Maybe I’m hypercritical because I’m a feminist musicologist (though I do wholeheartedly appreciate that the authors right away acknowledged that they weren’t), but I found this book to be extremely surface level. The only chapter I found to be particularly interesting was the conclusion and discussion on Feminist Listening.
Though I appreciated the musical scholarship from which they seemingly drew, there is plenty more at time of publication available that may have provided insight for further textual analysis to help bolster their arguments.
This is certainly a great book for non-musicians who are interested in this topic and want to get an understanding of the issues with GBV in the industry. I just personally wanted more and always feel disappointed when I read something that I could have just as easily written (and written more successfully).