As a multi-faceted problem and set of practices, performance has inspired many feminist approaches to music and sound. It has attracted interest across feminist music and sound studies nearly since the formative stages of these trans-disciplinary research strands in the 1980s and 1990s. Questions of musical and other sonic performance have indeed interested feminist scholars in various albeit often converging domains of the arts and humanities: gender studies, musicology and ethnomusicology, opera and popular music studies, recent investigations into digital culture, and philosophical and political theories concerned with sound and voice.