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Books by Jacqueline Warwick

In this collection of essays, we explore the function and meaning of the girl’s voice in contempo... more In this collection of essays, we explore the function and meaning of the girl’s voice in contemporary popular music in both literal and metaphorical ways. Our primary focus isthe contemporary context of girls as musicians, activists, and performers in North America and the U.K. Themes include: the history of the all-girl band from the Runaways to the present; girls’ media culture; the changing anatomy of a girl’s voice throughout adolescence; girls’ rock camps, and girl’s voices in contemporary film and audiobooks. The anthology is interdisciplinary, with contributors with backgrounds in musicology, ethnomusicology, women’s studies, journalism, comparative literature, vocal pedagogy, music theory, media studies, and education.

An exploration of music's role in shaping girls' experience of adolescence and constructing a dis... more An exploration of music's role in shaping girls' experience of adolescence and constructing a distinct girl culture. The book focusses on the girl groups of the early 1960s, a popular music genre that had tremendous mainstream appeal in the first years of rock'n'roll as the dominant style of youth music. Girl groups like the Shirelles, the Ronettes and the ShangriLas put the voices of teenage girls at the forefront of US popular culture during the years of the Southern Civil Rights movement. Girl group singers modelled different versions of teenage girl identity, and their songs served a forum for discussing topics of special interest to girls. The girl group genre developed musical language that had a far-ranging and long-lasting influence in popular music.

Papers by Jacqueline Warwick

... Simon shared credits and royal-ties fairly, as he did with his American Graceland collaborato... more ... Simon shared credits and royal-ties fairly, as he did with his American Graceland collaborators, Louisiana's Rockin' Dopsie and the ... transgression (Patti Smith, Tina Turner, and female performances of men's songs, such as Aretha Franklin's recording of Otis Redding's “Respect ...

Routledge eBooks, Oct 31, 2013

Routledge eBooks, Jul 6, 2022

Oxford University Press eBooks, Sep 8, 2016

Dr. Warwick studies popular music of the late twentieth century, with particular interests in voc... more Dr. Warwick studies popular music of the late twentieth century, with particular interests in vocal performance, gender, and age identity. She is a Senior Editor for the forthcoming new edition of The Grove Dictionary of American Music, responsible for entries on popular music since 1945.

The article discusses the meanings and functions of singing style in the context of rock culture,... more The article discusses the meanings and functions of singing style in the context of rock culture, and focusses particularly on some the versions of white masculinity portrayed through different vocal styles. I discuss Chad Kroeger of Nickelback, Sufjan Stevens, and the various lead singers of Journey, considering the ways in which rock singing negotiates normative representations of manhood.

It has been nearly twenty years since the publication of Susan McClary’s provocative Feminine End... more It has been nearly twenty years since the publication of Susan McClary’s provocative Feminine Endings. The appearance of a festschrift, with contributions from her most reliable students and acolytes, presents a suitable occasion to rethink the contribution to musicology of McClary and her school. I believe, first of all, that we can speak straightforwardly of a ‘school’. There are a number of important orientations, principles if you will, that unite these authors in their diversity, marking them together ideologically, and apart methodologically from other versions of musicology; they form a major strand of the so-called New Musicology®3. Historically, perhaps first among these principles were regular and fervent proclamations of ideological distance from (and hence disinterest in) ‘traditional’ musicology and its outmoded scholarly paradigms; such edicts often took the form of tabular lists of the virtues of ‘us’ and the flaws of ‘them’4. Musicology’s paradigm—the singular is deliberate—is considered methodologically superseded because it ignored social context in favour of a chimerical abstract called ‘the music itself’, and morally outdated because it espoused elitist canons of white male privilege, intellectually as well as musically. At same time, there was a peculiar5 yet persistent appeal in New Musicology to Joseph Kerman and Theodor Adorno as exemplars. The inspiring commonality of this ill-assorted pair is the putative right, privilege, and duty of musicology to (abandon pretence to objective scholarship and) “speak otherwise”, to tell the truth about good and bad in music. This tremendously reassuring concession to engrained consumer mental habit may explain part of the popularity of the school.

Choice Reviews Online, Oct 1, 2007

Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture th... more Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today. While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation. Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

The Cambridge Companion to Women in Music since 1900

She’s So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music, 2017