Bj?rk (2015). “The Invisible Woman: a Conversation with Bj?rk.” Pitchfork.
Georgina Born and Kyle Devine (2016). “Gender, Creativity and Education in Digital Musics and Sound Art.” Contemporary Music Review 35 no. 1: 1–20.
Judith Bowers and Judith Tick (1986). “Introduction,” in Women making Music. The Western Art Tradition, 1150–1950, ed. J. Bowers and J. Tick. University of Illinois Press, 3–14.
Tina Chanter (2006) Gender: Key Concepts in Philosophy. Continuum.
Suzanne Cusick (2001) “Gender, Musicology, and Feminism,” in Rethinking Music, ed. N. Cook, and M. Everist. Oxford University Press, 471–498.
Suzanne Cusick (2006), “On a Lesbian Relationship with Music: A Serious Effort Not to Think Straight,” in Queering the Pitch: The New Gay and Lesbian Musicology, 2nd edition, ed. P. Brett, E. Wood, and G. Thomas. Routledge, 67–83.
Leigh H. Edwards (2016), “Backwoods Barbie: Dolly Parton’s Gender Performance,” in Country Boys and Redneck Women. University of Mississippi Press, 189–210.
Anna Gavanas and Rosa Reitsamer (2013). “DJ Technologies, Social Networks and Gendered Trajectories in European DJ Cultures,” in DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music, ed. B.A. Attias, A. Gavanas, and H.C. Rietveld. Bloomsbury, 51–77.
Lucy Green (1994), “Gender, Musical Meaning, and Education.” Philosophy of Music Education Review 2 no. 2: 99–105.
Marion Guck (1994). “A Woman’s (Theoretical) Work.” Perspectives of New Music 32 no. 1: 28–43.
Marc Hannaford (2017). “Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers.” Music Theory Online 23(2).
Kai Arne Hansen (2019). “The ambiguity of ‘new masculinities’: Zayn Malik and disordered eating.” Celebrity Studies: 1–5.
Donna Haraway (1988). “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14 no. 3: 575–599.
Stan Hawkins (2007). “(Un)Justified: Gestures of Straight-Talk in Justin Timberlake’s Songs,” in Oh Boy! Masculinities and Popular Music, ed. F. Jarmen-Ivens. Routledge, 197–212.
Stan Hawkins (2016). Queerness in Pop Music: Aesthetics, Gender Norms, and Temporality. Routledge.
Biddy Healey (2016). “Be a Good Girl or Play Like a Man.” biddyhealey.com.
Robin James (2008). “Robo-Diva R&B: Aesthetics, Politics and Black Female Robots in Contemporary Popular Music.” Journal of Popular Music Studies 20 no. 4: 402–23.
Wayne Koestenbaum (2006). “Queering the Pitch: A Posy of Definitions and Impersonations,” in Queering the Pitch: The New Gay and Lesbian Musicology, 2nd edition, ed. P. Brett, E. Wood, and G. Thomas. Routledge, 1–5.
Marc Lafrance and Lori Burns (2017). “Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna.” Music Theory Online 23(2).
Rachel Lumsden (2017). ““You Too Can Compose”: Ruth Crawford’s Mentoring of Vivian Fine.” Music Theory Online 23(2).
Vivian Luong (2017). “Rethinking Music Loving.” Music Theory Online 23(2).
Fred Everett Maus (1993), “Masculine Discourse in Music Theory.” Perspectives of New Music 31 no. 2: 264–293.
Ferd Everett Maus (2011). “Music, Gender, and Sexuality,” in The Cultural Study of Music: A Critical Introduction, ed. M. Clayton, T. Herbert, and R. Middleton. Routledge, 317–329.
Susan McClary (1991), “Living to tell: Madonna’s resurrection of the fleshly,” in Feminine Endings. Minnesota Press, 148–166.
Oyèrónké Oyēwùmí (1997). The Invention of Women: Making an African Sense of Western Gender Discourses. University of Minnesota Press.
Sara Salih (2002). Judith Butler. Routledge.
Maeve Sterbenz (2017). “Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video.” Music Theory Online 23(2).
Chris Stover (forthcoming). “Sun Ra’s Fletcher Henderson,” in Queer Music Theory, ed. G. Lee. Oxford University Press.
Optional, supplementary readings
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. Ashgate.
Battersby, C. (1989). Gender and Genius: Towards a Feminist Aesthetics. Indiana University Press.
Bayton, M. (1997). “Women and the Electric Guitar,” in Sexing the Groove: Popular Music and Gender, ed. S. Whiteley. Routledge, 37–49.
Born, G. and K. Devine (2015). “Music technology, gender, and class: Digitization, educational and social change in Britain.” Twentieth-Century Music 12(2): 135–172.
Bradby, B. (1993). “Sampling Sexuality: Gender, Technology and the Body in Dance Music.” Popular Music 12(2): 155–176.
Brady, A. (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 Queering the Pitch: The New Gay and Lesbian Musicology, 2nd edition, ed. P. Brett, E. Wood, and G. Thomas. Routledge, 9–26.
Burns, L. and M. 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. University of Illinois Press, 224–248.
Citron, M. (2007). “Women and the Western Art Canon: Where Are We Now?,” in Notes, Second Series 64(2): 209–215.
Cohen, S. (1997). “Men Making a Scene: Rock Music and the Production of Gender,” in Sexing the Groove: Popular Music and Gender, ed. S. Whiteley. Routledge, 17–36.
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. Routledge.
Frith, S. and A. McRobbie (1990). “Rock and sexuality,” in On record: Rock, pop, and the written word, ed. S. Frith and A. Goodwin. Pantheon Books, 371–389.
Green, L. (1997). Music, Gender, Education. 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. (2012). Gaga Feminism: Sex, Gender, and the End of Normal. Beacon Press.
Huyssen, A. (1986). “Mass Culture as Woman. Modernism’s Other,” in After the Great Divide: Modernism, Mass Culture, Postmodernism. Indiana University Press, 44–62.
H?g?sen-Hallesby, H. (2007). “Carmens performative hevn,” in Tidsskrift for kj?nnsforskning 3, Universitetsforlaget, 5–18.
Jarman-Ivens, F., ed. (2007). Oh Boy! Masculinities and Popular Music. Routledge.
Jarman-Ivens, F. (2011). Queer Voices: Technologies, Vocalities, and the Musical Flaw. 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. University of Illinois Press.
Koestenbaum, W. 2001. The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire. Da Capo Press.
Lee, G. (2020). “Queer Music Theory.” Music Theory Spectrum 42 no. 1.
Leonard, M. (2007). Gender in the Music Industry: Rock, Discourse and Girl Power. Ashgate.
Lochhead, J. (2008). “Theorizing Gender, Culture, and Music: The Sublime, the Ineffable, and Other Dangerous Aesthetics.” Women and Music: A Journal of Gender and Culture 12, 63–124.
McClary, S. (1989). “Terminal Prestige: The Case of Avant-Garde Music Composition,” in Cultural Critique 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 University Press.
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, ed. R. Solie. University of California Press.
Piekut, B. (2011). “Murder by Cello: Charlotte Moorman Meets John Cage,” in Experimentalism Otherwise: The New York Avant–Garde and its Limits. University of California, 140–176.
Reddington, H. (2012). The Lost Women of Rock Music: Female Musicians of the Punk Era. Ashgate.
Rieger, E. (2002). “‘Desire is Consuming Me’: The Life Partnership Between Eugenie Schumann and Marie Fillunger,” in Queer Episodes in Music and Modern Identity, ed. S. Fuller and L. Whitesell. University of Illinois Press, 25–48.
Robertson, C. E. (1987). “Power and gender in the musical experiences of women,” in Women and music in cross-cultural perspective, ed. E. Koskoff. University of Illinois Press, 225–244.
Rodgers, T. (2010). “Introduction,” in Pink Noises: Women on Electronic Music and Sound. Durham: Duke University Press, 1–23.
Sandve, B. (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(1), 97–112.
Solie, R., ed. (1993). Musicology and Difference: Gender and Sexuality in Music Scholarship. University of California Press.
Stévance, S (2017). “From Throat Singing to Transcultural Expression: Tanya Tagaq’s Katajjaq Musical Signature,” in The Routledge Research Companion to Popular Music and Gender, ed. S Hawkins. Routledge, 48–62.
Straw, W. (1997). “Gender and Connoisseurship in Rock Music Culture,” in Sexing the Groove: Popular Music and Gender, ed. S. Whiteley. 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, J. (2004). “‘He’s Got the Power’: the Politics of Production in Girl Group Music.” In Music, Space and Place, ed. S. Whiteley, A. Bennett, and S. Hawkins. Ashgate, 191–200.
Warwick, J. (2007). Girl Groups, Girl Culture: Popular Music and Identity in the 1960s. Routledge.
Werner, A. (2017). “Digitally Mediated Identity in the Cases of Two Sámi Artists,” in The Oxford Handbook to Popular Music in the Nordic Countries, ed. F. Holt and A. K?rj?. Oxford University Press, 379–394.
Whiteley S. (2000). Women and Popular Music: Sexuality, Identity and Subjectivity. Routledge.
Whiteley, S. (2003). Too Much Too Young: Popular Music, Age and Gender. Routledge.