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Modernity's Ear : Listening to Race and Gender in World Music /

"Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early "songcatchers" were white women of comfortable class standing, similar to the femal...

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Detalles Bibliográficos
Autor principal: Kheshti, Roshanak (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: New York : New York University Press, [2015]
Colección:Book collections on Project MUSE.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Kheshti, Roshanak,  |e author. 
245 1 0 |a Modernity's Ear :   |b Listening to Race and Gender in World Music /   |c Roshanak Kheshti. 
264 1 |a New York :  |b New York University Press,  |c [2015] 
264 3 |a Baltimore, Md. :  |b Project MUSE,   |c 2015 
264 4 |c ©[2015] 
300 |a 1 online resource (208 pages):   |b illustrations 
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490 0 |a Postmillennial pop 
505 0 |a The female sound collector and her talking machine -- Listen, Inc. : aural modernity and incorporation -- Losing the listening self in the aural other -- Racial noise, hybridity, and miscegenation in world music -- The world music culture of incorporation -- Epilogue : modernity's radical ear and the sonic infidelity of Zora Neale Hurston's recordings. 
520 |a "Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early "songcatchers" were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the 'other' that made them. In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity's Ear ultimately explores the importance of pleasure in constituting the listening self."--Publisher's description 
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650 7 |a Ethnische Identität  |2 gnd 
650 7 |a Sound recordings  |x Social aspects.  |2 fast  |0 (OCoLC)fst01127060 
650 7 |a Music and race.  |2 fast  |0 (OCoLC)fst01030486 
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650 7 |a MUSIC  |x Genres & Styles  |x Classical.  |2 bisacsh 
650 6 |a Musique et race. 
650 6 |a Musiques du monde  |x Aspect social. 
650 0 |a Music and race. 
650 0 |a Sound recordings  |x Social aspects. 
650 0 |a World music  |x Social aspects. 
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856 4 0 |z Texto completo  |u https://projectmuse.uam.elogim.com/book/43317/ 
945 |a Project MUSE - Custom Collection 
945 |a Project MUSE - 2015 Global Cultural Studies 
945 |a Project MUSE - 2015 Complete