winkelwagen   Shopping basket

Your shopping basket is empty.


Everything for Solfège:

Follow us on Facebook

Follow us on

to read all the latest news!

Tuesday 25 October 2016

At the moment, our stores are closed. Tomorrow we will be open from 10am.

Have a question now?

Send us an e-mail!
We will get back to you as soon as possible.

Our opening hours

Quality guarantee

The Unizo E-commerce Label guarantees that you can shop in our web store in good faith.

Learn more...

crumb crumb crumb

Nichole T. Rustin, Sherrie Tucker: Big Ears: Listening for Gender in Jazz Studies

Big Ears: Listening for Gender in Jazz Studies. Rustin, Nichole T.; Tucker, Sherrie

Big Ears: Listening for Gender in Jazz Studies


Nichole T. Rustin, Sherrie Tucker



Publisher Duke University Press
Available to order This item is not in stock for the moment. Usually leaves our warehouse within five to seven business days. SKU: 80721

Our stores in Antwerp and Leuven
Current stock status per store:
five to seven business daysAntwerp
five to seven business daysLeuven

save for later


In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture.

Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz.

Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas

About The Author(s)

Nichole T. Rustin is completing a book titled Jazz Men: Race, Masculine Difference, and the Emotions in 1950s America.

Sherrie Tucker is Associate Professor of American Studies at the University of Kansas. She is the author of Swing Shift: “All-Girl” Bands of the 1940s, also published by Duke University Press.

(ISBN 9780822343202)