Ann Werner

This book asks how nation and gender shapes higher classical music education in Europe today. Building on transnational research in three European higher music education institutions, Estonian Academy of Music and Theatre, the Liszt Ferenc Academy of Music, and the Sibelius Academy, University of the Arts Helsinki, the book analyses policy, interviews, teaching situations and concerts in classical music performance programs. With a starting point in feminist intersectional and postcolonial theory the book focuses on how nationalised and gendered ideas and materialities influence higher classical music education in the borderlands of Eastern and Western Europe. The analysis of the intersection of nation and gender has never been studied closely in higher classical music education before. The book’s unique contribution includes theorising musical families as place-based ideas of both musical and musician ideals, and how these ideas benefit some students more than others. The six empirical chapters of the book analyses websites, policy documents, interviews and participant observations from fieldwork at three higher music education institutions in Estonia, Finland and Hungary. Drawing on feminist and cultural theory the similarities as well as differences between institutions and instrument departments are discussed. The book is suited for teachers and students working in higher classical music education and for researchers seeking to understand higher music education in political polarised times of Europe. Functioning as an introduction to how to critically analyse the practises of higher classical music education the book provides tools for theoretically oriented students in music education and musicology and for those students and teachers working within classical music performance programs.

What does it mean, in a polarized political climate, that feminism was popular in mainstream popular music of the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyoncé, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #närmusikentystnar, music streaming services’ gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples, introduces and explains feminist theories and concepts and analyzes the position of women, gender politics and feminisms in popular music.

Vad betyder dokusåpan du ser på tv? Eller deckaren du läser på väg till jobbet? Spellistan du lyssnar på? Reklamskyltarna på bussen? Vilka föreställningar om kön möter vi omkring oss, och hur kan vi förstå dem?Kulturen återspeglar världen. Genom att analysera kulturen kan du också förstå den värld du lever i. De ojämlikheter som finns där finns också i kulturen, där de inte bara speglas utan också omskapas och – i bästa fall – utmanas. Feministiska kultur-studier handlar om att undersöka, tolka och förstå världen genom kulturen. Det är ett forskningsområde som undersöker makt, mening och identitet med kategorin kön som utgångspunkt. Den här boken riktar sig framför allt till dig som är student och vill få en översikt av feministiska kulturstudier. Men den ger dig också redskap för att använda feministiska perspektiv på kultur. Det, i sin tur, hjälper dig att förstå din omgivning och vardag.

What does it mean, in a polarized political climate, that feminism was popular in mainstream popular music of the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyoncé, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #närmusikentystnar, music streaming services’ gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples, introduces and explains feminist theories and concepts and analyzes the position of women, gender politics and feminisms in popular music.

Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

When Amanda Harris purchases her new home, she has no idea she has moved next door to the neighbors from hell. Rhythmic pulses coming from the condo next door accompanied by missing pieces of time, and objects that disappear and reappear lead Amanda to fear she is losing her mind. When she gets a visit from an FBI agent who spontaneously combusts in her living room, Amanda is drawn into a nightmare scenario where the fate of the world hangs in the balance. Who are the people next door and what are they up to?

Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

What sorrow lurks in the minds of men suffering from a broken heart? Ain't No Sunshine knows How do men feel when they lose someone they love? Do they cry? Do they obsess? Do they call psychics? Under the protection of anonymity, thirty-eight men describe in detail how they've dealt with the pain of heartbreak. Whether it's because of divorce, betrayal, death or simply getting dumped, the raw honesty of these men may surprise you. Modern American society so often discourages men from admitting to emotional pain, especially when it comes to matters of the heart. From an early age men are taught to "suck it up." Women often think men have it easier when it comes to the pain of heartbreak. But is that really the case? Ain't No Sunshine provides an opportunity to unlock those mysteries in this informal collection of stories.Interviews with therapists, psychics and bartenders are included and provide informative insights into how men react to a broken heart.Love is never easy. Loss of love is always difficult. Here is proof that not only do men struggle, sometimes the struggle is more difficult than it is for women.Ain't No Sunshine is a rare glimpse into the elusive male psyche

WHAT DOES IT FEEL LIKE TO LOSE YOUR VIRGINITY?Seventy-two men and women answer that burning question.Hundreds of years of collective experience answer the questions every virgin has. THE VIRGIN DIARIES is a book about sex that really isn't about sex at all. Rather, it's about the feelings associated with that first time: wondering about it, worrying about it, the expectations, the surprises and the disappointments. Within these pages are the recollections of seventy-two people, young and old, gay and straight, who responded to the call for answers. This candid collection of stories provides a unique opportunity to be a fly on the wall. There is no commentary. The stories stand on their own, allowing the reader to form his or her own conclusions. Whether you are a virgin and desire to make an informed decision, a parent faced with "the talk" or are interested in reading detailed accounts of one of life's most personal experiences, THE VIRGIN DIARIES offers confidential insights and illustrates the commonalities we all share: our hopes, dreams, fears and insecurities. It shows that we are all human and therefore, all connected.

Pink eller Beyoncé? Petter eller Linda Bengtzing? Ett gäng tonårstjejer diskuterar musik och musiksmak. Vissa artister är OK att lyssna på, andra håller man helst tyst om. Varför kan man inte säga att man lyssnar på dansbands­musik? En snygg kvinnlig dj i en åtsittande t-shirt får en klapp i baken på väg upp i båset. Någon frågar om hennes kille lärt henne dj-a. Vad gör det med hennes musik? En manlig deltagare i talang-realityn Fame Factory blir rörd av sin musik och gråter en skvätt i TV. Det uppmärksammas stort i medierna och i olika tittarforum. Förändrar det bilden av honom? Vad händer när en kvinnlig deltagare gråter? Schlager, bögdisco, tjejpop -- vissa musikgenrer betraktas som feminina, lättviktiga, kommersiella. Motsatsen är gubbrocken -- maskulin och autentisk. Men var hamnar en artist som Robyn? Musikjournalister, skivbolagsmänniskor och artister diskuterar kvalitet och "kredd" -- vad är det som avgör var man hamnar i smakhierarkierna, och är positionerna ristade i sten? Musik påstås överskrida eller till och med upplösa alla gränser. Paradoxalt nog upprättas och upprätthålls samtidigt hierarkier och gränser i just musiken. I Rundgång undersöker fyra forska­re inom genusvetenskap, social­antropologi och medievetenskap hur genus etableras på fyra populär­musikaliska arenor: genom konsumtion, i dj-kulturen, i en dokusåpa och i skivindustrin. Här finner författarna bland annat att kvinnlighet kopplas till respek­tabilitet, medan manlighet knyts till autenticitet. Musikgenrerna graderas efter olika status och förknippas ofta med polariserade grupptill­hörigheter, som genus, etnicitet eller klass. Samtidigt flyttar sig gränserna ideligen, i en förnyelseprocess där förhärskan­de normer hela tiden konfronteras med utmanare och av­vikare. Det är i dessa kollisioner som populär­musikens utveckling sker.