By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip in the course of the maze of social heritage and scholarship regarding her paintings reading 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 pondering girls, gender, and tune, providing a standpoint 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 aim: a private map of the several paths to realizing she took over the a long time, and the way each one encouraged, trained, and clarified her scholarship. for instance, Koskoff indicates how a choice for face-to-face interactions with dwelling humans served her most sensible in her study, and the way her now-classic paintings inside of Brooklyn's Hasidic neighborhood infected her feminist recognition 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 in the course of the formative a long time of the sphere and may be of curiosity to ethnomusicologists, anthropologists, students of the historical past and improvement of feminist suggestion, and people engaged in fieldwork.
contains a foreword by way of Suzanne Cusick framing Koskoff's occupation and an intensive bibliography supplied by way of the author.
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Additional resources for A Feminist Ethnomusicology: Writings on Music and Gender
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.
Ideas questioning these binaries, such as those of Michel Foucault and Pierre Bourdieu, among many others, also began to surface more broadly in the anthropological writings of the 1980s. Foucault, for example, saw power and powerlessness not as a binary, but, rather, as a constant process of interaction, 24 part i: 1976–1990 circulation, and mediation that strategically positioned individuals and institutions in complex situations where certain people or groups came to be persuaded of their own powerlessness and others of their own power (Foucault 1977, 1995, in Kingsolver 2002).
I have recently met Suzanne Cusick, who is also at the conference. She now lives near Rochester (where I live), in Seneca Falls, New York, at the National Historical Park for Women’s Rights. It is Saturday evening and time for the conference banquet. 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.
A Feminist Ethnomusicology: Writings on Music and Gender by Ellen Koskoff