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Gender in Music Production

Author Russ Hepworth-Sawyer , Jay Hodgson , Liesl King
Release Date: 2020/04/01
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Book Description

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.

Table of Contents

  1. Cover
  2. Half Title
  3. Series
  4. Title
  5. Copyright
  6. Contents
  7. List of Contributors (1/2)
  8. List of Contributors (2/2)
  9. 1 Gender in Music Production – An Introduction (1/2)
  10. 1 Gender in Music Production – An Introduction (2/2)
  11. Part one History and Context
    1. 2 Women in Music Production: A Contextualized History From the 1890s to the 1980s (1/5)
    2. 2 Women in Music Production: A Contextualized History From the 1890s to the 1980s (2/5)
    3. 2 Women in Music Production: A Contextualized History From the 1890s to the 1980s (3/5)
    4. 2 Women in Music Production: A Contextualized History From the 1890s to the 1980s (4/5)
    5. 2 Women in Music Production: A Contextualized History From the 1890s to the 1980s (5/5)
    6. 3 The Role of Women in Music Production in Spain During the 1960s: Maryní Callejo and the “Brincos Sound” (1/4)
    7. 3 The Role of Women in Music Production in Spain During the 1960s: Maryní Callejo and the “Brincos Sound” (2/4)
    8. 3 The Role of Women in Music Production in Spain During the 1960s: Maryní Callejo and the “Brincos Sound” (3/4)
    9. 3 The Role of Women in Music Production in Spain During the 1960s: Maryní Callejo and the “Brincos Sound” (4/4)
    10. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (1/7)
    11. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (2/7)
    12. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (3/7)
    13. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (4/7)
    14. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (5/7)
    15. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (6/7)
    16. 4 The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa (7/7)
    17. 5 “Hey boy, hey girl, superstar DJ, here we go . . .”: Exploring the Experience of Female and Non-Binary DJs in the UK Music Scene (1/3)
    18. 5 “Hey boy, hey girl, superstar DJ, here we go . . .”: Exploring the Experience of Female and Non-Binary DJs in the UK Music Scene (2/3)
    19. 5 “Hey boy, hey girl, superstar DJ, here we go . . .”: Exploring the Experience of Female and Non-Binary DJs in the UK Music Scene (3/3)
    20. 6 She Plays the Pipe: Galician Female Bagpipers in the Production of Local Tradition and Gender Identity (1/5)
    21. 6 She Plays the Pipe: Galician Female Bagpipers in the Production of Local Tradition and Gender Identity (2/5)
    22. 6 She Plays the Pipe: Galician Female Bagpipers in the Production of Local Tradition and Gender Identity (3/5)
    23. 6 She Plays the Pipe: Galician Female Bagpipers in the Production of Local Tradition and Gender Identity (4/5)
    24. 6 She Plays the Pipe: Galician Female Bagpipers in the Production of Local Tradition and Gender Identity (5/5)
    25. 7 Rare Bird: Prince, Gender, and Music Production
  12. Part two Women in the Studio
    1. 8 Slamming the Door to the Recording Studio – Or Leaving It Ajar? (1/4)
    2. 8 Slamming the Door to the Recording Studio – Or Leaving It Ajar? (2/4)
    3. 8 Slamming the Door to the Recording Studio – Or Leaving It Ajar? (3/4)
    4. 8 Slamming the Door to the Recording Studio – Or Leaving It Ajar? (4/4)
    5. 9 Interview With Betty Cantor-Jackson (1/3)
    6. 9 Interview With Betty Cantor-Jackson (2/3)
    7. 9 Interview With Betty Cantor-Jackson (3/3)
    8. 10 Twists in the Tracks: An Interview With Singer, Composer, and Sound Producer Aynee Osborn Joujon-Roche (1/4)
    9. 10 Twists in the Tracks: An Interview With Singer, Composer, and Sound Producer Aynee Osborn Joujon-Roche (2/4)
    10. 10 Twists in the Tracks: An Interview With Singer, Composer, and Sound Producer Aynee Osborn Joujon-Roche (3/4)
    11. 10 Twists in the Tracks: An Interview With Singer, Composer, and Sound Producer Aynee Osborn Joujon-Roche (4/4)
  13. Part three Personal Perspectives
    1. 11 Women in Audio: Trends in New York Through the Perspective of a Civil War Survivor (1/3)
    2. 11 Women in Audio: Trends in New York Through the Perspective of a Civil War Survivor (2/3)
    3. 11 Women in Audio: Trends in New York Through the Perspective of a Civil War Survivor (3/3)
    4. 12 Three-Pronged Attack: The Pincer Movement of Gender Allies, Tempered Radicals, and Pioneers (1/3)
    5. 12 Three-Pronged Attack: The Pincer Movement of Gender Allies, Tempered Radicals, and Pioneers (2/3)
    6. 12 Three-Pronged Attack: The Pincer Movement of Gender Allies, Tempered Radicals, and Pioneers (3/3)
    7. 13 Gender in Music Production: Perspective Through a Female and Feminine Lens (1/4)
    8. 13 Gender in Music Production: Perspective Through a Female and Feminine Lens (2/4)
    9. 13 Gender in Music Production: Perspective Through a Female and Feminine Lens (3/4)
    10. 13 Gender in Music Production: Perspective Through a Female and Feminine Lens (4/4)
  14. Part Four Industrial Evolution
    1. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (1/7)
    2. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (2/7)
    3. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (3/7)
    4. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (4/7)
    5. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (5/7)
    6. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (6/7)
    7. 14 Addressing Gender Equality in Music Production: Current Challenges, Opportunities for Change, and Recommendations (7/7)
    8. 15 The Female Music Producer and the Leveraging of Difference (1/4)
    9. 15 The Female Music Producer and the Leveraging of Difference (2/4)
    10. 15 The Female Music Producer and the Leveraging of Difference (3/4)
    11. 15 The Female Music Producer and the Leveraging of Difference (4/4)
    12. 16 Conversations in Berlin: Discourse on Gender, Equilibrium, and Empowerment in Audio Production (1/4)
    13. 16 Conversations in Berlin: Discourse on Gender, Equilibrium, and Empowerment in Audio Production (2/4)
    14. 16 Conversations in Berlin: Discourse on Gender, Equilibrium, and Empowerment in Audio Production (3/4)
    15. 16 Conversations in Berlin: Discourse on Gender, Equilibrium, and Empowerment in Audio Production (4/4)
  15. Index (1/2)
  16. Index (2/2)
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