Abstract
Abstract Although solo female vocalists do not have “hit” recordings with the same frequency that male vocalists do, they have, especially during certain periods, achieved considerable public acceptance. This paper presents the fluctations in popularity of solo female vocalists relative to other artist types and examines sound and lyric content of number one records to show that female vocalists “hit” with the same kind of material that other artist types do during any particular historical period. Examination of popularity cycles reveals female solo vocalist popularity follows and for a time coincides with periods of male solo vocalist popularity. Moreover, female artist ascendency occurs in times of industry stability. This evidence suggests an essentially conservative nature to music productions by this artist type.
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