By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip throughout the maze of social background and scholarship with regards to 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 track, providing 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 target: a private map of the several paths to figuring out she took over the many years, and the way each one encouraged, expert, and clarified her scholarship. for instance, Koskoff exhibits 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 of Brooklyn's Hasidic group infected her feminist recognition 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 travel during the formative a long time of the sphere and may be of curiosity to ethnomusicologists, anthropologists, students of the background and improvement of feminist notion, and people engaged in fieldwork.
contains a foreword by way of 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
The Sameness-Difference Debate The sameness-difference debate initially focused on the passage of the Equal Rights Amendment, but quickly grew to address basic underlying philosophical issues. Many felt—given the successes of the second wave’s women’s liberation movement—that equal protection was already in place and that the special status accorded to women as child bearers and primary nurturers was now adequately recognized in the law. Thus, proponents of the difference side claimed that women were both equal under the law and also different and separate as women, a class of humans defined primarily by biology, as well as by a believed-to-be-shared history of oppression.
The gender structure of a society reflects socially constructed and maintained arrangements, made between men and women largely based on inherited, culture-specific gender ideologies. Although gender structures theoretically range on a continuum from total male to total female dominance, in no known society do women dominate men (see Rosaldo and Lamphere 1974). Margaret Mead, in her pioneering 1935 study, Sex and Temperament in Three Primitive Societies, proposed that seemingly “natural” behaviors associated with either sex were not founded in nature, per se, but were rather the result of ideologies and processes that were socially constructed, warning us that we must recognize that “the cultural plot behind human relations is the way in which the roles of the two sexes are conceived, and that the growing boy is shaped to a local and special emphasis as inexorably as the growing girl” (1963, x).
I begin by asking whether gender-specific music cultures actually exist. Is not culture a homogeneous whole, an integrated system? Recent studies of women’s folklore and culture2 have suggested that in many societies, women and men do appear to occupy separate expressive spheres, creating not necessarily two separate and self-contained music cultures, but rather two differentiated yet complementary and overlapping halves of culture. Until recently, though, ethnographers have tended to focus primarily on the more public, more easily accessible sphere occupied by males.
A Feminist Ethnomusicology: Writings on Music and Gender by Ellen Koskoff