A Feminist Ethnomusicology by Ellen Koskoff

Description

A Feminist Ethnomusicology: Writings on Music and Gender by Ellen Koskoff In A Feminist Ethnomusicology: Writings on Music and Gender, Ellen Koskoff presents a groundbreaking collection of essays that explore the intersections of gender, music, and culture from a feminist ethnomusicological perspective. As a field, ethnomusicology traditionally focuses on the study of music within its cultural context, and Koskoff's work challenges conventional approaches by integrating feminist theory, which critically examines the roles gender plays in the creation, performance, and reception of music. The book draws on various ethnographic case studies and theoretical frameworks to argue that gender is a crucial lens through which to understand the global diversity of musical practices and the power dynamics embedded in them. Koskoff’s essays offer a multifaceted exploration of how music both reflects and constructs gender identities across different cultures and societies. The book covers a wide range of topics, including women’s participation in music, the representation of femininity and masculinity in musical traditions, and the ways in which music can both reinforce and subvert gender norms. Through her analysis, Koskoff emphasizes the need for feminist perspectives in ethnomusicology, proposing that gender is not simply an external variable in the study of music but an essential element in understanding the power structures, access, and creativity within musical traditions. A central theme in the book is the idea that music is a site of both oppression and empowerment for women and marginalized gender groups. Koskoff draws on examples from various musical genres and traditions to highlight how women’s roles in music—whether as performers, composers, or listeners—have historically been restricted and undervalued. However, she also demonstrates that women have used music as a form of resistance, reclaiming space and voice within patriarchal structures. The book discusses specific case studies that examine the ways in which women challenge gender expectations in diverse cultural contexts, from traditional folk music to contemporary popular music. One of the book’s key arguments is the importance of considering gender as a social construct that interacts with other categories of identity, such as race, class, and ethnicity. Koskoff challenges the often Western-centric frameworks in ethnomusicology, advocating for an approach that is more inclusive of the global diversity of musical traditions and gender experiences. She also critiques the ways in which ethnomusicology as a discipline has often been gender-blind or dominated by male scholars, proposing that feminist perspectives can reshape the field by broadening its focus and methodologies. In addition to addressing theoretical issues, A Feminist Ethnomusicology provides practical insights into how feminist ethnomusicologists can conduct research in ways that are both ethically responsible and attentive to gender dynamics. Koskoff advocates for a more reflexive and inclusive ethnographic methodology, where scholars consider their own positionality in relation to the communities they study and strive to give voice to underrepresented and marginalized groups. Her work encourages ethnomusicologists to rethink the power relations inherent in their research and to approach music as a complex, socially situated practice that cannot be fully understood without considering the gendered dimensions of performance and reception.