266 Sharon Jagger and Helen Turner
In academia, Bagilhole argues that women take on nurturing, pastoral, and
administrative roles that are neither rewarded nancially nor contribute to a
career trajectory. It is an interesting and important point to raise, then, that
both Lauren and Aubrey feel able to leverage the emotional labor they provide.
5. There are debates in feminist linguistic studies about how to overcome the
negative semantic space of the female – that is, the way the female is invis-
ible in language that encourages the imagination to see the male as universal.
Requiring the prex of “woman” generates a separate feminine taxonomy that
many feminists would see as sexist (see Spender [1985], for an overview of
this debate). For the music producer, there is clearly value in being dierenti-
ated linguistically.
6. Feminist theory has engaged with what has become known as the “aective
turn”, which explores the ways in which emotion and intimacy are forms of
power and have an impact on social and cultural processes. Further research is
needed into the aective economy in the studio.
REFERENCES
Ahmed, S. (2000). Embodying Strangers. In A. Horner and A. Keane (eds.).
Body Matters: Feminism, Textuality, Corporeality. Manchester: Manchester
University Press, pp. 85–96.
Ahmed, S. (2004). The Cultural Politics of Emotion. Edinburgh: Edinburgh
University Press.
Bagilhole, B. (2002). Women in Non-Traditional Occupations: Challenging Men.
Basingstoke: Palgrave Macmillan.
Bartky, S. L. (1997). Foucault, Femininity, and Patriarchal Power. In K. Conboy,
N. Medina and S. Stanbury (eds.). Writing on the Body: Female Embodiment
and Feminist Theory. New York: Columbia University Press, pp. 129–154.
Bourdieu, P. (2010). Distinction. Abingdon: Routledge. (Originally published by
Routledge, Kegan and Paul, 1984).
Butler, J. (2007). Gender Trouble. London: Routledge. (Originally published by
Routledge, 1990).
Citron, M. J. (1994). Feminist Approaches to Musicology. In S. C. Cook and J. S.
Tsou (eds.). Cecilia Reclaimed: Feminist Perspectives on Gender and Music.
Chicago: University of Illinois Press, pp. 15–34.
Cook, S. C. and Tsou, J. S. (eds.). (1994). Cecilia Reclaimed: Feminist Perspectives
on Gender and Music. Chicago: University of Illinois Press.
Deakin Davis (2019). [Online]. Available at: www.laurendeakindavies.com/home
de Beauvoir, S. (2009). The Second Sex. Translated by C. Borde and S. Malovany-
Chevallier. London: Jonathon Cape. (Originally published as Le Dexième
Sexe by Editions Gallimard, Paris, 1949).
Downes, J. (2012). The Expansion of Punk Rock: Riot Grrrl Challenges to Gender
Power Relations in British Indie Music Subcultures. Women’s Studies, 41(2),
204–237.
Hill, R. (2016). Gender, Metal and the Media: Women Fans and the Gendered
Experience of Music. Basingstoke: Palgrave Macmillan.
267 The Female Music Producer
Jagger, S. (2019). The Dialectic of Belonging: Resistances and Subversions of
Women Priests in the Church of England. Unpublished. University of York
PhD.
Lerman, N. E., Oldenziel, R. and Mohun, A. P. (eds.). (2003). Gender and
Technology: A Reader. Baltimore; London: John Hopkins University Press.
Liljeström, M. (2016). Affect. In L. Disch and M. Hawkesworth (eds.). The Oxford
Handbook of Feminist Theory. Oxford: Oxford University Press, pp. 16–38.
Negus, K (1992). Producing Pop: Culture and Conflict in Popular Music. London:
Hodder and Stoughton.
Pegley, K. (2000). Gender, Voice, and Place. In P. Moisala and B. Diamond (eds.).
Music and Gender. Chicago: University of Illinois Press, pp. 306–316.
Porcello, T. (2004). Speaking of Sound: Language and the Professionalization of
Sound-Recording Engineers. Social Studies of Science, 34(5), 733–758.
Puwar, N. (2004). Space Invaders: Race, Gender and Bodies Out of Place.
Oxford; New York: Berg
Reimer, J. and Bridwell, L. (1982). How Women Survive in Non-Traditional
Occupations. Free Inquiry in Creative Sociology, 10(2), 153–158.
Sandstrom, B. (2000). Women Mix Engineers. In P. Moisala and B. Diamond
(eds.). Music and Gender. Chicago: University of Illinois Press, pp. 289–305.
Spender, D. (1985). Man Made Language, 2nd ed. London: Pandora Press.
Ward and McMurray (2016). The Dark Side of Emotional Labour. London:
Routledge.
Weatherall, A. (2002). Gender, Language and Discourse. London: Routledge.
Whiteley, S. (2000). Women and Popular Music: Sexuality, Identity and
Subjectivity. London; New York: Routledge.
Whitfield, A. (2019). [Online]. Available at: www.aubreywhitfield.com/
Wolfe, P. (2012). A Studio of One’s Own: Music Production, Technology and
Gender. Journal on the Art of Record Production, 7. [Online]. Available at:
www.arpjournal.com/asarpwp/a-studio-of-one%E2%80%99s-own-music-
production-technology-and-gender/
Young, I. M. (1990). Throwing Like a Girl and Other Essays in Feminist
Philosophy and Social Theory. Bloomington: Indiana University Press.
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.