Performing Gender, Place, and Emotion in Music
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A32=Barley Norton
A32=Christine Yano
A32=Fiona Magowan
A32=Jonathan McIntosh
A32=Louise Wrazen
A32=Muriel Swijghuisen Reigersberg
A32=Sara R. Walmsley-Pledl
A32=Tina K. Ramnarine
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B01=Fiona Magowan
B01=Louise Wrazen
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ethnographic case studies
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Performing Gender
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Product details
- ISBN 9781580465434
- Weight: 340g
- Dimensions: 152 x 229mm
- Publication Date: 01 Jul 2015
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance.
While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating an exus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events?
Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sámi interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword.
