Below are the references and resources used in the Honours thesis.
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Bartleet, B.-L., Ballico, C., Bennett, D., Bridgstock, R., Draper, P., Tomlinson, V., & Harrison, S. (2019). Building sustainable portfolio careers in music: insights and implications for higher education. Music education research, 21(3), 282-294. https://doi.org/10.1080/14613808.2019.1598348
Becker, C. (2015). Freedom of Expression: Interviews With Women in Jazz. Beckeresque Press.
Berkers, P., & Schaap, J. (2018). Gender Inequality in Metal Music Production (1 ed.). Emerald Publishing Limited. https://doi.org/10.1108/9781787146747
Butler, J. (2004). Undoing Gender (1st ed.). Routledge. https://doi.org/10.4324/9780203499627
Cohen, S. (1997). MEN MAKING A SCENE: Rock music and the production of gender. In Sexing the Groove (1 ed., pp. 17-36). Routledge. https://doi.org/10.4324/9780203351338-3
Cooper, R., Coles, A., & Hanna-Osborne, S. (2017). Skipping a Beat: Assessing the state of gender equality in the Australian music industry. https://doi.org/https://doi.org/10.25910/5db1292d585d4
de Bruin, L. R. (2022). Director perspectives to equity, access, and inclusion in the school jazz ensemble. Frontiers in education (Lausanne), 7. https://doi.org/10.3389/feduc.2022.1001971
Devenish, L., Sun, C., Hope, C., & Tomlinson, V. (2020). TEACHING TERTIARY MUSIC IN THE #METOO ERA. Tempo (London), 74(292), 30-37. https://doi.org/10.1017/S0040298219001153
Eliezer, C. (2019). Why Melbourne’s live scene remains Australia’s biggest drawcard. The Music Network. Retrieved March 29, 2024 from https://themusicnetwork.com/why-melbournes-live-scene-remains-australias-biggest-drawcard/
Eliezer, C. (2024). Smaller Music Venues Musing Solutions As Crisis Bites Harder. The Music. Retrieved March 29, 2024 from https://themusic.com.au/industry/smaller-music-venues-musing-solutions-as-crisis-bites-harder/49lZ9_b5-Ps/15-02-24
Fairlamb, H. M., & Fileborn, B. (2019). Experiences and perceptions of gender in the Australian music industry. Perfect beat, 20(1). https://doi.org/10.1558/prbt.39800
Gourse, L. (1995). Madame Jazz: contemporary women instrumentalists (1st ed.). Oxford University Press.
Gupta, A. (2024). Qualitative Methods and Data Analysis Using ATLAS. ti : A Comprehensive Researchers' Manual (1st ed.). Springer International Publishing AG. https://doi.org/https://doi.org/10.1007/978-3-031-49650-9
Hall, C., & Burke, R. (2023). Negotiating Hegemonic Masculinity in Australian Tertiary Jazz Education. In The Routledge Companion to Jazz and Gender (1 ed., Vol. 1, pp. 336-347). Routledge. https://doi.org/10.4324/9781003081876-30
Hallam, S., Rogers, L., & Creech, A. (2008). Gender differences in musical instrument choice. International journal of music education, 26(1), 7-19. https://doi.org/10.1177/0255761407085646
Harrison, S. D. (2007). A perennial problem in gendered participation in music: what's happening to the boys? British journal of music education, 24(3), 267-280. https://doi.org/10.1017/S0265051707007577
Hendricks, K. S., Smith, T. D., & Legutki, A. R. (2016). Competitive comparison in music: influences upon self-efficacy beliefs by gender. Gender and education, 28(7), 918-934. https://doi.org/10.1080/09540253.2015.1107032
Hope, C. (2022). Working Towards Gender Equality and Empowerment in Australian Music Culture. In A Century of Composition by Women (pp. 307-323). Springer International Publishing. https://doi.org/10.1007/978-3-030-95557-1_17
Hope, C., Grant, N., Smart, G., & Parr, T. (2020). TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN. Tempo (London), 74(292), 49-55. https://doi.org/10.1017/S0040298219001177
Howley, R. (2021). Pursuing diversity from the podium: Insights from Australia for wind band conductors and educators on achieving gender parity for women composers. International journal of music education, 39(2), 247-259. https://doi.org/10.1177/0255761420928627
Johnson, B. (2000). The Inaudible Music: jazz, gender and Australian modernity. Currency Press.
Jolly, N. (2019). The numbers are in: NSW is a live music dead zone [op-ed]. The Music Network. Retrieved March 29, 2024 from https://themusicnetwork.com/nsw-live-music-dead-zone/
Kelley, J. (2021). Activating gender: How identity affects students’ perceptions of music activities. Research studies in music education, 43(2), 273-288. https://doi.org/10.1177/1321103X20935200
Mouchemore, C. (2024). G Flip is the non-binary role model they never had. GAY TIMES. Retrieved September 21, 2024 from https://www.gaytimes.com/amplify/g-flip-is-the-non-binary-role-model-they-never-had/
O'Brien, L. (2002). She Bop II: the definitive history of women in rock, pop and soul (2nd ed.). Continuum.
Placksin, S. (1982). American Women in Jazz: 1900 to the present : their words, lives, and music (First edition. ed.). Wideview Books.
Quader, S. B. (2022). How the Central Sydney independent musicians use pre-established 'online DIY' to sustain their networking during the COVID-19 pandemic. Journal of international communication, 28(1), 90-109. https://doi.org/10.1080/13216597.2021.1989703
Reardon-Smith, H., Denson, L., & Tomlinson, V. (2020). FEMINISTING FREE IMPROVISATION. Tempo (London), 74(292), 10-20. https://doi.org/10.1017/S004029821900113X
Rebollo-Gil, G., & Moras, A. (2012). Black Women and Black Men in Hip Hop Music: Misogyny, Violence and the Negotiation of (White-Owned) Space. Journal of popular culture, 45(1), 118-132. https://doi.org/10.1111/j.1540-5931.2011.00898.x
Reid, P. (2021). I Am Tash Sultana. Rolling Stone Australia. Retrieved September 21, 2024 from https://au.rollingstone.com/music/music-features/rolling-stone-cover-feature-tash-sultana-24659/
Shand, J. (2009). Jazz: The Australian Accent. University of New South Wales Press.
Sharp, M. (2019). Hypervisibility in Australian punk scenes: Queer experiences of spatial logics of gender and sexuality. Punk & post-punk, 8(3), 363-378. https://doi.org/10.1386/punk_00004_1
Smith, A. (2014). Women Drummers: a history from rock and jazz to blues and country. Rowman & Littlefield.
Smith, G. D. (2013). Gender and Drumming. In I Drum, Therefore I Am. Oxford: Routledge. https://doi.org/https://doi.org/10.4324/9781315587707
Steiner, K., & Manfredo, A. (2023). In Her Own Words: Documenting the Current Realities of Women-in-Jazz. In The Routledge Companion to Jazz and Gender (1 ed., Vol. 1, pp. 372-385). Routledge. https://doi.org/10.4324/9781003081876-33
Taylor, J. (2011). The intimate insider: negotiating the ethics of friendship when doing insider research. Qualitative research : QR, 11(1), 3-22. https://doi.org/10.1177/1468794110384447
Thorn, T. (2021). My Rock 'n' Roll Friend. Canongate Books Ltd.
Van Vleet, K. (2021). Women in Jazz Music: A Hundred Years of Gender Disparity in Jazz Study and Performance (1920–2020). Jazz education in research and practice: a journal of the Jazz Education Network, 2(1), 211-227. https://doi.org/10.2979/jazzeducrese.2.1.16
Wehr, E. L. (2016). Understanding the experiences of women in jazz: A suggested model. International journal of music education, 34(4), 472-487. https://doi.org/10.1177/0255761415619392