How High Should Boys Sing? (Record no. 5213)

MARC details
000 -LEADER
fixed length control field 02665 a2200289 4500
001 - CONTROL NUMBER
control field 1317120841
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317111614.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042016GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781317120841
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 52.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code JBCC1
Source thema
072 7# - SUBJECT CATEGORY CODE
Subject category code AVLP
Source thema
072 7# - SUBJECT CATEGORY CODE
Subject category code 6PB
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code 6RF
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code JFCA
Source bic
072 7# - SUBJECT CATEGORY CODE
Subject category code AVGP
Source bic
072 7# - SUBJECT CATEGORY CODE
Subject category code MUS000000
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code 783.7081
Source bisac
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Martin Ashley
245 10 - TITLE STATEMENT
Title How High Should Boys Sing?
Remainder of title Gender, Authenticity and Credibility in the Young Male Voice
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20160429
300 ## - PHYSICAL DESCRIPTION
Extent 194 p
520 ## - SUMMARY, ETC.
Expansion of summary note 'A boy sings...a beautiful thing' (www.boychoirs.org), but is it? What kinds of boy, singing what kinds of music and to whom? Martin Ashley presents a unique consideration of boys' singing that shows the high voice to be historically, culturally and physiologically more problematic even than is commonly assumed. Through Ashley's extensive conversations with young performers and analysis of their reception by 'peer audiences', the research reveals that the common supposition that 'boys don't want to sound like girls' is far from adequate in explaining the 'missing males' syndrome that can perplex choir directors. The book intertwines the study of singing with the study of identity to create a rich resource for musicians, scholars, teachers and all those concerned with young male involvement in music through singing. The conclusions of the book will challenge many attitudes and unconsidered positions through its argument that many boys actually want to sing but are discouraged by a failure of the adult world to understand the boy mind. Ashley intends the book to stand as an indictment of much complacency and myopia with regard to the young male voice. A substantial grant from the Arts and Humanities Research Council has enabled the production of a multi-media resource for schools, choirs and youth organizations called Boys Keep Singing. Based on the contents of this book, the resource shows how, once the interest of boys is captured in primary schools, their singing can be sustained and developed through the difficult but vital early secondary years of ages 11 - 14, about which this book says so much. The resource is lavishly illustrated by short films of boys singing, supported by interviews with boys and their teachers, and a wealth of of animated diagrams and cartoons. It is available to schools and organizations involved in musical education through registration at www.boys-keep-singing.com.

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