of Diversity in Music Education, 177–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_13.
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AbstractConservatoires in the West are now made up of a significant body of international students who come to study the Western canon of classical music. With the canon arising in the same milieu as Enlightenment notions of shared humanity, historically, many have argued that this music has a wide, cross-cultural appeal. Though such tropes of classical music still exist, they also have the potential today to act as awkward anachronisms, markers of elitism, whiteness and cultural hegemony. This chapter starts from the perspective that the considerable economic contribution of international students to host institutions risks reproducing colonial relations if their pedagogical experiences are not thought through carefully. Looking to postcolonial theory to make sense of the dynamics at play, key concepts from Homi Bhabha are used as a lens to view the conservatoire. It is argued that international students are marginalized through stereotyping and positioned ‘in need’ of a Western education, even with attempts to bring their cultural experience of learning into account. I advocate that the conservatoire must move beyond its attempts to contain the effects of cultural diversity and instead harness the potential for self-renewal that comes from embracing cultural difference in a third space.
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Kohl, Marie-Anne. "A Tool Is a Tool. Or Is It?" In Gender und Neue Musik, 157–74. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839447390-009.
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Dieser Artikel stellt einige Überlegungen zur Entstehung und Wirkmächtigkeit von Stereotypen vor sowie zur (mangelnden) Präsenz von Vorbildern in der Herausbildung von musikalischen Präferenzen. Dieser Fokus thematisiert einen von vielen, komplexen Aspekten hinsichtlich einer anhaltenden Unterrepräsentanz von Frauen im Kultur- und Medienbereich. Anhand zweier künstlerischer Positionen von Pamela Z und Laura Mello stelle ich Strategien sowohl der Thematisierung stereotyper Zuschreibungen als auch der Entwicklung alternativer Vorbilder vor, die ich als »Empowerment«, »Normalisierung« und »Störung« bezeichne.
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"Musical stereotyping and Irish identity: The case of the Pogues." In Music and Irish Identity, 84–98. Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315596631-13.
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"8. Exkurs: Der Umgang mit Klischees und Stereotypen." In Kulturelle Teilhabe durch Musik?, 190–98. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448496-025.
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