Ethnomusicology without Erotics

ost ethnomusicologists write about a bleak world devoid of desire and empty of erotics.Naturally there are notable exceptions, but we often emphasize nationalism and globalization, manifesting a deeply internalized need to prove our discipline is doing important work (i.e., just as important as anthropology) despite the double feminization of our fi eld. 1 We show how our teachers and friends-the musicians we spend so much time getting to know-negotiate a landscape shaped by those macroprocesses.When we write about our friends' and teachers' gendered lives, we tend to note this in a sentence that includes a list of many differences outlined with commas: she is a woman, an ethnic minority, from the working class, and from a certain religion.But the commas can't do the necessary critical work: we have trouble living up to the intersectional analyses we know we need. 2 As Sherrie Tucker 1 Notable exceptions include the work of Gregory Barz,