Ellie M Hisama
Dados Biográficos
| ID | 645366 |
|---|---|
| NOME | Ellie M Hisama |
| PRENOMES | Ellie M |
| SOBRENOME | Hisama |
| ASSINATURA | HISAMA E M |
| AFILIAÇÕES | Brooklyn College and the Graduate Center, CUNY |
| ORCID | 0009-0009-4699-9300 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAÇÕES | 6 |
| OBRAS COMO AUTOR | 8 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1993 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 1 |
“They want us to tell their story”
Prompted by an invitation in Dylan Robinson’s Hungry Listening, I offer a Toronto-based letter to Robinson and Carter Mathes. I propose that we apprehend composer and performer Julius Eastman’s practice of refusal and the fragments of his radical sonic expressions through the ideas and practice of kintsugi (“golden repair”). I close with a letter to Frances Eastman, Julius Eastman’s mother, and emphasize the need for the telling of still untold s…
Listening to Listening
Nina Sun Eidsheim’s The Race of Sound boldly proposes that we should listen to listening. In her words, “in carrying out an analysis that is conscious of the fact that any voice is part of the collective voice, and that listening contributes to shaping that voice, we must listen to how we listen” (57). This volume will fundamentally alter music studies—musicology, ethnomusicology, and music theory—as well as studies of voice, opera, dramaturgy, r…
The Ruth Crawford Seeger Sessions
Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often rema…
Crawford (Seeger), Ruth
Ladies Intellectual
Feminist Music Theory into the Millennium
Life Outside the Canon? A Walk on the Wild Side
This paper gives an overview of analytical work since 1997 on music outside the canon, and argues that music theory on the whole embraces scholarship that addresses previously marginalized topics. Positive signs can be seen in conference programming, publications, and job opportunities. I suggest that the field of music theory presents encouraging possibilities in the new millennium for those who want to build a professional life outside the cano…
Postcolonialism on the make
When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. It is not something we dodespitethe foreignness of our subject; it is something we do because of our perception of it as other. The implicit hierarchical nature of otherness invites seemingly innocuous practices of representatio…
Postcolonialism on the make
When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. It is not something we dodespitethe foreignness of our subject; it is something we do because of our perception of it as other. The implicit hierarchical nature of otherness invites seemingly innocuous practices of representatio…
Life Outside the Canon? A Walk on the Wild Side
This paper gives an overview of analytical work since 1997 on music outside the canon, and argues that music theory on the whole embraces scholarship that addresses previously marginalized topics. Positive signs can be seen in conference programming, publications, and job opportunities. I suggest that the field of music theory presents encouraging possibilities in the new millennium for those who want to build a professional life outside the cano…
Postcolonialism on the make
When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. It is not something we dodespitethe foreignness of our subject; it is something we do because of our perception of it as other. The implicit hierarchical nature of otherness invites seemingly innocuous practices of representatio…
Feminist Music Theory into the Millennium
Life Outside the Canon? A Walk on the Wild Side
This paper gives an overview of analytical work since 1997 on music outside the canon, and argues that music theory on the whole embraces scholarship that addresses previously marginalized topics. Positive signs can be seen in conference programming, publications, and job opportunities. I suggest that the field of music theory presents encouraging possibilities in the new millennium for those who want to build a professional life outside the cano…
Ladies Intellectual
Crawford (Seeger), Ruth
The Ruth Crawford Seeger Sessions
Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often rema…
Listening to Listening
Nina Sun Eidsheim’s The Race of Sound boldly proposes that we should listen to listening. In her words, “in carrying out an analysis that is conscious of the fact that any voice is part of the collective voice, and that listening contributes to shaping that voice, we must listen to how we listen” (57). This volume will fundamentally alter music studies—musicology, ethnomusicology, and music theory—as well as studies of voice, opera, dramaturgy, r…
“They want us to tell their story”
Prompted by an invitation in Dylan Robinson’s Hungry Listening, I offer a Toronto-based letter to Robinson and Carter Mathes. I propose that we apprehend composer and performer Julius Eastman’s practice of refusal and the fragments of his radical sonic expressions through the ideas and practice of kintsugi (“golden repair”). I close with a letter to Frances Eastman, Julius Eastman’s mother, and emphasize the need for the telling of still untold s…
Art (5 obras) · Music History and Culture (5 obras) · Sociology (4 obras) · Diverse Musicological Studies (3 obras) · History (3 obras) · Musicology and Musical Analysis (3 obras) · Aesthetics (2 obras) · Art history (2 obras) · Computer Science (2 obras) · History (2 obras)