The Jezebel Flute: Female Flute Players, Black Feminism and "The Masculine Jazz Spectrum"

This thesis explores concepts of Black feminism and sexism in Jazz, and the gendered perception of the flute. Historically, women instrumentalists have been excluded from the Jazz canon. While scholars have documented the lives and music of successful women Jazz instrumentalists, almost none have written about female flute players. In order to understand the lived experiences of these musicians, I conducted seven interviews with professional female flute players from around the world. I examined primary sources from Linda Dahl’s interviews, as well as scholarly analysis from Nicole Rustin-Paschal, Sherrie Tucker, Sarah Pellegrinelli and Sally Placksin. The global context provided by my interviewees’ testimony created a new data set which I compared with current scholarship on women in Jazz. This research led me to three conclusions. First, I developed the concept of “The Masculine Jazz Spectrum” which explains the perceived range of instrumental and artistic roles in the Jazz ensemble from most masculine to most feminine, the most feminine being the vocalist. Second, I find that the flute resides closest to the vocalist on this spectrum, as the flute is generally perceived as feminine due to its pitch and cultural association despite its history of being largely performed by men. Finally, the flute’s proximity to the role of the vocalist exaggerates the hyperfeminization and hypersexualization of its player, and thus the kind of harassment female flute players experience in Jazz is based around those dynamics, rather than exclusion or competition, as is the case with women who play more masculine instruments, like the trombone. This is an interdisciplinary thesis that responds to concepts analyzed through my debut album, “Jezebel: Rewritten”. This album attempts to encapsulate my experience as a Black female flute player, and draws inspiration from the testimony of the women I interviewed and my extensive research. It is passionate, unique and inquisitive.

Publication Details

Journal
Stanford Digital Repository
Published
2025-05-24
DOI
https://doi.org/10.25740/qv791vs5696
Primary Topic
Musicology and Musical Analysis
Type
article
Field-Weighted Citation Impact
0.00
Controls
|||
ALL TIME
JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
article

The Jezebel Flute: Female Flute Players, Black Feminism and "The Masculine Jazz Spectrum"

Stanford Digital Repository
Musicology and Musical Analysis
article

The Jezebel Flute: Female Flute Players, Black Feminism and "The Masculine Jazz Spectrum"

article en

Abstract

This thesis explores concepts of Black feminism and sexism in Jazz, and the gendered perception of the flute. Historically, women instrumentalists have been excluded from the Jazz canon. While scholars have documented the lives and music of successful women Jazz instrumentalists, almost none have written about female flute players. In order to understand the lived experiences of these musicians, I conducted seven interviews with professional female flute players from around the world. I examined primary sources from Linda Dahl’s interviews, as well as scholarly analysis from Nicole Rustin-Paschal, Sherrie Tucker, Sarah Pellegrinelli and Sally Placksin. The global context provided by my interviewees’ testimony created a new data set which I compared with current scholarship on women in Jazz. This research led me to three conclusions. First, I developed the concept of “The Masculine Jazz Spectrum” which explains the perceived range of instrumental and artistic roles in the Jazz ensemble from most masculine to most feminine, the most feminine being the vocalist. Second, I find that the flute resides closest to the vocalist on this spectrum, as the flute is generally perceived as feminine due to its pitch and cultural association despite its history of being largely performed by men. Finally, the flute’s proximity to the role of the vocalist exaggerates the hyperfeminization and hypersexualization of its player, and thus the kind of harassment female flute players experience in Jazz is based around those dynamics, rather than exclusion or competition, as is the case with women who play more masculine instruments, like the trombone. This is an interdisciplinary thesis that responds to concepts analyzed through my debut album, “Jezebel: Rewritten”. This album attempts to encapsulate my experience as a Black female flute player, and draws inspiration from the testimony of the women I interviewed and my extensive research. It is passionate, unique and inquisitive.

Stanford Digital Repository
Reduced inequalities, Gender equality
Openalex Percentile: Top 59%
Musicology and Musical Analysis
AI Navigator

Ask Laika to Summarize, Analyze, and Connect papers live on the map.

Summarize Papers & Methodologies

Extract key findings, datasets, and comparative methods across publications.

Benchmark Rankings & Visual Analytics

Rank top research institutions, authors, funders, topics, and journals by Field-Weighted Citation Impact (FWCI) and paper volume with instant charts.

Connect Distant Disciplines

Bridge topological clusters on the map to find hidden collaborative intersections.