Anna Bull is Lecturer in Education & Social Justice at the University of York. Her research interests include class and gender inequalities in classical music education and staff sexual misconduct in higher education. Bull has published in leading sociology and music education journals, and has also written for a variety of non-academic publications including The Guardian and Arts Professional. Before becoming a sociologist, Anna worked as a pianist and cellist in her native New Zealand and across Scotland with ensembles including Scottish Opera, the New Zealand Symphony Orchestra, the New Zealand Chamber Orchestra, and Live Music Now!.

• Acknowledgements Introduction Chapter 1. Locating classical music in culture Chapter 2. Boundary-drawing around the proper: from the Victorians to the present Chapter 3. 'Everyone here is going to have bright futures'. Capitalising on musical standard Chapter 4. 'Getting it right' as an affect of self-improvement Chapter 5. Rehearsing restraint: how the body is transcended Chapter 6. 'Sometimes I feel like I'm his dog': gendered power and the ethics of charismatic authority Chapter 7. 'Instead of destroying my body I have a reason for maintaining it.' Young women's re-imagining of the body through singing opera Chapter 8. A community in sound: constructing the valued self ConclusionAppendix OneReferences

[A]n excellent book, written with energy and economy, deftly combining theoretical and empirical work, and written with the measured confidence of an insider, as well as the critical reflexivity of the apostate.

Anna Bull is Lecturer in Education & Social Justice at the University of York. Her research interests include class and gender inequalities in classical music education and staff sexual misconduct in higher education. Bull has published in leading sociology and music education journals, and has also written for a variety of non-academic publications including The Guardian and Arts Professional. Before becoming a sociologist, Anna worked as a pianist and cellist in her native New Zealand and across Scotland with ensembles including Scottish Opera, the New Zealand Symphony Orchestra, the New Zealand Chamber Orchestra, and Live Music Now!.

• Acknowledgements Introduction Chapter 1. Locating classical music in culture Chapter 2. Boundary-drawing around the proper: from the Victorians to the present Chapter 3. 'Everyone here is going to have bright futures'. Capitalising on musical standard Chapter 4. 'Getting it right' as an affect of self-improvement Chapter 5. Rehearsing restraint: how the body is transcended Chapter 6. 'Sometimes I feel like I'm his dog': gendered power and the ethics of charismatic authority Chapter 7. 'Instead of destroying my body I have a reason for maintaining it.' Young women's re-imagining of the body through singing opera Chapter 8. A community in sound: constructing the valued self ConclusionAppendix OneReferences

[A]n excellent book, written with energy and economy, deftly combining theoretical and empirical work, and written with the measured confidence of an insider, as well as the critical reflexivity of the apostate.

Anna Bull is Lecturer in Education & Social Justice at the University of York. Her research interests include class and gender inequalities in classical music education and staff sexual misconduct in higher education. Bull has published in leading sociology and music education journals, and has also written for a variety of non-academic publications including The Guardian and Arts Professional. Before becoming a sociologist, Anna worked as a pianist and cellist in her native New Zealand and across Scotland with ensembles including Scottish Opera, the New Zealand Symphony Orchestra, the New Zealand Chamber Orchestra, and Live Music Now!.

• Acknowledgements Introduction Chapter 1. Locating classical music in culture Chapter 2. Boundary-drawing around the proper: from the Victorians to the present Chapter 3. 'Everyone here is going to have bright futures'. Capitalising on musical standard Chapter 4. 'Getting it right' as an affect of self-improvement Chapter 5. Rehearsing restraint: how the body is transcended Chapter 6. 'Sometimes I feel like I'm his dog': gendered power and the ethics of charismatic authority Chapter 7. 'Instead of destroying my body I have a reason for maintaining it.' Young women's re-imagining of the body through singing opera Chapter 8. A community in sound: constructing the valued self ConclusionAppendix OneReferences

[A]n excellent book, written with energy and economy, deftly combining theoretical and empirical work, and written with the measured confidence of an insider, as well as the critical reflexivity of the apostate.