"Music Cultures in the United States" is a basic textbook for an Introduction to American Music course. Taking a new, fresh approach to the study of American music, it is divided into three parts. In the first part, historical, social, and cultural issues are discussed, including how music history is studied; issues of musical and social identity; and institutions and processes affecting music in the U.S. The heart of the book is devoted to American musical cultures: American Indian; European; African American; Latin American; and Asian American. Each cultural section has a basic introductory article, followed by case studies of specific musical cultures. Finally, global musics are addressed, including Classical Musics and Popular Musics, as they have been performed in the U.S..
Each article is written by an expert in the field, offering in-depth, knowledgeable, yet accessible writing for the student. The accompanying CD offers musical examples tied to each article. Pedagogic material includes chapter overviews, questions for study, and a chronolgogy of key musical events in American music and definitions in "callouts" in the margins.

This volume makes available the full range of the American/Canadian musical experience, covering for the first time in print all major regions, ethnic groups and traditional and popular contexts. From musical comedy to word beat, from the songs of the Arctic to rap and house music, from Hispanic Texas to the Chinese communities of Vancouver, the coverage captures the rich diversity of the vibrant music of America and Canada. Special attention is paid to recent immigrant groups, to Native American traditions and to such socio-musical topics as class, race, gender, religion, government policy, media and technology.

"Music Cultures in the United States" is a basic textbook for an Introduction to American Music course. Taking a new, fresh approach to the study of American music, it is divided into three parts. In the first part, historical, social, and cultural issues are discussed, including how music history is studied; issues of musical and social identity; and institutions and processes affecting music in the U.S. The heart of the book is devoted to American musical cultures: American Indian; European; African American; Latin American; and Asian American. Each cultural section has a basic introductory article, followed by case studies of specific musical cultures. Finally, global musics are addressed, including Classical Musics and Popular Musics, as they have been performed in the U.S..
Each article is written by an expert in the field, offering in-depth, knowledgeable, yet accessible writing for the student. The accompanying CD offers musical examples tied to each article. Pedagogic material includes chapter overviews, questions for study, and a chronolgogy of key musical events in American music and definitions in "callouts" in the margins.

Exploring and celebrating individual lives in diverse situations, Women Singers in Global Contexts is a new departure in the study of women's worldwide music-making. Ten unique women constitute the heart of this volume: each one has engaged her singing voice as a central element in her life, experiencing various opportunities, tensions, and choices through her vocality. These biographical and poetic narratives demonstrate how the act of vocalizing embodies dynamics of representation, power, agency, activism, and risk-taking. Engaging with performance practice, politics, and constructions of gender through vocality and vocal aesthetics, this collection offers valuable insights into the experiences of specific women singers in a range of sociocultural contexts. Contributors trace themes and threads that include childhood, families, motherhood, migration, fame, training, transmission, technology, and the interface of private lives and public identities.

Exploring and celebrating individual lives in diverse situations, Women Singers in Global Contexts is a new departure in the study of women's worldwide music-making. Ten unique women constitute the heart of this volume: each one has engaged her singing voice as a central element in her life, experiencing various opportunities, tensions, and choices through her vocality. These biographical and poetic narratives demonstrate how the act of vocalizing embodies dynamics of representation, power, agency, activism, and risk-taking. Engaging with performance practice, politics, and constructions of gender through vocality and vocal aesthetics, this collection offers valuable insights into the experiences of specific women singers in a range of sociocultural contexts. Contributors trace themes and threads that include childhood, families, motherhood, migration, fame, training, transmission, technology, and the interface of private lives and public identities.

One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text "Women and Music in Cross Cultural Perspective," and her career evolved in tandem with the emergence and development of the field.
In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies.
An uncommon merging of retrospective and rumination, "A Feminist Ethnomusicology: Writings on Music and Gender "offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork.
Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.

This volume offers an introduction to the field of women, music, and culture, examining the implications of gender upon music performance. The presentation focuses on women from many different countries, cultures and historical periods--from the professional musician to the village preserver of traditional music and culture, from the young woman of the 19th century of hymnody tradition of the U.S. to the female tayu or chanter in the male dominated Gidayu narrative tradition of Japan.

One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text "Women and Music in Cross Cultural Perspective," and her career evolved in tandem with the emergence and development of the field.
In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies.
An uncommon merging of retrospective and rumination, "A Feminist Ethnomusicology: Writings on Music and Gender "offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork.
Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.