By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip during the maze of social historical past and scholarship with regards to her paintings analyzing 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 wondering ladies, gender, and tune, delivering a viewpoint of the way questions emerged and adjusted in these years, in addition to Koskoff's reassessment of the early years and improvement of the sector. Her aim: a private map of different paths to knowing she took over the a long time, and the way every one encouraged, educated, 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 attention whereas prime 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 during the formative a long time of the sector and should be of curiosity to ethnomusicologists, anthropologists, students of the heritage and improvement of feminist inspiration, and people engaged in fieldwork.
incorporates a foreword via Suzanne Cusick framing Koskoff's profession and an intensive bibliography supplied via the author.
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Additional info for A Feminist Ethnomusicology: Writings on Music and Gender
Each work, in its own way, pointed to the lack of documentation concerning women’s musical practices and the need to rethink connections with other feminist scholarship in women’s and gender studies. Although Wood’s article invoked the spirit of ethnomusicology, suggesting a closer look at American folk musics, it focused primarily on Western art music, presenting a solid review of previous literature on composers such 28 part i: 1976–1990 as Barbara Strozzi (1619–67) and Ruth Crawford Seeger (1901–53), as well as commenting on two contemporary publications: Unsung: A History of Women in American Music, by Christine Ammer (1980), and Women Making Music: Studies in the Social History of Women Musicians and Composers, edited by Jane Bowers and Judith Tick (1986)—now a staple of historical and critical musicology.
Theorizing, I cautioned myself, tended to erase their realness, to make invisible their real-life musical selves. Finally, two articles, both appearing at the end of the decade in 1989— Jane C. Sugarman’s “The Nightingale and the Partridge: Singing and Gender among Prespa Albanians” and Beverley Cavanagh’s “Music and Gender in the Sub-Arctic Algonkian Area”—presented some creative new models to better integrate and theorize cultural performances of music and gender, thus linking musical sounds with social structures more convincingly.
Curt Sachs, for example, in The History of Musical Instruments, after describing a number of musical instruments associated with males and females in performance, uses a predominantly Freudian interpretation when he notes, “The player’s sex and the form of his or her instrument, or at least its interpretation, depend on one another. As the magic task of more or less all primitive instruments is life, procreation, fertility, it is evident that the life-giving roles of either sex are seen or reproduced in their shape or playing motion.