the way that these are expressed, negotiated, or subverted in popular culture. These concerns, as always, are a little late coming to musicology, but they are coming. Country is white working-class music, still largely associated (although much too narrowly) with the American South. It is still "white trash," beneath notice, and it has consequently suffered from scholarly neglect. It is a field that is still largely untouched, and much mapping and marking remain to be done. A Boy Named Sue offers a tentative step forward, although, as is frustratingly common in studies of popular music, the music itself is still left out of much of the discussion or sketched in with such vagueness that it evaporates upon scrutiny. I am left with a nagging sense of dissatisfaction with most of the essays. There is nothing unworthy about any of them. It is not that they are historically inaccurate; it is simply that, even within the tight confines of a book chapter, I feel that there's so much more that could be said. Sensational Knowledge: Embodying Culture through Japanese Dance. By Tomie Hahn. Middletown, CT: Wesleyan University Press, 2007. 224 pp. WENDy HSU After the recent release of Steven
Women and Music: A Journal of Gender and Culture – University of Nebraska Press
Published: Oct 29, 2008
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