By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip throughout the maze of social background and scholarship relating to her paintings interpreting the intersection of tune and gender. Koskoff collects new, revised, and hard-to-find released fabric from mid-1970s via 2010 to track the evolution of ethnomusicological brooding about ladies, gender, and track, supplying a viewpoint of ways questions emerged and altered in these years, in addition to Koskoff's reassessment of the early years and improvement of the sphere. Her objective: a private map of the several paths to knowing she took over the a long time, and the way each one encouraged, trained, and clarified her scholarship. for instance, Koskoff exhibits how a choice for face-to-face interactions with residing humans served her most sensible in her examine, and the way her now-classic paintings inside Brooklyn's Hasidic group infected her feminist awareness whereas major her into ethnomusicological studies.
An unusual merging of retrospective and rumination, A Feminist Ethnomusicology: Writings on song and Gender offers a witty and disarmingly frank journey in the course of the formative many years of the sector and may be of curiosity to ethnomusicologists, anthropologists, students of the background and improvement of feminist concept, and people engaged in fieldwork.
contains a foreword by means of Suzanne Cusick framing Koskoff's occupation and an in depth bibliography supplied via the author.
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Additional resources for A Feminist Ethnomusicology: Writings on Music and Gender
The Beginnings of a Feminist Ethnomusicology Much of the early literature, especially that on women and music from before the 1970s and into the early ’80s, is examined more fully in the introduction to Women and Music in Cross-Cultural Perspective (1987), which is reproduced 26 part i: 1976–1990 here as chapter 2, so I will only summarize general trends. Works began to appear in the 1970s that questioned the lack of women’s representation in the literature as performers, creators, and experiencers of music cross-culturally.
What theoretical approaches were best suited to address sameness and difference? 10 The Anthropology of Power Another area of inquiry, the anthropology of power, also began to take on new life and became especially important for me at this time. Of long-standing interest to anthropology, discussions of power had begun to diverge in the late 1970s and ’80s from a primarily (monolithic and hierarchic) Marxist model, branching out to address inequalities embedded within race and gender, as well as class constructs (Leacock 1981).
The disciplines of anthropology, ethnic, women’s, and cultural studies began to deal with these issues, ultimately moving toward a stance that celebrated difference— not necessarily difference under the law, but individual identity and group difference. Of course, most of this discussion during the 1980s and into the ’90s emanated from Western academic discourses. Women and men from other parts of the postcolonial world had different stories yet to be heard. The Feminist Sex Wars Another issue that caused an awkward disturbance in the flow of the second wave came to be known as the sex wars, a sometimes heated battle between radical and mainstream feminists over issues of female sexuality, sexual pleasure, pornography, prostitution, and sadomasochism.