The gender imbalance at music festivals has proven to be a major issue and has received increasing attention in the news due to activist efforts such as the Keychange initiative – an international initiative that aims to achieve a 50/50 gender balance at music festivals by 2022. Former CEO of the Ivors Academy, Vick Bain, has created a spreadsheet that might be of great help in the attempt to reach this balance. In the spreadsheet, she lists women artists who are signed to a record label or who independently release music in the United Kingdom. The list includes more than 2,000 artists and bands. Bain hopes that the spreadsheet makes people see that it’s not actually that difficult to find women artists. She tells BBC: “I’ve done that work for them, so there’s no excuse.” It’s a resource for a major part of the music industry, as it covers a great range of genres – including composers as well as songwriters.
The Tijdschrift voor Genderstudies (Journal of Gender Studies) is a forum for the scientific problematization of gender in relation to ethnicity, sexuality, class, and age. The journal is an interdisciplinary medium operating at the intersection of society, culture, health and science. The editorial staff invites articles about gender issues from different disciplines and accepts articles in Dutch and English. As well as publishing articles, the journal includes essays, columns (short topical and polemical articles), interviews, reviews, summaries of dissertations and conference reports.
The Tijdschrift voor Genderstudies invites abstracts for articles for its 2020 Winter issue. As this is a general issue there is no subject limitation, provided that the article problematizes gender. The journal favors submissions that touch upon current debates in the Netherlands and/or Belgium or that include case studies that are relevant for Dutch and Flemish academic fields. Abstracts should be submitted in Dutch or English before 22 March 2020. Once your abstract has been assessed and judged suitable for this issue, you will receive an invitation to submit. Notifications of acceptance will be sent by 12 April 2020. The deadline for submission of articles (of approximately 6000 words) is 20 July 2020. All submissions will be reviewed in a double-blind peer review process. In case of a high number of positively peer-reviewed contributions, the editorial board reserves the right to make a final selection of articles and to publish some contributions in a later issue.
Abstracts of approximately 500 words should state the problem or research question addressed in the proposed paper; outline the theoretical framework; state the main point or argument of the proposed paper; provide a rough indication of the methods used; and - where relevant - present a rough overview of literature used. Abstracts should be sent to firstname.lastname@example.org.
More information as well as instructions for authors can be found through the link below.
On 27-29 November 2020, a conference aiming to investigate the music and the role of women composers from 1750 to 1950 will take place in Lucca, Italy. Keynotes will be given by Mariateresa Storino and Susan Wollenberg. The submission deadline is 5 April 2020. For more information, see the link below.
New book: L. J. Müller, Sound und Sexismus - Geschlecht im Klang populärer Musik. Eine feministisch-musiktheoretische Annäherung
June 03, 2018
Sexism is usually quickly recognized and criticized in texts and images, but when it comes to sound, the words are often missing. This book makes sexism in pop music audible and shows how to analyze "Othering" or a "male gazes" in sound. Traditional music analysis categories (harmony, melody, form) are, however, often unsuitable. This book thus develops new tools for the study of popular music, which are more directly based on the listening experience, making them understandable even without prior musical knowledge.
In Dolly Parton, Gender, and Country Music, Leigh H. Edwards explores Dolly’s roles as musician, actor, author, philanthropist, and entrepreneur to show how Dolly’s gender subversion highlights the challenges that can be found even in the most seemingly traditional form of American popular music. As Dolly depicts herself as simultaneously "real" and "fake," she offers new perspectives on country music’s claims of authenticity.