Suggested Readings

This is a list of additional, optional texts for further reading in this course. These cover a wide range of themes and genres in gender and music. The essential readings for each lecture are attached to the lecture lists. 

There will be no core textbook that students need to purchase. We encourage students to supplement the essential readings with texts that are of special interest to them.

Abtan, F. (2016) "Where Is She? Finding the Women in Electronic Music Culture." in Contemporary Music Review 35(1), 53–60.

Armstrong, V. (2011) Technology and the gendering of music education. Farnham: Ashgate.

Battersby, C. (1989) Gender and Genius: Towards a Feminist Aesthetics. Bloomington: Indiana University Press.

Bayton, M. (1997) "Women and the Electric Guitar." in Whiteley, S. (ed.) Sexing the Groove: Popular Music and Gender. London: Routledge, 37–49.

Born, G., & Devine, K. (2016). "Gender, Creativity and Education in Digital Musics and Sound Art." Contemporary Music Review, 35(1), 1–20.

Born, G., & Devine, K. (2015). Music technology, gender, and class: Digitization, educational and social change in Britain. Twentieth-Century Music, 12(2), 135–172.

Bowers J. and Tick, J (1986) ”Introduction” in Women making Music. The Western Art Tradition, 1150-1950. Urbana and Chicago: University of Illinois Press, 3-14.

Bradby, Barbara. 1993. "Sampling Sexuality: Gender, Technology and the Body in Dance Music." Popular Music 12(2), 155-176.

Brady, Anita. 2016. "Taking time between g-string changes to educate ourselves: Sinéad O’Connor, Miley Cyrus, and celebrity feminism". Feminist Media Studies 16 (3): 429-44.

Brett, P. (2006) ”Musicality, Essentialism and the Closet” in Brett, P. Wood, E. and Thomas, G. C. (Eds.) Queering the Pitch: The New Gay and Lesbian Musicology.New York: Routledge/Taylor & Francis, 9-26.

Burns, Lori and Mélisse Lafrance. 2002. Disruptive Divas: Feminism, Identity & Popular Music. New York and London: Routledge.

Citron, M. (1986) “Women and the Lied 1775-1850 “ in Women making Music. The Western Art Tradition, 1150-1950. Urbana and Chicago: University of Illinois Press, 224-248.

Citron, M. (2007): “Women and the Western Art Canon: Where Are We Now?” in Notes, Second Series, Vol. 64, No. 2, Music Library Association, 209-215

Cohen, S. (1997) "Men Making a Scene: Rock Music and the Production of Gender." in Whiteley, S. (ed.) Sexing the Groove: Popular Music and Gender. London: Routledge, 17–36.

Cusick, S. (2001) "Gender, Musicology, and Feminism", in Cook, N. and Everist, M. (eds) Rethinking Music. Oxford: Oxford University Press, 471–498.

Doubleday, V. (2008) “Sounds of Power: An Overview of Musical Instruments and Gender” in Ethnomusicology Forum 17(1), 3-39.

Dunbar, J. C. (2011) Women, Music, Culture: An Introduction. New York: Routledge.

Frith, S., & McRobbie, A. (1990). "Rock and sexuality" in S. Frith, & A. Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 371–389). New York, NY: Pantheon Books.

Gavanas, A, and Rosa R. 2013. “DJ Technologies, Social Networks and Gendered Trajectories in European DJ Cultures” in Attias, B. A., Gavanas, A. and Rietveld, H. C. (eds) DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music, New York and London: Bloomsbury, 51–77.

Green, L. (1994) ”Gender, Musical Meaning, and Education” in Philosophy of Music Education Review, Vol. 2 No. 2, Indiana University Press, 99-105.

Green, L. (1997) Music, Gender, Education. Cambridge: Cambridge University Press.

Green, L. (2014) ”Music, Gender and Education. A Report on Some Exploratory Research” in Music Education as Critical Theory and Practice. Selected Essays. Farnham and Burlington: Ashgate, 89-123.

Halberstam, J. Jack. 2012. Gaga Feminism: Sex, Gender, and the End of Normal. Boston: Beacon Press.

Hawkins, Stan. 2016. Queerness in Pop Music: Aesthetics, Gender Norms, and Temporality. New York and London: Routledge.

Huyssen, A. (1986) ”Mass Culture as Woman. Modernism’s Other” in After the Great Divide: Modernism, Mass Culture, Postmodernism, Bloomington and Indiapolis: Indiana University Press, 44-62.

Høgåsen-Hallesby, H. (2007) “Carmens performative hevn” in Tidsskrift for kjønnsforskning nr 3, Universitetsforlaget, 5–18. [for readers of Norwegian, at Fronter]

James, Robin. 2008. “Robo-Diva R&B: Aesthetics, Politics and Black Female Robots in Contemporary Popular Music”. Journal of Popular Music Studies 20 (4): 402-23.

Jarman-Ivens, Freya, ed. 2007. Oh Boy! Masculinities and Popular Music. New York and London: Routledge.

Jarman-Ivens, Freya. 2011. Queer Voices: Technologies, Vocalities, and the Musical Flaw. Basingstoke: Palgrave Macmillan.

Keightley, K. (1996) “Turn it down!” She shrieked: Gender, domestic space, and high fidelity, 1948–59. Popular Music, 15(2), 149–177.

Koskoff, E. (2014) A Feminist Ethnomusicology: Writings on Music and Gender. Urbana: University of Illinois Press.

Koestenbaum, Wayne. 2001 [1993]. The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Da Capo Press.

Leonard, Marion. (2007) Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot: Ashgate.

Lochhead, J. (2008) “Theorizing Gender, Culture, and Music: The Sublime, the Ineffable, and Other Dangerous Aesthetics” in Women and Music: A Journal of Gender and Culture 12, 63–124.

Maus, F. E. (2011) “Music, Gender, and Sexuality” in Clayton M., Herbert T. and Middleton, R. (eds.) The Cultural Study of Music: A Critical Introduction, Routledge, 2011, 317-329.

McClary, S. (1989) ”Terminal Prestige: The Case of Avant-Garde Music Composition” in Cultural Critique, No. 12, Discursive Strategies and the Economy of Prestige. University of Minnesota Press, 57-88.

McClary, S. (1991) Feminine Endings: Music, Gender & Sexuality. Minneapolis: University of Minnesota Press.

McClary, S. (1992) “Images of Race, Class and Gender in 19th Century France” in George Bizet’s Carmen, Cambridge: Cambridge University Press. [online/UiO oria.no]

McClary, S. (1993)  “Narrative Agendas in ‘Absolute Music’: Identity and Difference in Brahms’ Third Symphony” in Musicology and Difference. Gender and Sexuality in Music Scholarship, University of California Press. [Fronter]

Piekut, B. (2011) "Murder by Cello: Charlotte Moorman Meets John Cage" in Experimentalism Otherwise: The New York Avant–Garde and its Limits, Berkeley: University of California, 140–176.

Reddington, H. (2012) The Lost Women of Rock Music: Female Musicians of the Punk Era. Aldershot Ashgate.

Rieger, E. (2002) "'Desire is Consuming Me': The Life Partnership Between Eugenie Schumann and Marie Fillunger" in Fuller, S. and Whitesell, L. (eds) Queer Episodes in Music and Modern Identity. Urbana: University of Illinois Press, 25–48.

Robertson, C. E. (1987) Power and gender in the musical experiences of women. In E.Koskoff (Ed.), Women and music in cross-cultural perspective (pp. 225–244). Champaign: University of Illinois Press.

Rodgers, T. (2010) “Introduction.” in Pink Noises: Women on Electronic Music and Sound. Durham: Duke University Press, 1–23.

Sandve, Birgitte. 2015. "Unwrapping 'Norwegianness': Politics of Difference in Karpe Diem". Popular Music 34 (1): 45-66.

Scharff, C. (2015). "Blowing your own trumpet: exploring the gendered dynamics of self-promotion in the classical music profession." The Sociological Review, 63(S1), 97–112.

Solie, R. A. (ed.) (1993) Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press.

Stévance, Sophie. 2017. "From Throat Singing to Transcultural Expression: Tanya Tagaq's Katajjaq Musical Signature." In The Routledge Research Companion to Popular Music and Gender, ed. Stan Hawkins. New York: Routledge, 48–62.

Straw, W. (1997) "Gender and Connoisseurship in Rock Music Culture" in Whiteley, S. (ed.) Sexing the Groove: Popular Music and Gender. London: Routledge, 3–16.

Taylor, J. (2012) “Scenes and Sexualities: Queerly Reframing the Music Scenes Perspective.” Continuum: Journal of Media and Cultural Studies 26 (1), 143–156.

Warwick, Jacqueline. 2004. “‘He’s Got the Power’: the Politics of Production in Girl Group Music.” In Music, Space and Place, edited by Sheila Whiteley, Andy Bennett, and Stan Hawkins, 191-200. Farnham: Ashgate.

Warwick, Jacqueline. 2007. Girl Groups, Girl Culture: Popular Music and Identity in the 1960s. New York: Routledge.

Werner, Ann. 2017. "Digitally Mediated Identity in the Cases of Two Sámi Artists." In The Oxford Handbook to Popular Music in the Nordic Countries, ed. Fabian Holt and Antti-Ville Kärjä. New York: Oxford University Press, 379–394.

Whiteley Sheila. 2000. Women and Popular Music: Sexuality, Identity and Subjectivity. London and New York: Routledge.

Whiteley, Sheila. 2003. Too Much Too Young: Popular Music, Age and Gender. London and New York: Routledge.

 

Published Nov. 16, 2017 5:16 PM - Last modified Jan. 17, 2018 1:04 PM