GENDER IN RELATION TO MUSIC EDUCATION AND THE CORRESPONDING

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PEDAGOGICAL THEORIES

Gender in Relation to Music

Education and the Corresponding
Pedagogical Theories
Sara J. Forren
Bridgewater College
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PEDAGOGICAL THEORIES

Abstract

In preparation for this essay, I have sifted through many articles to find out exactly

what I wanted to learn about music education and the corresponding facts directly

linked to gender. My initial question was something along the lines of Why are

there certain gender expectations and stereotypes associated with the practice of

music and performance? I wanted to put a reason to the well-known norms that

accompany instrumentation and pedagogical practices. My research led me to find

that this has been an ongoing research topic that is being questioned even today,

as women become more empowered. My thinking process quickly shifted once I

read a few articles in Juanita H. Williams collections of readings, Psychology of

Women. This explained to me the way the female brain has worked for as long as it

has been recorded and prompted more questions and answers as to why certain

things are the way they are in the music classroom.

Keywords: multicultural education, gender, stereotype, music

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PEDAGOGICAL THEORIES

In music, there are many apparent observations you can make about

instrumentation, roles of the ensemble, and even group behavior. Lucy Green

(1997) sat down with three 14-15 year old boys and asked a few simple questions

about gender in their music ensemble. do you think that girls like to play the

same instrument as you? is one question she asked these boys and their answers

were very similar. One boy said No, most girls like to play the violin or the cello.

(Green, 1997, p. 153) I know from general knowledge that this is true. My 11 year

experience in the music classroom setting, as a student and as an instructor, have

taught me that this is true; females are more likely to play the higher pitched

instruments and males are more often than not going to choose a deeper, lower

sounding instrument. It is obvious to see that the smaller, lighter, and higher

pitched instruments would attract more females. A flute is much lighter, not to

mention cuter, than a bulky tuba. This is obvious. My research has broadened

my question and stretched it to include why this is. Is there a psychological reason

for the choices kids make in the music classroom? Using this information will help

me, and my fellow music educators, in the classroom to help create a more

culturally responsive environment in terms of gender.

Another question Lucy Green asked the group of boys had to deal with

behaviors of the ensemble in regards to gender differences. She asks them who

the most successful students are and who is most likely to listen to the instructor

and to classical music. All three boys answered with girls. The boys explained

that when it comes down to it, girls are more reliable and consistent with listening

exercises and practice in general. (Green, 1997)

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PEDAGOGICAL THEORIES

There is a long recorded history of the differences between males and

females. The definition of masculinity is often expressed as active, rational,

experimental, scientific, and unified. Controlling characteristics are often

coinciding with the male species. Females are dainty, passive, and emotional.

(Green 1997, p. 27) If you look at any given band, orchestra, or ensemble, nine

times out of ten you will find a predominately female piccolo section and a

predominately male upright bass section. If you look even further and analyze the

music that each instrument section is reading, you will notice drastic variances

between the two. Flute parts, in general, contain the melody and counter-melodic

parts of a piece of music. The high pitched and soft timbre of the instrument are

characteristics that are crucial for cutting through the rest of the band, so that the

melody is heard throughout the piece. Females, being so aware of detail and

emotion, are attracted to the melodic and moving parts of music. Women, in

general, have faster cognitive aspects and read faster than men. (Williams, 1979 p.

5) Conveying the appropriate feelings with the higher pitched instrument is more

relatable to them than trying to convey that with an instrument that is deeper. This

is also directly linked to the willingness to express emotion that females have.

(Green, 1997, p. 154) The deeper instruments have a completely different role in

the ensemble. These instruments, such as the tuba, bass, and trombone, often

times have tempo setting roles and keep the band together. They are the

foundation upon which the ensemble relies on to keep them steady and from falling

apart. Therefore, these instruments have very much control of the outcome of the
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PEDAGOGICAL THEORIES

performance as a whole. This controlling factor attracts men more often than

women, who have the choice to have the lead melodic role. (Kuhlman, 2004)

Contrary to what I have just pointed out, there are many instruments that

have the melody quite often that are predominately comprised of men. The

trumpet, for example, is a very loud brass instrument that is very well heard over

the ensemble from the back of the stage. There are many articles that have said

the trumpet is a masculine instrument, because it is so loud and rough sounding

due to the fact that it is made of brass. This is true among high school ensembles,

but the stereotype dies as players get older. There is still a larger number of male

trumpet players, but the female number grows to close the gap once the students

and performers get older. (Nehring, 1997; Williams, 1979)

In regards to my research on gender and instrumentation, I have come to the

conclusion that in my classroom, these stereotypes may be present. Providing role

models in my class for both genders, preferably models that do not confine to the

typical stereotypical norms my students will have already in their minds, will help

them become more comfortable and excited about music without the stress of the

stereotypes and fitting in weighing down on them. (Iverson, 2011) I will already be

debunking a typical stereotype that all instrumental conductors are male as I take

on my goal role as band director, eventually. Creating this environment for my

students is important to the multicultural education aspect that I am striving for. In

my class, we will, of course, study and perform many different types of music from

many different parts of the world. This aspect of multicultural teaching is not
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PEDAGOGICAL THEORIES

worrying me. I know that this part will be covered thoroughly, which is why my

focus is on gender.

My goal with this is to eliminate any alienation in my class. I have accepted

the fact that there will be stereotypes in my class, but I have also accepted the fact

that there will be many young folks that will surprise me and venture away from the

norm. The curriculum I will choose, aside from band literature, will be directly

linked, not only to the ethnic variations of my students, but also to the gender

ranges and to the different instrumental choices my students will make. The

research that I have done will stay with me so that I am prepared, not caught off

guard, for when my students have questions or are uncomfortable when choosing

instruments to practice and continue to help them when they have already chosen.

I want them to be aware of the stereotypes, why these expectations have come

about, and know that they are only stereotypes.

Word Count: 1372

References

Green, L. (1997). Musical Meaning and Women's Musical Practice; Gendered Musical

Meaning in Contemporary Education. In Music, Gender, Education (p. 27,

145, 153, 154, 155). New York, New York: Cambridge University Press.

Williams, J. (1979) Myths, Stereotypes, and the Psychology of Women. Psychology

of Women (p. 4, 5,). Toronto, Ontario: W. W. Norton & Company.

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PEDAGOGICAL THEORIES

Nehring, N. (1997). Emotional Rescue: Feminist Philosophy on Anger. In Popular

Music, Gender, and Postmodernism: Anger is Energy (p. 108). Thousand

Oaks, California: SAGE Publications.

Kuhlman, K. (2004). The Impact of Gender on Students' Instrument Timbre

Preferences and Instrument Choices. Visions of Research in Music Education.

Iverson, B. (2011). Music and gender: A qualitative study of motivational differences

at the upper elementary level. Visions of Research in Music Education, 18.

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