302 Pages
    by Focal Press

    302 Pages
    by Focal Press

    The field of music production has for many years been regarded as male-dominated. Despite growing acknowledgement of this fact, and some evidence of diversification, it is clear that gender representation on the whole remains quite unbalanced. Gender in Music Production brings together industry leaders, practitioners, and academics to present and analyze the situation of gender within the wider context of music production as well as to propose potential directions for the future of the field. This much-anticipated volume explores a wide range of topics, covering historical and contextual perspectives on women in the industry, interviews, case studies, individual position pieces, as well as informed analysis of current challenges and opportunities for change.

    Ground-breaking in its synthesis of perspectives, Gender in Music Production offers a broadly considered and thought-provoking resource for professionals, students, and researchers working in the field of music production today.

    List of Contributors

    Chapter 1: Gender In Music Production– An Introduction

    Russ Hepworth-Sawyer, Liesl King & Mark Marrington


    Part I: History and Context


    Chapter 2: Mark Marrington, Women in music production: a contextualized history from the 1890s to the 1980s

    Chapter 3: Marco Antonio Juan de Dios Cuartas, The role of women in music production in Spain during the 1960s: Maryní Callejo and the "Brincos Sound"

    Chapter 4: Gurutze Lasa Zuzuarregui, The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa

    Chapter 5: Rebekka Kill, "Hey boy, hey girl, superstar DJ, here we go…" :exploring the experience of female and non binary DJs in the UK music scene.

    Chapter 6: Javier Campos Calvo-Sotelo, She plays the pipe. Galician female bagpipers in the production of local tradition and gender identity

    Chapter 7: Kirsty Fairclough, Rare Birds: Prince, Gender and Music Production

    Part II: Women in the Studio

    Chapter 8: Henrik Marstal, Slamming the door to the recording studio – or leaving it ajar?

    Chapter 9: Sergio Pisfil, Interview with Betty Cantor Jackson

    Chapter 10: Liesl King, Twists in the Tracks: An interview with singer, composer, and sound producer Aynee Osborn Joujon Roche

    Part III: Personal Perspectives

    Chapter 11: Svjetlana Bukvich, Women in audio: trends in New York through the perspective of a civil war survivor

    Chapter 12: Julianne Regan, Three Pronged Attack: The pincer movement of gender allies, tempered radicals and pioneers.

    Chapter 13: Louise M. Thompson, Gender in Music Production: Perspective Through a Female and Feminine Lens

    Part IV: Industrial Evolution

    Chapter 14: Jude Brereton, Helena Daffern, Kat Young, Michael Lovedee-Turner, Addressing gender equality in Music Production: current challenges, opportunities for change and recommendations

    Chapter 15: Sharon Jagger and Helen Turner, The Female Music Producer and the Leveraging of Difference

    Chapter 16: Liz Dobson, Conversations in Berlin: discourse on gender, equilibrium and empowerment in audio production



    Russ Hepworth-Sawyer is a sound engineer and producer with over two decades’ experience of all things audio and is a member of the Association of Professional Recording Services and a former board member and continuing member of the Music Producers Guild, where he helped form their Mastering Group.

    Jay Hodgson is an associate professor of popular music studies at Western University, where he mostly teaches songwriting and the project paradigm of record production.

    Dr Liesl King is Associate Head of School: Creative Writing, Media and Film Studies at York St John University in York, England.

    Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University.