Overview

Bringing together leading experts in the field of gender and popular music, this collection emphasizes the ways we can shape our personal understandings of what gender is or could be in the music industry. Popular music contains multiple sites of exploration of masculinity, femininity and combinations of these. At the same time, however, the popular music industries remain sites of gender inequality, with men dominating power structures, maintaining ‘boys’ clubs’ that lock women and gender diverse folks out of music spaces and networks, and police access to genres and instruments. At worst, music can be dangerous for those involved due to gender-based violence. These problems in turn lead to new types of creativity and solidarity as people search for solutions and a more egalitarian music experience. This handbook presents a multi-faceted exploration of how gender shapes our musical experiences, whether as audiences, artists or music industry workers, taking an intersectional approach that incorporates perspectives from different sites, genres and subject positions within music making.

Full Product Details

Author:   Dr Catherine Strong (RMIT University, Australia) ,  Dr Sarah Raine (University College Dublin, Ireland) ,  Sharon Kong-Perring (PhD candidate, Birmingham City University, UK) ,  Dr Tami Gadir (RMIT University, Melbourne, Australia)
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic
ISBN:  

9798765132074

Pages:   576
Publication Date:   28 May 2026
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Forthcoming
Availability:   Not yet available  
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Table of Contents

List of figures and tables Contributors Acknowledgements Researching Music and Gender under Capitalist, Patriarchal, and (Neo)Colonial Power Catherine Strong, Sarah Raine, Tami Gadir, and Sharon Kong-Perring Part 1: Histories 1. Filipino ‘Jazzmasculinity’ in Manila’s Mainstream Press, 1955-1973 Krina Cayabyab 2. Dig Them Out: Women in Rock Memoirs as Archive Christine Feldman-Barrett 3. Black Queer Women Artists and the Shapes, Textures and Boundaries of R&B Music Elizabeth Falade 4. Feminisms and the Popular Music Industry from the 2000s Ann Werner 5. Looking for the ‘Gang of Trannies’: Trans History of Punk and the Problem with Recovery Jay Szpilka Part 2: Hearing and Seeing Gender 6. Touch – Tuning into Gender Dynamics of Performance Spaces Tina Krekles 7. Musical Worldbuilding in Drag: Trans-Coded ‘Spliced Collage’ and Audience Co-Creation Sarah E. Cooper 8. ‘I’m Not That Interested in Gear’: Passive Disinterest Toward Music Technologies Among Women and Gender-Diverse Instrumentalists Jeri Karmelic 9. Welcome to the Queendom: New Gen Feminism and Blackness in Vinida’s ‘Queendom’ Tiara Wilson 10. Queer Futures on Stage: Chappell Roan and the Power of Performance Aesthetics Deanne Kearney 11. ‘Growth’ versus ‘Real Abilities’: Nationalized Discourses, Fan Surveillance, and Live Controversies of Japanese K-Pop Girl-Group Members Mayako Shibagaki Liu Part 3: Politics and Policies 12. Cultural Work, Music and Gender Rosa Reitsamer 13. Addressing Gender-Based Violence and Harassment Within Music Higher Education Anna Bull 14. Navigating Gender Dynamics in China’s Popular Music Education Wai Chung Ho 15. Rewiring the Infrastructure of the Danish Music Industry: Affects, Gender and Processes of Transformation Kristine Ringsanger 16. Making Change from Outside the Industry: Salome MC G.J. Breyley, with Salome MC 17. Supernova Hasbara: Psytrance Propaganda and Imperialist Feminism in a Time of Genocide Tami Gadir 18. ‘Why Did You Separate Me from the Earth?’: On the Meaning of Climate Justice, Gender and Pop Music Mathew Klotz Part 4: Engaging with place and space 19. Working With the Crew: Reflections on Integrating Participatory and Co-Creative Methods into Queer Nightlife Studies Maria A. G. Witek and Luis Manuel Garcia-Mispireta 20. Gendered Points in Mapping the Music of Migration Abigail Gardner 21. ‘Super Shy’ Girl Groups and Male Intrusion: An Autoethnographic Reflection on Gender and the Female Body in K-Pop Fieldwork and Industry Through Self Data Sharon Kong-Perring 22. Mateship, Misogyny and Men Still Making a Scene: Gender Inequalities in the Australian Band Scene Freya Linke-Langley 23. Localised Understandings of Gender and Queerness in the K-Pop Fandom(s): BTS’ United Nations Speech as a Case Study Mathieu Berbiguier 24. Lip-Synching Freedom: Drag, Gender Identity and the Politics of Performance within the Creative Industries of Postsocialist Serbia Andrija Filipovic Part 5: Interventions 25. Commodifying the ‘Sad Girl’: Fantagonism, Parasociality and Social Media Dehumanisation of Female Singer-Songwriters Jenessa N. Williams 26. Moving Beyond ‘Freedom’ Through Improvisation: A Feminist Reframing of Inclusive Improvised Music Making Sarah Raine 27. Interventions on Gender Inequality in the Dutch Popular Music Industries Britt Swartjes 28. What Happened After Their Voices were Raised: Assessing Industry Action on Gender Inequality and Safety in Australian Music Catherine Strong and Bianca Fileborn 29. Conventions of Concealment: Deterritorializing Disabled Musicianship Jasmine Hazel Shadrack 30. Parenting and Music Careers Shelley Brunt and Liz Guiffre 31. 'It comes From a Place of Caring and Passion’: Gender Equality Activism and Initiatives in Australian Music Scenes, 2015-2020 Hannah Fairlamb ‘Music is Never Stopping’: An Interview with Sally Anne Gross Sally Anne Gross and Catherine Strong Index

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Author Information

Catherine Strong is Associate Professor in the Music Industry program at RMIT in Melbourne, Australia. Among her publications Towards Gender Equality in the Music Industry: Education, Practice and Strategies for Change (co-editor, Bloomsbury 2019) and Death and the Rock Star (co-editor, 2015). Sarah Raine is an SFI-IRC Pathway Fellow in the School of Music, University College Dublin, Ireland, and the PI of a four-year funded project. She is author of Authenticity and Belonging in the Northern Soul Scene (2020) and co-editor of Towards Gender Equality in the Music Industry (Bloomsbury, 2019) as well as the co-Managing Editor of Riffs: Experimental Writing on Popular Music. Sharon Kong-Perring is a PhD Candidate at Birmingham City University, UK, researching Anglophone K-Pop fandoms and audiences. She is a historian-museum professional-academic by day and journalist by night, researching cultural experiences around the world. She is the co-editor of Riffs Popular Music Journal’s first special edition on Asian/Oceanic popular music. Tami Gadir is Lecturer in Music Industry at RMIT University in Melbourne, Australia. Gadir’s research addresses the social and political mechanisms of musical life. Her book, Dance Music: A Feminist Account of an Ordinary Culture (Bloomsbury, 2023) uses gender to show how dance floors are a reflection of the social dynamics that exist in ordinary life.

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