Feminism and Music Bibliography (Short List)

Compiled for the Institute for Research on Women And Gender in Spring 2008 from lists by Elizabeth Keenan, Ellen Gray, Ruth Rosenberg, Daphne Carr, and Sean Parr.

Feminist scholarship on gender and sexuality has blossomed in the last 25 years and we are happy to share this long list with you as part of a commitment to continue research on these topics. We offer a short list as a suggested reading list based on the most commonly cited references within the music disciplines. The full list contains many more, worthy texts that are commonly cited in these disciplines and across many other disciplines that use music to exemplify how humans use music and music culture to discuss, challenge, and change ideas about gender and sexuality.

Barkin, E. and L. Hamessley. Audible traces : gender, identity, and music. Zèurich ; Los Angeles, Carciofoli, 1991.

Briggs, Charles L. “’Since I Am a Woman, I will Chastise my Relatives:’ Gender, Reported Speech, and the (Re)Production of Social Relations in Warao Ritual Wailing.” American Ethnologist 19.2 (1992): 337-61.

———. “Personal Sentiments and Polyphonic Voices in Warao Women’s Ritual Wailing. American Anthopologist 95 (1993): 929-57.

Citron, Marcia J. Gender and the Musical Canon. Cambridge [England]; New York: Cambridge University Press, 1993.

Cook, Susan C., and Judy S. Tsou. Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Urbana: University of Illinois Press, 1994.

Douglas, Susan. Where the Girls Are: Growing Up Female with the Mass Media. New York: Times Books, 1994.

Drinker, Sophie Hutchinson. Music and Women : The Story of Women in Their Relation to Music. Ed. Afterword by Ruth A. Solie Preface by Elizabeth Wood. New York: The Feminist Press at the City University of New York, 1995.

Dunn, Leslie C. and Nancy A. Jones, eds. Embodied Voices: Representing Female Vocality in Western Culture. Cambridge: Cambridge University Press, 1994.

Green, Lucy. Music, Gender and Education. Cambridge: Cambridge University Press, 1997.

1 Hisama, Ellie. “Voice, Race, and Sexuality in the Music of Joan Armatrading.” In Audible Traces: Gender, Identity, and Music. Los Angeles: Carciofoli, 1999.

Koestenbaum, Wayne. The Queen's Throat : Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon Press, 1993.

Koskoff, Ellen. Women and Music in Cross-Cultural Perspective. New York: Greenwood Press, 1997.

Mahon, Maureen. Right to Rock. Durham, NC: Duke University Press, 2004.

McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 1991.

______“Reshaping a Discipline: Musicology and Feminism in the 1990s.” Feminist Studies 19 (June 1993): 399-423.

Moisala, Pirkko, and Beverley Diamond. Music and Gender. Urbana: University of Illinois Press, 2000.

Solie, Ruth A. Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993.

Sugarman, Jane C. Engendering Song: Singing and Subjectivity at Prespa Albanian Weddings. Chicago: University of Chicago Press, 1997.

Tucker, Sherrie. Swing Shift: “All-Girl” Bands of the 1940s. Durham: Duke University Press, 2000.

Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover: Wesleyan University Press, 1993.

Whiteley, Sheila. Ed. Sexing the groove: popular music and gender. London ; New York, Routledge, 1997.

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Feminism and Music Bibliography (Full List)

Compiled for IRWAG in 2008 from lists by Elizabeth Keenan, Ellen Gray, Ruth Rosenberg, Daphne Carr, and Sean Parr.

Abu-Lughod, Lila. “The Romance of Resistance: Tracing Transformations of Power through Bedouin Women.” American Ethnologist 17 (1990): 41-55.

Antelyes, Peter. “Red Hot Mamas: Bessie Smith, Sophie Tucker, and the Ethnic Maternal Voice in American Popular Song.” In Embodied Voices: Representing Female Vocality in Western Culture. Edited by Leslie C. Dunn and Nancy A. Jones. New York: Cambridge University Press, 1994.

Aparicio, Frances R. “La Lupe, La India, and Celia: Toward a feminist genealogy of salsa music.” In Situating Salsa: Global markets and local meanings in Latin popular music. Edited by Lise Waxer. New York: Routledge, 2002.

Auslander, Philip. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: University of Michigan Press, 2006.

Babiracki, Carol M. “The Illusion of India’s ‘public’ dancers.” In Women's voices across musical worlds. Edited by Jane A. Bernstein. Boston: Northeastern University Press, 2003.

Ballantine, Christopher. “Gender, migrancy, and South African popular music in the late 1940s and the 1950s.” Ethnomusicology vol. 44, no.3 (2000), 376-407.

Bannister, Matthew. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Burlington, VT: Ashgate, 2006.

Barkin, E. and L. Hamessley. Audible traces : gender, identity, and music. Zèurich ; Los Angeles, Carciofoli, 1991.

Bayton, Mavis. “Feminist Musical Practice: Problems and Contradictions” in Rock and Popular Music: Politics, Policies, Institutions, Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, eds. London: Routledge, 1993. 177-192.

______“Women and the Electric Guitar” in Sexing the Groove: Popular Music and Gender, Sheila Whiteley, ed. London: Routledge, 1997. 37-49.

______Frock Rock: Women Performing Rock Music. Oxford: Oxford University Press, 1998.

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Bernstein, Jane A., editor. Women's voices across musical worlds. Boston: Northeastern University Press, 2003.

Bithell, Caroline. “Polyphonic Voices: National identity, World music and the Recording of Traditional Music in Corsica.” British Journal of Ethnomusicology 5 (1996), 39-67.

Blackmer, Corinne E., and Patricia Juliana Smith. En Travesti: Women, Gender Subversion, Opera. New York: Columbia University Press, 1995.

Bloch, Maurice. “Death, women and power.” In Death and the Regeneration of Life, edited by Maurice Bloch and Jonathan Parry, 211-30. Cambridge: Cambridge University Press, 1982.

Bradby, Barbara. “She Told me What to Say: The Beatles and girl-group discourse.” Popular Music and Society 28.3 (2005): 359-390.

Bradby, Barbara. “Do-Talk and Don’t-Talk: The Division of the Subject in Girl-Group Music.” In On Record: Rock, Pop, and the Written Word. Simon Frith and Andrew Goodwin, eds. (New York: Pantheon, 1990.

______“Sampling sexuality: Gender, technology and the body in dance music.” Popular Music, 12.3 (1993): 155-176.

______“Oh, boy! (Oh, boy!): Mutual desirability and musical structure in the buddy group.” Popular music 21.1 (2002): 63-91.

Brett, Philip, Elizabeth Wood, and Gary Thomas. Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge, 1994.

Brett, Philip, and George E. Haggerty. Music and Sexuality in Britten: Selected Essays. Berkeley: University of California Press, 2006.

Briggs, Charles L. “’Since I Am a Woman, I will Chastise my Relatives:’ Gender, Reported Speech, and the (Re)Production of Social Relations in Warao Ritual Wailing.” American Ethnologist 19.2 (1992): 337-61.

———. “Personal Sentiments and Polyphonic Voices in Warao Women’s Ritual Wailing. American Anthopologist 95 (1993): 929-57.

Brooks, Daphne. Jeff Buckley’s Grace. New York: Continuum, 2005.

______Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910. Duke University Press. May 2006.

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Buchannan, Donna. “Dispelling the Mystery: The Commodification of Women and Music Tradition in Le Mystere des Voix Bulgares. Balkanista 9.2 (1996): 193-210.

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

Cain, Mary Celia. Songbirds: Representation, meaning, and indigenous public culture in Native American women’s popular musics. Ph.D. Dissertation, University of Chicago, 2003.

Caraveli, Anna. “The Bitter Wounding: The Lament as Social Protest in Rural Greece.” In Gender and Power in Rural Greece, edited by Jill Dubisch, 169-94. Princeton: Princeton University Press, 1986.

Caraveli-Chaves, Anna. “Bridge Between Worlds: The Greek Women’s Lament as Communicative Event.” Journal of American Folklore 368.93 (1980): 129-57

Carby, Hazel V. “It Just Be’s Dat Way Sometime: The Sexual Politics of Women’s Blues.” Radical America 20 (1986): 9-22.

Cateforis, Theo, and Elena Humphreys. “Constructing Communities and Identities: Riot Grrrl New York City.” In Musics of Multicultural America: A Study of Twelve Musical Communities. Edited by Kip Lornell and Anne K. Rasmussen. New York: Schirmer Books, 1997.

Citron, Marcia J. Gender and the Musical Canon. Cambridge [England]; New York: Cambridge University Press, 1993.

Clawson, Mary Ann. “Masculinity and Skill Acquisition in the Adolescent Rock Band,” in Popular Music, Volume 18.1 (1990): 99-113.

Coates, Norma. . “(R)evolution Now?” in Sexing the Groove: Popular Music and Gender, Sheila Whiteley, ed. London: Routledge, 1997.

______“Teenyboppers, Groupies, and Other Grotesques: Girls and Women in Rock Culture in the 1960s and early 1970s.” Journal of Popular Music Studies 15.1 (2003): 65-94.

Cook, Susan C., and Judy S. Tsou. Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Urbana: University of Illinois Press, 1994.

Cohen, Sarah. “Men Making a Scene,” in Sexing the Groove: Popular Music and Gender, Sheila Whiteley, ed. London: Routledge, 1997.

______“Popular Music, gender, and sexuality,” in The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 2001.

5 Cusick, Suzanne. “On a Lesbian Relationship with Music: A Serious Effort Not to Think Straight.” In Queering the Pitch. Edited by Philip Brett, Elizabeth Wood, and Gary C. Thomas. New York and London: Routledge, 1994.

______performing/composing/woman, in Musics and Feminisms, ed. Sally MacArthur and Catl Poynton. Australian Music Center, 1999.

Danforth, Loring M., and Alexander Tsiaras. The Death Rituals of Rural Greece. Princeton, N.J.: Princeton University Press, 1982.

Danielson, Virginia. The Voice of Egypt : Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century. Chicago: University of Chicago Press, 1997.

______“Voices of the People: Umm Kulthum.” In Women's voices across musical worlds. Edited by Jane A. Bernstein. Boston: Northeastern University Press, 2003.

Davis, Angela Y. “I Used to Be Your Sweet Mama.” In Blues Legacies and Black Feminism. New York: Vintage Books, 1999.

DeChaine, D. Robert. 1997. “Mapping subversion: Queercore music's playful discourse of resistance” Popular music and society 21.4: 7-37.

Deneys-Tunney, Anne. “Corinne by Madame de Staël: The Utopia of Feminine Voice as Music within the Novel.” Dalhousie French Studies 28 (1994): 55-63.

Dellamora, Richard, and Daniel Fischlin. The Work of Opera: Genre, Nationhood, and Sexual Difference. New York, NY: Columbia University Press, 1997.

Devitt, Rachel. “Girl on Girl: Fat Femmes, Bio-Queens, and Redefining Drag.” Queering the Popular Pitch. Eds. Sheila Whiteley and Jennifer Rycenga. London and New York: Routledge, 2006.

Dibben, Nicola. “Representations of Femininity in Popular Music.” Popular Music. Volume 18.3. Cambridge: Cambridge University Press, 1999.

Douglas, Susan. Where the Girls Are: Growing Up Female with the Mass Media. New York: Times Books, 1994.

Drinker, Sophie Hutchinson. Music and Women : The Story of Women in Their Relation to Music. Ed. Afterword by Ruth A. Solie Preface by Elizabeth Wood. New York: The Feminist Press at the City University of New York, 1995.

6 Dunn, Leslie C. and Nancy A. Jones, eds. Embodied Voices: Representing Female Vocality in Western Culture. Cambridge: Cambridge University Press, 1994.

Ehrenreich, B., E. Hess, G. Jacobs. “Beatlemania: Girls Just Wanna Have Fun.” In The Adoring Audience: Fan Culture and Popular Media. Edited by Lisa A. Lewis. London: Routledge, 1992.

Eileraas, Karina. “Witches, Bitches & Fluids: Girl Bands Performing Ugliness as Resistance.” The Drama Review 41.3 (1997): 122-139.

Ettori, Fernand. “ Introduction à l’étude du vocero. ”In Pieve e paesi : communautés rurales corses, edited by Max Caisson, 247-67. Paris: Centre national de la recherche scientifique, 1978.

Fonarow, Wendy. Empire Of Dirt: The Aesthetics and Rituals of British Indie Music. Wesleyan University Press, 2006.

Fox, P. "Recycled "Trash": Gender and Authenticity in Country Music Autobiography." American Quarterly 50.2 (1998): 234-266.

Frith, Simon and Angela McRobbie. “Rock and Sexuality” reprinted in On Record: Rock, Pop, and the Written Word, Simon Frith and Andrew Goodwin, eds. New York: Pantheon Books, 1990.

Fuchs, Cynthia J. “If I had a dick: Queers, punks, and alternative acts.” In Mapping the beat: Popular music and contemporary theory. Malden, MA, U.S.A.: Blackwell (1998): 101-118.

Fuller, Sophie and Llody Whitesell, eds. Queer Episodes in Music and Modern Identity, Urbana: University of Illinois Press, 2002

Gaunt, Kyra Danielle. The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. New York: New York University Press, 2006.

Gaunt, Kyra. “African American Women Between Hopscotch and Hip-Hop.” In Feminism, Multi-culturalism, and the Media: Global Diversities. Edited by Angharad N. Valdivia. Thousand Oaks, Calif.: Sage Publications, 1995.

Gier, Christina B. "Sounding the Frauenseele Gender, Modernism, and Intertextuality in Alban Berg's "Über Die Grenzen," Op. 4, No. 3." Women and Music: A Journal of Gender and Culture 9 (2005): 51-68.

Gill, John. Queer Noises: Male and Female Homosexuality in Twentieth Century Music. Minneapolis: University of Minnesota Press, 1995.

7 Godineau, Dominique. The Women of Paris and their French Revolution. Translated by Katherine Sharp. Berkeley: University of California Press, 1998.

Goehr, Lydia. The Quest for Voice. Oxford: Oxford University Press, 1998.

Gottlieb, Joanne and Gayle Wald. 1994. “Smells like teen spirit: Riot grrrls, revolution, and women in independent rock.” In Microphone Fiends: Youth Music and Youth Culture. New York: Routledge, 1994: 250-274.

Green, Lucy. Music, Gender and Education. Cambridge: Cambridge University Press, 1997.

Greig, Charlotte. “Female Identity and the Woman Songwriter.” In Sexing the Groove, edited by Sheila Whiteley. London: Routledge, 1997.

Hawkins, Stan. 1997. “The Pet Shop Boys: Musicology, Masculinity, and Banality.” In Sexing the Groove. Edited by Sheila Whiteley. New York: Routledge (118-34).

Hayes, Eileen and Linda F. Williams. Black Woman and Music: More than Just the Blues. Urbana and Chicago: University of Illinois Press, 2007.

Head, Matthew. “Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont,” 19th-Century Music 30.2 (2006): 97-132.

Herndon, Marcia, et al. Music, Gender, and Culture. Wilhelmshaven, West Germany: Florian Noetzel Verlag, 1990.

Hesse, Carla Alison. The Other Enlightenment: How French Women Became Modern. Princeton: Princeton University Press, 2001.

Hisama, Ellie. “Voice, Race, and Sexuality in the Music of Joan Armatrading.” In Audible Traces: Gender, Identity, and Music. Los Angeles: Carciofoli, 1999.

Hisama, Ellie. “Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn.” Popular Music 12.2 (1993): 91-104.

hooks, bell. “Madonna: Plantation Mistress or Soul Sister?” In Black Looks: Race and Representation. Toronto: Between the Lines Press, 1992: 157-164.

Horrocks, Roger. Male myths and icons: masculinity in popular culture. New York, St. Martin's Press, 1995.

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

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Johnson, Elizabeth L. “Grieving for the Dead, Grieving for the Living: Funeral Laments of Hakka Women.” In Death Ritual in Late Imperial and Modern China, edited by J.L. Watson and Evelyn S. Rawski, 135-63. Berkeley: University of California Press, 1988.

Keightley, Kier. “‘Turn It Down!’ She Shrieked: Gender, Domestic Space, and High Fidelity, 1948-59.” Popular Music 15 (1996): 149-177.

Kisliuk, Michelle. Seize the Dance! BaAka Musical Life and the Ethnography of Performance. Oxford: Pxfprd University Press, 1998.

Knudsen, Anne. “Men Killed for Women’s Songs.” Culture and History 3 (1988): 79-87.

Koestenbaum, Wayne. The Queen's Throat : Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon Press, 1993.

Koskoff, Ellen. Women and Music in Cross-Cultural Perspective. New York: Greenwood Press, 1997.

Leach, Elizabeth Eva. “Vicars of ‘Wannabe’: Authenticity and the Spice Girls.” Popular Music 20.2 (2001): 143-167.

Lemish, Dafna. “Spice World: Constructing Femininity the Popular Way.” Popular Music and Society 26. 1 (2003): 17-29.

Leonardi, Susan J. and Rebecca Pope. The Diva’s Mouth: Body, Voice, Prima Donna Politics. New Brunswick, NJ: Rutgers University Press, 1996.

Lewis, George E. “The Virtual Discourses of Pamela Z.” Journal of the Society for American Music 1.1 (2007): 57-77.

Lont, Cynthia M. “Women’s Music: No longer a small private party,” in Rockin’ the Boat: Mass music and mass movements. Boston: South End Publishers, 1992.

Magrini, Tullia. “Ballad and Gender: Reconsidering Narrative Singing in Northern Europe.” Ethnomusicology Online 1 (1995). [cited 9 October 2005].

———. “Women’s ‘Work of Pain’ in Christian Mediterranean Europe.” Music and Anthropology 3 (1998). [cited 9 October 2005].

———, ed. Music and Gender: Perspectives from the Mediterranean. Chicago: University of Chicago Press, 2003.

9 Mahabir, Cynthia. “The rise of calypso feminism: Gender and musical politics in the calypso.” Popular Music 20.3 (2001): 409-430.

Mahon, Maureen. 2004. Right to Rock. Durham, NC: Duke University Press, 2004.

Maxwell, Heather. “Divas of the Wassoulou Sound: Transformations in the matrix of cultural production, globalization, and identity.” Consumption, Markets and Culture 6.1 (2003): 43-63.

McCarthy, Cameron. Sound identities: popular music and the cultural politics of education. New York, Peter Lang, 1999.

McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 1991.

______“Music, the Pythagoreans and the Body." In Choreographing History. Ed. Susan Leigh Foster. Bloomington: Indiana University Press, 1995.

______“Living to Tell: Madonna’s Resurrection of the Fleshly” Genders 7 (March 1990), 1-21.

______“Reshaping a Discipline: Musicology and Feminism in the 1990s.” Feminist Studies 19 (June 1993): 399-423.

McRobbie, Angela. Feminism and Youth Culture (2nd Edition). Basingstoke: MacMillan, 2000.

Meintjes, Louise. “Shoot the Sergeant, Shatter the Mountain: the Production of Masculinity in Zulu Ngoma Song and Dance in Post-Apartheid South Africa.” Ethnomusicology forum 13.2 (2004): 173-201.

Mockus, Martha. Sounding Out: Pauline Oliveros and Lesbian Musicality. New York: Routledge, 2007.

Moisala, Pirkko, and Beverley Diamond. Music and Gender. Urbana: University of Illinois Press, 2000.

Morris, Mitchell. “It’s Raining Men: the Weather Girls, Gay Subjectivity, and the Erotics of Insatiability.” In Audible Traces: Gender, Identity, and Music. Edited by Elaine Barkin and Lydia Hamessley. Los Angeles: Carciofoli, 1999.

Muller, Carol Ann. Rituals of Fertility and the Sacrifice of Desire: Nazarite Women's Performance in South Africa. Chicago; London: University of Chicago Press, 1999.

Nehring, Neil. 1997. Popular Music, Gender, and Postmodernism: Anger Is an Energy. Thousand Oaks, Calif.: Sage.

10 Oakes, Jason Lee. “Queering the Witch: Stevie Nicks and the Forging of Femininity at the Night of a Thousand Stevies.” Queering the Popular Pitch, eds. Sheila Whiteley and Jennifer Rycenga. London and New York: Routledge, 2006.

O’Meara, Caroline. “The Raincoats: Breaking Down Punk Rock’s Masculinity.” Popular Music 22.3 (2003): 299–313.

Palacios, Julia E. and Tere Estrada. “ ‘A Contra Corriente’: A history of women rockers in Mexico.” In Rockin’ Las Americas: The global politics of Latina/o America. Edited by Deborah Pacini Hernandez, Eric Zolov, and Hector Fernandez-L’Hoeste. Pittsburgh: University of Pittsburgh Press, 2004.

Peraino, Judith Ann. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley: University of California Press, 2006.

Peraino, Judith. ‘Rip Her to Shreds’: Women’s Music According to a Butch/Femme Aesthetic.” Repercussions 1.1 (1992): 19-47.

Pisters, Patricia. “Madonna’s Girls in the Mix: Performance of Femininity Beyond the Beautiful.” In Madonna’s Drowned Worlds: New Approaches to Her Cultural Transformations, 1983-2003. Edited by Santiago Fouz-Hernandez and Freya Jarman-Ivens. Aldershot, England: Ashgate Publishing Company, 2004.

Pough, Gwendolyn. “Hip-Hop Soul Divas and Rap Music: Critiquing the Love That Hate Produced.” In Black Woman and Music: More than Just the Blues. Edited by Eileen M. Hayes and Linda F. Williams. Urbana and Chicago: University of Illinois Press, 2007.

Powers, Ann and Evelyn McDonnell, eds. Rock She Wrote: Women Write about Rock, Pop, and Rap. Cooper Square Press. 1999.

Puri, Michael. “Dandy Interrupted: Sublimation, Repression, and Self-Portraiture in Maurice Ravel’s Daphnis et Chloé (1909-1912),” Journal of the American Musicology Society 60.2 (2007): 317-372

Rose, Tricia. “Bad Sistas: Black Women Rappers and Sexual Politics in Rap Music.” In Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press, 1994.

Sarkissian, Margaret. "Thoughts on the Study of Gender in Ethnomusicology: A Pedagogical Perspective." Women and Music: A Journal of Gender and Culture 3 (1999).

Schilt, Kristin. “Riot Grrrl Is…”: Contestation over Meaning in a Music Scene.” Music Scenes: Local, Translocal, and Virtual. Eds. Andy Bennett and Richard A. Peterson. Nashville: Vanderbilt University Press, 2004.

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Segal, Charles. “The Gorgon and the Nightingale: The Voice of Female Lament and Pindar’s Twelfth Pythian Ode.” In Embodied Voices, edited by Leslie C. Dunn and Nancy A. Jones. Cambridge: Cambridge University Press, 1994: 17-34.

______“The Ethics of Antiphony: The Social Construction of Pain, Gender, and Power in the Southern Peloponnese.” Ethos 18. 4 (1990): 481-511.

Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Theories of Representation and Difference. Bloomington: Indiana University Press, 1988.

Smith, Richard. “The House that Frankie Built: Frankie Knuckles.” In Seduced and Abandoned: Essays on Gay Men and Popular Music. London: Cassell, 1995.

______. “Housewives’ Choice: Female Fans and Unmanly Men.” In Seduced and Abandoned: Essays on Gay Men and Popular Music. London: Cassell, 1995.

Solie, Ruth A. Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993.

Sugarman, Jane C. Engendering Song: Singing and Subjectivity at Prespa Albanian Weddings. Chicago: University of Chicago Press, 1997.

Taylor, Julie. Paper Tangos. Durham, NC: Duke University Press, 1998.

Taylor, Timothy D. “Men, Machines, and Music.” In Strange Sounds: Music, Technology and Culture. New York: Routledge, 2001.

Tolbert, Elizabeth. “Magico-Religious Power and Gender in the Karelian Lament.” In Music, Culture, and Gender, edited by Marcia Herndon and Susanne Ziegler, 41-56. Wilhelmshaven: Florian Noetzel Verlag, 1990.

______. “The Voice of Lament: Female Vocality and Performative Efficacy in the Finnish Karelian itkuvirsi.” In Embodied Voices, edited by Leslie C. Dunn and Nancy A. Jones, 179-94. Cambridge: Cambridge University Press, 1994.

Tucker, Sherrie. Swing Shift: “All-Girl” Bands of the 1940s. Durham: Duke University Press, 2000.

Vickers, Nancy J. “Maternalism and the Material Girl.” In Embodied Voices: Representing Female Vocality in Western Culture. Edited by Leslie C. Dunn and Nancy A. Jones. New York: Cambridge University Press, 1994.

12 Wald, Gayle. “Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth.” Signs: A Journal of Women in Culture and Society 23. 3 (1998): 585-610.

Shout, Sister, Shout! The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe. Boston: Beacon Press, 2007.

Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover: Wesleyan University Press, 1993.

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

Weidman, Amanda J. Singing the Classical, Voicing the Modern : The Postcolonial Politics of Music in South India. Durham: Duke University Press, 2006.

Weiss, Sarah. Listening to an Earlier Java. Aesthetics, Gender, and the Music of Wayang in Central Java. Leiden: KITLV Press, 2006.

Whiteley, Sheila. Ed. Sexing the groove: popular music and gender. London ; New York, Routledge, 1997.

______Women and Popular Music: Sexuality, Identity, and Subjectivity. London and New York: Routledge, 2000.

______Too much too young: Popular Music, Age, and Gender. London and New York: Routledge, 2005.

Whiteley, Sheila and Jennifer Rycenga, eds. Queering the Popular Pitch. London and New York: Routledge, 2006.

Willis, Ellen. Beginning to See the Light: Sex, Hope, and Rock-and-Roll. 2d ed.. Hanover: Wesleyan, 1992.

Yano, Christine Reiko. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Cambridge: Harvard University Press, 2002.

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