Perspectives on Males and Singing PDF
Preview Perspectives on Males and Singing
Perspectives on Males and Singing Landscapes:theArts,Aesthetics,andEducation VOLUME10 SERIESEDITOR LioraBresler,UniversityofIllinoisatUrbana-Champaign,U.S.A. EDITORIALBOARD EevaAntilla,TheatreAcademy,Helsinki,Finland MagneEspeland,StordUniversity,Norway RitaIrwin,TheUniversityofBritishColumbia,Canada SamuelLeong,HongKongInstituteofEducation,HongKong MinetteMans,InternationalConsultant,Windhoek,Namibia JonathanNeelands,UniversityofWarwick,UK MikeParsons,TheOhioStateUniversity,U.S.A. ShifraSchonmann,UniversityofHaifa,Israel JulianSefton-Green,UniversityofNottingham,UK SusanW.Stinson,UniversityofNorthCarolinaatGreensboro,U.S.A. ChristineThompson,PennsylvaniaStateUniversity,U.S.A. SCOPE Thisseriesaimstoprovideconceptualandempiricalresearchinartseducation,(including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post-modernparadigmshift.Thechangingcultural,historical,andpoliticalcontextsofarts educationarerecognizedtobecentraltolearning,experience,andknowledge.Thebooksin thisseriespresenttheoriesandmethodologicalapproachesusedinartseducationresearchas wellasrelateddisciplines–includingphilosophy,sociology,anthropologyandpsychology ofartseducation. Forfurthervolumes: http://www.springer.com/series/6199 · · Scott D. Harrison Graham F. Welch Adam Adler Editors Perspectives on Males and Singing 123 Editors Dr.ScottD.Harrison Dr.GrahamF.Welch GriffithUniversity UniversityofLondon POBox3428 Inst.Education 4101SouthBrisbaneQueensland 20BedfordWay Australia WC1H0ALLondon scott.harrison@griffith.edu.au UnitedKingdom [email protected] Dr.AdamAdler NipissingUniversity 100CollegeDrive P1B8L7NorthBayOntario Canada [email protected] ISBN978-94-007-2659-8 e-ISBN978-94-007-2660-4 DOI10.1007/978-94-007-2660-4 SpringerDordrechtHeidelbergLondonNewYork LibraryofCongressControlNumber:2011943564 ©SpringerScience+BusinessMediaB.V.2012 Nopartofthisworkmaybereproduced,storedinaretrievalsystem,ortransmittedinanyformorby anymeans,electronic,mechanical,photocopying,microfilming,recordingorotherwise,withoutwritten permissionfromthePublisher,withtheexceptionofanymaterialsuppliedspecificallyforthepurpose ofbeingenteredandexecutedonacomputersystem,forexclusiveusebythepurchaserofthework. Printedonacid-freepaper SpringerispartofSpringerScience+BusinessMedia(www.springer.com) Formenandboyswhosing andfor thosewhodon’t ... yet Preface TheeditorsidentifiedaneedforthisvolumeaftertheBoysandVoicesConferencein Melbourne,Australiain2005atwhichthevariousissuesassociatedwithboysand singingwereraised.Atthetime,therewasverylittledocumentedscholarshipand practitionorreflectionevidentinthisfield.Thepresentationsfromthateventformed theinitialfoundationforthecollection:Harrison,Adler,Welch,CollinsandBayliss werekeyparticipantsandgavepapersandworkshops.Ofthese,Harrison,Adlerand Welchwereestablishedscholars;BaylissandCollinsweresoontopublishresearch andpracticeonboysandsinging.FurthermeetingsattheInternationalMaleVoice Festival in Cornwall in 2007 and the Australian National Male Voice Festivals in 2008 and 2011 drew together practitioners and scholars with interests in this area. Togetherwiththe2005collaborators,participantsattheseevents(includingDavies, Young, Taberner and Allen) identified an urgent need for the documentation and disseminationofresearchandpracticeinthisgrowingfield.Throughoutthisperiod, and in the few years leading up to the Melbourne event, scholars with an interest in males and music had begun to emerge. In addition to the contributors already identified, the work of Freer, Abrahams, Russell, Mook was gaining increasing prominence.Barrett’sextensiveworkinearlychildhoodhadclearresonanceswith the existing scholarship while collaborations on other projects led the editors to theworkofDurrant,FaulknerandClift.ThoughJarman-Evens(2007)hasrecently dealt with masculinities and popular music, the editors were aware of the absence of specifically singing-focused literature in rock music and sought to engage with the work of Eastman, Bannister and perhaps most significantly, Bennett, in thisarea. Thevolumeisthereforedesignedtoappealtoabroadcross-section:choraldirec- tors will find much material to sustain, develop and support their work. There is also information for those working with solo singers across the lifespan, and in divergent forms of music in diverse stylistic and geographical settings. A wide array of philosophical standpoints is represented; and a variety of approaches pre- sented.Underpinningallthecontributions,however,isanintentiontomakemusic accessibletoall,irrespectiveofgenderbyacknowledgingexistingshortcomingsin vii viii Preface males’ engagement with singing and to posit ways in which this can be addressed as well as to celebrate the exemplary practice in the belief that our readers can enhance their activities in the knowledge that scholars and practitioners support theirwork. ScottD.Harrison GrahamF.Welch AdamAdler Acknowledgements In addition to those acknowledged by each contributor within the individual chapters,theeditorswouldliketothefollowingpeoplefortheirencouragementand assistance in the preparation of this volume: their institutions: Griffith University (School of Education and Professional Studies and Queensland Conservatorium Research Centre), Institute of Education, University of London, Nippissing University. To Melissa Cain and Jessica O’Bryan for their assistance in the final stagesofeditingthevolume.Mostimportantly–themenwhotoldtheirstoriesfor thisvolume–forthiswearemostthankful. ix
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