Perspectives on Males and Singing

386 Pages·2012·9.87 MB·English

by  Scott D. Harrison

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
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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.
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