This essay examines the ways in which music, as a discipline, has been influenced by feminist scholarship in the field. It explains that during the 1970s, music scholars began to recover the history of women composers and musicians, and that by the 1980s scholars such as Susan McClary had begun to explore such issues as musical semiotics and constructions of femininity and masculinity; sexual differences within the vocabulary of music theory; and aspects of desire as mapped onto tonality. Feminist scholars' rejection of the mind-body split has modified several areas of musical understanding, such as the recognition that "real" women (and men) perform music; acknowledging the physical response to music; linking musicality with sexuality or pleasure; and admitting the physical experience of performance as significant to music's meaning. Feminist musicology has challenged conventional wisdom in regard to the concept of musical greatness or genius, the primacy of Western art music in the canon, the periodization of music history, and the musical form's relation to (gender) ideology. Includes a list of electronic resources. A 195-item bibliography contains information on books and articles; special journal issues; specialized journals; and electronic resources. (MDM)