By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip in the course of the maze of social historical past and scholarship regarding her paintings studying the intersection of track 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, delivering a standpoint of ways 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 figuring out she took over the a long time, and the way every one encouraged, proficient, and clarified her scholarship. for instance, Koskoff indicates how a choice for face-to-face interactions with dwelling humans served her top 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 tune and Gender offers a witty and disarmingly frank journey during the formative many years of the sector and should be of curiosity to ethnomusicologists, anthropologists, students of the historical past and improvement of feminist inspiration, and people engaged in fieldwork.
incorporates a foreword via 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
Both men and women, encased in the tightly fitting prescribed roles—breadwinner/homemaker—were finding it increasingly difficult to live under such constraints. Alcoholism, drug use, and suicide, especially among white suburban middle-class women, rose substantially as efforts to revive old prewar patriarchal values increased in their intensity. ” But other works, such as Simone de Beauvoir’s Second Sex (1949) and Kate Millet’s Sexual Politics (1970), cited earlier, had already begun to expose the patriarchal system as the norm, where women were always an other to a normative male self.
1 Within those contexts, I wrote, women were able to protest, validate, and negotiate gender relations. Of course, in moving to a general, highly abstract level of discourse (“Among the X, all women do Y”), I fell into the essentialist trap so common in cross-cultural surveys. * * * In this introduction, I examine the implications of gender upon music performance and address, either explicitly or implicitly, two central questions. First, to what degree does a society’s gender ideology and resulting gender-related behaviors affect its musical thought and practice?
Appreciates and prefers women’s culture. Committed to survival and wholeness of entire people, male and female” (1983, ix). This term and its association with second-wave feminism would later become a locus of disagreement between Alice Walker and her daughter, Rebecca, one of the young leaders of the third wave. The end of feminism’s second wave left many issues unsettled, and new discussions began dealing with issues of the body—often seen through the lens of women’s bodies in relation to eating disorders, sexual violence, and prescribed standards of beauty, as defined and controlled by various media.
A Feminist Ethnomusicology: Writings on Music and Gender by Ellen Koskoff