Book contents
- The Cambridge Companion to Women in Music since 1900
- Cambridge Companions to Music
- The Cambridge Companion to Women in Music since 1900
- Copyright page
- Dedication
- Contents
- Figures
- Boxes
- Notes on Contributors
- Preface
- Abbreviations
- Part I The Classical Tradition
- Part II Women in Popular Music
- 7 Most of My Sheroes Don’t Appear on a Stamp: Contextualising the Contributions of Women Musicians to the Progression of Jazz
- 8 Leaders of the Pack: Girl Groups of the 1960s
- 9 Women and Rock
- 10 ‘(You Make Me Feel Like) A Natural Woman’: Women in Songwriting
- 11 The British Folk Revival: Mythology and the ‘Non-Figuring’ and ‘Figuring’ Woman
- 12 How MTV Idols Got Us in Formation: Solo Women and Their Brands Make Space for Truth Telling, Trauma, and Survival in Popular Music from 1981 to the Present
- In Her Own Words: Practitioner Contribution 2
- Part III Women and Music Technology
- Part IV Women’s Wider Work in Music
- Appendix: Survey Questions for Chapter 14, The Star-Eaters: A 2019 Survey of Female and Gender-Non-Conforming Individuals Using Electronics for Music
- Select Bibliography
- Index
- References
7 - Most of My Sheroes Don’t Appear on a Stamp: Contextualising the Contributions of Women Musicians to the Progression of Jazz
from Part II - Women in Popular Music
Published online by Cambridge University Press: 17 April 2021
Edited by
Book contents
- The Cambridge Companion to Women in Music since 1900
- Cambridge Companions to Music
- The Cambridge Companion to Women in Music since 1900
- Copyright page
- Dedication
- Contents
- Figures
- Boxes
- Notes on Contributors
- Preface
- Abbreviations
- Part I The Classical Tradition
- Part II Women in Popular Music
- 7 Most of My Sheroes Don’t Appear on a Stamp: Contextualising the Contributions of Women Musicians to the Progression of Jazz
- 8 Leaders of the Pack: Girl Groups of the 1960s
- 9 Women and Rock
- 10 ‘(You Make Me Feel Like) A Natural Woman’: Women in Songwriting
- 11 The British Folk Revival: Mythology and the ‘Non-Figuring’ and ‘Figuring’ Woman
- 12 How MTV Idols Got Us in Formation: Solo Women and Their Brands Make Space for Truth Telling, Trauma, and Survival in Popular Music from 1981 to the Present
- In Her Own Words: Practitioner Contribution 2
- Part III Women and Music Technology
- Part IV Women’s Wider Work in Music
- Appendix: Survey Questions for Chapter 14, The Star-Eaters: A 2019 Survey of Female and Gender-Non-Conforming Individuals Using Electronics for Music
- Select Bibliography
- Index
- References
Summary
Chapter 7, ‘Most of My Sheroes Don’t Appear on a Stamp: Contextualising the Contributions of Women Musicians to the Progression of Jazz’, considers the vital part that women – both vocalists and instrumentalists – made to the development of jazz, although they have tended to be excluded from standard historiographical narratives of the genre. With a focus on the development of jazz in the United States, Tammy L. Kernodle considers women jazz musicians’ work from the early days of New Orleans jazz, through jazz in Chicago, New York, Kansas City, and Europe, to the emergence of women jazz singers, including Billie Holiday and Ella Fitzgerald, and to the all-girl swing bands of the 1940s.
Keywords
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- The Cambridge Companion to Women in Music since 1900 , pp. 103 - 118Publisher: Cambridge University PressPrint publication year: 2021
References
Further Reading
Taylor, Jeffrey. ‘With Lovie and Lil: Rediscovered Two Chicago Pianists of the 1920s’, in Rustin, Nichole T. and Tucker, Sherrie (eds.), Big Ears: Listening for Gender in Jazz Studies (Durham and London: Duke University Press, 2008), 48–63.Google Scholar
Tucker, Sherrie. ‘Nobody’s Sweethearts: Gender, Race, Jazz, and the Darlings of Rhythm.’ American Music, vol. 16, no. 3 (Autumn 1998), 255–88.Google Scholar
Tucker, Sherrie. Swing Shift: ‘All-Girl’ Bands of the 1940s (Durham and London: Duke University Press, 2001).Google Scholar
Tucker, Sherrie. ‘Telling Performances: Jazz History Remembered and Remade by the Women in the Band’, The Oral History Review, vol. 26, no. 1 (Winter–Spring 1999), 67–84.Google Scholar