Publication Date

Summer 2026

Degree Type

Thesis

Degree Name

Master of Fine Arts (MFA)

Department

Music and Dance

Advisor

Erica Buurman; Aaron Lington; Paul Ellison

Keywords

discrimination;female singer;female vocalist;gender;jazz;vocalist

Abstract

While women have historically represented the overwhelming majority of jazz vocalists, they have also experienced a unique legitimacy gap in a culture that traditionally grants the status of authenticity to the masculine instrumentalist. This study explores the experiences of mid-twentieth century female jazz vocalists, arguing that they faced compounded discrimination within American jazz culture as a result of gender marginalization and the devaluation of their vocal instrument. The intricacies of this phenomenon necessitate a multipronged qualitative approach by employing historiographical analysis, synthesis of existing scholarship, and qualitative case study research methods. Beginning with the dichotomy between the jazz “cat” and “canary,” this study traces how masculine-instrumental prioritizations of mid-twentieth century jazz established a cultural framework that excluded the female vocalist, therefore leaving the modern-day woman singer to navigate a complex legacy of marginalization. It first examines theoretical gender discrimination and vocal devaluation separately before focusing on how these issues coalesce into unique professional burdens, such as the “girl singer” stereotype. These issues are further examined through the lived experiences of Anita O’Day and Abbey Lincoln to denote the strategic ways both women asserted their creative agency despite layered social and institutional barriers. Key findings indicate that female jazz vocalists faced strong structural barriers in the form of distinct and subtle social discriminations.

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