Music, Gender, and Sexuality Studies: A Teacher’s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all.

The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor’s interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Music, Gender, and Sexuality Studies: A Teacher’s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all.

The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor’s interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Then He Kissed Me, He''s A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the ''60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address ''60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.

Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

Then He Kissed Me, He''s A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the ''60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address ''60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.

Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative ''girlishness'' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative ''girlishness'' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

Music, Gender, and Sexuality Studies: A Teacher’s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all.

The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor’s interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Music, Gender, and Sexuality Studies: A Teacher’s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all.

The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor’s interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Then He Kissed Me, He''s A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the ''60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address ''60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.

Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

Then He Kissed Me, He''s A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the ''60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address ''60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.

Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative ''girlishness'' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative ''girlishness'' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.