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Fascinated by women's distinct influence on Uzbekistan's music, Tanya Merchant ventures into Tashkent's post-Soviet music scene to place women musicians within the nation's evolving artistic and political arenas.
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Drawing on fieldwork and music study carried out between 2001 and 2014, Merchant challenges the Western idea of Central Asian women as sequestered and oppressed. Instead, she notes, Uzbekistan's women stand at the forefront of four prominent genres: maqom, folk music, Western art music, and popular music. Merchant's recounting of the women's experiences, stories, and memories underscores the complex role that these musicians and vocalists play in educational institutions and concert halls, street kiosks and the culturally essential sphere of wedding music. Throughout the book, Merchant ties nationalism and femininity to performances and reveals how the music of these women is linked to a burgeoning national identity.
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Important and revelatory, Women Musicians of Uzbekistan looks into music's part in constructing gendered national identity and the complicated role of femininity in a former Soviet republic's national project.
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- Sales Rank: #3106670 in Books
- Published on: 2015-07-17
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .80" w x 6.00" l, .0 pounds
- Binding: Paperback
- 224 pages
Review
"Merchant offers a nuanced, intelligent understanding of the relationship between gender and musical culture in contemporary Uzbeck society. In addressing the place of women in the musical life of the country, she throws light not only on the music but also on how the music has negotiated and contributed to the historical dynamic that has existed since the Soviet Union annexed Uzbekistan… A valuable resource for those interested in anthropology, Central Asian studies, gender studies… Highly recommended."--Choice
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Merchant has listened carefully to the voices of Central Asian women musicians, so this book advances understanding of both a neglected world area and of women's experience in a postcolonial, Islamic-influenced society.--Mark Slobin, author of Folk Music: A Very Short Introduction
"This book provides a timely focus on gender in Central Asian music--an area which deserves greater attention. It includes strong ethnographic material and interviews with musicians, draws on relevant theoretical literature, and addresses a range of issues concerning gender and the performance of Uzbek national identity, genre, and gendered economies of performance."--Rachel Harris, author of The Making of a Musical Canon in Chinese Central Asia: The Uyghur Twelve Muqam
About the Author
Tanya Merchant is an assistant professor of music at the University of California, Santa Cruz.
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Most helpful customer reviews
1 of 1 people found the following review helpful.
New Insights into a Musical Culture
By Dr. Debra Jan Bibel
A study of women musicians in Uzbekistan makes a very narrow and exotic book, but author and musician Tanya Merchant offers a well-written, detailed, and insightful story that keeps the reader fascinated. Uzbekistan, as other Central Asian nations, was during the Soviet and Cold War era a poorly known backwater, but since its independence and Western interests in nearby Afghanistan, the nation has become politically interesting and a destination for Silk Road adventure tourism. Also, through the Aga Khan Trust and the Smithsonian Institution, recordings and international touring groups have brought Central Asian music to the world music fan. With centuries of traditional Islamic practices, despite Soviet modernization, women musicians have separate roles and venues. The focus on women musicians before, during, and after the Soviet era in artistic maqom, Western classical, traditional and arranged folk, and popular categories expands an appreciation of this culture.
Merchant, who speaks Russian, learned to play the dutar, a two silk-stringed long-neck lute, and to sing from two Uzbeki women. She acquired the rhythmic patterns and studied maqams, the set of modes or scales applied to a canon of melodies. She took part in wedding rituals and women only celebrations and interviewed many Uzbeki women for their background, training, and musical experience. Among the information discussed in the book, the reader learns that women play the dutar and rarely the chang hammered dulcimer or Kashgari rubob lute, while men can play any instrument including the dutar. Women are chiefly vocalists and perform with ethnic costume, always dresses, in contrast to men instrumentalists whose attire is Western. In Uzbeki culture a female is a girl no matter her age until married, when she become a woman. The Soviets encouraged more women in institutional music training, both conservatories and academies, but also created a pan-Soviet folkloric musical style with modified folk instruments and harmonies, which are otherwise outside traditional practice. It was particularly interesting to learn that women are very popular Pop stars but that their band's music, despite electric guitars, drumset, synthesizers, and assorted Arabic and Turkish idioms and instruments, are not global rock; patriotic and romantic tunes are favored. These musicians were conservatory trained. In contrast to oral transmission by mimicking methods for traditional music, the academies teach by Western approaches of scores. Indeed, women have become directors of Western-style orchestras performing symphonies, concerti, and ballets whose composers are mainly Western. The traditional maqom canon was developed solely by men, probably an artifact of male domination in the culture, as it was in the West until the more enlightened late 20th century, when women composers began winning the Pulitzer Prize and other honors.
Women musicians are important in Uzekistan despite the obligated restrictions. Their strong vocals, whether artistic maqoms or pop or folkloric opera, are key to musical performances. The virtuosic dutar playing are admired. Women are not secluded at home or playing only for themselves or for family occasions of weddings and circumcisions. This book provides a broader picture. They only omission is religious and devotional music. Women Sufis are found in Uzbekistan. In short, a good, worthwhile read for ethnomusicologists and world music fans.
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