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ABSTRACT
(Full paper available via ProQuest and SJSU ScholarWorks.)

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 multi-pronged 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.

ABSTRACT
(Full paper available upon request.)

The great vocalists of the jazz idiom have long been described as "sounding like an instrument," though 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 mythologizes 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, and finally, 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.