By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip in the course of the maze of social historical past and scholarship relating to her paintings analyzing the intersection of song and gender. Koskoff collects new, revised, and hard-to-find released fabric from mid-1970s via 2010 to track the evolution of ethnomusicological puzzling over girls, gender, and tune, delivering a point of view of the way questions emerged and adjusted in these years, in addition to Koskoff's reassessment of the early years and improvement of the sphere. Her target: a private map of different paths to figuring out she took over the a long time, and the way every one encouraged, expert, and clarified her scholarship. for instance, Koskoff exhibits how a choice for face-to-face interactions with dwelling humans served her top in her study, and the way her now-classic paintings inside Brooklyn's Hasidic neighborhood infected her feminist awareness whereas major her into ethnomusicological studies.
An unusual merging of retrospective and rumination, A Feminist Ethnomusicology: Writings on track and Gender offers a witty and disarmingly frank travel throughout the formative many years of the sphere and should be of curiosity to ethnomusicologists, anthropologists, students of the historical past and improvement of feminist concept, and people engaged in fieldwork.
encompasses a foreword through Suzanne Cusick framing Koskoff's occupation and an in depth bibliography supplied by means of the author.
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Additional info for A Feminist Ethnomusicology: Writings on Music and Gender
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If performances by young (mostly unmarried) women tend to heighten sexuality, those by older women (past childbearing years) often downplay this aspect of gender identity, frequently resulting in women’s loss of musical interest or in added musical responsibilities. Charlotte Frisbie among the Navaho (1967, 1980), Barbara Hampton among the Ga (1982), and Joann Kealiinohomoku (1967), describing female dance genres in Polynesia, among many others, comment upon the changing musical roles of women as they advance in age.
We are all sitting at our assigned places and listening to the kudos and thank-yous for conference organizers. Suzanne and I are but one table apart and eye each other periodically, nodding and smiling. Marilyn announces that the University of Michigan’s Women’s Glee Club will now present a small concert of music by and for women. I remember only the finale. The glee club is performing “Thank Heaven for Little Girls,” by Alan J. Lerner and Frederic Lowe, composed for the musical Gigi (1958)—for me, the absolute epitome of sexist lyrics!
A Feminist Ethnomusicology: Writings on Music and Gender by Ellen Koskoff