363
Views
1
CrossRef citations to date
0
Altmetric
Research Articles

The Institutionalization of Inequality: Female Vocalists’ Struggles in the Chinese Jazz Scene

ORCID Icon

Works Cited

  • Annfelt, Trine. “Jazz as a Masculine Space.” Kilden, 17 Jul. 2003, https://kjonnsforskning.no/en/2003/07/jazz-masculine-space. Accessed 25 Apr. 2023.
  • Barrett, Timothy. “Storying Bourdieu: Fragments Toward a Bourdieusian Approach to ‘Life Histories’.” International Journal of Qualitative Methods, vol. 14, no. 5, 2015, pp. 1–10. doi:10.1177/1609406915621399.
  • Bennett, Andy, and Richard Peterson, editors. Music Scenes: Local, Translocal, and Virtual. Vanderbilt UP, 2004.
  • Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation. Un of Chicago P, 1994.
  • Björck, Cecilia, and Asa Bergman. “Making Women in Jazz Visible: Negotiating Discourses of Unity and Diversity in Sweden and the US.” IASPM Journal, vol. 8, no. 1, 2018, pp. 42–58. doi:10.5429/2079-3871(2018)v8i1.5en.
  • Bourdieu, Pierre. Masculine Domination, Translated by Richard Nice, Polity, 2001.
  • Bourdieu, Pierre. The Rules of Art: Genesis and Structure of the Literary Field, Translated by Susan Emanuel, Polity, 1996.
  • Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.
  • Canham, Nicole et al. Gender as Performance, Experience, Identity And, Variable: A Systematic Review of Gender Research in Jazz and Improvisation. Frontiers in Education, vol. 7, 2022. doi:10.3389/feduc.2022.987420
  • Caudwell, Jayne. “Jazzwomen: Music, Sound, Gender, and Sexuality.” Annals of Leisure Research, vol. 15, no. 4, 2012, pp. 389–403. doi:10.1080/11745398.2012.744275.
  • Cohen, Sara. Rock Culture in Liverpool: Popular Music in the Making. Clarendon Press, 1991.
  • Dahl, Linda. Stormy Weather: The Music and Lives of a Century of Jazzwomen. Quartet Books, 1984.
  • deBruin, Leon R. “Director Perspectives to Equity, Access, and Inclusion in the School Jazz Ensemble.” Frontiers in Education. vol. 7, 2022. doi:10.3389/feduc.2022.1001971
  • DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. U of California P, 1997.
  • Doubleday, Veronica. “Sounds of Power: An Overview of Musical Instruments and Gender.” Ethnomusicology Forum, vol. 17, no. 1, 2008, pp. 3–39. doi:10.1080/17411910801972909.
  • Dunbar, Julie C. Women, Music, Culture: An Introduction. Routledge, 2011.
  • Field, Andrew. Shanghai’s Dancing World: Cabaret Culture and Urban Politics, 1919-1954. The Chinese U of Hong Kong P, 2010.
  • Finnegan, Ruth. The Hidden Musicians: Music-Making in an English Town. 2007, Wesleyan UP, 1989.
  • Frith, Simon. “Art versus Technology, the Strange Case of Popular Music.” Media Culture and Society, vol. 8, no. 3, 1986, pp. 263–79. doi:10.1177/016344386008003002.
  • Green, Lucy. Music, Gender, Education. Cambridge UP, 1997.
  • Griffin, Farah Jasmine. If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday. Simon and Schuster, 2001.
  • Hannaford, Marc. “Subjective (Re) Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers.” Music Theory Online, vol. 23, no. 2, 2017. doi:10.30535/mto.23.2.7.
  • Healey, Biddy. “Be a Good Girl or Play Like a Man: Why Women Aren’t Getting into Jazz.” BiddyHealey, 1 Aug. 2016, https://biddyhealey.com/blog/2016/6/18/be-a-good-girl-or-play-like-a-man. Accessed 1 Apr. 2023.
  • Hsieh, Terence. Jazz Meets East: Cultural Dimensions of Asynchronous Jazz Music Development in Modern China. OhioLINK, Oberlin College Honors Theses, 2012.
  • Ibáñez, Marta, and Elisa García‐Mingo. “Maping Gendered Social Closure Mechanisms Through Examination of Seven Male‐Dominated Occupations.” Gender, Work, and Organization, vol. 29, no. 5, 2022, pp. 1617–37. doi:10.1111/gwao.12634.
  • Istvandity, Lauren. “Sophisticated Lady: Female Vocalists and Gendered Identity in the Brisbane Jazz Scene.” Journal of World Popular Music, vol. 3, no. 1, 2016, pp. 75–89. doi:10.1558/jwpm.v3i1.31197.
  • Jackson, Travis. Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene. U of California P, 2012.
  • Jichova, Miroslava. Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews. 2007. University of New Orleans, Master’s dissertation.
  • Johansen, Guro Gravem. “‘Playing Jazz Is What She Does’: The Impact of Peer Identification and Mastery Experiences on Female Jazz Pupils’ Self-Efficacy at Improbasen.” Frontiers in Education. vol. 7, 2023. doi:10.3389/feduc.2022.1066341
  • Jones, Andrew F. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Duke UP, 2001.
  • Kartomi, Margaret. On Concepts and Classifications of Musical Instruments. U of Chicago P, 1990.
  • Klein, Bethany et al. “Selling Out: Musicians, Autonomy, and Compromise in the Digital Age.” Popular Music and Society, vol. 40, no. 2, 2017, pp. 222–38. doi:10.1080/03007766.2015.1120101.
  • Koskoff, Ellen. “When Women Play: The Relationship Between Musical Instruments and Gender Style.” Canadian University Music Review/Revue de musique des universités canadiennes, vol. 16, no. 1, 1995, pp. 114–27. doi:10.7202/1014419ar.
  • Kozan, Saliha et al. “A Qualitative Exploration of Women’s Work Aspirations and Beliefs on Meritocracy.” Journal of Counseling Psychology, vol. 67, no. 2, 2020, pp. 195–207. doi:10.1037/COU0000409.
  • Lei, Huan. “双一流”建设背景下中美研究型大学“学科”发展模式比较研究.” (A Sino-US Comparative Study of Academic Discipline Development in the Research Universities and Its Implications for Double First-Rate Development.” Tsinghua Journal of Education, vol. 39, no. 6, 2018, pp.66–73. doi:10.14138/j.1001-4519.2018.06.006608.
  • Li, Mo. A History of Jazz in China: From Yellow Music to a Jazz Revival in Beijing. 2018. Kent State University, Master’s dissertation. ProQuest Dissertations Publishing.
  • Lin, Yu et al. “Sporting Shanghai: Haipai Cosmopolitanism, Glocal Cityness, and Urban Policy as Mega-Event.” Sociology of Sport Journal, vol. 35, no. 4, 2018, pp. 301–13. doi:10.1123/ssj.2017-0203.
  • Lopes, Paul. The Rise of a Jazz Art World. Cambridge UP, 2002.
  • Macdonald, Raymond, and Graeme Wilson. “Constructions of Jazz: How Jazz Musicians Present Their Collaborative Musical Practice.” Musicae Scientiae, vol. 10, no. 1, 2006, pp. 59–83. doi:10.1177/102986490601000104.
  • Marlow, Eugene. Jazz in China: From Dance Hall Music to Individual Freedom of Expression. UP of Mississippi, 2018.
  • McAndrew, Siobhan, and Paul. Widdop. “‘The Man That Got Away’: Gender Inequalities in the Consumption and Production of Jazz.” European Journal of Cultural Studies, vol. 24, no. 3, 2021, pp. 690–716. doi:10.1177/13675494211006091.
  • McKeage, Kathleen M. “Gender and Participation in High School and College Instrumental Jazz Ensembles.” Journal of Research in Music Education, vol. 52, no. 4, 2004, pp. 343–56. doi:10.1177/002242940405200406.
  • Nochlin, Linda. “Why Have There Been No Great Women Artists?” Women, Art, and Power and Other Essays. Routledge, 1988, pp. 145–78.
  • Oliveros, Pauline. “Harmonic Anatomy: Women in Improvisation.” The Other Side of Nowhere: Jazz, Improvisation and Communities in Dialogue, edited by Daniel Fischlin and Ajay Heble, Wesleyan UP, 2004, pp. 50–71.
  • O’Meally Robert, G. et al. “Introductory Notes.” Uptown Conversation: The New Jazz Studies, edited by O’ Meally, Columbia UP, 2004, pp. 1–6.
  • Pellegrinelli, Lara. “Separated at ‘Birth’: Singing and the History of Jazz.” Big Ears: Listening for Gender in Jazz Studies, edited by T. Nichole, Rustin and Sherrie Tucker, Duke UP, 2008, pp. 31–47.
  • Porter, Eric. What is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. U of California P, 2002.
  • Porter, Lewis. “Some Problems in Jazz Research.” Black Music Research Journal, vol. 8, no. 2, 1988, pp. 195–206. doi:10.2307/779352.
  • Portugali, Adiel. “On the Marginality of Contemporary Jazz in China: The Case of Beijing.” Jazz and Totalitarianism, edited by Bruce Johnson, Routledge, 2017, pp. 325–43.
  • Prouty, Ken. Knowing Jazz: Community, Pedagogy, and Canon in the Information Age. UP of Mississippi, 2012.
  • Provost, Sarah Caissie. “Bringing Something New: Female Jazz Instrumentalists’ Use of Imitation and Masculinity.” Jazz Perspectives, vol. 10, no. 2–3, 2017, pp. 141–57. doi:10.1080/17494060.2018.1443966.
  • Rustin, Nichole T. “‘Mary Lou Williams Plays Like a Man!’ Gender, Genius, and Difference in Black Music Discourse.” The South Atlantic Quarterly, vol. 104, no. 3, 2005, pp. 445–62. doi:10.1215/00382876-104-3-445.
  • Rustin-Paschal, Nichole. The Kind of Man I Am: Jazzmasculinity and the World of Charles Mingus Jr. Wesleyan UP, 2017.
  • Savage, Steve. Bytes and Backbeats: Repurposing Music in the Digital Age. U of Michigan P, 2011.
  • Spradling, Diana R. “Vocal Jazz and Its Credibility in the University Curriculum.” Jazz Educators Journal, vol. 32, no. 5, 2000, pp. 59–60, 62–64. https://www.proquest.com/scholarly-journals/vocal-jazz-credibility-university-curriculum/docview/1370438/se-2?accountid=10673.
  • Straw, Will. “Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.” Cultural Studies, vol. 5, no. 3, 1991, pp. 368–88. doi:10.1080/09502389100490311.
  • Sutopo, Oki Rahadianto. “Young Jazz Musicians and Negotiation of Public Space in Yogyakarta Indonesia.” Komunitas: International Journal of Indonesian Society and Culture, vol. 9, no. 2, 2017, pp. 225–36. doi:10.15294/komunitas.v9i2.10060.
  • Tavana, Art. “Democracy of Sound: Is GarageBand Good for Music?” Pitchfork, 30 Sep. 2015. https://pitchfork.com/features/article/9728-democracy-of-sound-is-garageband-good-for-music/. Accessed 1 Apr. 2023.
  • Teichman, Eric. “Pedagogy of Discrimination: Instrumental Jazz Education.” Music Education Research, vol. 22, no. 2, 2020, pp. 201–13. doi:10.1080/14613808.2020.1737925.
  • Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions. Arnold and Oxford UP, 2000.
  • Tucker, Sherrie. A Feminist Perspective on New Orleans Jazzwomen. Center for Research, University of Kansas, 2004.
  • Tucker, Sherrie. Swing Shift: “All-Girl” Bands of the 1940s. Duke UP, 2000.
  • Tucker, Sherrie. 2001, Big Ears: Listening for Gender in Jazz Studies. Current Musicology, 71–73: pp. 375–408. doi:10.7916/cm.v0i71-73.4831
  • Tucker, Sherrie. “Jazz History Remix: Black Women from ‘Enter’ to ‘Center’.” Issues in African American Music: Power, Gender, Race, Representation, edited by Portia K. Maultsby and Mellonee V. Burnim, Routledge, 2016, pp. 256–69.
  • VanVleet, Kaitlyn. “Women in Jazz Music: A Hundred Years of Gender Disparity in Jazz Study and Performance (1920–2020).” Jazz Education in Research and Practice: A Journal of the Jazz Education Network, vol. 2, no. 1, 2021, pp. 211–27. doi:10.2979/jazzeducrese.2.1.16.
  • Vargas, João H. Costa. “Jazz and Male Blackness: The Politics of Sociability in South Central Los Angeles.” Popular Music and Society, vol. 31, no. 1, 2008, pp. 37–56. doi:10.1080/03007760601062983.
  • Wahl, Chelsea and Ellingson, Stephen. “Almost Like a Real Band: Navigating a Gendered Jazz Art World.” Qualitative Sociology, vol. 41, no. 3, 2018, pp. 445–71. doi:10.1007/s11133-018-9388-9.
  • Wehr, Erin. “Understanding the Experiences of Women in Jazz: A Suggested Model.” International Journal of Music Education, vol. 34, no. 4, 2016, pp. 472–87. doi:10.1177/0255761415619392.
  • Wehr-Flowers, Erin. “Differences Between Male and Female Students’ Confidence, Anxiety, and Attitude Toward Learning Jazz Improvisation.” Journal of Research in Music Education, vol. 54, no. 4, 2006, pp. 337–49. doi:10.2307/4139755.
  • Wilf, Eitan. School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity. U of Chicago P, 2014.
  • Willis, Vickie. “Be-In-Tween the Spa[]ces: The Location of Women and Subversion in Jazz.” The Journal of American Culture, vol. 31, no. 3, 2008, pp. 293–301. doi:10.1111/j.1542-734X.2008.00677.x.
  • Wolfe, Paula. Women in the Studio: Creativity, Control and Gender in Popular Music Production. Routledge, 2020.