Books

Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. AUMI Editorial Collective. Ann Arbor, MI: University of Michigan Press (Musical and Social Justice Series), 2024

Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen. NC: Duke University Press, 2014

Big Ears: Listening for Gender in Jazz Studies. Co-edited with Nichole T. Rustin. NC: Duke University Press, 2008.

Swing Shift: “All-Girl” Bands of the 1940s, NC: Duke University Press, 2000.

Select Book Chapters

Sherrie Tucker and Ray Mizumura-Pence, “Introduction.” In Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. University of Michigan Press, Music and Social Justice Series, 2024, 1-14.

“AUMI Development and Developers: The DLI Years (2007-2012).” In Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. University of Michigan Press, Music and Social Justice Series, 2024, 84-91.

Jim Barnes, Kip Haaheim, Ray Mizumura-Pence, Sherrie Tucker, and Ranita Wilks, “There’s No Place Like AUMI: Building a Community Partnership in Lawrence, Kansas.” In Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. University of Michigan Press, Music and Social Justice Series, 2024, 146-158.

Abbey Dvorak, Kip Haaheim, Ray Mizumura-Pence, and Sherrie Tucker, “Improvising Inclusive Communities: Shared Reflections on the Jesse Stewart Residency in Lawrence, Kansas.” In Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (University of Michigan Press, Music and Social Justice Series, 2024, 173-185.

Michelle Heffner Hayes and Sherrie Tucker, “Sending and Receiving: AUMI Bodies and Dance Improvisation.” In Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument University of Michigan Press, Music and Social Justice Series, 2024, 186-197.

“Jazz History Remix: Black Women from ‘Enter’ to ‘Center’.” In Issues in African American Music, edited by Portia Maultsby and Mellonee Burnim. New York: Routledge. 2016. 256-269.

Tucker, Sherrie, Jaclyn Heyen, Christine Sun Kim, Leaf Miller, Pauline Oliveros, Neil Rolnick, Clara Tomaz, and David Whalen. 2016. “Stretched Boundaries: Improvising Across Abilities.” In Negotiated Moments: Improvisation, Sound, and Subjectivity, edited by Ellen Waterman and Gillian Siddall. Durham, NC: Duke University Press. 2016. 181-198.

Hahn, Tomie, George Blake, Campbell, L., Lee, C., Milovic, J., Mouillot, F., Rose, S., Sherrie Tucker, Vogt, L., & Williams, Pete. “Banding Encounters – Embodied Practices in Improvisation.” In Negotiated Moments: Improvisation, Sound, Subjectivity edited by Ellen Waterman and Gillian Siddall. Duke University Press, 2016, 147-167.

Reprint: “Deconstructing the Jazz Tradition: the Subjectless Subject of New Jazz Studies.” In Jazz/Not Jazz: The Music and its Boundaries, edited by David Ake, Charles Garrett and David Goldmark. Berkeley: University of California Press, 2012, 264-284.

Reprint: “Deconstructing the Jazz Tradition: the Subjectless Subject of New Jazz Studies.” In Jazz edited by Tony Whyton. Series: Library of Essays on Popular Music, London: Ashgate Press, 2011, 135-150.

“‘But this Music is Mine Already!’: White Woman as Jazz Collector in the Film, New Orleans (1947).” In Big Ears: Listening for Gender in Jazz Studies, ed. Nichole T. Rustin and Sherrie Tucker, 235-66. NC: Duke University Press, 2008.

Co-authored with Nichole T. Rustin, “Introduction.” In Big Ears: Listening for Gender in Jazz Studies, ed. Nichole T. Rustin and Sherrie Tucker, 1-28. NC: Duke University Press, 2008.

““Jazz.” In African American Music: A History, ed. Mellonee V. Burnim and Portia K. Maultsby, 528-54. NY: Routledge, 2006.

“Bordering on Community: Improvising Women Improvising Women-in-Jazz.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, ed. Ajay Heble and Daniel Fischlin, 244-267. Middletown, CT: Wesleyan, 2004.

“When Subjects Don’t Come Out.” In Queer Episodes in Music and Modern Identity, ed. Sophie Fuller and Lloyd Whitesell, 293-310. Champaign: University of Illinois Press, 2002.

“Telling Performances: Jazz History Remembered and Remade by the Women in the Band.” (reprint) In Unequal Sisters: A Multicultural Reader in U.S. Women’s History, ed. Vicki L. Ruiz and Ellen Carol DuBois. NY: Routledge, 3rd. ed. (2000), 466-477; 4th ed. (2007), 466-477.

“Telling Performances: Jazz History Remembered and Remade by the Women in the Band.” Sung/Unsung: Jazzwomen (symposium booklet). Washington DC and Brooklyn, NY: Smithsonian Institution and 651, An Arts Center, 1996, 20-27.

Select Journal Articles

“How do We Sound, How do We Listen?.” Special Issue: “Return to the Center: Black Women, Jazz, and Jazz Education,” Women and Music: A Journal of Gender and Culture. Vol.27 (1) (2023), 86-95.

“Practice-Based Research in Three Personal Turns,” [part of Forum on Practice-Based Research (PBR), Performance Matters Vol.9 (1-2) (2023), 369-371.

“Grafting and Other Ramifications: Improvisation in the Liberal Arts,” co-authored with Michelle Heffner Hayes. Critical Studies in Improvisation/Études critiques en improvisation, 13(1) (2020). https://www.criticalimprov.com/index.php/csieci/article/view/5818

“AUMI-Futurism: The Elsewhere and ‘Elsewhen’ of (Un)Rolling the Boulder and Turning the Page,” co-authored with Kip Haaheim, Jesse Stewart, and Pete Williams. Music and Arts in Action., 6(1) (2017): 21. http://musicandartsinaction.net/index.php/maia/issue/view/15

“The Adaptive Use Musical Instrument (AUMI): A Useful App for Inclusive Practice,” co-authored with Abbey Dvorak. Imagine: Music Therapy, 8(1) (2017): 48-50. https://issuu.com/ecmt_imagine/docs/imagine_8_1__2017/48

“A Conundrum is a Woman-in-Jazz: A Century of Improvisations on the Categorical Exclusions of Being Included.” In Darmstädter Beiträge zur Jazzforschung 14. Gender and identity in Jazz, ed. by Wolfram Knauer. Germany: Wolke Verlag Hofheim, (2016): 241-262.

“Where is the Jazz in Jazzercise?” Women and Music: A Journal of Gender and Culture 19 (2015): 18-26.

Barg, Lisa, Tammy Kernodle, Dianthe Spencer, & Sherrie Tucker. “Introduction from the Melba Liston Research Collective.” Black Music Research Journal 34(1) (2014): 1-8.

Monica Hairston-O’Connell and Sherrie Tucker. “Not One to Toot Her Own Horn(?): Melba Liston’s Oral Histories and Classroom Presentations.” Black Music Research Journal 34, no. 1 (Spring 2014): 121-158.

“Swing: from Time to Torque (Dance Floor Democracy at the Hollywood Canteen).” Edited by Gerald Early. Daedalus: Journal of the American Academy of Arts & Sciences 142, no. 4 (Fall 2013): 82-97.

U.S. Music Studies in a Moment of Danger,” Journal of the American Musicological Society (Fall 2011) 64, 3, 703-708.

“Beyond the Brass Ceiling: Dolly Jones Trumpets Modernity in Oscar Micheaux’s Swing!” Jazz Perspectives 3, no. 1 (2009): 3-34.

“When did jazz go straight?: A queer question for jazz studies,” Critical Studies in Improvisation / Etudes critiques en improvisation 4, no. 2 (2008)

“Deconstructing the Jazz Tradition: The Subjectless Subject of New Jazz Studies.” The Source: Challenging Jazz Criticism 2, (2005): 31-46.

“‘White Woman’ as Jazz Collector in the Film New Orleans (1947),” Institute for the Study of American Music Newsletter 35, no. 1 (Fall 2005): 1-2; 13-14

“Big Ears: Listening for Gender in Jazz Studies.” Current Musicology no. 71-73 (2001-2002): 375-408.
“Uplift and Downbeats: What if Jazz History Included the Prairie View Co-eds” (reprint) The Journal of Texas Music History 2, no. 2 (2002): 30-38.

“A Round Table on Ken Burn’s Jazz.” Journal of Popular Music Studies 13.2 (Fall 2001): 207-25. (With Geoffrey Jacques, Bernard Gendron, Scott DeVeaux, and Krin Gabbard)

“Uplift and Downbeats: If Jazz History Included the Prairie View Co-eds,” Jazz Research Proceedings, International Association of Jazz Educators (2001): 26-31.

“The Prairie View Co-eds: Black College Women Musicians in Class and on the Road.” Black Music Research Journal 19, no. 1 (1999): 93-126.

“Nobody’s Sweethearts: Gender, Race, Jazz, and the Darlings of Rhythm.” American Music 16, no. 3 (1998): 255-288.

“Telling Performances: Jazz History Remembered and Remade by the Women in the Band.” (reprint) Oral History Review 26, no. 1 (1999): 67-84.

“Female Big Bands, Male Mass Audiences: Gendered Performances in a Theater of War.” Women and Music: A Journal of Gender and Culture, no. 2, (1998): 64-89.

“Telling Performances: Jazz History Remembered and Remade by the Women in the Band.” (reprint) Women and Music: A Journal of Gender and Culture, no. 1 (1997): 12-23.

“West Coast Women: A Jazz Genealogy,” Pacific Review of Ethnomusicology 8, no. 1 (1996/1997): 5-22.

“Working the Swing Shift: Women Musicians During World War II.” Labor’s Heritage 8, no. 1 (1996): 46-66.

“‘And Fellas, They’re American Girls!’ On the Road With the Sharon Rogers All-Girl Band.” Frontiers: A Journal of Women Studies 16, no. 2/3 (1996): 128-160.

“Where the Blues and the Truth Lay Hiding: Rememory of Jazz in Black Women’s Fiction.” Frontiers: A Journal of Women Studies 13, no. 2 (1993): 26-44.

Research Study:

A Feminist Perspective on New Orleans Jazz Women. A two-year research study for the New Orleans Jazz National Historical Park (300-page report submitted September 30, 2004)

Creative Work

“poem for too many brilliant scholars, not enough of whom are with us today.” Women and Music: A Journal of Gender and Culture 21 (2017): 1-2.

Program Notes

Robinson, Chris, & Sherrie Tucker. Guest Essay: “International Sweethearts of Rhythm: Hottest Women’s Band.” Library of Congress. October 2020 (Invited)

“Listening to the Mosaic: Terri Lyne Carrington and the Mosaic Project: Love and Soul, Featuring Valerie Simpson and Oleta Adams.” In American Songbook Concert Series. Lincoln Center, New York. 2016.

Reviews:

“‘Don’t Explain’: A Billie Holiday Book That Compels Us to Listen Instead.” Review of book: Billie Holiday: The Musician and the Myth, John Szwed. Common Reader (July 26, 2016): 8.

Black Women and Music: More than the Blues, ed. Eileen M. Hayes and Linda F. Williams. Journal of Popular Music Studies 20, no. 3 (2008), 336-340

Soul on Soul: the Life and Music of Mary Lou Williams, Tammy L. Kernodle. Women and Music: A Journal of Gender and Culture 11 (2007): 96-100

Radical Harmonies (documentary), Dee Mosbacher. American Music 23, no. 1 (2005): 133-135

Styling Jim Crow: African American Beauty Training during Segregation, Julia Kirk Blackwelder. Journal of American History 91, no. 2 (2004): 673

Flying Higher: The Women Airforce Service Pilots of World War II, Wanda Langley. Journal of Military History 67, no. 2 (2003): 609-10

Swing, That Modern Sound, Kenneth J. Bindas. American Historical Review 107, no. 3 (2002): 901-2

Jazz Cultures, David Ake. American Studies 43, no. 2 (2002): 154-5

Before Motown: A History of Jazz in Detroit, 1920-60, Lars Bjorn, with Jim Gallert. Michigan Historical Review 28, no. 1 (2002): 135-6.

The Thelonious Monk Reader, ed., Rob van der Bliek. CAML Review (Canadian Association of Music Libraries) 29, no. 3 (2001): 25-26

Dancing in the Street: Motown and the Cultural Politics of Detroit, Suzanne E. Smith. American Studies 42, no. 2 (2001): 171-2

Review Essays

“Jazz and Popular Music: 1900-1950” [area-focused review of Grove Dictionary of American Music, Second Edition, Ed. Charles Hiroshi Garrett]. Journal for the Society of American Music 9, no. 4 (November 2015): 497-504.

Review of books: How It Feels to Be Free: Black Women Entertainers and the Civil Rights Movement, Ruth Feldstein and Harlem Nocturne: Women Artists & Progressive Politics during World War II, Farah Jasmine Griffin. Journal of Popular Music Studies 27, no. 2 (June 2015): 218-222.

Review of books: The New Negroes and Their Music, Jon Michael Spencer; Swing Changes: Big Band Jazz in New Deal America, David W. Stowe, and Playing the Changes: From Afro-Modernism to the Jazz Impulse, Craig Hansen Werner (review essay). Journal of Musicological Research 18, no. 3 (1999): 271-82

Encyclopedia Entries

“Melba Liston.” Notable American Women: A Biographical Dictionary, ed. Susan Ware and Stacy Braukman. Cambridge, MA: Belknap Press, 2004

“Women,” “Historiography” (essays), biographical entries, New Grove Dictionary of Jazz, ed. Barry Kernfeld. London: MacMillan, 2001

Selected Popular Writing

“Rocking the Cradle of Jazz,” Ms. Magazine 14, no. 4 (Winter 2004/2005): 68-71

Liner notes, Kit McClure Band, The Sweethearts Project: a Tribute to the International Sweethearts of Rhythm (Red Hot Records RH 9004) 2004

“Women in Jazz,” Ken Burns Jazz website, PBS, January 2001

“A Hazy Look at Women in Jazz,” New York Times (August 20, 2000): AR 29

“Jazzwomen Jam,” Jazz Now Magazine (monthly column) 1999-2000