By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip throughout the maze of social historical past and scholarship regarding her paintings reading 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 considering ladies, gender, and track, delivering a point of view 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 various paths to figuring out she took over the many years, and the way each one encouraged, educated, 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 learn, and the way her now-classic paintings inside Brooklyn's Hasidic group infected her feminist awareness whereas best 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 journey in the course of the formative a long time of the sphere and should be of curiosity to ethnomusicologists, anthropologists, students of the heritage and improvement of feminist concept, and people engaged in fieldwork.
contains a foreword via Suzanne Cusick framing Koskoff's profession and an in depth bibliography supplied via the author.
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Extra info for A Feminist Ethnomusicology: Writings on Music and Gender
1975 and Rosaldo 1980 for more insights into this problem). “If an unbalanced picture of world music has been presented, scholars of both sexes bear the responsibility” (Nettl 1983, 337). Many anthropologists now feel that developing newer investigative techniques that collect corresponding data from women will help explain the “seeming contradictions and internal workings of a system for which we have only half the pieces” (Reiter 1975, 15). 4 Review of the Ethnomusicological Literature In spite of the picture presented thus far, references to women’s music and musical practices are not uncommon in the ethnomusicological literature.
The anthropological literature has always included both women and men as social actors in the cultures it has documented, although women, until recently, were seen largely as an afterthought or as an extension of men. 5 Ethnographies and theories specifically focusing on women as a separate group, however, were difficult to find before the 1970s. What was becoming clear by the late 1970s was that anthropology itself was largely dominated by a male perspective, and questions began to arise concerning how women were being represented in the ethnographic literature.
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.