Reserve Readings-- Located in Stauffer Library Reserves on 3-hour loan

• Cecelia Reclaimed: Feminist Perspectives on Gender & Music. Susan C. Cook & Judy S. Tsou (Eds.). University of Illinois, 1994.
• Musicology and Difference: Gender & Sexuality in Music Scholarship. Ruth Solie (Ed.). University of California, 1993.
• "From the musical experience of five Shoshone women" Judith Vander, Women in North American Indian Music. Richard Keeling (Ed.). Society for Ethnomusicology, Special Series No. 6, 1989.
• Girls! Girls! Girls! Essays on Women and Music, edited by Sarah Cooper, New York University Press, 1996.
• Glancing Fires. L. Saunders (Ed.). Women's Press, 1987.
• Women and Music, Sophie Drinker, 1948 (more recent edition of reprint with introduction).
• Women and Music, A History, Karin Pendle, ed., University of Indiana Press, 2001, 2nd ed.; 1991, 1st ed.
• Women & Music in Cross-Cultural Perspective. Ellen Koskoff (Ed.) Greenwood, 1987.
• Women Composers: The Lost Tradition Found, Diane Peacock Jezic, The Feminist Press, 2nd ed., 1993.
• Women in Music: An Anthology of Source Readings from the Middle Ages to the Present, edited by Carol Neuls- Bates, Harper & Row, 1982.

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Videos- Located in Jordan Music Library

• Canadian Women Composers
• "Eternal Earth," Alexina Louie
• Ladies First: Women in Music Videos, Robin Roberts, (video and book set) University Press of Mississippi, 1996.
• "Ladies Sing the Blues"
• Radical Harmonies, 2002.
• Selections from the JVC Video Anthology of World Music and Dance (Egypt, Japan), with booklets.
• "This Castle's Rockin", Alberta Hunter
• West Coast Women Composers and Conductors, 1985.
• Handel's opera Julius Caesar DVD03-011 (example of women singing men's roles)

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Other Resources: A most incomplete list and in many locations

Bound Journals

• British Journal of Music Education. November 1993. Papers from the Women in Music/Music Education Conference, Bristol, 1993.
• Early Music v27 n3, August 1999.
• Music Educators Journal v78 n7 March 1992. Special Focus on Women in Music.
• Musical Quarterly, v77,n3, fall 1993.
• Perspectives of New Music v32 n1, Winter 1994. Feminist Theory and Music Theory.
• Philosophy of Music Education Review, vol. 2, no. 2 Fall 1994.
• Quarterly Journal of Music Teaching and learning. v4 n4/v5 n1 1994. Special Issue: Sex Equity in Music Education.

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Books

• Black Noise: Rap Music & Black Culture in Contemporary America. Tricia Rose. Weslyan University, 1994.
• Black Women Composers: A Genesis. Mildred D. Green, 1983.
• Blues Legacies & Black Feminism. Angela Y. Davis. Vintage Books, 1999.
• Born a Woman. Ellen Schwarz, Polestar, 1988.
• Canadian Music. edited by Beverley Diamond and Robert Witmer, 1994.
• Droppin' science: Critical essays on rap music and hip hop culture, W.E. Perkins, ed., Philadelphia: Temple University Press, 1996
• Feminine Endings, Susan McClary, University of Minnesota, 1991.
• "Including women composers in music curricula: Development of creative strategies for the general music classes, gr. 5-8," Roberta Lamb, Dissertation, Teachers College, Columbia University, May, 1987.
• Music, Gender, and Culture, Marcia Herndon & Susanne Ziegler (eds.), 1990.
• Music, Gender, Education, Lucy Green, Cambridge University Press, 1997.
• Rock She Wrote, Eveln McDonnell & Ann Powers, Delta Press, 1995.
• The Musical Woman, v. 1, 2 & 3, ed. Judith Lang Zaimont, Greenwood Press, 1984, 1987, & 1991.
• The Pandora guide to women composers : Britain and the United States, 1629-present. Sophie Fuller. Pandora Press, 1994
• Rediscovering the Muses: Women's Musical Traditions, edited by Kimberly Marshall, Northeastern University Press, 1993.
• Sexing the Groove: Popular Music & Gender. Sheila Whiteley (Ed.). Routledge, 1997.
• The Woman Composer, Jill Halstead, Ashgate, 1997.
• With a song in her heart: a celebration of Canadian women composers: proceedings of the conference held at the University of Windsor, March 11-12, 1994. University of Windsor Humanities Research Group, 1995.
• Women Making Music: The Western Art Tradition, 1150-1950, edited by Jane Bowers and Judith Tick, University of Illinois Press, 1986.

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Articles

• "A music of one's own" Global Pop: World Music, World Markets. Timothy D. Taylor. Routledge, 1997.
• "'An identity of tastes and aspirations': Educating performers and their audiences," Maria Tippett (pp 29-64) in Canadian Music.
• "Androgyny goes pop: but is it lesbian music?" Arlene Stein [in Sisters, sexperts, queers, A. Stein, ed., Plume 1993.]
• "Are there gender issues in school music?" Roberta Lamb Canadian Music Educator v3, n6, May 1990.
• "Aria senza accompagnamento," Roberta Lamb The Quarterly Journal of Music Teaching and Learning, vol.4, no.4 / vol.5, no.1 (pp.5-20). Winter 1994.
• "Bad Sistas: Black women rappers & sexual politics in rap music" Black Noise: Rap Music & Black Culture in Contemporary America. Tricia Rose. Weslyan University, 1994.
• "Bad sisters: Punk culture and feminism" Kathleen Perrie Adams in Fuse, v14, n5-6, pp.22-26.
• "Beat the rap" Dominique di Prima, in Mother Jones, Sept/Oct 1990, pp.32-36, 80-82.
• "Compulsory performance: Rescuing my lesbian self from the shell of the prodigy," Eileen Anderson [in Lesbian Ethics 3 (3), Summer 1989, pp 7-29.]
• "Decentering the feminist self," Francesca Rebollo-Sborgi, [in repercussions:criticial and alternative viewpoints on music and scholarship, v1, n2, fall 1992, pp.26-51].
• "Discords: Feminist pedagogy in music education," R. Lamb Theory into Practice, vol. 35, no. 2, spring 1996. (pp. 124-131).
• "Dolce semplice? On the changing role of women in music," Eva Rieger in Feminist Aesthetics, Gisela Ecker, ed., London: Women's Press, 1985.
• "Feminism as critique in philosophy of music education," R. Lamb Philosophy of Music Education Review, vol. 2, no. 2 Fall 1994. (pp. 59-74).
• "Feminist scholarship and the field of musicology: I," Jane Bowers, [in College Music Symposium 29, 1989, pp 81-92.]
• "Feminist scholarship and the field of musicology: II," Jane Bowers, [in College Music Symposium 30, 1990, pp 1-13.]
• "From butch god to teddy bear? Some thoughts on my relationship with Elvis Presley," Sue Wise, [in Feminist Praxis, Liz Stanley, editor, Routledge, 1990, pp. 134-144.]
• "From singing to lamenting: Women's musical role in a Greek village" Susan Auerbach. Women & Music in Cross-Cultural Perspective. Ellen Koskoff (Ed.) Greenwood, 1987.
• "Gender, Power, and Music" Koskoff in The Musical Woman v.3.
• Historical Anthology of Music by Women, edited by James R. Briscoe, Indiana University Press, 1987.
• "Gender, professionalism, and the musical canon," Marcia Citron, [in Journal of Musicology 3 (1), 1990, pp 102-117.]
• "Gendered construction of the musical self: The music of Pauline Oliveros," Timothy D. Taylor in The Musical Quarterly, v77,n3, fall 1993, pp.385-396.
• "Hidden politics: Discursive and institutional policing of rap music," Tricia Rose, [in Droppin' science: Critical essays on rap music and hip hop culture, W.E. Perkins, ed., Philadelphia: Temple University Press, 1996, pp.220-235.]
• "I used to be your sweet mama" Blues Legacies & Black Feminism. Angela Y. Davis. Vintage Books, 1999.
• "An Introduction to Women, Music and Culture," in Women and Music in Cross-cultural Perspective, Koskoff.
• Introduction; "Bright Cecilia", Susan C. Cook & Judy S. Tsou in Cecilia Reclaimed.
• Introduction: On "difference", Ruth Solie in Musicology and Difference.
• "Inventing metaphors and metaphors for invention: Women composers' voices in the discourse of electroacoustic music," Andra McCartney (pp 491-502) [in Canadian Music.]
• "Lesbians and Women's Music," Maida Tilchen [in Women-identified Women, Darty and Potter, Eds. 1984]
• "Medusa's Aria: Feminist Theory and Music Education," Roberta Lamb, [in Women and Education, rev. ed., Jane Gaskell, editor, 1991)].
• "Minor chords--Major changes," Sandi Russell [in Glancing Fires, L. Saunders, ed., London: Women's Press, 1985].
• "Miriam sings her song: The self & other in anthropological discourse" Ellen Koskoff. Musicology and Difference: Gender & Sexuality in Music Scholarship. Ruth Solie (Ed.). University of California, 1993.
• "Movin' closer to an independent funk: black feminist theory, standpoint, and women in rap," Murray Forman [in Women's Studies, v23, 1994, pp.35-55.]
• "Music videos, performance and resistance: Feminist rappers," Robin Roberts [in Journal of Popular Culture, v25, n2, fall 1991, pp.141-152.]
• "Pianos to pedagogy: Pursuing the educational subject," Susan Heald [in Unsettling relations: The university as a site of feminist struggles, Toronto: Women's Press, 1991].
• "The odyssey of Dahlia Obadia: Morocco, Israel, Canada," Suzanne Meyers Sawa (pp 529-540) [in Canadian Music.]
• "(R)evolution Now?: Rock & the political potential of gender" Norma Coates. Sexing the Groove: Popular Music & Gender. Sheila Whiteley (Ed.). Routledge, 1997.
• "Thinking from women's lives: Francesca Caccini after 1627," Suzanne G. Cusick [in The Musical Quarterly, v77,n3, fall 1993, pp. 484-507.]
• "Tone deaf/Symphonies singing: Sketches for a musicale," R. Lamb Gender In/Forms Curriculum: From enrichment to transformation; Jane Gaskell & John Willinsky, eds. New York: Teachers College Press, 1995. (pp. 109-135)
• "Towards a Feminist Analysis of Women in Rock," K. Sawchuck, [in Atlantis, 14 (2), Spring 1989, pp 44-54].
• "Towards a Feminist Criticism of Music," Susan McClary [in Canadian University Music Review 10 (2), 1990, pp 9-18].
• "The voice is the muscle of the soul" Frankie Armstrong. Glancing Fires. L. Saunders (Ed.). Women's Press, 1987.
• "The voice of lament: Female vocality & performative efficacy in the Finnish-Karelian itkuvirsi " Elizabeth Tolbert. Embodied Voices: Representing Female Vocality in Western Culture. Leslie C. Dunn & Nancy A. Jones (Eds.). Cambridge University, 1994.
• "Vocal resistors" Sheila Napper. Herizons (Summer 1997), 15-20.
• "What's new in women's history," Linda Gordon [in Feminist Studies/Critical Studies, Teresa deLauretis, editor, Indiana University, 1986].
• "Who am I? Just one of the smartest composers around today" BBC Music Magazine, May 1996. Selection of articles on women musicians and composers.
• "What is women's music?" Toni Armstrong, Jr., [in Hot Wire 5 1989, pp 17-19, 57.]
• "Women and Rock Music," D. Harding and E. Nett, [in Atlantis, 10 (1), Fall 1984, pp 60-76].
• "Women writin' rappin' breakin'", Nancy Guevara, in Droppin' science: Critical essays on rap music and hip hop culture, W.E. Perkins, ed., Philadelphia: Temple University Press, 1996, pp. 49-62.
• "Women's Music and the Mothers of Invention," Connie Kuhns [in Living the Changes, Joan Turner, Ed., University of Manitoba, 1990].
• "Women, women's studies, music, and musicology: Issues of pedagogy and scholarship," Susan Cook, [in College Music Symposium 29, 1989, pp 93-100.]

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