By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip in the course of the maze of social historical past and scholarship on the topic of her paintings reading 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 brooding about ladies, gender, and tune, providing 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 target: a private map of the various paths to figuring out she took over the many years, and the way every 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 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 song and Gender offers a witty and disarmingly frank travel in the course of the formative a long time of the sector and may be of curiosity to ethnomusicologists, anthropologists, students of the historical past and improvement of feminist concept, and people engaged in fieldwork.
features a foreword through Suzanne Cusick framing Koskoff's occupation and an in depth bibliography supplied by means of the author.
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Extra info for A Feminist Ethnomusicology: Writings on Music and Gender
This led to a second link: a certain blindness in recognizing different arrangements, or misinterpreting them, where concepts of specific gender categories, or gender hierarchies in their field sites, might be fuzzy or irrelevant. This, in turn, led anthropologists (both male and female) to see these unequal relationships in the field as analogous to those of Western society. Thus, it was important, wrote Moore, to move from an “anthropology of women,” which was “more remedial than radical,” to a feminist anthropology, one that studied gender and gender relations (1988, 6).
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). One of the first books I read that helped me more deeply understand power dynamics as they related to gender was Raymond Fogelson and Richard Adams’s The Anthropology of Power (1977), a collection of essays analyzing power relations among Melanesians and Native Americans, where power was negotiated, not only between and among humans, but also between and among humans and spirits.
334–35). Introduction to Women and Music in Cross-Cultural Perspective 33 Some of these problems have also been addressed recently by anthropologists, now concerned with the complexities of gender issues and their effect on other cultural domains. 3 Rayna R. Reiter, in her introductory essay “Toward an Anthropology of Women,” sees a double male bias in anthropological accounts. First, ethnographers bring to the field the bias of Western anthropology, which has “developed a theoretical perspective that separates biology from culture in the investigation of race,” but has not done so for gender; this has, in effect, prevented us from seeing the second category of bias: expressions of male dominance in the societies we study (1975, 14).
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