Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevailing assumptions and paradigms. In fifteen contributed essays, authors set out to expand notions of who we believe we are as music educators -- and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession, and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these stores, authors hope to recast music education as fertile ground for transformation, experimentation and renewal.
Based on more than five years of anthropological fieldwork in Sao Paulo, Brazil, this book highlights race, class, gender and territory to argue that Brazillian hip hoppers are subjects rather than objects of history and everyday life. This is the first ethnography in English to analyze Brazilian hip hop.
Women in Jazz: Musicality, Femininity, Marginalization examines the invisible discrimination against female musicians in the French jazz world and the ways in which women thrive as professionals despite such conditions. The author shines a light on the paradox for women in jazz: to express oneself in a "feminine" way is to be denigrated for it, yet to behave in a "masculine" manner is to be devalued for a lack of femininity. This masculine world ensures it is more difficult for women to be recognized as jazz musicians than it is for men – even when musicians, critics and audiences are ideologically opposed to discrimination. Female singers are confined by the feminine stereotypes of their profession, while female instrumentalists must comport themselves into traditionally masculine roles. The author explores the academic and professional socializations of these musicians, the musical choice they make and how they are perceived by jazz professionals as a result. First published in French by CNRS Editions in 2007 (and later reissued in paperback in 2018, with the author’s postscript that "nothing much has changed"), Women in Jazz: Musicality, Femininity, Marginalization expands the conversation beyond the French border, identifying female jazz musicians as a discriminated minority all around the world.
The Rock History Reader is an eclectic compilation of readings that tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. The readings range from the vivid autobiographical accounts of such rock icons as Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Chuck Klosterman. It also includes a variety of selections from media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie rock. Each entry includes headnotes, which place it in its historical context. This second edition includes new readings on the early years of rhythm & blues and rock ‘n’ roll, as well as entries on payola, mods, the rise of FM rock, progressive rock and the PMRC congressional hearings. In addition, there is a wealth of new material on the 2000s that explores such relatively recent developments as emo, mash ups, the explosion of internet culture and new media, and iconic figures like Radiohead and Lady Gaga. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.
In this collection of 48 reprinted and completely original articles, Tammy Anderson gives her fellow instructors of undergraduate deviance a refreshing way to energize and revitalize their courses. [36 are reprints; 12 are original to this text/anthology] First, in 12 separate sections, she presents a wide range of deviant behaviors, traits, and conditions including: underage drinking and drunk driving, doping in elite sports, gang behavior, community crime, juvenile delinquency, hate crime, prison violence and transgendered prisoners, mental illness, drug-using women and domestic violence, obesity, tattooing, sexual fetishes, prostitution, drug epidemics, viral pandemics, crime control strategies and racial inequality, gay neighborhoods, HIV and bugchasers, and (lastly) youth, multicultural identity and music scenes. Second, her pairing of "classic" and "contemporary" viewpoints about deviance and social control not only "connects" important literatures of the past to today’s (student) readers, her "connections framework" also helps all of us see social life and social processes more clearly when alternative meanings are accorded to similar forms of deviant behavior. We also learn how to appreciate and interact with those who see things differently from ourselves. This may better equip us to reach common goals in an increasingly diverse and ever-changing world. Third, a major teaching goal of Anderson’s anthology is to sharpen students’ critical thinking skills by forcing them to look at how a deviant behavior, trait or condition, can be viewed from opposing or alternative perspectives. By learning to see deviance from multiple perspectives, students will better understand their own and other’s behavior and experiences and be able to anticipate future trends. Balancing multiple perspectives may also assist students in their practical work in social service, criminal justice and other agencies and institutions that deal with populations considered "deviant" in one way or another.
In Mexico City, as in many other large cities worldwide, contemporary modes of urban governance have overwhelmingly benefited affluent populations and widened social inequalities. Disinvestment from social housing and rent-seeking developments by real estate companies and land speculators have resulted in the displacement of low-income populations to the urban periphery. Public social spaces have been eliminated to make way for luxury apartments and business interests. Low-income neighbourhoods are often stigmatized by dominant social forces to justify their demolition. The urban poor have however negotiated and resisted these developments in a range of ways. This text explores these urban dynamics in Mexico City and beyond, looking at the material and symbolic mechanisms through which urban marginality is produced and contested. It seeks to understand how things might be otherwise, how the city might be geared towards more inclusive forms of belonging and citizenship.
Based on a study of Madrid (1850-1930), Discordant Notes argues that sound, noise, street music and flamenco have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to fundamental problems such as poverty, insalubrity, and crime.
