Bibliography

GRIME Bibliography

Selected Bibliography of Relevant Resources and Research, updated March 13, 2007.

Compiled by Patricia O’Toole. Revised and maintained by Robbie MacKay (with many entries suggested by Mary Celeste Kearney).

See more related bibliographies at the S.E.M. Gender and Sexualities Taskforce bibliography page.

Articles
Books, Book Chapters, & Dissertations
Presentations
Magazines, Magazine Articles, & Newspaper Articles
Films

Articles

Abeles, H. F., & Porter, S. Y. (1978). The sex-stereotyping of musical instruments. Journal of Research in Music Education26(2), 65-75.

Ali, L. (1992). Foxcore, my ass: Grrrls, guitars, and the gender dialectic. Option 44, May-June, 40-44.

Allen, S. F. (1992). Sing the songs of women composers. Music Educators Journal78(7), 48-51.

Atterbury, B. W. (1994). What do women want? A review of women of academe: Outsiders in the sacred grove by Nadya Aisenberg and Mona Harrington. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 100-104.

Auslander, P. (2004). I wanna be your man: Suzi Quatro’s musical androgyny. Popular Music23(1), 1-16.

Barongan, C. (1995). The influence of misogynous rap music on sexual aggression against women. Psychology of Women Quarterly19(2), 195-207.

Barry, N. H. (1992). The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance. Psychology of Music20(2), 112-123.

Bayley, J. G. (2004). The instrumental selection process. Canadian Winds/Vents canadiens: Journal of the Canadian Band Association3(1), 13-16.

Bayley, J. G. (2004). The procedure by which teachers prepare students to choose a musical instrument. Update: Applications of Research in Music Education,22(2), 23-34.

Bayton, M. (1992). Out on the margins: Feminism and the study of popular music. Women: A Cultural Review 3.1 (Summer), 51-59.

Becker, A. (1990). New lyrics by women: A feminist alternative. Journal of Popular Culture 24.1 (Summer), 1-21.

Best, D. L., Williams, J. E., Cloud, J. M., Davis, S., Robertson, L. S., Edwards, J. R., Giles, H., & Fowles, J. (1997). Development of sex-trait stereotypes among young children in the United States, England, and Ireland. Child Development48, 1375-1384.

Boldizar, J. P. (1991). Assessing sex typing and androgyny in children: The Children’s Sex Role Inventory. Developmental Psychology27(3), 505-515.

Bowers, J. M. (1990). Feminist scholarship and the field of musicology: I. College Music Symposium29, 81-91.

Bowers, J. M. (1991). Feminist scholarship and the field of musicology: II. College Music Symposium30, 1-13.

Boyce-Tillman, J. (1993). Women’s ways of knowing. British Journal of Music Education10(3), 153-61.

Brittin, R. V. (1991). The effect of overtly categorizing music on preference for popular music styles. Journal of Research in Music Education39(2), 143-151.

Bruce, R., & Kemp, A. (1993). Sex-stereotyping in children’s preferences for musical instruments. British Journal of Music Education10, 213-217.

Burnard, P. (2000). Examining experiential differences between improvisation and composition in children’s music making. British Journal of Music Education,17(3), 227-245.

Caputo, V. (1994). Add technology and stir: Music, gender, and technology. The Quarterly Journal of Music Teaching and LearningIV-V(4,1), 85-90.

Christenson, P.G. (1988). Genre and gender in the structure of music preferences. Communication Research15(3), 282-301.

Clawson, M. A. (1999). When women play the bass: Instrument specialization and gender interpretation in alternative rock music. Gender and Society13(2), 193-210.

Coeyman, B. (1996). Applications of feminist pedagogy to the college music major curriculum: An introduction to the issues. College Music Symposium36, 73-90.

Colley, A. (1994). Gender effects in school subject preferences: A research note. Educational Studies20(1), 13-18.

Conti, R., Collins, M. A., & Picariello, M. L. (2001). The impact of competition on intrinsic motivation and creativity: Considering gender, gender segregation and gender role orientation. Personality and Individual Differences31(8), 1273-1289.

Conway, C. (2000). Gender and musical instrument choice. Bulletin of the Council for Research in Music EducationNo. 146, 1-16.

Cook, S. C. (1990). Women, womens studies, music and musicology: Issues of pedagogy and scholarship. College Music Symposium29, 93-100.

Cooper, N. A. (1995). Childrens singing accuracy as a function of grade level, gender, and individual versus unison singing. Journal of Research in Music Education43(3), 222-31.

Cornell, H. L. (1979). Songs for children by women. Music Educators Journal65(5), 50-53.

Costley, C. (1993). Music and gender at key stage three (11-14): An action research project. British Journal of Music Education10, 197-203.

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Davidson, J. W., Moore, D. G., Sloboda, J. A., & Howe, M. J. A. (1998). Characteristics of music teachers and the progress of young instrumentalists. Journal of Research in Music Education46(1), 141-160.

Davidson, J. W, Howe, M. J. A., Moore, D.G., & Sloboda, J. A. (1996). The role of parental influence in the development of musical performance. British Journal of Developmental Psychology14, 399-412.

DeLorenzo, L. C. (1992). An interview with Ellen Taaffe Zwilich. Music Educators Journal78(7), 46-47.

Delzell, J. K. (1994). Variables affecting the gender-role stereotyping of high school band teaching positions. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 77-84.

Delzell, J. K., & Leppla, D. A. (1992). Gender association of musical instruments and preferences of fourth-grade students for selected instruments. Journal of Research in Music Education40(2), 93-103.

Eakor, V. L. (1994). The gendered origins of the American musician. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 48-64.

Elliot, C. A. (1995). Race and gender as factors in judgements of musical performance. Bulletin of the Council for Research in Music EducationNo. 127, 50-55.

Ellis, M. C. (1995). Field dependence-independence and college nonmusic majors description and identification of music excerpts. Journal of Research in Music Education43(4), 298-312.

Endres, K. L. (1984). Sex role standards in popular music. Journal of Popular Culture 18.1 (Summer), 9-18.

Fortney, P. M. (1993). A study of middle school band students instrument choices. Journal of Research in Music Education41(1), 28-39.

Frable, D. E. S. (1989). Sex typing and gender ideology: Two facets of the individual’s gender psychology that go together. Journal of Personality and Social Psychology56(1), 95-108.

Garr, G. G. (1993). Women in rock ’92. The Advocate, (12 Jan), 76-79.

Gates, J. T. (1989). A historical comparison of public singing by American men and women. Journal of Research in Music Education28(3), 167-175.

Gergis, S. (1993). The power of women musicians in the ancient and near East: The roots of prejudice. British Journal of Music Education10, 189-196.

Giordano, T., Pool, J., Rubin, A., Sacre, E., Samson, V., Sudhalter, C., & Tick, J. (1980). Is there a feminist aesthetic in music? Heresies, 10, 20-24.

Goodman, L. (1980). Sexist songs: Out of tune with the times. Teacher98(3), 8.

Gould, E. S. (1992). Gender-specific occupational role models: Implications for music educators. Update: Applications of Research in Music Education11(1), 8-12.

Gould, E. S. (1992). Music education in historical perspective: Status, non-musicians, and the role of women. College Music Symposium32, 10-18.

Gould, E. S. (1994). Getting the whole picture: The view from here. Philosophy of Music Education Review2(2), 92-98.

Gould, E. S., & Matthews, C. L. (1999). Weavings: Native women’s music, poetry, and performance as resistance. Women and Music: A Journal of Gender and Culture3 (fall), 70-78.

Green, L. (1994). Gender, musical meaning, and education. Philosophy of Music Education Review2(2), 99-105.

Green, Lucy. (1993). Music, gender and education: A report on some exploratory research. British Journal of Music Education10, 219-253.

Griswold, P. A., & Chorback, D. A. (1981). Sex-role associations of music instruments and occupations by gender and major. Journal of Research in Music Education29(1), 57-62.

Haack, P.A. (1998). Gender and age associations in music: A semantic matrix. Dialogue in Instrumental Music Education22, 98-107.

Hanley, B. (1998). Gender in secondary music education in British Columbia. British Journal of Music Education15(1), 51-69.

Hargreaves, D. (1995). Effects of age, gender, and training on musical preferences of British secondary school students. Journal of Research in Music Education43(3), 242-50.

Harrison, A.C., & O’Neill, S.A. (2003). Preferences and children’s use of gender stereo-typed knowledge about musical instruments: Making judgments about other children’s preferences. Sex Roles49(7/8), 389-400.

Harrison, S. D. (2001). Why Boys Limit Musical Choices. GRIME Newsletter, 10(1).

Hinely, M. (1984). The uphill climb of women in American music: conductors and composers. Music Educators Journal70(9), 42-45.

Hodas, G. R. (1991). Using original music to explore gender and sexuality with adolescents. Journal of Poetry and Therapy4(4), 205-20.

Howe, S.W (2004). Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898-1933). Journal of Research in Music Education52(4), 328-342.

Howe, S. W. (2001). An historical perspective on contributions of American women music educators. Journal of Historical Research in Music Education22(2), 147-58.

Howe, S. W. (1999). Leadership in MENC: The female tradition. Bulletin of the Council for Research in Music Education141, 59-65.

Howe, S. W. (1998). Reconstructing the history of music education from a feminist perspective. Philosophy of Music Education Review6(2), 96-106.

Howe, S. W. (1995). The role of women in the introduction of western music in Japan. Bulletin of Historical Research in Music Education16(2), 81-97.

Howe, S. W. (1993-94). Women music educators in Japan during the Meiji period. Bulletin of the Council for Research in Music Education119(Winter 1993-94), 101-109.

Humphreys, J. T. (1997). Sex and geographic representation in two music education history books. Bulletin of the Council for Research in Music Education,131(Winter), 67-86.

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Instruments preference by gender and age in 1994. (1994). Teaching Music2(2), 10.

Johnsen, G. (1992). An interview with Rebecca Bower. Music Educators Journal78(7), 39-41.

Johnson, J. D. (1995). Differential gender effects of exposure to rap music on African American adolescents acceptance of teen dating violence. Sex Roles: A Journal of Research33(7-8), 597-605.

Jordan-DeCarbo, J. (1982). Same/different discrimination techniques, readiness training, pattern treatment, and sex or aural discrimination and singing of tonal patterns by kindergartners. Journal of Research in Music Education27(3), 173-184.

Kemp, A. E. (1985). Psychological androgyny in musicians. Council for Research in Music Education Bulletin38(2), 36-42.

Kemp, A. (1982). The personality structure of the musician: III. The significance of sex differences. Psychology of Music10(1), 48-58.

Kemp, A. (1981). The personality structure of the musician: II. Identifying a profile of traits for the composer. Psychology of Music9(2), 69-75.

Koza, J. E. (1994). Big boys don’t cry (or sing): Gender, misogyny, and homophobia in college choral methods texts. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 48-64.

Koza, J. E. (1994). Females in 1988 middle school music textbooks: An analysis of illustrations. Journal of Research in Music Education42(2), 145-71.

Koza, J. E. (1993). The missing males and other gender issues in music education: Evidence from the Music Supervisors Journal, 1914-1924. Journal of Research in Music Education41(3), 212-32.

Koza, J. E. (1992). Picture this: Sex equity in textbook illustrations. Music Educators Journal78(7), 28-33.

Koza, J. E. (1990). Music instruction in the nineteenth century: views from Godeys Ladys Book. 1830-77. Journal of Research in Music Education38(4), 245-57.

Lamb, R. (1997). Music trouble: Desire, discourse, and the pedagogy project. Canadian University Music Review, J. Deaville (Editor for interdisciplinary studies theme issue), 18(1), 84-98.

Lamb, R. (1996). Discords: Feminist pedagogy in music education. Theory into Practice35(2), 124-31.

Lamb, R. (1996). Lesbian teaching/teaching lesbian. In M. Mockus & C. Whitesell (Eds.), GLSG Newsletter6(1), 15-16.

Lamb, R. (1994). Aria senza accomppagnamento: A woman behind the theory. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 5-21.

Lamb, R. (1994). Feminism as critique in philosophy of music education. Philosophy of Music Education Review2(2), 59-74.

Lamb, R. (1993). The possibilities of/for feminist criticism in music education. British Journal of Music Education10(3), 169-180.

Lamb, R. (1990). Are there gender issues in school music? Canadian Music Educator31(6), 9-14.

Lawson, K. D. (1984). A woman’s place is at the podium. Music Educators Journal70(9), 46-49.

Le Blanc, A., & Jin, Y. C. (1999). Effect of age, country and gender on music listening preferences. Bulletin of the Council for Research in Music Education141, 72-76.

LeBlanc, A., & Sherrill, C. (1986). Effect of vocal vibrato and performers sex on childrens musical preference. Journal of Research in Music Education31(1), 269-282.

Legette, R M. (1998). Causal beliefs of public school students about success and failure in music. Journal of Research in Music Education46(1), 102-111.

Lessons and teachers as students see them. (1995). Clavier34, 10-15.

Lindeman, C. A. (1992). Teaching about women musicians: Elementary classroom strategies. Music Educators Journal78(7), 56-59.

Livingston, C. (1997). Women in music education in the United States: Names mentioned in history books. Journal of Research in Music Education45(1), 130-144.

Madura, P. (1996). Relationships among vocal jazz improvisation achievement, jazz theory knowledge, imitative ability, musical experience, creativity and gender. Journal of Research in Music Education44(3), 252-267.

Martinez, T. A. (1994). Popular music in the classroom: Teaching race, class, and gender with popular culture. Teaching Sociology22(3), 260-65.

McCartney, A. (1996). The ambiguous relation/le rapport ambigu. Part II. Contact!9(2), 29-47.

McCartney, A. (1996). Women composers of electroacoustic music in Canada. Array16(1), 15-18.

McCartney, A. (1995). A prelude to electroacoustic gender issues. Contact!8(2), 68-74.

McCartney, A. (1995). Inventing images: Constructing and contesting gender in thinking about electroacoustical music. Leonardo Music Journal5, 57-66.

McCartney, A. (1995). Le rapport ambigu/the ambiguous relation. Part I. Contact!9(1), 43-58.

McCord, K. (1986). All women jazz groups. Jazz Research Papers6, 134-140.

McCord, K. (1986). History of women in jazz. Jazz Educators Journal18, 15-19.

McCord, K. (1985). The Conceptualization of women in jazz. Jazz Research Papers5, 128-139.

McGee, K. (1994). Women in jazz: An annotated bibliography. Jazz Educators Journal27, 35-41.

McKeage, K.M. (2004) Gender and Participation in High School and College Instrumental Jazz Ensembles. Journal of Research in Music Education52(4), 343-356.

McKeage, K. M. (2002). Where are all the girls: Undergraduate women in instrumental jazz? Gender, Education, Music and Society Journal1, Retrieved May 20, 2002, from http://music.boisestate.edu/gems/Kmarticle.htm.

Mizener, C. P. (1993). Attitudes of children toward singing and choir participation and assessed singing skill. Journal of Research in Music Education41(3), 233-45.

Monson, I. (1995). The problem with white hipness: Race, gender, and cultural conception in jazz historical discourse. Journal of the American Musicological Society48(3), 396-422.

Morton, C. (1994). Feminist theory and the displaced music curriculum: Beyond the add and stir projects. Philosophy of Music Education Review2(2), 106-121.

Neuls-Bates, C. (1980). The status of women in college music: A statistical report (2). Boulder, CO: College Music Society Report.

Nett, E. (1990). ‘Women in rock’ revisited: A response to Sawchuck’s critique. Atlantis14(Spring, 2), 77-80.

Nett, E., & Harding, D. (1984). Women in rock music. Atlantis 10.1 (Fall), 61-76.

Nicol, J. J., & Long, B. C. (1996). Creativity and perceived stress of female music therapists and hobbyists. Creativity Research Journal9(1) 1-10.

North, A.C., & Hargreaves, D.J. (1999). Music and adolescent identity. Music Education Research1, 75-92.

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Oglsebee, F. W. (1999). Suzi Quatro: A prototype in the archsheology of rock. Popular Music and Society23, 29-39.

O’Toole, P. (1997). Examining the political projects of four pedagogies: progressive, humanistic, critical and feminist. Dialogues in Instrumental Music Education,21(2), 126-141.

O’Toole, P. (1997). What have you taught your female singers lately? Choral Cues27(2), 12-15.

O’Toole, P. (1994). I sing in a choir but I have no voice! The Quarterly Journal of Music Teaching and LearningIV-V(4,1), 65-77.

Palmquist, J. E., & Payne, B. (1992). The inclusive instrumental library: Works by women. Music Educators Journal78(7), 52-55.

Payne, B. (1996). The gender gap: Women on music faculties in American colleges and universities 1993-1994. College Music Symposium36, 91-102.

Periano, J. A. (1992). ‘Rip her to shreds’: Women’s music according to a butch-femme aesthetic.” Repercussions 1 (Spring),19-47.

Pegley, K. (2000). “Simple economics?” Images of gender and nationality on Much Music (Canada) and MTV (United States). Women & Music: A Journal of Gender and Culture4, 1-17.

Pegley, K. (1992). Much media: Towards an understanding of the impact of videos on Canadian pre-adolescent identities. Canadian Folk Music Journal/Revue de Musique Folklorique Canadienne20, 33-39.

Pickering, S., & Repacholi, B. (2001). Modifying children’s gender-typed musical instrument preferences: The effects of gender and age. Sex Roles45(9/10), 623-643.

Poole, J. (1979). America’s women composers: Up from the footnotes. Music Educators Journal65(5), 28-41.

Porter, L. (1984). She wiped all the men out. Music Educators Journal71(1), 43-52.

Porter, L. (1984). You can’t get up there timidly: Jazzwomen part II. Music Educators Journal71(2), 42- 51.

Porter, S.Y., & Abeles, H. F. (1979). So your daughter wants to be a drummer? Music Educators Journal63(7), 46-49.

Pucciani, D. (1993). Sexism in music education. Survey of the literature. Music Educators Journal70(1), 49-51, 68-71, 73.

Rife, N.A. Shnek, Z.M., Lauby, J.L., & Lapidus, L.B.(2001). Children’s satisfaction with private music lessons. Journal of Research in Music Education49(1), 21-32.

Reimer, B. (1995). Gender, feminism, and aesthetic education: Discourses of inclusion and empowerment. Philosophy of Music Education Review3(2), 107-24.

Richardson, C. (1992). The improvised lives of women in music education. Music Educators Journal78(7), 34-38.

Sawchuck, K. A. (1989). Towards a feminist analysis of ‘women in rock music’: Patti Smith’s ‘Gloria.’ Atlantis 14.2 (Spring), 44-54.

Schleuter, S. L. (1985). The relationship of grade level and sex differences to certain rhythmic responses of primary grade children. Journal of Research in Music Education33(1), 23-29.

Schleuter, S. L. (1978). Effects of certain lateral dominance traits, music aptitude, and sex differences with instrumental music achievement. Journal of Research in Music Education26(1), 22-31.

Schleuter, S. L., & Schleuter, L. J. (1989). The relationship of rhythm response tasks, and PMMA scores with music training, grade level, and sex among K-three students. Council for Research in Music Education Bulletin100, 1-13.

Schleuter, S. L., & Schleuter, L. J. (1984). The relationship of grade level and sex differences to certain rhythmic responses of primary grade children. Journal of Research in Music Education32(1), 23-29.

Schmidt, C. P. (1995). Attributions of success, grade level, and gender as factors in choral students perspectives of teacher feedback. Journal of Research in Music Education43(4), 313-29.

Schwartz, K. D., & Fouts, G. T. (2003). Music preferences, personality style, and development issues of adolescents. Journal of Youth and Adolescence32(3), 205-213.

Sherman, Lee. (1995). (The guitarists formerly known as chicks). Guitar12(9), 28-33, 56-61.

Shuter, R. (1979). Unisex or vive la difference? Council for Research in Music Education Bulletin59, 102-105.

Sicoli, M. L. C. (1995). Life factors common to women who write popular songs. Creativity Research Journal8(3), 265-267.

Sinsel, T., Dixon, Jr., W. E., & Blades-Zeller, E. (1997). Psychological sex type and preferences for musical instruments in fourth and fifth graders. Journal of Research in Music Education45(3), 390-401.

Stein, A. (1991). Androgyny goes pop. Out/Look 12 (Spring 1991), 26-33. [also, Stein, A. (1993). Androgyny goes pop. In Sisters, sexperts, queers (pp. 96-109). New York: Plume.

Stremikis, B. A. (2002). The personal characteristics and environmental circumstances of successful women musicians. Creativity Research Journal14(1), 85-92.

Strouse, J. (1995). Gender and family as moderators of the relationship between music video exposure and adolescent sexual permissiveness. Adolescence,30(119), 505-21.

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Took, K. (1994). The relationship between heavy metal and rap music and adolescent turmoil: Real or artifact? Adolescence29(115), 613-21.

Trollinger, L. M. (1994). Sex/gender research in music education: A review. The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 22-39.

Twersky, L. (1981). The female teenage audience examined. Trouser Press (April), 27-29. [also in E. McDonnell, & A. Powers (Eds.) (1995). Rock she wrote: Women write about rock, pop, and rap. New York: Delta.]

Weaver, M. A. (1994). A survey of big ten institutions: Gender distinctions regarding faculty ranks and salaries in schools, divisions, and departments of music.The Quarterly Journal of Music Teaching and LearningIV-V(4, 1), 91-99.

Weiss, P. (1979). Women in music: A 1978 perspective. Music Educators Journal65(5), 43,45.

Wells, A. (1986). Women in popular music: Changing fortunes from 1955 to 1984. Popular Music and Society10(4), 72-85.

Whellams, F. S. (1973). Musical abilities and sex differences in the analysis of aural-musical capacities. Journal of Research in Music Education21(1), 30-39.

Wills, G. I. (1984). A personality study of musicians working in the popular field. Personality and Individual Differences5, 359-360.

Zdinski, S. F. (1992). Relationships among parental involvement, music aptitude, and musical achievement of instrumental music students. Journal of Research in Music Education40(2), 114-25.

Zervoudakes, J. (1994). Gender and musical instruments: Winds of change? Journal of Research in Music Education, 42(1), 58-67.

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Books, Book Chapters & Dissertations 

Note: This bibliography does not include trade books about individual female rock performers/groups, nor does it include the many trade books on rock history and styles, a few of which deign to include discussions of female rockers and their music.

Adler, A., & Harrison, S. (2004). Swinging back the gender pendulum. Addressing boys’ needs in music education research and practice. In L. Bartel (Ed.),Questioning the music education paradigm (pp. 270-289). Toronto: Canadian Music Educator’s Association.

Ainley, R. (1996). I was a teenage country fan: A tale of two soundtracks. In S. Cooper (Ed.), Girls! girls! girls! Essays on women and music (pp. 116-123). New York: New York University Press.

Arnold, G, & S. Dahl (Eds. of compiled article). (1997). Chicks with picks. In B. O’Dair (Ed.), Trouble girls: The Rolling Stone book of women in rock (pp. 435-440). New York: Random House.

Auslander, P. (2006). Performing glam rock: Gender and theatricality in popular music. Ann Arbor, MI: University of Michigan Press.

Babiracki, C. M. (2004). The illusion of India’s “public dancers”. In J. A. Bernstein (Ed.), Women’s voices across musical worlds (pp. 36-59). Boston: Northeastern University Press.

Bayley, J. G. (2001). An investigation of the process by which elementary and junior high school teachers prepare students to choose a musical instrument. Unpublished doctoral dissertation, Ohio State University.

Bayton, M. (1997). Women and the electric guitar. In S. Whitely (Ed.), Sexing the groove: Popular music and gender. New York: Routledge.

Bayton, M. (1993). Feminist musical practice: Problems and contradictions. In T. Bennett, S. Frith, L. Grossberg, J. Shepherd, & G. Turner (Eds.), Rock and popular music: Politics, policies, institutions (pp. 177-192). London: Routledge.

Bernstein, J. A (Ed.). (2004). Women’s voices across musical worlds. Boston: Northeastern University Press.

Block, A. F. (1988). Womens studies/womens status/the committee of the status of women in music (1984-1986). Boulder, CO: College Music Society.

Bradby, B. (1990). Do-talk and don’t-talk: The division of the subject in girl group music. In S. Frith, & A. Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 341-68). New York: Pantheon Books.

Burns, K. H. (Ed.). (2002). Women and music in America since 1900: An encyclopedia, 2 vols. Westport, CT, and London: Greenwood Press.

Caputo, V. (2005). Music and gender. In L. Biggs & P. Downe (Eds.), Gendered intersections: An introduction to women’s and gender studies (pp. 85-90). Halifax: Fernwood.

Carol, C. (1996). Les Gray’s erection. In S. Cooper (Ed.), Girls! girls! girls! Essays on women and music (pp. 40-49). New York: New York University Press.

Chapple, S., & Garofalo, R. (1977). Long hard climb: Women in Rock. In S. Chapple (Ed.), Rock’n'roll is here to pay: The history and politics of the music industry(pp. 269-96). Chicago: Nelson-Hall.

Citron, M. J. Feminist approaches to musicology. In S. Cook & J. S. Tsou (Eds.), Cecilia reclaimed: Feminist perspectives on gender and music (pp. 15-34). Chicago: University of Illinois Press.

Citron, M. J. (1993). Gender and the Musical Canon. New York: Cambridge University Press.

Coates, N. (1998). Can’t we just talk about music?: Rock and gender on the Internet. In T. Swiss, J. Sloop, & A. Herman (Eds.), Mapping the beat. Malden, MA: Blackwell Publishers.

Coates, N. Mom’s don’t rock’: The demonization of Courtney Love. In M. Ladd-Taylor, & L. Urmansky (Eds.), Bad mothers: The politics of blame in twentieth-century America (pp. 319-33). New York: New York University Press.

Coaldrake, A. K. (1987). Female Tayu in the Gidayu narrative tradition of Japan. In Koskoff, E. (Ed.), Women and music in cross-cultural perspective (pp. 151-162). New York: Greenwood Press.

Coates, N. (1998). Can’t we just talk about music?: Rock and gender on the Internet. In T. Swiss, J. Sloop & A. Herman (Eds.), Mapping the beat. Malden, MA: Blackwell Publishers.

Cooper, S. (Ed.). (1996). Girls! girls! girls! Essays on women and music. New York: New York University Press.

Cusick, S. G. (1994). On a lesbian relationship with music: A serious effort not to think straight. In P. Brett, E. Wood, & G. C. Thomas (Eds.), Queering the pitch: The new gay and lesbian musicology (pp. 67-83). New York: Routledge.

Dahl, L. (1984). Stormy weather. New York: Pantheon Books.

Davies, L. L. (1996). Velocity girls: Indie, new lads, old values. In S. Cooper (Ed.), Girls! Girls! Girls! Essays on women and music (pp. 124-134). New York: New York University Press.

Dickerson, J. (1998). Women on top: The quiet revolution that’s rocking the American music industry. New York: Billboard Books.

Ehrenreich, B., Hess, E., & Jacobs, G. (1992). Beatlemania: Girls just want to have fun. In L. A. Lewis (Eds.), The adoring audience in culture and popular media(pp.84-106). London: Routledge.

Fauser, A. (2004). Fighting in frills: Women and the Prix de Rome in French cultural politics. In J. A. Bernstein (Ed.), Women’s voices across musical worlds (pp. 60-86). Boston: Northeastern University Press.

Frith, S. (1990). Afterthoughts [on rock and sexuality]. In S. Frith & A.Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 419-24). New York: Pantheon Books.

Frith, S. (1988). Playing with a different sex. In Frith, S., Music for pleasure: Essays in the sociology of pop (pp. 151-70). London: Routledge.

Frith, S., & McRobbie, A. (1990). Rock and sexuality. In S. Frith & A.Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 371-89). New York: Pantheon Books.

Gaar, G. G. (1992). She’s a rebel: The history of women in rock & roll. Seattle: Seal Press, 1992.

Garratt, S. (1990). Teenage dreams. In S. Frith & A.Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 399-409). New York: Pantheon Books.

Gill, J. (1995). Queer noises: Male and female homosexuality in twentieth-century music. Minneapolis: University of Minnesota Press.

Glickman, S., & M.F. Schleifer. (Eds.). (1996). Women composers: Music through the ages, 12 vols. New York: G. K. Hall.

Gordon, B. (2004). Tori Amos’ inner voices. In J. A. Bernstein (Ed.), Women’s voices across musical worlds (pp. 187-207). Boston: Northeastern University Press.

Gotlieb, J., & Wald, G. (1994). Smells like teen spirit: Riot grrrls, revolution and women in independent rock. In A. Ross & T. Rose (Eds.), Microphone fiends: Youth music & youth culture (pp. 250-274). New York: Routledge.

Gould, E. S. (1996). Initial involvements and continuity of women band directors: The presence of gender-specific occupational models. Unpublished doctoral dissertation, University of Oregon, Eugene.

Gourse, L. (1995). Madame jazz: Contemporary women instrumentalists. New York, NY: Oxford University Press, Inc.

Green, L. (1997). Music, gender, education. Cambridge, England: Cambridge University Press.

Grieg, C. (1989). Will you still love me tomorrow?: Girl groups from the 50s on . . . . London: Virago Press.

Hahn, T. (2004). Shifting selves: Embodied metaphors in Nihon Buyo. In J. A. Bernstein (Ed.), Women’s voices across musical worlds (pp. 308-325). Boston: Northeastern University Press.

hooks, b. (1992). Madonna: Plantation mistress or soul sister? In b. hooks, Black looks: Race and representation (pp. 157-64). Boston: South End Press.

Juno, J. (1996). Angry women in rock, Volume I. New York: Juno Books.

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Kaplan, E. A. (1987). Rocking around the clock: Music television, postmodernism, and consumer culture. New York: Routledge.

Kemp, A. E. (1997). Individual differences. In D. J. Hargreaves, & A. C. North (Eds.), The Social Psychology of Music (pp. 25-45). New York: Oxford University Press.

Kivi, L. (1992) Canadian women making music. Toronto: Green Dragon Press.

Kolawale, H. (1996). Sisters take the rap . . . but talk back. In S. Cooper (Ed.), Girls! girls! girls! Essays on women and music (pp. 8-21). New York: New York University Press.

Koskoff, E. (Ed.). (1987). Women and music in cross-cultural perspective. New York: Greenwood Press.

Lamb, R., Dolloff, L. A., & Howe, S. W. (2002). Feminism, feminist research, and gender research in music education: A selective review. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 648-674). Toronto: Oxford University Press.

Lamb, R. (1995). Tone deaf/symphonies singing: Sketches for a musicale. In J. Gaskell & J. Willinsky (Eds.), Gender in/forms curriculum (pp. 109-135). New York: Routledge.

Lamb, R. (1991). Including women composers in school music curricula, grades 5-8: A feminist perspective. In J. Lang Zaimont (Ed.), The Musical Woman, V3, 1990 (pp. 682-713). Westport, CT: Greenwood Press.

Lamb, R. (1991). Medusas aria: Feminist theories and music education, a curriculum theory paper designed as readers theatre. In J. Gaskell & A. McLaren (Eds.), Women and education (pp. 299-319). Calgary: Detselig.

Lewis, L. A. (1990). Gender politics and MTV: Voicing the difference. Philadelphia: Temple University Press.

LeBlanc, L. (1999). Pretty in punk: Girls’ gender resistance in a boys’ subculture. New Brunswick: Rutgers University Press.

Lont, C. M. (1992). Women’s music: No longer a small private party. In R. Garofalo (Eds.), Rockin’ the boat: Mass music and mass movements (pp. 241-253). Boston: South End Press.

McCartney, A. (Ed.). (1995). Creating a world for my music to exist. Windsor, Ontario: Humanities Research Group, University of Windsor.

McCartney, A. (1994). Inventing metaphors and metaphors for invention: Women composers voices in the discourse of electroacoustic music. In B. Diamond & R. Witmer, (Eds.), Canadian music: Issues of hegemony and identity (pp. 491-502). Toronto: Canadian Scholars Press.

McDonnel, E. (1997). She’s in the band: Maureen Tucker, Tina Weymouth, and Tara Key. In B.O’Dair (Ed.), Trouble girls: The Rolling Stone book of women in rock (pp. 427-433). New York: Random House.

McClary, S. (1991). Feminine endings: Music, gender, and sexuality. Minneapolis: University of Minnesota Press.

McDonnell, E. & A. Powers (Eds.) (1995). Rock she wrote: Women write about rock, pop, and rap. New York: Delta.

McRobbie, A. (1984). Dance and social fantasy. In A. McRobbie & M. Nava (Eds.), Gender and generation (pp. 130-161). London: Macmillan.

McRobbie, A. (1991). Dance narratives and fantasies of achievement. In A. McRobbie, (Ed.), Feminism and female youth culture: From Jackie to Just Seventeen(pp. 189-219). Boston: Unwin Hyman.

McRobbie, A., & Garber, J. (1976). Girls and subcultures. In S. Hall & T. Jefferson (Eds.), Resistance through rituals: Youth subcultures in post-war Britain (pp. 209-22). London: Harper Collins Academic.

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

Neuls-Bates, C. (Ed.). (1996). Women in music: An anthology of source readings from the middle ages to the present. Boston: North Eastern University Press.

North, A. C., Hargreaves, D.J., & Tarrant, M. (2002). Social psychology and music education. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 604-625). Toronto: Oxford University Press.

O’Brien, L. (1999). The woman punk made me. In R. Sabin (Ed.), Punk rock: So what? The cultural legacy of punk (pp. 186-98). London: Routledge.

O’Brien, Lucy. (2002). She bop II: The definite history of women in rock, pop and soul. New York: Penguin.

O’Dair, B. (Ed.). (1997). Trouble girls: The Rolling Stone book of women in rock. New York: Random House.

O’Neill, S. (2002). The self-identity of young musicians. In R.A. R. MacDonald, D. J. Hargreaves & D. Miell (Eds.), Musical identities (pp. 79-96). New York: Oxford University Press.

O’Neill, S. A. (1997). Gender and music. In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 46-60). New York: Oxford University Press.

O’Toole, P. (1997). Escaping the tradition: Tensions between the production of values and pleasures in the choral setting. In R. Rideout (Ed.), On the sociology of music education (pp. 130-148). Norman: University of Oklahoma.

O’Toole, P. (1994). Re-directing the choral rehearsal: A feminist, poststructural analysis of power relations in three choral settings. Unpublished Dissertation, University of Wisconsin.

Pegley, K. (2000). Gender, voice, and place: Issues of negotiation in a technology in music program. In M. Pirkko & B. Diamond (Eds.), Music and gender, (pp. 306-316). Urbana, USA: University of Illinois.

Pegley, K. (1999). An analysis of the construction of national, racial, and gendered identities on MuchMusic (Canada) and MTV (United States). Doctoral Dissertation: York University, Toronto.

Pegley, K., & Caputo, V. (1994). Growing up female(s): Retrospective thoughts on musical preferences and meanings. In P. Brett, E. Wood, & G.C. Thomas (Eds.) Queering the pitch: The new gay and lesbian musicology (pp. 297-313). New York: Routledge.

Petersen, K. E.. An investigation into women-identified music in the United States. In E. Koskoff (Ed.), Women and music in cross-cultural perspective (pp. 203-12). New York: Greenwood Press.

Pirkko, M., & Diamond, B. (Eds.). (2000). Music and gender. Urbana, USA: University of Illinois Press.

Post, J. (1994). Erasing the boundaries between public & private in women’s performance traditions. In S. Cook & J. S. Tsou (Eds.), Cecelia reclaimed: Feminist perspectives on gender & music (pp. 35-51). Chicago: University of Illinois Press.

Post, J. (1987). Professional women in Indian music: The death of the courtesan tradition. In E. Koskoff (Ed.), Women and music in cross-cultural perspective (pp. 97- 110). New York: Greenwood Press.

Raphael, A. (1995). Grrrls: Viva rock divas. New York: St. Martin’s Griffin.

Reich, N. B. (2004). The power of class: Fanny Hensel and the Mendelssohn family. In J. A. Bernstein (Ed.), Women’s voices across musical worlds (pp. 18-35). Boston: Northeastern University Press.

Renton, B. (1980). The status of women in college music 1976-1977. Bighamton, NY: College Music Society.

Reynolds, S., & Press, J. (1995). The sex revolts: Gender, rebellion and rock’n'roll. Cambridge: Harvard University Press.

Roberts, R. Ladies first: Women in music videos. Jackson: U of Mississippi Press, 1996.

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. 225-44). New York: Greenwood Press.

Schwictenberg, C. (Ed.). (1993). The Madonna connection: Representational politics, subcultural identities, and cultural theory. Boulder, CO: Westview Press.

Steward, S., & Garratt, S. (1984). Signed, sealed, delivered: True life stories of women in pop. Boston: South End Press.

Stewart, A. (1989). Declarations of independence: The female rock and roller comes of age. In C. Lont & S. Friedly (Eds.), Beyond boundaries: Sex and gender diversity in communication (pp. 283-98). Fairfax: George Mason University Press.

Stewart, A. D. (1995). You’re not rid of me: Riot grrrl bands and new roles and old roles in the work of female performers. In C. M. Lont (Ed.), Women and media: Content, careers, and criticism (pp. 360-71). Belmont: Wadsworth.

Stremikis, B. A. (1998). Women in music: Their characteristics and career restrictions. Doctoral Dissertation, Saybrook Institute.

Sullivan, C. (1996). The joy of hacking: Women rock critics. In S. Cooper (Ed.), Girls! girls! girls! Essays on women and music (pp. 138-145). New York: New York University Press.

Tolbert, E. (1994). The voice of lament: Female vocality & performative efficacy in the Finnish-Karelian Itkuvirsi. In L. C. Dunn & N. A. Jones (Eds.), Embodied voices: Representing female vocality in western culture (pp. 179-194). New York: Cambridge University.

Tucker, S. (2000). Swing shift: “All-girl” bands of the 1940s. Durham, NC: Duke University Press.

Tullia, M. (2003). Music and gender: Perspectives from the Mediterranean. Chicago: University of Chicago Press.

Twersky, L. (1981). The female teenage audience examined. Trouser Press (April), 27-29. [also in E. McDonnell, & A. Powers (Eds.) (1995). Rock she wrote: Women write about rock, pop, and rap. New York: Delta.]

Udovitch, M. (1995). k.d. lang: How did a lesbian, feminist, vegetarian Canadian win a Grammy and the hearts of America? In E. McDonnell & A. Powers (Eds.),Rock she wrote (pp. 330 – 339). New York: Delta.

Upton, G. (1886). Women in music. Chicago: A. C. McClurg & Company.

Vander, J. (1989). From the musical experience of five Shoshone women. In R. Keeling (Ed.), Women in North American Indian Music (pp. 5-12). Society for Ethnomusicology, Special Series No. 6.

Walser, R. (1993). Running with the Devil: Power, gender and madness in heavy metal music. London: Wesleyan University Press.

Whiteley, S. (Ed.). (1997). Sexing the groove: Gender and popular music. London: Routledge.

Whiteley, S. (2005). Too much too young: Popular music, age and gender. New York: Routledge.

Wise, S. (1990). Sexing Elvis. In S. Frith, & A. Goodwin (Eds.), On record: Rock, pop, and the written word (pp. 390-98). New York: Pantheon Books.

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Presentations 

Killam, R. N. Women in academic music: How we have achieved our roles. Paper presented at the Annual Women in Music Symposium, Buffalo, NY. (1989)

MacKay, R. “Research in Progress: The Personal and Professional Traits of Female Pop Musicians in Canada – Phase 2.” Presentation at The Feminist Research Group Conference, “Inter-Actions: Celebrating feminist theory and practice,” University of Windsor, ON, May 2006.

MacKay, R. “you’re not bad, but you haven’t enticed me to rape you yet”: Canadian Pop Music as Lived by Female Musicians. Paper presented at the IASPM-Canada Annual Conference, Regina, Saskatchewan, May 2006.

MacKay, R. “even on the worst sick no gas freezing middle of january rockie mountain or halifax breakdown there is nothing better to do for a living”: Canadian Pop Music as Lived by Female Musicians. Symposium presentation, included with: “Of equity & diversity in narrative inquiry: Ontario, Canada contexts” at the Narrative Inquiry in Music Education (NIME), Tempe, Arizona, April 2006.

MacKay, R. Employing complexity science and feminist critical theories in gender research in music education. Paper presented at Ritual & Revision: University of Toronto Music Graduate Students Association Conference, Toronto, Ontario. (2004)

McCartney, A. Come out and play! Why are gender and feminist studies so late to come to music? Paper presented at the Sixth International Symposium on Electronic Art, Montreal, Quebec. (1995)

McCartney, A. Whose playground, which games, and what rules? Paper presented at the International Computer Music Conference: Digital Playgrounds, Banff, Alberta. (1995)

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Magazines, Magazine Articles, News Paper Articles

Note: This bibliography contains many references that are devoted to women and rock.

Brandt, P. (1982). At last . . . enough women rockers to pick and choose. Ms. (September)

Bitch: The Women’s Rock Mag with Bite. 1985-89.

Dialogue: Special on women in rock. (1973). Melody Maker (November) 35-38.

France, K. (1996). Rock-me feminism. New Yorker (3 June) 36-41.

Musician, June 1988, series of articles on “The Women’s Movement of 1988.”

Option, May-June 1992, series of articles on women in the music industry.

Playboy, November 1994, women in rock issue.

Phoenix, V. C. (1994). From womyn to grrrls.” Deneuve 4.1 (February), 40-43.

Powers, A. (1993). No longer rock’s playthings. New York Times (14 Feb), pp. 1, 34.

Powers, A. (1993). When women venture forth. New York Times (9 Oct), pp. 32, 39.

Rockrgrrl – any issue.

Rolling Stone, 6 Oct. 1994, “women in rock” special issue.

Rolling Stone, 13 Nov. 1997, “women of rock” special issue.

Straus, N. (1997). Where the girls are, and why they’re not so different from the boys. The New York Times (29 July).

Texier, C. (1990). Have women surrendered in MTV’s battle of the sexes? New York Times 189 (April 22), pp. 29, 31.

The Wire, March 1992, series of articles on women in the music industry.

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 Films

Blackwood, M. (Producer & Director). (1993). The sensual nature of sound [Motion picture]. New York: Michael Blackwood Productions.

Canadian women composers [Motion picture]. (1991). Oakville, ON: Magic Lantern Communications.

Henry, A. F., Chechik, M., Johnson, G. (Producers), & Henry, A. F. (Director). (1999). Singing our stories [Motion picture]. Montreal: National Film Board of Canada.

Longinotto, K, & Williams, J. (Directors). (1994). Dream girls [Motion picture]. New York: Women Make Movies.

Mosbacher, D. (Producer & Director). (2002). Radical harmonies [Motion picture]. San Francisco: Woman Vision.

Parent-Altier, D. (Producer & Director), & Altier, S. (Co-producer & Writer). (1987). Mademoiselle: A portrait of Nadia Boulanger [Motion picture]. Bloomington, IN: Crocus Films.

Parmar, P. (Producer & Director). (1998). Righteous babes [Motion picture]. Toronto: V-Tape.

Rudin, S. (Producer), Linklater, R. (Director), & White, M. (Writer). (2003). School of rock [Motion picture]. United States: Paramount Pictures.

Van Falkenburg, C., & Dall, C. (Producers) & Dall, C. (Director). (1989). Wild women don’t have the blues. [Motion picture]. San Francisco: California Newsreel.

 

Rev Mar 13, 2007