The project considers the entry of gender studies into the field of musicology, and intends to open up the field for further research. It comprises three individual studies that are distinctive yet interrelated through a range of common theoretical and me thodological perspectives, as well as thematic concerns, that signify a breakthrough in musicological practice. The relevance of this project extends to all scholars engaged in gender theory across a range of disciplines, although the focus falls primaril y on music as a gendered activity. More precisely, the project intends to provide new theoretical insights into gendered performance in popular music, where the problematics of homosociality, management and organisation are debated. We intend to provide a range of case studies from Norwegian musical life,as well as international examples, to come up with a theoretical position that will help throw light on a number of general issues that directly concern gender equality, cultural space, social practice, a nd ethnicity. Through our international and national set of contacts, we intend to develop an exciting, interdisciplinary forum for integrating various perspectives in gender within the broader field of music research. While cultural and historical resear ch approaches will inform this project, the prime direction undertaken will be a reflective consideration of identity politics, as we believe there is an urgent need to incorporate aspects of culture and aesthetics into the public domain. Music's visual r epresentation is of particular importance in this project, as there is a general lack of research work in this field. Audiovisual performativity will therefore constitute a principal site for excavation when it comes to examining how structures of power m aintain a grip hold on gender-related norms connected to race, heteronormativity and class in Norway. To this end, all three studies will be integrated through their focus on local-global transcultural interactions.