Acknowledgements; 1. Introduction; Part I. Musical Meaning and Women's Musical Practice: 2. Affirming femininity: women singing, women enabling; 3. From affirmation to interruption: women playing instruments; 4. Threatening femininity: women composing/improvising; 5. Towards a model of gendered musical meaning and experience; Part II. Gendered Musical Meaning in Contemporary Education: 6. Affirming femininity in the music classroom; 7. From affirmation to interruption of femininity in the music classroom; 8. Threatening femininity in the music classroom; 9. The music curriculum and the possibilities for intervention; Bibliography; Index.
How women's musical practices and gendered musical meanings have been reproduced through history.
'... original and informative ... persuades us to think hard about the roles that girls and boys are going to fill in music when they become adults.' Marcia J. Citron, Music and Letters '... an impression contribution to an important debate ... and should be on the shelf of anyone involved in musicology, sociology, gender studies or education.' Gender and Education 'I was impressed by this book, it made me work very hard and think about music in a new light.' British Journal of Music Education 'Green has produced a study which will not only be an important reference work on gender and music, but will also encourage debate in the wider literature on the gendered meaning of music. In the field of popular music such debate has not been very sustained over the years. This text provides a reshaping and revitalisation of the debate which has been badly needed.' Popular Music 'Green's new book provides the first major marriage between a theoretical approach to gender and an experiential study of secondary education ... she persuades us to think hard about the roles that girls and boys are going to fill in music when they become adults.' Music and Letters
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