Masculinities and Music examines some of the key issues in males’ engagements with music. Scott Harrison sets out to unpack the role masculinity and femininity play in males’ experiences of music – focusing particularly on boys, though examples of men's music-making are also included. He achieves this by bringing together interviews with male musicians, case studies of music in schools, and historical and current research.
Scott Harrison draws on his experiences as a music educator and performer to generate an engaging account of negotiating positive ‘masculine’ musical identities. He begins with his own musical journey which establishes his perspective that males involved in traditionally ‘feminine’ activities, such as music, are marginalised. He goes on to build a convincing picture of boys’ common negative engagement with music in Australia, Britain and North America and develops the argument that male non-involvement is attributed to the avoidance of ‘femininity’. He states ‘the unspoken law is: I'll get beaten up if I display sensitivity – if I cry, dance or sing’ and asserts that this kind of experience is a form of male oppression that raises complex social justice issues which this book aims to redress (emphasis in original, p. 23).
A major strength of this work is the extensive literature review which brings together research about masculinity and music from within and beyond the music education field. Despite the numerous editorial errors throughout the publication, Harrison's synthesis of the literature effectively portrays the ‘ugly side of bullying and almost compulsory interest or ability in sport’ and the effect this has on males’ musical interests (p. 13). Previous research on the gendering of musical instruments, including the voice, is presented to reassert that gender stereotypes in music continue to be an immensely challenging contemporary issue for boys and girls. Some of the many issues that prove poignant in these discussions are the media, sport, role models and schooling.
This work is theoretically framed by notions of patriarchy, hegemonic masculinity and gender role rigidity. The author brings the concept of ‘queer-straight masculinity’ (Heasley, Reference HEASLEY2005) to music education for the first time which represents exciting potential for the field. This theoretical move attempts to develop a language for talking about ‘feminine’ boys and men, although it is not fully explained how the author's queer-straight perspective influences his analyses.
Another innovative element of the book is George; a fictional character who interjects throughout with stories of his musical childhood. George's character is a composite narrative of the author's and research participants’ experiences and aims to represent the views of men about masculinity and music. George's distinctive voice heightens the personal tone with stories that often exemplify the research themes and allows the reader to find their own meaningful connection between the narrative and the research.
Chapter 7 draws on interviews with 11 young men who reflect on their experiences of music at school. Conversations about family, peers and teachers illustrate the joys and sorrows of boys who pursue their passion for music, showing how they have developed coping mechanisms to deal with harassment for being ‘different’. The final two chapters contrast males’ non-involvement in music by describing in enlightening detail inspiring ‘success stories’ of boys and men engaging with music. Importantly, the principles for gender reform in music and music education are outlined to provide ‘practical ways in which male participation in music can be enhanced’ (p. 138).
This book has wide appeal, not only because it is the first to focus on masculinities in music education, but also because the findings link to international trends in males’ participation in music. While the discussion shines the spotlight directly on boys and men, it will interest all readers, whether academics, teachers or aspiring musicians, who are keen to address the issues gender raises for both males and females in music.
