Almost Like a Real Band: Navigating a Gendered Jazz Art World

Wahl, Chelsea; Ellingson, Stephen

doi:10.1007/s11133-018-9388-9

Cited by 4 publications

(9 citation statements)

References 50 publications

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“…These papers used methods of ethnography or autoethnography (Williams, 2005;MacDonald and Wilson, 2006;Suzuki, 2013;Istvandity, 2016;Jovicevic, 2021), and interview or case studies (Metzelaar, 2004;Welch et al, 2008;Suzuki, 2013;Hannaford, 2017). Additionally, a number of papers were based on analysis of secondary interview or archival data (Willis, 2008;Caudwell, 2012;Denson, 2014;Wahl and Ellingson, 2018). While these methods limit the generalizability of findings, this bank of qualitative accounts can serve as templates for how others might interpret their own experiences.…”

Section: Rq : Methodological Approachesmentioning

confidence: 99%

“…The 13 papers coded within this category focused upon gendered experiences, adopting theoretical frameworks from multiple disciplines such as leisure or expertise studies (Welch et al, 2008;Caudwell, 2012), theories of identity and hegemony (MacDonald and Wilson, 2006;Denson, 2014;Istvandity, 2016;Hannaford, 2017;Wahl and Ellingson, 2018), organizational studies (Metzelaar, 2004), and intersectionality (Williams, 2005;Vargas, 2008;Willis, 2008;Suzuki, 2013;Jovicevic, 2021). Sociological and phenomenological understandings underpinned the theoretical frameworks used in these papers, positioning gender as an identity or experience within a wider socio-cultural framework.…”

Section: Gender As Experience/identitymentioning

confidence: 99%

“…A smaller number of papers ( 6) framed gender as a variable or means of comparison between study participants. These tended to be larger-scale or quantitative analyses, with a greater proportion of papers in this category having multiple authors (McKeage, 2004;Wehr-Flowers, 2006;Welch et al, 2008;Picaud, 2016;Wahl and Ellingson, 2018;McAndrew and Widdop, 2021). Frameworks employed came from cultural studies (Welch et al, 2008;Picaud, 2016;Wahl and Ellingson, 2018;McAndrew and Widdop, 2021), education (McKeage, 2004;Wehr-Flowers, 2006;Welch et al, 2008), and psychology (Wehr-Flowers, 2006).…”

Section: Gender As Variablementioning

confidence: 99%

“…These tended to be larger-scale or quantitative analyses, with a greater proportion of papers in this category having multiple authors (McKeage, 2004;Wehr-Flowers, 2006;Welch et al, 2008;Picaud, 2016;Wahl and Ellingson, 2018;McAndrew and Widdop, 2021). Frameworks employed came from cultural studies (Welch et al, 2008;Picaud, 2016;Wahl and Ellingson, 2018;McAndrew and Widdop, 2021), education (McKeage, 2004;Wehr-Flowers, 2006;Welch et al, 2008), and psychology (Wehr-Flowers, 2006). Although these studies were able to address gendered phenomena on a larger scale, analyses were less nuanced than those framing gender as an experience, identity, or performance.…”

Section: Gender As Variablementioning

confidence: 99%

“…Although these studies were able to address gendered phenomena on a larger scale, analyses were less nuanced than those framing gender as an experience, identity, or performance. Only one of these papers examined intersectional factors in any depth (Picaud, 2016), with the rest instead focussing on instrument played, musical genre, or musical activity (such as playing in a high school ensemble or industry setting) (McKeage, 2004;Wehr-Flowers, 2006;Welch et al, 2008;Wahl and Ellingson, 2018;McAndrew and Widdop, 2021).…”

Section: Gender As Variablementioning

confidence: 99%

See 4 more Smart Citations

Gender as performance, experience, identity and, variable: A systematic review of gender research in jazz and improvisation

Canham

Goh²,

Barrett³

et al. 2022

Front. Educ.

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There is growing interest in examining the gendered nature of music practices worldwide. Recent investigations of access to and equity in the music industry have included studies of gender discrimination in classical music, popular music, film music, and within the structure of colonization. This article contributes to this work by reporting the findings of a Systematic Literature Review (SLR) of research that addresses the gendered nature of jazz and improvised music practices in education settings, ensembles, and professional performance environments. Our purpose was to generate an understanding of the phenomenon of gendered jazz and improvised music practices through the following research questions: (1) what is the scope and focus of existing empirical research on gender in jazz and improvised music? (2) where has this research been undertaken, by whom, and to what purpose? (3) what methodological approaches have been employed? (4) how has gender been understood in this research? Findings indicate that research on gender in the jazz and improvisation sector is largely undertaken by women researchers working individually within the Euro-Anglosphere (US, UK, Australia). The majority of studies were undertaken in the qualitative paradigm with autoethnographies, case studies, ethnography, and narrative inquiry as the dominant research approaches. A small number of studies used quantitative or mixed methods with gender as the key variable. By contrast, qualitative studies focused on gendered accounts of working in the jazz and improvisation sector providing deeply personal narratives via artistic research, as illustrations of how larger institutional and societal factors shape the experiences of the individual. Given this personal focus, explicit referencing to theoretical frameworks was de-emphasized in the papers reviewed. Our discussion focuses on the individual and institutional factors that might account for these patterns of research and knowledge production as a way of framing past and present understandings of issues relating to gender in jazz and improvised music. We argue that small-scale qualitative research needs to be supported by larger-scale intersectional investigation into systemic or institutionalized phenomena that investigates how gender marginalization is enabled through these structures. Recommendations for further research, policy and practice are provided.

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Section: Rq : Methodological Approachesmentioning

confidence: 99%

Section: Gender As Experience/identitymentioning

confidence: 99%

Section: Gender As Variablementioning

confidence: 99%

Section: Gender As Variablementioning

confidence: 99%

Section: Gender As Variablementioning

confidence: 99%

See 3 more Smart Citations

Gender as performance, experience, identity and, variable: A systematic review of gender research in jazz and improvisation

Canham

Goh²,

Barrett³

et al. 2022

Front. Educ.

View full text Add to dashboard Cite

show abstract

The Institutionalization of Inequality: Female Vocalists’ Struggles in the Chinese Jazz Scene

Yuhan

2024

Popular Music and Society

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Social, Economic, and Technological Barriers of the Music Industry in Cebu Province Through the Lens of Management Functions

Almaden,

Ocampo,

Delantar

2024

IJMABER

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This research aimed to investigate the multifaceted challenges faced by music core groups in Cebu Province, analyzing social, economic, and technological barriers. Its primary goal was to propose an innovative management framework for ensuring sustainable growth in the music industry. Utilizing qualitative multiple-case study, this study delved into the complex landscape shaped by challenges for music creators, artists, and organizations. It involved a comprehensive management framework encompassing planning, organizing, leading, and controlling. The study identified themes including navigating professional dynamics, social equity and empowerment dynamics, obstacles in creative pursuits, financial sustainability, economic instability, challenges in technology utilization, and industry adaptation. Various coping mechanisms such as faith, self-care, and community involvement were observed. While the study provided valuable insights, the limited representation of diverse industry positions highlights the need for further research to fully grasp the complexities and challenges of the music industry. The Amplify Cebu Music Management Framework, incorporating TechHarmony Integration, aimed to seamlessly integrate technology into the industry. Tailored interventions addressed leadership development, promotion strategies, artist well-being, creative hubs, education, and government support. The study's insights transcend the local context, offering globally applicable frameworks for fostering inclusive and effective industry development, thereby enhancing social equity and empowerment dynamics. This research presents a comprehensive roadmap for overcoming barriers and enhancing resilience, contributing to a vibrant and sustainable music industry in Cebu while aligning local scenes with global audiences.

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Almost Like a Real Band: Navigating a Gendered Jazz Art World

Cited by 4 publications

References 50 publications

Gender as performance, experience, identity and, variable: A systematic review of gender research in jazz and improvisation

Gender as performance, experience, identity and, variable: A systematic review of gender research in jazz and improvisation

The Institutionalization of Inequality: Female Vocalists’ Struggles in the Chinese Jazz Scene

Social, Economic, and Technological Barriers of the Music Industry in Cebu Province Through the Lens of Management Functions

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