Performing gender, place, and emotion in music : global perspectives / edited by Fiona Magowan and Louise Wrazen.
| Call Number | 780.9 |
| Title | Performing gender, place, and emotion in music : global perspectives / edited by Fiona Magowan and Louise Wrazen. Performing Gender, Place, & Emotion in Music |
| Physical Description | 1 online resource (vi, 208 pages) : digital, PDF file(s). |
| Notes | Title from publisher's bibliographic system (viewed on 02 Oct 2015). |
| Contents | Introduction : musical intersections, embodiments, and emplacements / Engendering emotion and the environment in Vietnamese music and ritual / Gendering emotional connections to the Balinese landscape : exploring children's roles in a Barong performance / Performing emotion, embodying country in Australian aboriginal ritual / Christian choral singing in aboriginal Australia : gendered absence, emotion, and place / Transforming the singing body : exploring musical narratives of gender and place in east Bavaria / A place of her own : gendered singing in Poland's Tatras / Singing the contentions of place : Korean singers of the heart and soul of Japan / "In our foremothers' arms" : goddesses, feminism, and the politics of emotion in Sámi songs / |
| Summary | 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 on one dimension implicates the others, creating a complex nexus 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. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University. |
| Added Author | Magowan, Fiona, editor. Wrazen, Louise Josepha, 1956- editor. |
| Subject | Music Performance Psychological aspects. Gender identity in music. Emotions in music. |
| Multimedia |
Total Ratings:
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| Summary | 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 on one dimension implicates the others, creating a complex nexus 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. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University. |
| Notes | Title from publisher's bibliographic system (viewed on 02 Oct 2015). |
| Contents | Introduction : musical intersections, embodiments, and emplacements / Engendering emotion and the environment in Vietnamese music and ritual / Gendering emotional connections to the Balinese landscape : exploring children's roles in a Barong performance / Performing emotion, embodying country in Australian aboriginal ritual / Christian choral singing in aboriginal Australia : gendered absence, emotion, and place / Transforming the singing body : exploring musical narratives of gender and place in east Bavaria / A place of her own : gendered singing in Poland's Tatras / Singing the contentions of place : Korean singers of the heart and soul of Japan / "In our foremothers' arms" : goddesses, feminism, and the politics of emotion in Sámi songs / |
| Subject | Music Performance Psychological aspects. Gender identity in music. Emotions in music. |
| Multimedia |