While ethnomusicologists and anthropologists have long recognized the connections between gender, place, and emotion in musical performance, these aspects of performance are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine from a cross-cultural perspective the interweaving of these aspects during performance. Drawing on new ethnographic field studies, contributors show how a theoretical focus on any one of the three implicates the others, creating a nexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement and embodiment in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part 1 looks at emplaced sentiments in Australasia, treating Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part 2 addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part 3 evaluates emotion and fandom around a Korean singer in Japan, and Sámi interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword.

Contributors: Beverley Diamond, Fiona Magowan, Jonathan McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University.