(i) Men, masculinities, and music

Achilles Heel. (1998). Special Issue: Men, Music and Dance, No. 23, Summer

Berggren, K. (2014). Reading Rap: Feminist Interventions in Men and Masculinity Research. Acta Universitatis Upsaliensis.

Berry, Venise T. and Harold Looney. (1996). Rap Music, Black Men, and the Police. In Berry, Venise T. and Carmen L. Manning-Miller, (eds.). Mediated Messages and African-American Culture: Contemporary Issues. Thousand Oaks, CA: Sage.

Biddle, I. (1999). Policing Masculinity: Schumann, Berlioz and the Gendering of the Music-Critical Idiom. Journal of the Royal Musical Association. 124(Part 2):196-220.

Biddle, Ian, and Kirsten Gibson. (eds.). (2009). Masculinity and Western Musical Practice. Ashgate.

Chaney, C., & Mincey, K. D. (2014). Typologies of Black Male Sensitivity in R&B and Hip Hop. Journal of Hip Hop Studies, 1(1), 121-156.

Cheney, C. (2000). Representin’ God: Masculinity and the Use of the Bible in Rap Music. In Wimbush, V. L., & Rodman, R. C. (Eds.). African Americans and the Bible: sacred texts and social textures.New York: Continuum, pp. 804–818.

Cooper, B. L. (2006). Roy Orbison: The invention of an alternative rock masculinity. Popular Music and Society, 29(1): 133-136.

Darling-Wolf, F. (2004). SMAP, Sex, and Masculinity: Constructing the Perfect Female Fantasy in Japanese Popular Music. Popular Music and Society 27(3): 357.

Hardwig, Bill. (2001). Cocks, Balls, Bats, and Banjos: Masculinity and Competition in the Bluegrass Music of Bill Munroe. Southern Quarterly, 39(4): pp. 35-48.

Hilts, J. F. (2006). Seo Taiji, 1992—2004: South Korean popular music and masculinity. Unpublished M.A., York University, Canada.

Jarman-Ivens, Freya. (ed.) (2007). Oh Boy! Masculinities and Popular Music. Routledge.
Introduction 1. Which Freddie? Constructions of Masculinity in Freddie Mercury and Justin Hawkins 2. Negotiating Masculinity in an Indonesian Pop Song 3: Moshpit Menace and Masculine Mayhem 4. To See Their Father’s Eyes 5. Mum’s the Word 6. The Sing-song of Undead Labor 7. A Walking Open Wound 8. Don’t Cry, Daddy 9. Queer Voices and Musical Genders 10. (Un)Justified 11. Not With You But Of You 12. Some Of Us Can Only Live In Songs Of Love and Trouble.

Kubrin, C. E. (2005). Gangstas, Thugs, and Hustlas: Identity and the Code of the Street in Rap Music. Social Problems, 52(3).

Loeser, C. and Crowley, V. (2009) A Natural Ear for Music?: Hearing (Dis)abled Masculinities. Popular Music. vol. 28, no. 3, pp. 411-423.

Loeser, C.(2003) The Ecstasies of Exchange: Reconfiguring Hearing Disabled Masculine Subjectivities in Rave Space. Australian Journal of Communication vol. 30, no.3, pp. 69-82.

Maus, Fred E. (2001). Glamour and evasion: The fabulous ambivalence of the Pet Shop Boys. Popular Music, v 20 no 3, October, pp. 379-93.

McFarland, Pancho (2003). Challenging Contradictions of Chicanismo in Chicano Rap Music and Male Culture. Race, Gender & Class, 10(4), 92–107.

Meintjes, Louise. (2004). Shoot the Sergeant, Shatter the Mountain: The Production of Masculinity in Zulu Ngoma Song and Dance in post-Apartheid South Africa. Ethnomusicology Forum, Volume 13, Number 2, November, pp. 173-201.

Poluyko, K. (2011). Alternative Music: Jazz and the Performative Resignification of Identity in Anthony Minghella’s The Talented Mr. Ripley. Journal of Men’s Studies, 19(1): 19.

Pressley, Arthur. (1992). Rap Music by Black Male Artists: A Psychological Interpretation. Western Journal of Black Studies, 16 (Summer): 92-97.

Richards, Barry. (1987). Bruce Springsteen and the Crisis of Masculinity. Free Associations, 9, pp. 91-94.

Sanchez, M. I. C. (2004). El diablo en una botella: nortena music and the construction of Mexican masculinity. Third text, 18(5), 483–495.

Schade-Poulsen, Marc. (1999). Men and Popular Music in Algeria: The Social Significance of Rai. Univ of Texas Press (Modern Middle East Series (Austin, Tex.), No. 20.)

St Lawrence, Janet S., and Doris J. Joyner. (1991). The Effects of Sexually Violent Rock Music on Males’ Acceptance of Violence Against Women. Psychology of Women Quarterly, 15(1), March, pp. 49-63.

Walser, Robert. (1993). Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, NH: University Press of New England.
Includes Chapter 4. Forging Masculinity: Heavy metal sounds and Images of Gender. Behind the screen: Listening to Gender. No Girls Allowed: Exscription in Heavy Metal. The Kiss of Death: Misogyny and the Male Victim.

Weitzer, R., and C. E. Kubrin (2009). Misogyny in Rap Music: A Content Analysis of Prevalence and Meanings. Men and Masculinities, 12(1): 3-29.

West, Russell, and Frank Lay. (2000). Subverting Masculinity. Hegemonic and Alternative Versions of Masculinity in Contemporary Culture. Rodopi. Includes;
Frank LAY: “Sometimes We Wonder Who the Real Men Are” – Masculinity and Contemporary Popular Music.

Whelan, A. M. (2009). The “Amen” Breakbeat as Fratriarchal Totem. In B. Neumeier (Eds.), Dichotonies. Gender and Music (pp. 111-133). Heidelberg: Universitatsverlag Winter.

White, A. M. (2002). John Coltrane’s Style of Jazz and the Improvisational Lives of Profeminist Black Men. Journal of African American Men, 6(3): 3-28.

Young, G. (2004). ‘So slide over here’: The aesthetics of masculinity in late twentieth-century Australian pop music. Popular Music 23(2).