Gender and Musical Instrument Stereotypes in Middle School Children

Abstract

Previous studies have established that gender stereotypes are associated with children’s choice of musical instrument. Though some have suggested that these gender stereotypes may be trending toward change, other studies have indicated that gender stereotypes are long-standing and still very much at issue. This descriptive study of middle school band students ( N = 99) examined instrument gender stereotypes using improved methods of measurement and found evidence that instrument gender stereotypes remain entrenched and pose a persisting problem facing music educators. Importantly, younger and more inexperienced band members may be more open to counterstereotypical views. Suggested changes in research methods and directions for future study are discussed, as are implications for music educators.

Masculine harps and feminine horns: Timbre and pitch level influence gender ratings of musical instruments

“…Delzell and Leppla had also found a lessening of strength in gender associations to musical instruments among fourth-grade students, but Abeles (2009) found little change in sixth- through eighth-grade band and orchestra students’ gender associations to instruments. Further, a recent study by Wrape and colleagues (2016) found no evidence of a trend toward change in gender stereotypes for sixth- through eighth-grade band students. When taken together, the given studies suggest an overall persistence of gender associations, especially for instruments such as the drums and the flute, which tend to anchor the ends of the gender continuum.…”

“…Additionally, some instruments, such as the piano, are consistently categorized or rated as neutral (i.e., at or near the middle of the gender continuum). Gender associations to musical instruments have exhibited somewhat stable patterns within age groups (Abeles & Porter, 1978; Delzell & Leppla, 1992; Kelly, 1997; Wrape, Dittloff, & Callahan, 2016) and when viewed by biological gender of the participant (Abeles & Porter, 1978; Delzell & Leppla, 1992; Fortney, Boyle, & DeCarbo, 1993; O’Neill & Boultona, 1996; Wrape et al, 2016; see also Sinsel, Dixon, & Blades-Zeller, 1997). Recent evidence also suggests that gender–instrument associations appear to become more entrenched as a result of participants’ musical experience and skill level by the end of middle school (Wrape et al, 2016).…”

Exploring equal opportunities: Children’s experiences of the Swedish Community School of Music and Arts

“…In order to attract children, regardless of gender, to all arts subjects and musical instruments, it is necessary to challenge hetero-normative notions existing within the field of arts education. Dance in general, and genres such as ballet and jazz dance in particular, as well as musical instruments such as the flute, are strongly associated with femininity (Eros, 2008; Hallam et al, 2005, 2008; MacLeod, 2009; Marshall & Shibazaki, 2011; Sheldon & Price, 2005; Taylor, 2009; Wrape et al, 2014; Wych, 2012). Based on gender construction theory, we see it as important to design the teaching in a way that weakens stereotypes and gendered patterns of learning a specific genre or playing a particular instrument.…”

“…In a survey of the UK Local Authorities Music Services, Hallam, Rogers, and Creech (2005) found a predominance of girls, especially at the lower levels. When it comes to choice of musical instrument, the gender stereotypes become obvious, with a predominance of girls on the flute and clarinet, and boys playing brass instruments and percussion (Eros, 2008; Hallam et al, 2005; Hallam, Rogers, & Creech, 2008; MacLeod, 2009; Marshall & Shibazaki, 2011; Sheldon & Price, 2005; Taylor, 2009; Wrape, Dittloff, & Callahan, 2014; Wych, 2012). Changes over time in instrument choices and their gender associations have proven to be modest (Abeles, 2009).…”

Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

“…gender stereotyping (Byo, 1991; Bruce and Kemp, 1993; Elliot and Yoder-White, 1997; O’Neill, 1997; Pickering and Repacholi, 2001; McKeage, 2004; Walker, 2004; Hallam et al, 2008; Abeles, 2009; Benet Crowe, 2010; Varnado, 2013; Wrape et al, 2016; and numerous others).…”