Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge
Opera scholars have had something of a bounty in recent years. Opera in a Multicultural World: Coloniality, Culture, Performance follows in a line of collected volumes that have sought to diversify the field through critical focuses on race, identity, colonialism, and gender, including Opera Indigen...
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ftcolumbiauniojs:oai:ojs.cu.submissions:article/5378 2023-05-15T16:17:03+02:00 Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge Forner, Jane 2018-04-01 application/pdf https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378 eng eng Columbia University Libraries https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378/2607 https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378 Copyright (c) 2018 Jane Forner Current Musicology; No. 102 (2018): Current Musicology 0011-3735 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2018 ftcolumbiauniojs 2022-08-26T12:09:40Z Opera scholars have had something of a bounty in recent years. Opera in a Multicultural World: Coloniality, Culture, Performance follows in a line of collected volumes that have sought to diversify the field through critical focuses on race, identity, colonialism, and gender, including Opera Indigene: Re/presenting First Nations and Indigenous Cultures (2011, edited by Pamela Karantonis and Dylan Robinson), Blackness in Opera (2012, edited by Naomi André, Karen Bryan, and Eric Saylor), and Masculinity in Opera (2013, edited by Philip Purvis). Such works are foundational to the present volume through their emphatic efforts not only to bring these issues to the forefront and consolidate academic work scattered across (and separated by) disciplinary and historical boundaries, but also for their expansion of operatic methodologies. Chapters written by performers and composers sit alongside traditional analyses, bringing into dialogue a welcome diversity of perspectives and conceptual approaches. Uniting seemingly disparate objects of study around common themes, Opera in a Multicultural World promises much: multiculturalism, coloniality, culture, genre, and performance are all touched upon, though condensed to the space of only a few hundred pages. While, like the aforementioned volumes, the book suffers slightly from this topical magnitude, such collections have brought to attention both the enormous potential scope for further work and the clear benefits of multi-disciplinary approaches. Indeed, given the three editors’ contrasting disciplinary backgrounds—musicology, anthropology, and psychology—it is clear that amalgamating and juxtaposing historical, analytical, and sociological research approaches has been a positive influence in shaping the present volume. Synthesizing and building on the existing diverse strands of writing on opera that foreground issues of race and cultural identity remains a pressing need that such volumes have begun to address. Whereas significant texts emerging from feminist scholarship ... Article in Journal/Newspaper First Nations Columbia University Libraries Journals Purvis ENVELOPE(-56.083,-56.083,-63.617,-63.617) |
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Columbia University Libraries Journals |
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Opera scholars have had something of a bounty in recent years. Opera in a Multicultural World: Coloniality, Culture, Performance follows in a line of collected volumes that have sought to diversify the field through critical focuses on race, identity, colonialism, and gender, including Opera Indigene: Re/presenting First Nations and Indigenous Cultures (2011, edited by Pamela Karantonis and Dylan Robinson), Blackness in Opera (2012, edited by Naomi André, Karen Bryan, and Eric Saylor), and Masculinity in Opera (2013, edited by Philip Purvis). Such works are foundational to the present volume through their emphatic efforts not only to bring these issues to the forefront and consolidate academic work scattered across (and separated by) disciplinary and historical boundaries, but also for their expansion of operatic methodologies. Chapters written by performers and composers sit alongside traditional analyses, bringing into dialogue a welcome diversity of perspectives and conceptual approaches. Uniting seemingly disparate objects of study around common themes, Opera in a Multicultural World promises much: multiculturalism, coloniality, culture, genre, and performance are all touched upon, though condensed to the space of only a few hundred pages. While, like the aforementioned volumes, the book suffers slightly from this topical magnitude, such collections have brought to attention both the enormous potential scope for further work and the clear benefits of multi-disciplinary approaches. Indeed, given the three editors’ contrasting disciplinary backgrounds—musicology, anthropology, and psychology—it is clear that amalgamating and juxtaposing historical, analytical, and sociological research approaches has been a positive influence in shaping the present volume. Synthesizing and building on the existing diverse strands of writing on opera that foreground issues of race and cultural identity remains a pressing need that such volumes have begun to address. Whereas significant texts emerging from feminist scholarship ... |
format |
Article in Journal/Newspaper |
author |
Forner, Jane |
spellingShingle |
Forner, Jane Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
author_facet |
Forner, Jane |
author_sort |
Forner, Jane |
title |
Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
title_short |
Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
title_full |
Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
title_fullStr |
Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
title_full_unstemmed |
Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge |
title_sort |
mary i. ingraham, joseph k. so, and roy moodley, eds. 2016. opera in a multicultural world: coloniality, culture, performance. new york: routledge |
publisher |
Columbia University Libraries |
publishDate |
2018 |
url |
https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378 |
long_lat |
ENVELOPE(-56.083,-56.083,-63.617,-63.617) |
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Purvis |
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Purvis |
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First Nations |
genre_facet |
First Nations |
op_source |
Current Musicology; No. 102 (2018): Current Musicology 0011-3735 |
op_relation |
https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378/2607 https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5378 |
op_rights |
Copyright (c) 2018 Jane Forner |
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1766002899873169408 |