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1 Feminism and Music Bibliography 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. 2 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. 3 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. 4 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
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