Titlebook: Men, Masculinity, Music and Emotions; Sam Boise Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Masculinity.music.gender an

Crohns-disease

巧思

Mediocre

Introduction,ed of getting ‘too’ emotional? Sociology courses up and down the United Kingdom are (quantitatively) skewed toward young women, the entirety of whom put their hands up alongside a handful of their male peers. When I followed this up with: ‘a(chǎn)nd who has ever had this linked to their hormones?’ the sea

偽造

不確定

EXULT

Masculinity, Music and the Mass Market,ocieties. Central to mass music’s success as a commodity, has been the perception of music’s use as a ‘tool’ for individual emotional expression. As noted in the previous chapter it is arguably ‘the cultural material par excellence of emotion’ (DeNora 2000: 46). Because the music industries and musi

傳染

Music Listening, Emotions, Age and Context,x relationship to male bodies. Music’s capacity to affect emotions and passions has historically been, and still is, discursively characterised as problematic in terms of men’s bodies and experiences. Yet using and engaging with music precisely due to a belief in its ability to do these things, has

最高點(diǎn)

CHARM

Affect, Embodiment and Masculinity,. Crucially, this means that a broader view of what exactly emotions are is entirely congruent with cultural constructs of ‘masculinity’, understood as a collection of competing discourses rather than a suppression of seemingly inherent physiological states. However in talking about emotions and mal

Diastole

Conclusion: Rethinking Men, Masculinity, Music and Emotions,rmed by cognitive psychology and neuroscience (Fine 2010; Petersen 2004; Reddy 2001). The development of a psychological understanding of emotions, through a Cartesian reading of the passions, has tended to emphasise that they are rooted within subjective, individual feelings. This has shaped academ