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At the Crossroads of Music and Social Justice [Hardback]

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  • Formāts: Hardback, 322 pages, height x width: 229x152 mm, weight: 567 g, 16 b&w illus.
  • Sērija : Activist Encounters in Folklore and Ethnomusicology
  • Izdošanas datums: 07-Feb-2023
  • Izdevniecība: Indiana University Press
  • ISBN-10: 0253064767
  • ISBN-13: 9780253064769
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At the Crossroads of Music and Social JusticePalielināt
  • Formāts: Hardback, 322 pages, height x width: 229x152 mm, weight: 567 g, 16 b&w illus.
  • Sērija : Activist Encounters in Folklore and Ethnomusicology
  • Izdošanas datums: 07-Feb-2023
  • Izdevniecība: Indiana University Press
  • ISBN-10: 0253064767
  • ISBN-13: 9780253064769
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780253064769.html
Keywords:
Music is powerful and transformational, but can it spur actual social change?

A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation.

At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.

Music is powerful and transformational, but can it spur actual social change?

A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation.

At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.



— The lead volume editors, Brenda Romero and Susan Asai, were co-chairs of the Crossroads Section for Difference and Representation at the Society for Ethnomusicology. They judged essay submissions to a contest that they arranged and provided feedback to all before selecting those to appear in the volume, including those from Crossroads Founder Kyra Gaunt and first prizewinner David McDonald, and pursued new contributions from at least two authors.

— Activist scholars in this volume uncover and analyze the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and bringing healing to communities. As a result, they point to new directions and pathways to understand music and social justice and put it in action.

— The Department of Folklore and Ethnomusicology at IU, a world-renowned center for the integrative study of expressive cultural practices, is allied with the Society for Ethnomusicology on campus. Our lists reflect this strength of our host university and make IUP the rightful home for this work that is a result of the SEM Crossroads Section.

— The target audience includes students, researchers, and teachers in folklore and ethnomusicology. It could be an exemplary volume for any field that wants to follow suit.

Recenzijas

"An insightful critique of ethnomusicology that challenges its colonialist roots and the resulting inequalities and exclusionary practices. At the Crossroads of Music and Social Justice provides multiple paths to restructuring the discipline around the ideologies of social justice. In the process, the 'new norm' embraces differencethe ideas, opinions, approaches, and priorities of historically  marginalized groups. This book turns the discipline on its head with the goal of encouraging ethnomusicologists to engage in self-reflection on how we research, teach and practice ethnomusicology. At the Crossroads of Music and Social Justice is an ideal companion for monographs on the history of the field."Portia K. Maultsby, coeditor of Issues in African American Music: Power, Gender, Race, Representation and African American Music: An Introduction, 2nd ed. "The book's emphasis on a justice-oriented ethnomusicology offers hope. Gathering what could be called testimonio-like narratives by established scholars, the editors work to reimagine the field as one that is justice-oriented and in the process take the pulse of this exciting and necessary discipline. The editors have culled the work of authors to present the pedagogical implications as well as the practice of a social justice approach to the study of music and to performance. They are spot on in grouping the chapters around four main themes: Truth Telling and Listening Lovingly, Radical Inclusivity, Coalition Building, and Direct Action. The contributors' voices build a coherent picture through intriguing explorations of the field and offer new directions toward a justice-oriented ethnomusicology."Norma E. Cantś, Trinity University "At the Crossroads of Music and Social Justice stands out for blending ethnographies with firsthand accounts from established scholars, and aiming for inclusivity and growth in ethnomusicology by mentoring authors with diverse backgrounds and challenges. The volume is an example of the political activist projects it proposes, an exercise in truth-telling and listening lovingly, radical inclusivity, coalition building, and direct action, which are precisely the names of the sections that divide the publication. . . . Congratulations to all the editors and contributors to this fantastic volume."Eduardo Herrera, Indiana University, Journal of Folklore Research Reviews

Preface / Andrew G. Snyder and Katelyn E. Best ix
Acknowledgments xiii
Introduction: Pathways toward a Justice-Oriented Ethnomusicology 1(20)
David A. McDonald
PART I Truth Telling and Listening Lovingly
1 Diversity on Repeat: The Deceptive Cadence of Social Domination in Ethnomusicology
21(19)
Kyra D. Gaunt
2 Social Justice and My Work as a Music Scholar, Teacher, and Artist
40(9)
Steven Loza
3 Punk and Politics and Transforming Musical Academe
49(19)
Brenda M. Romero
4 Going Forward with Vigilance: American Indian Music Is Always There
68(8)
Charlotte W. Heth
5 Deliver Me from Danger, Esu-Elegbara! Musical Offerings in Social Justice
76(9)
Paul Austerlitz
PART II Radical Inclusivity
6 Ethnocentrism 2.0: Hearing-Centrism, Inclusivity, and Musical Expression in Deaf Culture
85(20)
Katelyn E. Best
7 Pink Menno Hymn Sings: Queerness, Inclusivity, and the Mennonite Church
105(18)
Katie J. Graber
8 Unsettling Euro-American Conceptions of Race in the Egyptian Independent Music Scene
123(19)
Darci Sprengel
9 Reclaiming Nanook of the North, Tanya Tagaq's Sonic and Performative Counterpoints to Inuit Stereotypes
142(18)
Ho Chak Law
10 "If I Could Go Back in Time": Rethinking Popular Culture, Social Justice, and the Compassionate Gaze in Palestine
160(21)
David A. McDonald
PART III Coalition Building
11 Promoting Social Justice through Irish Traditional Music: A New Model for Applied Research
181(19)
Alexandria Carrico
12 The Sonic Politics of Interracial Coalitions
200(17)
Susan M. Asai
13 "¡Vamos a Pelear en la Guerra!": Musical Manifestations of Coalition Building in the South Texas Chicano Movement
217(22)
Erin E. Bauer
PART IV Direct Action
14 "Music Is Liberation": The Brass Liberation Orchestra and Direct Action
239(20)
Andrew G. Snyder
15 Ecological Frictions and Borderless Futures: Art and Activism on a Sailing Ship
259(18)
Rebekah E. Moore
16 Raising the Imperative for Direct Action
277(5)
Susan M. Asai
17 Circling Back on Direct Action: On Difference and Representation
282(9)
Brenda M. Romero
List of Contributors 291(4)
Index 295
Brenda M. Romero is Professor Emerita at the University of Colorado Boulder. She earned a PhD in ethnomusicology from the University of California, Los Angeles, and a bachelor of music and a master of music in music theory and composition from the University of New Mexico. In addition to extensive research in New Mexico, she has conducted fieldwork in Mexico, Colombia, and Peru, including as Fulbright Scholar in Mexico in Colombia.Susan M. Asai is Professor Emerita at the Music Department at Northeastern University in Boston. Her research encompasses Japanese folk performing arts and Asian American music and cultural politics. She has published numerous articles and encyclopedia entries on Japanese/Asian American music and identity. Asai's is author of Nmai Dance Drama: A Surviving Spirit of Medieval Japan.David A. McDonald is Associate Professor and Chair of the Department of Folklore and Ethnomusicology at Indiana University. Since 2002 he has worked closely with Palestinian refugee communities in Israel, Jordan, the West Bank, and North America researching the performative dynamics of trauma, violence, and masculinity. He is author and editor of two books, My Voice is My Weapon and Palestinian Music and Song.Andrew G. Snyder is an Integrated Researcher in the Instituto de Etnomusicologia at the Universidade Nova de Lisboa in Portugal. He has written about alternative brass band movements in Rio de Janeiro, New Orleans, and San Francisco in his book, Critical Brass: Street Carnival and Musical Activism in Olympic Rio de Janeiro, his co-edited volume HONK! A Street Band Renaissance of Music and Activism, and in various articles.Katelyn E. Best is a Teaching Assistant Professor in Musicology at West Virginia University and Co-Director of the Society for Ethnomusicology Orchestra. Her research focuses on Deaf music, hip hop, and cultural activism. Her current work traces the development of dip hop (sign language rap) in the United States and examines socio-cultural mechanisms that have historically colonized deaf experiences of music.