Women & Music now features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women & Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.
Women in Music: A Research and Information Guide is an annotated bibliography emerging from more than twenty-five years of feminist scholarship on music. This book testifies to the great variety of subjects and approaches represented in over two decades of published writings on women, their work, and the important roles that feminist outlooks have played in formerly male-oriented academic scholarship or journalistic musings on women and music.
This volume offers an introduction to the field of women, music, and culture, examining the implications of gender upon music performance. The presentation focuses on women from many different countries, cultures and historical periods--from the professional musician to the village preserver of traditional music and culture, from the young woman of the 19th century of hymnody tradition of the U.S. to the female tayu or chanter in the male dominated Gidayu narrative tradition of Japan.
Although music videos are frequently criticized for "sexist" portrayals of women, this book shows that videos in many music genres are frequently vehicles of expression for a variety of women's concerns and issues. Acknowledging the presence of female voices, Robin Roberts looks here at the ways feminist political statements operate in music videos and, surprisingly, even in MTV's much criticized Beavis and Butt-Head.More women are now involved behind the scenes at the executive level in the video industry, and they have recognized the medium's feminist possibilities. Country music performers, for instance, draw on a tradition of sincerity and storytelling to recount women's issues. Rap artists use the self-promotion inherent in their rap vernacular in uplifting women's rights. Female performers expose flaws they perceive in feminine paradigms by deconstructing stereotypical gender roles and, without alienating viewers, use an inviting sense of humor to criticize portrayals of male dominance. With skillful performances and clever lyrics, these artists assert the right of women to be sexual and to express their sexuality.Queen Latifah's "Ladies First", Salt 'n' Pepa's "Shake Your Thang", Martina McBride's "Independence Day", and Julie Brown's "Home, coming Queen's Got a Gun" are among the feminist videos Robin Roberts discusses in documenting how video has moved feminism to the forefront.A video featuring excerpts from MTV performances is included free with every book.
This book traces the development of music in the late 20th and early 21st centuries with regards to the work of six women composers: Sofia Gubaidulina, Joan Tower, Ellen Taaffe Zwilich, Libby Larsen, Chen Yi, and Judith Weir. The study integrates cultural contexts with the composers’ biographies, their diverse compositional styles, and provides in-depth analyses of their musical works. The Kaleidoscope of Women’s Sounds in Music of the Late 20th and Early 21st Centuries offers a more detailed guide to not only these composers, but also their musical characters and styles, than previous studies on women’s music. It discusses several aspects of these women’s compositional perspectives and their personal experiences as they developed their music careers. The book also places emphasis on how these composers incorporated diverse musical styles and the idioms of others into the development of their own distinctly personal styles. The analytical approach adopted in this book is supplemented with illustrations of musical examples in order to provide a more complete understanding of the work of these composers.
This work includes 1000 entries covering the spectrum of defining women in the contemporary world.
35 in-depth interviews with independent, woman-identified musicians like Ferron, Joan Osborne, Ani DiFranco, and Sweet Honey in the Rock. Laura Post has provided a comprehensive collection of interviews with thirty-five vibrant women musicians. In an industry characterized by corporate packaging and promotion, these women have distinguished themselves as independent and assertive voices. Alix Dobkin, June Millington, Margie Adams, Holly Near, Sweet Honey in the Rock, Ani DiFranco, Ferron, Avotcja and Joan Osborne to name only a few have attained legendary status through their great musicianship and the ardent support of the women in their audiences. Here is an intimate glimpse into the personal and political lives of rock, folk and jazz musicians, whose songs of empowerment have influenced and enriched generations of women.
This collection is the first interdisciplinary volume to examine black women’s negotiation of race and gender in African American music. Contributors address black women’s activity in musical arenas that pre- and postdate the emergence of the vaudeville blues singers of the 1920s. Throughout, the authors illustrate black women’s advocacy of themselves as blacks and as women in music. Feminist? Black feminist? The editors take care to stress that each term warrants interrogation: “Black women can and have forged, often, but not always––and not everywhere the same across time––identities that are supple enough to accommodate a sense of female empowerment through ‘musicking’ in tandem with their sensitivities to black racial allegiances.” Individual essays concern the experiences of black women in classical music and in contemporary blues, the history of black female gospel-inflected voices in the Broadway musical, and "hip-hop feminism" and its complications. Focusing on under-examined contexts, authors introduce readers to the work of a prominent gospel announcer, women’s music festivals (predominantly lesbian), and to women’s involvement in an early avant-garde black music collective. In contradistinction to a compilation of biographies, this volume critically illuminates themes of black authenticity, sexual politics, access, racial uplift through music, and the challenges of writing (black) feminist biography. Black Women and Music is a strong reminder that black women have been and are both social actors and artists contributing to African American thought.
This classic anthology combines source readings with interpretive essays and personal portraits to illuminate the rich yet neglected history of women in music
Women in American Popular Music features composers, performers, patrons, musical contexts and an expanded view of women in music in America. This enlightening e-book short is a good source of programming ideas for performers and a handy resource for music lovers.
Here She Comes Now brings together some of America’s best music writers – such as Susan Choi, recipient of the inaugural PEN / W.G. Sebald award, Daniel Walters, whose credits include the screenplay for Heathers, and Alina Simon, whose novel Note to Self was described as ‘hilarious’ by Amanda Palmer - to explore incredible women in popular music. Often wryly amusing – even occasionally heart-rending – and covering artists from Dolly Parton and Nina Simone to Bjork, Taylor Swift and Riot Grrrl pioneer Kathleen Hanna, this is a feisty celebration of the transformative power of musicians who have truly rocked our world. The full list of artists covered is: Dolly Parton, Taylor Swift, Sinéad O’Connor, Mary J. Blige, June Carter Cash, Björk, Ronnie Spector, Laurie Anderson, Judee Sill, Patti Smith, Nina Simone, Poly Styrene, Stevie Nicks, Kim Gordon, Kate Bush, P.J. Harvey, Loretta Lynn, Sandy Denny, Tina Turner, Kathleen Hanna, Liz Phair, Madonna and Miley Cyrus.
Across the state and across a wide variety of musical genres, women are making their mark on Texas music. Some have become international superstars, while others are just starting to make their voices heard. But every woman who goes out and plays her music proves that "baring one's heart and soul takes courage, and Texas women artists have a lot of courage," as Lloyd Maines observes in the opening interview of this book. To pay tribute to these dedicated musicians and to capture their unique perspectives on what it means to be a woman in the music business, Kathleen Hudson has spent many years interviewing Texas women musicians for the Texas Heritage Music Foundation. In Women in Texas Music, Hudson lets us listen in on conversations with thirty-nine musical artists, including Emily Robison, Terri Hendrix, Lee Ann Womack, Rosie Flores, Betty Buckley, Marcia Ball, Lavelle White, and Bobbie Nelson. Hudson encourages and allows the women to tell their own stories as she delves into their life journeys, creative processes, and the importance of writing and performing music, be it blues, rock, country, folk, jazz, or pop. The interviews are warm and open, like good friends sharing the lessons that a life of playing music has taught them. What emerges from this collection is a solid sense of the strength and integrity that women bring to and gain from Texas music. Everyone who cares about music and culture in Texas will want to join the conversation.
In this collection of essays and interviews, nine gifted composers openly discuss their work.

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