Pioneering Guitar Women, An Auto-ethnographic Study

This dissertation, Pioneering Guitar Women, An Autoethnographic Study, explores the significant yet often overlooked contributions of female guitarists to the evolution of guitar music. Despite the dominance of male guitar legends such as Jimi Hendrix and Eric Clapton, pioneering women like Memphis Minnie, Mary Osborne, and Sister Rosetta Tharpe have profoundly influenced the genre. The study aims to illuminate the stories, techniques, and legacies of these trailblazing women, addressing four central research questions: the narratives of these women guitar heroes, their success in a predominantly male culture, their impact on the world of guitar, and their influence on the career of Canadian blues guitarist, Sue Foley.

This dissertation includes a survey of artists, Memphis Minnie, Geeshie Wiley, Elvie Thomas, Sister Rosetta Tharpe, Mary Osborne, Maybelle Carter, Elizabeth Cotten, Ida Presti, Lydia Mendoza, Maria Teresa Vera, and Charo. Their musical genres range from classical to flamenco, folk to jazz, showcasing diverse technical innovations and cultural impacts. My research involves not only historical and biographical analysis but also the practical application of these artists’ techniques through performance, highlighting the technical demands and expressive capabilities of their music.

The structure of my dissertation includes four parts: biographies and musical techniques of each artist, the birth of musical genres, personal accounts of touring as a female musician, and the role of border radio in shaping musical culture. My autoethnographic approach intertwines my personal experiences with my research, offering a unique perspective on the legacy of female guitarists and their transformative impact on my own career and the broader musical landscape. The study concludes with reflections on the enduring influence of these pioneering women and a call to recognize and celebrate their contributions to the world of guitar music