While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender place and emotion in musical performance these concepts are seldom analyzed together. <I>Performing Gender Place and Emotion in Music</I> is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others creating a nexus of performative engagement. This process is examined across different regions around the globe through two key questions: How are aesthetic emotional and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian ritual and staged events?<BR>Through ethnographic case studies the volume explores issues of emplacement embodiment and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession Balinese dance and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing belonging in Bavarian music-making and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan and Sámi interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword.<BR><BR>Contributors: Beverley Diamond Fiona Magowan Jonathan McIntosh Barley Norton Tina K. Ramnarine Muriel Swijghuisen Reigersberg Sara R. Walmsley-Pledl Louise Wrazen Christine Yano.<BR><BR>Fiona Magowan is Professor of Anthropology at Queen's University Belfast.<BR>Louise Wrazen is Associate Professor of Music at York University.
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