In this Book

Women Musicians of Uzbekistan
summary
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. 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 the ways 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.

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page
  2. pp. i-iv
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  1. Contents
  2. pp. v-vi
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  1. Preface
  2. pp. vii-x
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  1. Acknowledgments
  2. pp. xi-xii
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  1. Introduction: The Stories Women Tell about Their Music
  2. pp. 1-41
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  1. 1. Beyond the Canon: Feminizing the National Project through Traditional Music
  2. pp. 42-77
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  1. 2. Ancient Treasures, Modernized: Women’s Dutar Ensembles and Arranged Folk Music
  2. pp. 78-108
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  1. 3. Like Tereshkova in the Cosmos: Women at the Forefront of Western Art Music
  2. pp. 109-130
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  1. 4. “Greetings to the Uzbek People!”: Popular Music in Public and Private Settings
  2. pp. 131-155
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  1. 5. Marrying Past, Present, and Future: The Essential Work of Wedding Music
  2. pp. 156-169
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  1. Conclusion: Women’s Musical Communities Performing the Nation
  2. pp. 170-184
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  1. Notes
  2. pp. 185-190
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  1. Glossary
  2. pp. 191-192
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  1. Works Cited
  2. pp. 193-204
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  1. Index
  2. pp. 205-212
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