Hers, Theirs, Ours, Others: Women’s Stories and the Global Ethnomusicological Moment

Philip V. BOHLMAN

Makale detayları

Hers, Theirs, Ours, Others: Women’s Stories and the Global Ethnomusicological Moment

Yazarlar:

Philip V. BOHLMAN

Yayıncı:

Etnomüzikoloji Derneği

Ana Başlıklar:

Sosyal Bilimler | Kültür ve kurumlar | Müzik

Dergi:

Etnomüzikoloji Dergisi 2021 Vol.4, pp.71-89

Belge Tipi:

Makale

Yayın Tarihi:

12/2021

Belge Dili:

İngilizce

Document ID (Org No.):

2000421534

eISSN:

2687-508X

pISSN:

2619-9572

Özet:

 

Following two streams whose confluence forms global ethnomusicological moments, this essay examines the critical role of women, both as scholars and as exemplary musicians, in the narratives that form the intellectual history of ethnomusicology. The women's stories in the essay begin with the 1893 Chicago World's Columbian Exposition, at which the first concerted collection of world music was recorded on wax cylinders. The nine recordings of what was called "Turkish music" revealed both diversity of sound and cosmopolitanism in global representation. Similar  cosmopolitanism  characterizes the recordings of the great women singers dominating the twentieth century with an Eastern Mediterranean sound, the subject of the closing sections, including reflections on the "Turkish music" of Sezen Aksu. If women singers form one stream, women ethnomusicologists are treated here as the second stream, among them the foundational scholars of Indigenous music and the nestor of Eastern Mediterranean ethnomusicology, the Israeli Edith Gerson-Kiwi. The historiographic concept at the center of the essay expands upon the concept of the global moments with which we represent the history of ethnomusicology, a history in which the presence of women is of singular importance.

 

Following two streams whose confluence forms global ethnomusicological moments, this essay examines the critical role of women, both as scholars and as exemplary musicians, in the narratives that form the intellectual history of ethnomusicology. The women's stories in the essay begin with the 1893 Chicago World's Columbian Exposition, at which the first concerted collection of world music was recorded on wax cylinders. The nine recordings of what was called "Turkish music" revealed both diversity of sound and cosmopolitanism in global representation. Similar  cosmopolitanism  characterizes the recordings of the great women singers dominating the twentieth century with an Eastern Mediterranean sound, the subject of the closing sections, including reflections on the "Turkish music" of Sezen Aksu. If women singers form one stream, women ethnomusicologists are treated here as the second stream, among them the foundational scholars of Indigenous music and the nestor of Eastern Mediterranean ethnomusicology, the Israeli Edith Gerson-Kiwi. The historiographic concept at the center of the essay expands upon the concept of the global moments with which we represent the history of ethnomusicology, a history in which the presence of women is of singular importance.

Makale detayları

Hers, Theirs, Ours, Others: Women’s Stories and the Global Ethnomusicological Moment

Yazarlar: Philip V. BOHLMAN

Yayıncı: Etnomüzikoloji Derneği

Ana Başlıklar: Sosyal Bilimler | Kültür ve kurumlar | Müzik

Dergi: Etnomüzikoloji Dergisi 2021 Vol.4, pp.71-89

Belge Tipi: Makale

Yayın Tarihi: 12/2021

Belge Dili: İngilizce

Document ID (Org No.): 2000421534

eISSN: 2687-508X

pISSN: 2619-9572

Sayı

Yazarlar:

Philip V. BOHLMAN

Yayıncı:

Etnomüzikoloji Derneği

Ana Başlıklar:

Sosyal Bilimler | Kültür ve kurumlar | Müzik

Dergi:

Etnomüzikoloji Dergisi 2021 Vol.4, pp.71-89

Belge Tipi:

Makale

Yayın Tarihi:

12/2021

Belge Dili:

İngilizce

Document ID (Org No.):

2000421534

eISSN:

2687-508X

pISSN:

2619-9572