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This master's thesis examines the compounded discrimination faced by female jazz vocalists, a phenomenon resulting from gender biases and the devaluation of the vocal instrument within United States jazz culture. The study is currently in progress and is slated for publication in Spring 2026.

ABSTRACT
(Full paper available upon request.)

The great vocalists of the jazz idiom have long been described as "sounding like an instrument," yet this compliment may accidentally obscure the singers' artistry as a form of mimicry. In the case of jazz legend Sarah Vaughan, such a comparison only scratches the surface of her musical capabilities, and can accidentally mythologize her technical prowess or obscure the intentionality behind her improvisation. This paper delves deeper into the instrumental-like scatting quality of vocalist Sarah Vaughan by examining the specific elements of her original compositions and intentional shaping of musical conversation. By analyzing her landmark solos on "Lullaby of Birdland" (1952) and "All of Me" (1957), this study illuminates how Vaughan utilizes advanced jazz theory to construct cohesive, meaningful improvisations. This analysis breaks down her performance into four main patterns: informed melodies via arpeggios, chord scale theory, and target notes, compelling rhythms in utilizing forward phrasing, rhythmic sequences, and polyrhythmic triplets, articulate ensemble interplay, and her unique sense of "vocal play,"  or utilizing the unique biological applications of the voice . This study concludes that integrating scat singing with formal jazz theory is vital for advancing jazz pedagogy and offering student vocalists a demystified framework to develop their own voices. 

ABSTRACT
(Full paper available upon request.)

Jazz has been known as a male-dominated field throughout its history and remains so in contemporary life, to the extent that female players are a rarity. Even when present in jazz, most often as pianists or vocalists, women have a greater likelihood to discontinue their participation in the genre over time. This research paper aims to identify reasons for the lack of female participation by investigating the socialization and discourse surrounding jazz culture. Ultimately, jazz music maintains the enculturation of social processes that distinguish women away from the male majority and leads to their isolation and exclusion. Citing the work of Sarah Caissie Provost, Erin L. Wehr and others, this paper focuses on identifying social patterns, synthesizing existing knowledge of the jazz gender gap, and evaluating the potential to change discriminatory social norms. Results from this research show that jazz music’s culture is extremely masculinized, as seen in typical jazz canons and instrument selections or spaces. Additional findings regarding jazz playing and performance reveal that adding gender as a form of appraisal guarantees difficulty for female musicians regardless of their skill and style. The male canonization of jazz, perceptions of instruments and the voice, and the concepts of gendered playing and improvisation are proposed together to challenge the canonical image of jazz and its notion that social status has no effect on true musicianship.