The Routledge Companion to Jazz and Gender identifies, defines, and interrogates the construct of gender in all forms of jazz, jazz culture, and education, shaping and transforming the conversation in response to changing cultural and societal norms across the globe. Such interrogation requires consideration of gender from multiple viewpoints, from scholars and artists at various points in their careers. This edited collection of 38 essays gathers the diverse perspectives of contributors from four continents, exploring the nuanced (and at times controversial) construct of gender as it relates to jazz music, in the past and present, in four parts:
- Historical Perspectives
- Identity and Culture
- Society and Education
- Policy and Advocacy
Acknowledging the art form’s troubled relationship with gender, contributors seek to define the construct to include all possible definitions—not only female and male—without binary limitations, contextualizing gender and jazz in both place and time. As gender identity becomes an increasingly important consideration in both education and scholarship, The Routledge Companion to Jazz and Gender provides a broad and inclusive resource of research for the academic community, addressing an urgent need to reconcile the construct of gender in jazz in all its forms.
Table of Contents
Part I: Historical Perspectives / 1. "The Frivolous, Scantily Clad ‘Jazzing Flapper,’ Irresponsible and Undisciplined": Jazz as a Feminine Domain (Bruce Johnson) / 2. "I’ve Got the Haitian Blues": Mamie Desdunes and the Gendered Inflections of the Common Wind (Ben Barson) / 3. Lil Hardin Armstrong and Helen Joyner: The Forgotten Patrons of Jazz (Jeremy Brown) / 4. Queer Aesthetics and the Performing Subject in Jazz in the 1920s (Magdalena Fürnkranz) / 5. Black Against the Stave: Black Modern Girls in British Interwar Jazz (Jessica Chow) / 6. Trumpet Men: Performances of Masculinity in Jazz (Aaron J. Johnson) / 7. Hard Bop Cool Pose: Bebop, the Blues, and Masculinity in the Music of Lee Morgan (Keith Karns) / 8. Toward a Feminist Understanding of Jazz Curatorship (Kara Attrep) / 9. The Girl in the Other Room: Generating New Open Knowledge for the Women of Jazz (M. Cristina Pattuelli and Karen Li-Lun Hwang) / 10. The Rise of Queermisia in Jazz: Medicalization, Legislation, and Its Effects (Chloe Resler) / 11. Constructing a Diverse and Inclusive Jazz Tradition: A Uchronic Narrative (Michael Kahr) / Part II: Identity and Culture / 12. Playing the Part: A Social-Psychological Perspective on Being a Girl in Jazz (Erin L. Wehr) / 13. Gender, Sexuality, and Jazz Saxophone Performance (Yoko Suzuki) / 14. A Clash of Identities: How Aspects of Gender and Identity in Jazz Influence Both the Music and Its Perception (Wolfram Knauer) / 15. "I’m Just One of Them": Gender in Jazz Competitions (Matthias Heyman) / 16. Gendered Interventions in European Jazz Festival Programming: Keychanges, Stars, and Alternative Networks (Kristin McGee) / 17. Resurrecting Masculinity: Gender, Jazz Timbre, and the Afterlife of Dennis Irwin’s Bass (ken tianyuan Ge) / 18. Jazz Dance, Gender, and the Commodification of the Moving Body: Examining Patriarchal and White Supremacist Structures in Social and Commercial Jazz Dance Forms (Brandi Coleman) / 19. Women’s Access to Professional Jazz: From Limiting Processes to Levers for Transgression (Marie Buscatto) / 20. "It Ain’t Who You Are": Authenticity, Sexuality, and Masculinity in Jazz (Ann Cotterrell) / Part III: Society and Education / 21. Oppression and Hope: Students’ Perceptions of Gender and Stereotypes in Jazz Appreciation and History (James Reddan) / 22. Picturing Women in Jazz: An Analysis of Three Jazz History Textbooks (Ramsey Castaneda and Amanda Quinlan) / 23. Degendering Jazz Guitar: Reimagining the Past - Realigning the Future (Tom Williams) / 24. "Music Saved My Live": Jennifer Leitham on Life, Music, and Gender (Joshua Palkki, Carl Oser, and Jennifer Leitham) / 25. Can E-Flat Be Sexist? Canonical Keys as Marginalizing Practice in Jazz (Wendy Hargreaves and Melissa Forbes) / 26. Inclusive Jazz History Pedagogy (Sonya R. Lawson) / 27. Negotiating Hegemonic Masculinity in Australian Tertiary Jazz Education (Robert Burke and Clare Hall) / 28. Jazzwomen in Higher Education: Experiences, Attitudes, and Personality Traits (Natalie Boeyink) / 29. The Gender Imperative in Jazz: The Role of Intercultural Maturity in Jazz Curricula (Lenora Helm Hammonds) / 30. In Her Own Words: Documenting the Current Realities of Women-in-Jazz (Kiernan Steiner and Alexandra Manfredo) / 31. Call and (Her) Response: Improvisation and the Myth of Absence (Dana Reason) / Part IV: Policy and Advocacy / 32. Victims No More: How Women and Non-Binary Musicians are Collaborating for Gender Justice in Jazz(Beatriz Nunes and Leonor Arnaut) / 33. Women in Jazz: A Failed Brand (Rebecca Zola) / 34. Accessing Jazz’s Gendered Places and Spaces (Sarah Caissie Provost) / 35. Breaking Down Barriers: Female Jazz Musicians in Spain (Rebeca Muñoz-Garcia) / 36. The Pale Image of the Jazz Female Instrumentalists in Southeastern Europe (Jasna Jovićević) / 37. Addressing Gender Imbalance through Mentorship and Advocacy (Ellen Rowe) / 38. Sheroes – The Role of All-Women Groups (Monika Herzig)
James Reddan is Associate Professor and Director of Choral Activities and Music Education at Western Oregon University, USA.
Monika Herzig is Senior Lecturer in the Paul H. O’Neill School of Public and Environmental Affairs at Indiana University, USA.
Michael Kahr is Chair of Jazz at the Gustav Mahler Private University of Music in Klagenfurt and Senior Lecturer at the Institute for Jazz at the University of Music and Performing Arts in Graz, Austria.