| 000 | 01897nab a2200325 4500 | ||
|---|---|---|---|
| 001 | MUSEF-HEM-PPE-091796 | ||
| 003 | BO-LP-MUSEF | ||
| 005 | 20240516100452.0 | ||
| 008 | 240516b2017 xxu||||| |||| 00| 0 eng d | ||
| 040 | _aBO-LpMNE | ||
| 041 | _aeng | ||
| 092 |
_sE _aETHNOM/vol.61(2)/sum.2017 |
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| 100 | 1 | _aDeCoste, Kyle | |
| 245 |
_aStreet Queens: New Orleans Brass Bands and the Problem of Intersectionality. _cKyle DeCoste |
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| 260 |
_aIllinois-XXU : _bUniversity of Illinois Press, _c2017. |
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| 300 |
_apáginas 181-206: _bilustraciones en blanco y negro. |
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| 310 | _aTres veces al año | ||
| 362 | _avol. 61, no. 2 (sum. 2017) | ||
| 490 |
_aEthnomusicology. Journal of the Society for Ethnomusicology ; _vno. 2 |
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| 520 | _aThe members of the all-female Original Pinettes Brass Band contest the male domination of the New Orleans brass band scene. Playing music on male-gendered instruments, they queer the normative relationship between instruments and musicians and carve out a space for female musicianship. This essay deconstructs their songs and performance decisions as agential and subjective sites of black feminist thought put into action to subvert the brass band patriarchy. The Pinettes force us to view the New Orleans brass band scene as an intersectional site where gender is a central element in the construction and consolidation of power relationships. | ||
| 653 | _aMUSICOS | ||
| 653 | _aORQUESTAS FEMENINAS | ||
| 653 | _aMUSICA Y GENERO | ||
| 773 | 0 |
_0305095 _978275 _aSociey for Ethnomusicology _dIllinois-XXU : University of Illinois Press, 2017. _oHEMREV029110 _tEthnomusicology. Journal of the Society for Ethnomusicology ; _w(BO-LP-MUSEF)MUSEF-HEM-PPE-091795 |
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| 810 |
_aEstados Unidos. _bSociety for Ethnomusicology. |
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| 850 | _aBO-LpMNE | ||
| 866 | _a1 | ||
| 942 |
_2ddc _cPPE _dCON _j011 |
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| 999 | _c305097 | ||