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Vocal Performance and Young Masculinities

声乐表演和年轻男子气概

基本信息

批准号：
AH/E000207/1
负责人：
Martin Ashley
金额：
$ 2.45万
依托单位：
University of the West of England
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2007
资助国家：
英国
起止时间：
2007 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE000207%2F1
关键词：
Vocal Performance Young Masculinities

项目摘要

Context. Singing is often perceived as an 'uncool' activity for boys and it is harder for choirs to recruit adult male than female singers. Where boys are reluctant to participate in singing, important doors to the development of musicality can be closed. Since the 1950s, popular musical culture has exalted the star performer and it is now more common for young males to 'consume' vocal performance than create it through membership of singing groups. Many traditional sites, such as the class singing lesson or the church choir have become increasingly marginalized. In many performance contexts or genres, young male and female voices are arguably interchangeable. The main audience for such genres is seldom the performer's peer group and commonly an older generation. Such tensions discourage young males from singing and can create social difficulties for those who do. There is uncertainty about who the role models might be for young boys who might become interested in singing and about the status of young male vocal performance outside the accepted norms of popular youth culture. The views of the peer group audience on a broad range of young male vocal performance styles need urgently to be sought. Aims and Objectives. A key aim of this research is to study the cultural factors that discourage young males from singing. Gender is said to be a 'performance' as young people create their social selves through public behaviour which has gendered meanings. The research will investigate the problems faced by young males who make significant public statements about themselves through voice, movement and dress. Recognising that social class is also significant, the research will additionally examine the cultural rift attributable to the tastes of different generations. It will explore the degree to which certain styles and repertoire create audiences that are far removed from the performer's peer group, and the degree to which this is a problem. An important reason for doing this is to discover young people's views on what kinds of performance might encourage them to participate as singers themselves, discounting prejudgments about what young people's tastes are assumed to be. The clarification of the repertoire through which musicality can be developed is thus important, as is the investigation of what really counts as boys' performance when the repertoire for young males is shared with female voices. Potential Applications and Benefits. The documentation and analysis of peer group reaction to a broad range of young male vocal performance genres will refresh the debate on what is 'uncool'. The research will address very positively any misconceptions held about singing and masculinity, challenging self-perpetuating stereotypes. It is unlikely that the work will have an immediate major impact on the gender imbalance in singing. However, it will contribute to building the basis for greater understanding of cultural diversity and greater social tolerance of difference amongst young people. Our knowledge of how to present the young male voice in all its cultural diversity to young people will be significantly enhanced. The work has the potential to bridge some of the gap between peer group audience and performer, with the subsequent benefit of increased participation in singing. Choir directors who find it harder to recruit tenors and basses than altos and sopranos may be beneficiaries, as may be the diverse range of organizations which subscribe to forms of cultural outreach to young males. Claims that singing enhances wellbeing in a variety of ways are frequently made, but the hard evidence does not yet build a case that is compelling enough to inject large scale funding and resources into school music and singing opportunities for all. This research will contribute usefully to that evidence base.

上下文。唱歌通常被认为是男孩的“不酷”活动，而唱诗班招募成年男性歌手比招募女性歌手更难。在男孩不愿意参与唱歌的地方，音乐能力发展的重要大门可以关闭。自20世纪50年代以来，流行音乐文化推崇明星表演者，现在年轻男性“消费”声乐表演比通过加入歌唱团体来创造声乐表演更常见。许多传统的场所，如班级歌唱课或教堂唱诗班，越来越被边缘化。在许多表演环境或流派中，年轻的男声和女声可以说是可以互换的。这种类型的主要观众很少是表演者的同龄人，通常是老一辈。这种紧张关系使年轻男性不愿唱歌，也会给唱歌的男性带来社交困难。对于那些可能对唱歌感兴趣的年轻男孩来说，谁是他们的榜样，以及年轻男性声乐表演在流行青年文化公认规范之外的地位，这些都是不确定的。迫切需要寻求同行群体听众对广泛的年轻男性声乐表演风格的看法。目的和目标。这项研究的一个主要目的是研究阻碍年轻男性唱歌的文化因素。性别被认为是一种“表演”，因为年轻人通过具有性别含义的公共行为来塑造自己的社会自我。这项研究将调查年轻男性在通过声音、动作和着装向公众展示自己时所面临的问题。认识到社会阶层也很重要，该研究还将调查由于不同世代的品味而导致的文化差异。它将探讨某些风格和曲目在多大程度上创造了与表演者的同龄人相去甚远的观众，以及这在多大程度上是一个问题。这样做的一个重要原因是为了发现年轻人对什么样的表演可能会鼓励他们自己作为歌手参与的看法，从而消除对年轻人品味的偏见。因此，明确可以发展音乐性的曲目是很重要的，就像调查当年轻男性的曲目与女性的声音共享时，什么才是真正的男孩表演一样重要。潜在的应用和好处。对同龄人群体对各种各样的年轻男声表演类型的反应的记录和分析将刷新关于什么是“不酷”的争论。这项研究将非常积极地解决关于唱歌和男子气概的任何误解，挑战自我延续的刻板印象。这项工作不太可能立即对歌唱领域的性别失衡产生重大影响。但是，它将有助于建立基础，使青年人更好地了解文化多样性和社会对差异的更大容忍。我们对如何向年轻人呈现各种文化多样性的年轻男性声音的认识将大大提高。这项工作有可能弥合同龄人群体观众和表演者之间的一些差距，并带来更多参与唱歌的好处。发现招募男高音和男低音比男高音和女高音更难的合唱团指挥可能是受益者，各种各样的组织也可能是受益者，这些组织向年轻男性提供各种形式的文化宣传。人们经常声称，唱歌可以在各种方面提高幸福感，但目前还没有确凿的证据表明，有足够的说服力，可以为学校音乐和所有人的唱歌机会注入大量资金和资源。这项研究将对这一证据基础作出有益的贡献。