Keychanges at Cheltenham Jazz Festival: Issues of Gender in the UK Jazz Scene

Raine, Sarah

doi:10.5040/9781501345531.ch-014

Cited by 8 publications

(11 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Online it appeared that the obscuring of identity and sound that can happen gave the students the opportunity for experimentation without 'losing face' . This is particularly pertinent in light of previous research that demonstrated the disproportionate numbers of male performers and teachers (Raine, 2019) and how women 'covered' their female identities (Oliveros, 2004;MacDonald and Wilson, 2006;Teichman, 2020).…”

Section: Discussionmentioning

confidence: 97%

“…In particular, research with those who have non-binary identities is scarce, partly due to gender being a contested term and also a relatively new area of research, despite some cultures (e.g., Native American) historically recognizing gender fluidity (Reddan et al, 2022). When considering other explanations for gender inequality, researchers (e.g., Raine, 2019;Reason, 2022) propose that male-oriented discourses within jazz and improvised music are shaped and upheld by intersections of academic writing and evaluation, specialist journalism, and overwhelmingly male gatekeepers (e.g., educators, promoters). Over time, this accumulates to form canons that exclude women and non-binary people, creating a 'myth of absence' (Reason, 2022, p. 526).…”

Section: Professional Scenes and Spacesmentioning

confidence: 99%

“…Jazz and improvisation education settings have also been described as a masculine space due to greater numbers of men both teaching and learning (Raine, 2019) as well as the prevalence of a 'heteronormative masculine discourse' (Johansen, 2022, p. 1). An example of this discourse is seen in how children choose instruments; Green (2002) suggests that girls and boys base their selection on 'conventional discursive constructions of femininity or masculinity in the wider world ' (p. 142).…”

Section: Education and Strategies For Changementioning

confidence: 99%

See 2 more Smart Citations

“Being safe means you can feel uncomfortable”: a case study of female students’ participation in a higher education, online improvisation course

MacGlone

2023

Front. Educ.

View full text Add to dashboard Cite

In higher music education (HME), improvisation is a developing area of practice and research interest across different genres and courses. However, professional jazz and improvised performance contexts, which have strong connections with HME, have been conceptualised as ‘masculine’ spaces. As an important pathway towards the music profession, HME may provide a place where hegemonic discourses can be challenged. The pandemic necessitated HME’s shift online and thus provided new environments for learning group improvisation. A qualitative study with four female students was undertaken to investigate their experiences and views about an online free improvisation course. Research questions considered (1) how female students understood their learning space in an online free improvisation module and (2) what possibilities were available for creative and musical actions. A focus group and individual interviews were held after the course. Two themes were identified: the deep end and new materials, new space. Students used a common metaphor of being ‘in the deep end’. However, they framed this positively, either as feeling safe to experiment musically or in overcoming feelings of discomfort, perceiving an increase in self-efficacy. Findings also demonstrated that students were able to exercise agency and customize their online space by using filters, changing backgrounds, and choosing when to turn their cameras on and off. Appreciating female students’ perspectives and trajectories of participation can inform teachers’ priorities for creating an optimal and inclusive space for learning improvisation.

show abstract

Section: Discussionmentioning

confidence: 97%

Section: Professional Scenes and Spacesmentioning

confidence: 99%

Section: Education and Strategies For Changementioning

confidence: 99%

See 1 more Smart Citation

“Being safe means you can feel uncomfortable”: a case study of female students’ participation in a higher education, online improvisation course

MacGlone

2023

Front. Educ.

View full text Add to dashboard Cite

show abstract

“…However, all three approaches must deal with issues of measurement and definition that have an impact on their findings. As Raine (2019, p. 18) observed in her work around 50/50 gender balance in festival line-ups, a loose interpretation of how such a balance should be defined presented issues for accurate data gathering. Elsewhere, in industry-led studies such as UK Music's “Wish You Were Here” reports into UK music tourism (2015, 2017), methodological definitions are inherently fluid since they are subject to changes in geographical boundaries and average community distances defined by external bodies such as the Office for National Statistics, which may change from one reporting period to another.…”

Section: How Is Live Music Measured (And What Does It Tell You)?mentioning

confidence: 99%

“…Most SSH measurement here has a largely positivist approach, but researchers also operate in a more critical strand of popular music studies. The latter includes work that uses ethnography to give a voice to marginalised communities and to address gender imbalances (Raine, 2019; Lashua and Cohen, 2010; Bain, 2019). Generally, studies in the SSH approach rely on conventional qualitative (e.g.…”

Section: How Is Live Music Measured (And What Does It Tell You)?mentioning

confidence: 99%

1-2-3-4! Measuring the values of live music: methods, models and motivations

Hoeven

Behr

Hamilton

et al. 2021

AAM

View full text Add to dashboard Cite

PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.

show abstract