Towards Gender Equality in the Music Industry

Catherine Strong is Senior Lecturer in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Music and Memory (2011), and Death and the Rock Star (2015, edited with Barbara Lebrun). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is currently Chair of IASPM-ANZ and co-editor of the Popular Music History Journal. Sarah Raine is Research Fellow at Birmingham City University, UK. She is co-editor of The Northern Soul Scene (forthcoming), the Review Editor and special issue Guest Editor (2018) for IASPM@Journal, and the co-Managing Editor of Riffs: Experimental Writing on Popular Music. She researches the hidden histories and peripheral participant voices within multigenerational music scenes.

List of Figures
Notes on Contributors
Acknowledgements
1. Towards Gender Equality in the Music Industry: An Introduction (Sarah Raine, Birmingham City University, UK, and Catherine Strong, RMIT, Australia)
Part I: Education
2. Gender and Popular Music Education in North America: We Need to Talk (Kelly Bylica and Ruth Wright, Western University, Canada)
3. Preparing for the ‘Real World’? Exploring Gender Issues in the Music Industry and the Role of Vocational Popular Music Higher Education (Helen Davies, Liverpool Institute for Performing Arts, UK)
4. Engineering a Place for Women: Gendered Experiences in the Music Technology Classroom (Emma Hopkins and Pauwke Berkers, Erasmus University Rotterdam, The Netherlands)
5. Qualified Careers: Gendered Attitudes towards Screen Composition Education in Australia (Catherine Strong and Fabian Cannizzo, RMIT, Australia)
Part II: Current Practice
6. Gender, Policy and Popular Music in Australia: ‘I Think the Main Obstacles Are Men and Older Men’ (Maura Edmond, Monash University, Australia)
7. Setting the Stage for Sexual Assault: The Dynamics of Gender, Culture, Space and Sexual Violence at Live Music Events (Bianca Fileborn, University of Melbourne, Australia, Phillip Wadds, University of New South Wales, Australia, and Ash Barnes, University of Tasmania, Australia)
8. South West England Open Mics: Gender Politics and Pints? (Sharon Martin, Bath Spa University, UK)
9. Gender Mainstreaming in the Music Industries: Perspectives from Swedish and the UK (Sam de Boise, Örebro University, Sweden)
10. The Gatekeeper Gap: Searching for Solutions to the UK’s Ongoing Gender Imbalance in Music Creation (Emma Hooper, Bath Spa University, UK)
Part III: Strategies for Change
11. Queer Noise: Sounding the Body of Historical Trauma (Samuel Galloway, University of Chicago, USA, and Joseph Sannicandro, University of Minnesota, USA)
12. ‘There's No Money in Record Deals and I'm Not Looking to Be Taken Advantage of’: Princess Nokia and Urban Feminism in a New Era of Hip Hop (Hodan Omar Elmi, Independent Scholar, UK)
13. ‘Kill It in a Man’s World’: Gender at the Intersection of the British Asian and Bollywood Music Industries (Julia Szivak, Birmingham City University, UK)
14. Keychanges at Cheltenham Jazz Festival: Issues of Gender in the UK Jazz Scene (Sarah Raine, Birmingham City University, UK)
15. Queer(ing) Music Production: Queer Women’s Experiences of Australian Punk Scenes (Megan Sharp, University of Melbourne, Australia)
Index