Green Music, Gender, Education 1997

1. “a collective mental force which both springs from and perpetuates pre-existing relationships of
economic and cultural dominance or subservience between social classes” (3)
2. “at a more informal level, [is] set in motion through the interactions of people in particular social
contexts” (5)
Waxer “Las Caleñas son como las flores: The Rise of All-women Salsa Bands in Cali,
Colombia” 2001
3. “some observers complained to [her] that Cali’s orquestas femeninas ‘sounded bad’ or did not
play with the force necessary for a good salsa band” (232)
4. “at the acoustic level there is not much that distinguishes all-women bands from their male
counterparts” (232)
5. “prestige structures that value men’s music-making over women’s, as a way of maintaining male
control over the established social-sexual order” (232)
9. “Cali’s women are placed on a pedestal and compared to the stars in the sky, to the flowers in
the garden” (250)
10. “[women] are eulogized at an abstract level, while in daily life their social independence, eco-
nomic resources, and political power remain limited” (251)
Baker “Latin American Baroque: Performance as a Post-colonial Act?” 2008
6. “a pre-rhumba style call to come and have a night out at the manger, a celebration of black
culture” (441)
7. “both to enslave and to speak for African Others, to present them as ‘typically African’ . . . and
‘to mask their silence with words’” (442)
8. “maintaining power over the colonized and creating consensus among [them]” (442)
Gaunt “Mary Mack Dressed in Black: The Earliest Formation of a Popular Music” 2006
11. “a national sense of black communal memory and experience (or identity) defined by musical
practices that involve key strategies of black linguistic play” (58)
12. “girls learn to play with the convergence of oral-vernacular conventions from speech to song”
(62)
13. “ethnic group cohesion and solidarity despite national, geographical, and socioeconomic dif-
ferences among African American across time and place” (57)
17. “black popular culture [which] operates in a dialectical ‘production, revision, and consumption
of musical ideas’ that often draws on the subcultures of girls’ musical games” (88)
18. “female artists are not drawing from . . . as they become popular singers and musicians to the
degree that has been happening among male artists” (88)
Schwartz “Vocal Ability and Musical Performances of Nuclear Damages in the Marshall
Islands” 2016
14. “their capacity for speech was invalidated” (477)
15. “sing about the impact of radiation on their lives, sounding physical and physiological disrup-
tions and dislocations that expose broader damages caused by the nuclear testing program” (477)
16. “make possible the thought of a nuclear community, a common language and grammar – radi-
ation – for a world exposed” (491)
19. “use vocal ability to challenge the production of compulsory disability by resounding a cultur-
ally contextualized logic of radiation” (477)
20. “[recontextualizing] stigmatization and isolation as political agency, authenticity, and connec-
tion” (477)
21. “resound . . . a powerful resilience against the deafening silence of nuclear hegemony” (478)