Adrienne Trier-Bieniek, PhD, is currently professor of sociology at Valencia College in Orlando, Florida. She has published in the journals Qualitative Research, Humanity and Society, is a contributor to The Art of Social Critique: Painting Mirrors of Social Life and has been a guest columnist for The Orlando Sentinel. Adrienne regularly contributes to organizations seeking advice or information on music and healing. Further information can be found at www.adriennetrier-bieniek.com.

In Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos, sociologist Adrienne Trier-Bieniek examines the myriad ways in which fans—particularly women–identify with female singer-songwriters like Amos and how these fans turn to her music for therapeutic purposes. Through her own interviews with more than 40 fans, critical analysis of Amos’ lyrics and examination of the life experiences that shaped the artist (and person) Amos is today, the author attempts to unravel this phenomenon. . . .The book focuses not just on the therapeutic uses of music, but also addresses the topics of gender, activism (such as Amos’ own involvement with RAINN, the Rape, Abuse & Incest National Network) and the methods by which female performers navigate—and oppose—the many limiting stereotypes of women so prevalent in pop culture. Ultimately, Sing Us a Song, Piano Woman shines a spotlight on the motivation and experiences of female fans, an audience often overlooked in traditional studies of music and fandom.

Adrienne Trier-Bieniek, PhD, is currently professor of sociology at Valencia College in Orlando, Florida. She has published in the journals Qualitative Research, Humanity and Society, is a contributor to The Art of Social Critique: Painting Mirrors of Social Life and has been a guest columnist for The Orlando Sentinel. Adrienne regularly contributes to organizations seeking advice or information on music and healing. Further information can be found at www.adriennetrier-bieniek.com.

In Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos, sociologist Adrienne Trier-Bieniek examines the myriad ways in which fans—particularly women–identify with female singer-songwriters like Amos and how these fans turn to her music for therapeutic purposes. Through her own interviews with more than 40 fans, critical analysis of Amos’ lyrics and examination of the life experiences that shaped the artist (and person) Amos is today, the author attempts to unravel this phenomenon. . . .The book focuses not just on the therapeutic uses of music, but also addresses the topics of gender, activism (such as Amos’ own involvement with RAINN, the Rape, Abuse & Incest National Network) and the methods by which female performers navigate—and oppose—the many limiting stereotypes of women so prevalent in pop culture. Ultimately, Sing Us a Song, Piano Woman shines a spotlight on the motivation and experiences of female fans, an audience often overlooked in traditional studies of music and fandom.

Adrienne Trier-Bieniek, PhD, is currently professor of sociology at Valencia College in Orlando, Florida. She has published in the journals Qualitative Research, Humanity and Society, is a contributor to The Art of Social Critique: Painting Mirrors of Social Life and has been a guest columnist for The Orlando Sentinel. Adrienne regularly contributes to organizations seeking advice or information on music and healing. Further information can be found at www.adriennetrier-bieniek.com.

In Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos, sociologist Adrienne Trier-Bieniek examines the myriad ways in which fans—particularly women–identify with female singer-songwriters like Amos and how these fans turn to her music for therapeutic purposes. Through her own interviews with more than 40 fans, critical analysis of Amos’ lyrics and examination of the life experiences that shaped the artist (and person) Amos is today, the author attempts to unravel this phenomenon. . . .The book focuses not just on the therapeutic uses of music, but also addresses the topics of gender, activism (such as Amos’ own involvement with RAINN, the Rape, Abuse & Incest National Network) and the methods by which female performers navigate—and oppose—the many limiting stereotypes of women so prevalent in pop culture. Ultimately, Sing Us a Song, Piano Woman shines a spotlight on the motivation and experiences of female fans, an audience often overlooked in traditional studies of music and fandom.