Below is a growing bibliography. Please get in touch if you would like to suggest additions to this list.


Armstrong, Victoria. 2008. “Hard Bargaining on the Hard Drive: Gender Bias in the Music Technology Classroom.” Gender and Education Vol. 20 (No. 4) (July): 375–386

———. 2011. Technology and the Gendering of Music Education. Ashgate Publishing

Attali, Jacques. 1985. Noise: The Political Economy of Music. Minnesota: University of Minnesota Press

Augoyard, Jean-Francois, and Henry Torgue, eds. 2005. Sonic Experience: A Guide to Everyday Sounds. Quebec: McGill-Queen’s University Press

Babiracki, C. “What’s the Difference?: Reflections on Gender and Research in Village India.” In Bartz, G. & Cooley, T. (eds)(2008) Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. OUP USA

Barkin, E., and L. Hamessley, eds. 1999. Audible Traces: Gender, Identity and Music. Carciofoli Verlagshaus, Zurich

Barthes, R. 1984. Image Music Text. Fontana Paperbacks

Battersby, Christine. 1998. The Phenomenal Woman: Feminist Metaphysics and the Patterns of Identity. Cambridge: Polity Press

Bjurestam, Maria, Maria Hagglund, Mona Petersson, and Liv Strand, eds. LARM: From Mouth Cavity to Laptop: The Sound of Nordic Art. Kabusa Bocker

Born, G., and G. Hesmondhalgh. 2000. Western Music and Its Others: Difference, Representation & Appropriation in Music. University of California Press

Born, Georgina. 1995. Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde. University of California Press

Bosma, Hannah. 2003. “Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music.” Organised Sound 8 (1). Cambridge University Press: 5–17

———. 2008. “Voice or Ear? The Female Voice and the Listener’s Position in Paul Lansky’s ‘as It Grew Dark’.” In Sonic Mediations: Body Sound Technology, ed. C Birdsall and A Enns. Cambridge Scholars Publishing

Bowers, J, and J Tick, eds. 1986. Women Making Music: The Western Art Tradition 1150- 1950. London: Macmillan

Brett, P, E Wood, and G Thomas, eds. 2006. Queering the Pitch : The New Gay and Lesbian Musicology (2ndEd). Taylor & Francis Group, LLC

Buckland, F. 2002. Impossible Dance: Club culture and Queer World Making. Wesleyan University Press, Middletown Connecticut

Buck-Morrs, Susan. 1997. “What Is Political Art?” In inSITE97: New Projects in Public Spaces by Artists from the Americas. Trucatriche CA

Bull, M, and L Black. 2003. The Auditory Cultural Reader. Berg Publishers.

Butler, J. 1993. “Imitation and Gender Insubordination”. In Abelove, H. et al (eds) The Lesbian and Gay Studies Reader Routledge, New York/ London

Carlyle, Angus, ed. 2007. Autumn Leaves: Sound and the Environment in Artistic Practice. France: Double Entendre

Carson, Anne. 1995. “The Gender of Sound.” In Glass, Irony and God. New Directions Paper Books

Case, Sue-Ellen. 2001. “Feminism and Performance: A Post-Disciplinary Couple.” Theatre Research International 26 (2): 145–152

Citron, Marcia, J. 1993. Gender and The Musical Canon. Illinois: First Illinois Paperback

Clément, Catherine. 1989. Opera, or the Undoing of Women. Minneapolis: University of Minnesota Press

Cusick, S. 1999. “On Musical Performances of Gender and Sex.” In Audible Traces: Gender, Identity and Music, ed. E. Barkin and L. Hamessley. Carciofoli Verlagshaus, Zurich

———. 2001. “Gender, Musicology and Feminism.” In Rethinking Music, ed. N. Cook and M. Everist. Oxford University Press

Demers, Joanna. 2010. Listening Through The Noise: The Aesthetics of Experimental Electronic Music. New York: Oxford University Press

Detels, Claire. 1994. “Autonomist/ Formalist Aesthetics, Music Theory, and the Feminist Paradigm of Soft Boundaries.” The Journal of Aesthetics and Art Criticism 5 (21)

Downes, Julia (ed). 2012. Women Make Noise: Girl bands from Motown to the modern.  Supernova Books, Twickenham UK

Driver, Susan. 2007. Queer Girls and Popular Culture: Reading, Resisting and Creating Media. Peter Lang Publishing Inc New York

Duncombe, S. & Maxwell Tremblay (eds) (2011) White Riot: Punk Rock and the Politics of Race. London Verso Books

Dyson, Frances. 2009. Sounding New Media: Immersion and Embodiment in the Arts and Culture. University of California Press

Dzuverovic, Lina, and Anne Hilde Neset, eds. 2005. Her Noise Catalogue. Forma Arts & Media Ltd

Essl, G. 2003. “On Gender in New Music Interface Technology.” Organised Sound 8 (1). Cambridge University Press: 19–30

Evans, Liz. 1994. Women, Sex and Rock “N” Roll in Their Own Words. Pandora

Fisher, J. “Reflections On Echo—Sound By Women Artists In Britain.”

Foreman, I. 2011. “Uncanny Soundscapes: Towards an Inoperative Acoustic Community.” Organised Sound, Cambridge University Press 16 (3): 264–271. doi:10.1017/S1355771811000276

Freeman, E. 2010. Time Binds: Queer Temporalities, Queer Histories. Duke University Press, Durham and London

Frith, Simon. 1996. “Music and Identity.” In Questions of Cultural Identity, ed. Stuart Hall and Paul du Gay, 108–127. London: Sage Publishing

Fuller, S, and N Losseff, eds. 2004. The Idea of Music in Victorian Fiction. Ashgate

Galas, D. 1996. The Shit of God. High Risk Books/Serpent’s Tail

Goldberg, R. 1998. Performance, Live Art Since the 60s. Thames and Hudson

Gourse, Leslie. 1995. Madame Jazz: Contemporary Women Instrumentalists. Oxford University Press

Graham, D. 1982. “New Wave Rock and the Feminine.” Live (New York) 617: 12–17

Green, K. and Tristan Taormino. 1997. A Girl’s Guide to Taking Over the World: Writings From the Girl Zine Revolution. New York: St. Martin’s Griffin.

Green, L. 1997. Music, Gender, Education. Cambridge University Press

Grosz, E. 2008. Chaos, Territory, Art: Deleuze and the Framing of the Earth. Columbia University Press

Grosz, Elizabeth. 1995. Space, Time and Perversion: Essays on the Politics of Bodies. Routledge; 1st ed edition

Halberstam, J. 2011. The Queer Art of Failure. Duke University Press

———. 2007. Keeping Time with Lesbians on Ecstasy. Women and Music: A Journal of Gender and Culture, Volume 11, 2007, pp. 51-58 (Article)

———. 2005. In A Queer Time and Place: Transgender Bodies, Subcultural Lives (Sexual Cultures).New York University Press

-———. 2005. Gaga Feminism: Sex, Gender and the End of Normal. Beacon Press

Halstead, J. 1997. The Woman Composer, Creativity and the Gendered Politics of Musical Composition. Ashgate

Harris, Geraldine. 1999. Staging Feminities: Performance and Performativity. Manchester University Press

Herrington, Tony. 1999. Invisible Jukebox. Quartet Books Ltd

Hubbs, Nadine. 2004. The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity. University of California Press

Hutton, Fiona. 2006. Risky Pleasures? Club Cultures and Feminine Identities. Burlington VT and Aldershot: Ashgate

Hutton, J. 2003. “Daphne Oram: Innovator, Writer and Composer.” Organised Sound 8 (1). Cambridge University Press: 49–56

Jarviluoma, Helmi, Pirkko Moiasala, and Anni Vilkko. 2003. “Not Only Vision – Analysing Sound and Music from the Perspective of Gender.” In Gender and Qualitative Methods. Sage Publications

Juno, A. 1996. Research  13: Angry Women in Rock. Juno Books

Karpf, Anne. 2006. The Human Voice: The Story of a Remarkable Talent. Bloomsbury Publishing Plc

Kim-Cohen, Seth. 2009. In The Blink of an Ear: Toward a Non-Cochlear Sonic Art. New York: Continuum International

Kleinerman, K. 2008. “Women Sing, Women Lead: The Transformation of Identity and Emergence of Leadership in Women Through Voice.” G. E. M. S. (Gender, Education, Music, and Society) 4.

Kolber, David. 2002. “Hildegard Westerkamp’s Kits Beach Soundwalk: Shifting Perspectives in Real World Music.” Organised Sound 7 (1): 41–43. doi:10.1017/S1355771802001061

Koskoff, Ellen. “(Left Out in) Left (the Field) The Effects of Post-postmodern Scholarship on Feminist and Gender Studies in Musicology and Ethnomusicology, 1990–2000.” Women & Music Volume 9

Kubisch, C. 1996. Zwischenraume. Kruger Druck und Verlag GmbH

Lane, C. 2006. “Voices from the Past: Compositional Approaches to Using Recorded Speech.” Organised Sound 11 (1). Cambridge University Press

———. 2011. “LISTENING FOR THE PAST: A Composer’s Ear-lead Approach to Exploring Island Culture Past and Present in the Outer Hebrides.” Shima: The International Journal of Research into Island Cultures 5 (1). Lane Shima v5n1 114-127.pdf

Lane, C. ed. 2008. Playing With Words: The Spoken Word in Artistic Practice. London: CRiSAP

Lewis, Rachel. 2009. “What’s Queer About Musicology Now?” Women & Music Vol. 13

Macarthur, Sally. 2002. Feminist Aesthetics in Music. Westport, Conneticut & London, Greenwood Press

———. 2010. Towards a 21st Century Feminist Politics of Music. Ashgate

Madrid, A.L. 2009. “Why Music and Performance Studies? Why Now?” TRANS-Transcultural Music Review 13 (article 3) [Accessed online 2011]

Martin, Paul. 2002. Sonic Process. Museu d’Art Contemporani de Barcelona

Maus, F. 2004. “Sexual and Musical Categories”. In Ashby, A. 2004. The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. University of Rochester Press

McCartney, A. 1994. “Creating Worlds for My Music to Exist Master’s Thesis in Music”. (York University, Toronto 1994) [Accessed online]

———. 1995. “Inventing Images: Constructing and Contesting Gender in Thinking About Electroacoustic Music.” Leonardo Music Journal 5, 1995: 57-66

———. 1998. “Outside in the Machine: Women Composers of Electroacoustic Music in Canada.” Ghosts in the Machine: Women and Cultural Policy in Canada and Australia. Edited by Alison Beale and Annette Van Den Bosch. Toronto: Garamond, 181-210

———. 2000. “Come Out and Play! Why are Gender and Feminist Studies So Late to Come to Music?” Ctrl+Shift Art Ctrl+Shift Gender: Convergences of Gender, New Media and Art. Amsterdam, Netherlands: Axis Voor de Kunsten V/M, 18-21

———. 2010. “Contrapuntal Delivery and Reception of Hildegard Westerkamp’s Electrovocal Performance Work on Mothering, Moments of Laughter.” Mothers Who Deliver: Feminist Interventions in Public and Interpersonal Discourse. Edited by JF Stitt and PR Powell. State Univ of New York Press, 21-40

McCartney, Andra, and Sandra Gabriele. 2001. Soundwalking at Night. Presented at the Night and the City Conference McGill University, Montreal, Quebec [accessed online 2012]

McCartney, Andra, and Ellen Waterman. 2006. “In and Out of the Sound Studio.” Editorial. Intersections Canadian Journal of Music 26 (2). Toronto: Canadian University Music Society, 2006: 3-19. [Archived online]

McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. University of Minnesota Press

———. 2000. Conventional Wisdom: The Content of Musical Form. University of California Press

———. 2011. “Feminine Endings at Twenty”. TRANS-Revista Transcultural de Música/ Transcultural Music Review 15 [accessed on line 19/11/12]

McRobbie, A. & Jenny Garber. “Girls and Subcultures”. In Hall, S. & Tony Jefferson. 1975. Resistance Through Rituals: Youth subcultures in post-war Britain. Hutchinson & Co Publishers London

McRobbie, A. 1993. “Shut Up and Dance: Youth Culture and Changing Modes of Femininity.” In Cultural Studies Vol. 7, Iss. 3, 1997

Mieszkowski, S, J Smith, and M de Valck, eds. 2007. Sonic Interventions. Editions Rodopi B.V., Amsterdam – New York, NY

Mockus, M. 2008. Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge

Moisala, P., and B. Diamond. 2000. Music and Gender. University of Illinois Press

Nehring, Neil, and Margaret Seawell. 1997. Popular Music, Gender, and Postmodernism: Anger Is an Energy. Sage Publications, Inc

Neuls-Bates, Carol. 1996. Women in Music: An Anthology of Source Readings from the Middle Ages to the Present. Northeastern University Press

Newman, H. 2001. Performancemania. Matt’s Gallery UK

Norman, Katharine. 2004. Sounding Art: Eight Literary Excursions Through Electronic Music. Hants, England: Ashgate

———. 1996. “A Poetry of Reality: Composing with Recorded Sound.” Contemporary Music Review 15, Issue 1-2

O’Brien, Lucy. 1995. She Bop: The Definitive History of Women in Rock, Pop and Soul. Penguin Books

Oliveros, P. 1983. Software For People. Unpub Editions

———. 1995. “Acoustic and Virtual Space as a Dynamic Element of Music.” Leonardo Music Journal 5: 19–22

———. 1998. Roots of The Moment. Drogue Press

———. 2005. Deep Listening: A Composer’s Sound Practice. iUniverse, Inc

Oliveros, P, and D Gamper. 1998. “The Expanded Instrument System: New Developments and Implementations.” Computer Music Journal (Spring)

Oliveros, P, and F Maus. 1994. “A Conversation About Feminism and Music.” Perspectives of New Music 32 (2): 174–193

Oram, D. 1972. An Individual Note of Music, Sound and Electronics. Galliard Ltd

Parker, R., and G. Pollock. 1995. Framing Feminism: Art and the Women’s Movement 1970-1985. Pandora

Pendle, K. 1991. Women & Music : A History. Indiana University Press

Peraino, Judith. 2006. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. University of California Press

———. 2007. Listening to Gender: A Response to Judith Halberstam. In Women and Music: A Journal of Gender and Culture, Volume 11, 2007, pp. 59-64 (Article)

Raha, M. 2005. Cinderella’s Big Score: Women of Punk and the Indie Underground. Seal Press

Randall, Annie J. 2005. Music, Power, and Politics. Routledge

Reynolds, S. 2005. Rip It Up and Start Again. Faber & Faber Limited

Robindoré, Brigitte, and Luc Ferrari. 1998. “Luc Ferrari: Interview with an Intimate Iconoclast.” Computer Music Journal 22 (3). MIT Press: 8–16

Rodgers, Tara. 2010. Pink Noises: Women on Electronic Music and Sound. USA: Duke University Press

Rodgers, T. “Butterfly Effects: Synthesis, Emergence, and Transduction.” Leonardo Electronic Almanac 14, no. 7-8 (2006), “Wild Nature and the Digital Life” special issue, edited by Sue Thomas and Dene Grigar

Rodgers, T. “‘What, for me, constitutes life in a sound?’: Electronic Sounds as Lively and Differentiated Individuals.” American Quarterly 63, no. 3 (Sept. 2011), Sound Clash: Listening to American Studies special issue, edited by Kara Keeling and Josh Kun: 509-30

Rodgers, T. “Toward a Feminist Epistemology of Sound: Refiguring Waves in Audio-Technical Discourse,” in Philosophy After Irigaray: Selected Papers from the Proceedings of the Luce Irigaray Conference, edited by Mary Rawlinson, Danae Mcleod, and Sara McNamara (SUNY Press, forthcoming)

Schaeffer, P. (1952) A La Recherche D’une Musique Concrète. Translation by Dack, J. and North, C. (2009) University of California Press

Schlichter, A. (2011) “Do Voices Matter? Vocality, Materiality, Gender Performativity”. In Body & Society 2011 17: 31

Seddon, L. (2013) British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. Ashgate Publishing

Sedgwick, Eve Kosofsky. 2003. Touching Feeling: Affect, Pedagogy, Performativity. Durham & London: Duke University Press

Silverman, K. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Indiana University Press

Skelton, T, and G Valentine, eds. 1998. Cool Places: Geographies of Youth Cultures. Routledge

Schlain, Leonard. 1999. The Alphabet Versus the Goddess: The Conflict Between Word and Image. Penguin Books

Solie, R. 1993. Musicology and Difference: Gender and Sexuality in Music Scholarship. University of California Press

Spencer, Amy. 2005. DIY: The Rise of Lo-fi Culture. Marion Boyars

Stone, Sandy. 1994. The “Empire” Strikes Back: A Post Transsexual Manifesto. Available online. Creative Commons License 3.0

Taylor, Jodie. 2012. Playing it Queer: Popular Music, Identity and Queer World-making. Peter Lang International Academic Publishers

Terry Brian, P, and Laurence Lane, eds. 1999. Work & Leisure International. Trice Publications

Thompson, M. 2012. “Productive Parasites: Thinking of Noise as Affect“. In Cultural Studies Review 2012 Vol 18:3, pp 13-35.

Tiainen, Milla. “Corporeal Voices, Sexual Differentiations: New Materialist Perspectives on Music, Singing and Subjectivity.” In Sonic Interventions. Editors Sylvia Mieszkowski, Joy Smith, Marijke De Valck, 147–168

Voegelin, Salomé. 2010. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum International

Whiteley, Sheila. 1997. Sexing the Groove: Popular Music and Gender. London and New York: Routledge Press

Wood, N., and L. Bondi. 2002. “‘Once More with Feeling’: Putting Emotion into Geographies of Music.” In Subjectivities, Knowledge’s, and Feminist Geographies: The Subjects and Ethics of Social Research. Rowman & Littlefield Publishers Inc

Wolf, Christa. 1984. Cassandra. Trans. Jan van Heurck. New York: Farrar, Straus and Giroux

Yoshimoto, Midori. 2005. Into Performance: Japanese Women Artists In New York. Rutgers University Press

Young, Rob. 2002. Undercurrents. Continuum Press

Von Burden, Zora. 2010. Women of the Underground: Music – Cultural Innovators Speak for Themselves. Manic D Press San Francisco