Stephen Amico
Biographic Data
| ID | 1602770 |
|---|---|
| NAME | Stephen Amico |
| GIVEN NAMES | Stephen |
| FAMILY NAME | Amico |
| SIGNATURE | AMICO S |
| AFFILIATIONS | University of Amsterdam |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 3 |
We Are All Musicologists Now”; or, the End of Ethnomusicology
Situated in the context of current examinations of academic disciplinarity, this article contributes to the decades-long discussions (or debates) regarding the status of ethnomusicology, arguing forcefully for the (sub-)discipline’s cessation. A focus on ethnomusicology’s very prefix, “ethn-”, exposes the field’s historical and continuing reliance upon colonialist ideology, continually reproduced in relation to both ethnicity (constructed in rela…
Digital Voices, Other Rooms
The international attention surrounding Pussy Riot’s performance of their “Pank-moleben” (“Punk prayer”) has perhaps understandably focused largely on the manifestly political aspects of this act, due in part to both the specific sociocultural-historical context, and the very lyrics of the song itself—including the invocation of the term “feminist” (which is arguably inherently political in nature). In this article, however, I approach the subver…
The most Martian of Martianesses
This article focuses on the Soviet/post-Soviet singer Zhanna Aguzarova, as both frontwoman for the seminal Russian rock 'n' roll bandBravoand as a solo artist. Contextualising her musical output within the singer's frequent allusions to and performances of extraterrestrialism, and drawing upon works of Kristeva and Vygotskii, I contend that Aguzarova's voice and frequent use of vocables contributed to a creation of a performative space 'outside' …
Visible Difference, Audible Difference
Studies of Soviet and post-Soviet popular musics have tended to give scant attention to the variables of gender and sexuality, often positing a tacit and de facto heterosexuality on the part of both performer and audience. In this article, I focus on the dynamic of difference—musical, visual, and discursive—in the musics of three post-Soviet, female singer/musicians (Zhanna Aguzarova, Eva Pol'na, and Zemfira Ramazanova), showing how such differen…
I Want Muscles
The examination of 'subcultures' and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as 'dance music' scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; B…
We Are All Musicologists Now”; or, the End of Ethnomusicology
Situated in the context of current examinations of academic disciplinarity, this article contributes to the decades-long discussions (or debates) regarding the status of ethnomusicology, arguing forcefully for the (sub-)discipline’s cessation. A focus on ethnomusicology’s very prefix, “ethn-”, exposes the field’s historical and continuing reliance upon colonialist ideology, continually reproduced in relation to both ethnicity (constructed in rela…
Visible Difference, Audible Difference
Studies of Soviet and post-Soviet popular musics have tended to give scant attention to the variables of gender and sexuality, often positing a tacit and de facto heterosexuality on the part of both performer and audience. In this article, I focus on the dynamic of difference—musical, visual, and discursive—in the musics of three post-Soviet, female singer/musicians (Zhanna Aguzarova, Eva Pol'na, and Zemfira Ramazanova), showing how such differen…
I Want Muscles
The examination of 'subcultures' and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as 'dance music' scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; B…
Digital Voices, Other Rooms
The international attention surrounding Pussy Riot’s performance of their “Pank-moleben” (“Punk prayer”) has perhaps understandably focused largely on the manifestly political aspects of this act, due in part to both the specific sociocultural-historical context, and the very lyrics of the song itself—including the invocation of the term “feminist” (which is arguably inherently political in nature). In this article, however, I approach the subver…
I Want Muscles
The examination of 'subcultures' and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as 'dance music' scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; B…
Visible Difference, Audible Difference
Studies of Soviet and post-Soviet popular musics have tended to give scant attention to the variables of gender and sexuality, often positing a tacit and de facto heterosexuality on the part of both performer and audience. In this article, I focus on the dynamic of difference—musical, visual, and discursive—in the musics of three post-Soviet, female singer/musicians (Zhanna Aguzarova, Eva Pol'na, and Zemfira Ramazanova), showing how such differen…
The most Martian of Martianesses
This article focuses on the Soviet/post-Soviet singer Zhanna Aguzarova, as both frontwoman for the seminal Russian rock 'n' roll bandBravoand as a solo artist. Contextualising her musical output within the singer's frequent allusions to and performances of extraterrestrialism, and drawing upon works of Kristeva and Vygotskii, I contend that Aguzarova's voice and frequent use of vocables contributed to a creation of a performative space 'outside' …
Digital Voices, Other Rooms
The international attention surrounding Pussy Riot’s performance of their “Pank-moleben” (“Punk prayer”) has perhaps understandably focused largely on the manifestly political aspects of this act, due in part to both the specific sociocultural-historical context, and the very lyrics of the song itself—including the invocation of the term “feminist” (which is arguably inherently political in nature). In this article, however, I approach the subver…
We Are All Musicologists Now”; or, the End of Ethnomusicology
Situated in the context of current examinations of academic disciplinarity, this article contributes to the decades-long discussions (or debates) regarding the status of ethnomusicology, arguing forcefully for the (sub-)discipline’s cessation. A focus on ethnomusicology’s very prefix, “ethn-”, exposes the field’s historical and continuing reliance upon colonialist ideology, continually reproduced in relation to both ethnicity (constructed in rela…
Art (5 works) · Music History and Culture (5 works) · Aesthetics (4 works) · Literature (4 works) · Sociology (4 works) · Epistemology (3 works) · Gender Studies (3 works) · Gender Studies (3 works) · History (3 works) · Musical (3 works)