The Gender Stereotyping of Musical Instruments in the Western
Tradition

Steblin, Rita

doi:10.7202/1014420ar

Cited by 9 publications

(6 citation statements)

References 1 publication

(1 reference statement)

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“…This study builds upon previous research highlighting a persistence of structural gender asymmetries in recruitment of young instrumentalist learners at crucial times in students' lives (Steiblin, 1995;Steinberg, 2001). These imbalances set in motion a limiting of girls' opportunities in ensembles, and thus the flow on to music performance as a subject, tertiary jazz education, and then as part of a teaching workforce influencing the next generation of learners.…”

Section: Discussionmentioning

confidence: 61%

“…There is research outlining structural, societal, and cultural asymmetries within the musical performing industry, and music education. Both of these areas continue to mediate inequalities driven by binary distinctions of gender (Connell and Messerschmidt, 2005), specific stereotyping within genres (Bowers and Tick, 1986;Steiblin, 1995;Tucker, 2000;Macleod, 2001;McGee, 2008), masculine tropes of strength and dominance in jazz performance, and modes of learning via often combative and competitive 'cutting contests' (Berliner, 2009). Little wonder then, that jazz remains a male dominated field (Ake, 2002;Caudwell, 2010;Dobson, 2010), and despite recent improving of participation numbers, females remain a minority in the field of jazz (Gibson, 2006;McKeage, 2011).…”

Section: Gender Stereotypingmentioning

confidence: 99%

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Director perspectives to equity, access, and inclusion in the school jazz ensemble

Bruin

2022

Front. Educ.

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Arts and culture are increasingly acknowledged as pillars of society in which all of humanity including people who identify as’ LGBTQIA+ can contribute in 21st century society. United Nations and individual country initiatives continue to promote the notion of inclusive, egalitarian values that promote equal access and opportunity to chosen careers and passions. Jazz as an artform has evolved as a form of cultural expression, entertainment, and political metaphor, subject to societal and populist pressures that have created both a canon and popularized history. Jazz education has moved from largely informal to almost wholly formal and institutionally designed methods of learning and teaching. The jazz ensemble or stage band remains an enduring secondary education experience for most students learning jazz today. This qualitative study of music directors investigates their approaches, perspectives and concerns regarding attitudes and practices in the teaching profession, the promoting of inclusive practices, access, and equity, amidst a pervasive masculinized performance and social structure that marginalizes non-male participation. The study provides implications for how jazz education may continue to evolve in both attitude and enlightened access in the education of jazz learners.

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Section: Discussionmentioning

confidence: 61%

Section: Gender Stereotypingmentioning

confidence: 99%

Director perspectives to equity, access, and inclusion in the school jazz ensemble

Bruin

2022

Front. Educ.

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“…Ordene opptrer hyppigst i andre halvdel av 1800-tal-2. Tidligere musikkvitenskapelig forskning har vaert sentrert rundt den sosiale betydningen av kvinner og pianospill generelt sett, som i Loesser (1954), Bowers og Tick (1986), Leppert (1985Leppert ( , 1993, Steblin (1995), Koskoff (1995), Christensen (1999), Parakilas (1995Parakilas ( , 2002, Plantinga (2004), Solie (2004), Ellsworth og Wollenberg (2007), Raykoff (2014) og Meling (2015). Piano i norsk skjønnlitteratur har blitt omtalt i Vollsnes et al (1999), Herresthal (1993) og Kjeldsberg (1985), men kun enkelte kanoniserte forfattere er nevnt.…”

Section: Metode Kilder Og Kategoriseringerunclassified

«Jubel og Kjærlighed, Fortvivlelse ogVanvid, Alt laa i dette tonende Væld»

Meling¹

2019

SMN

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Lise Karin Meling holds an MA in musicology from NTNU and a Doctor of Music in Early Music from Indiana University, USA. She is Associate Professor of Music at the Faculty of Performing Arts, University of Stavanger. Her research projects encompass topics in early music and music and gender: her latest research focuses on the gendered history of musical instruments, particularly the piano in the 19th century. Meling is also active as a harpsichord performer where she has lifted up unknown works by female composers.

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“…1 The association of instruments either with men or women varies in time and place, as it relates to the socio-cultural construction of features and roles associated to gender in a given context. In modern Western societies musical practices tended to reinforce the socialization and embodiment of the binarism founding the patriarchal order (DeNora 2002), as attested by conduct books, paintings or sculptures referring to music making (Leppert 1995;Steiblin 1995). The musical education of young women, functional to the exhibition of family status and personal appeal, required compliance with the ideals of grace, decorum, discretion, deference, defining the esthetical and moral standards of feminine respectability valued in the marriage market (Loesser 1954).…”

mentioning

confidence: 99%

Winds of Change? Gender Segregation in Music Education and Production in Italy

Casula¹

2023

Musik Und Klangkultur

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Gender typing of musical instruments is one of the main factors limiting the educational, occupational, personal and social experiences available to women in different music worlds, althought today women are formally acknowledged the right to access also educational and professional paths typically associated with masculinity. In practice, however, gender stereotypes in music are still diffused and influent, although to a lesser extent than in the past. This chapter discusses gender typing of wind instruments in contemporary Italy, drawing on the analysis of quantitative and qualitative evidences. In the last decades the traditional association of wind instruments with masculinity has considerably declined in the case of woodwind instruments (to the point of reversal for the flute), while it persists in the case of wind instruments and, remarkably, in the instrumental jazz courses. Gender typing seems to be even stronger in the music job market, where gender segregation persists both at the horizontal and vertical level. Female wind players refer of similar experiences contributing to build self-confidence and leadership in a field still mostl masculine. Those experiences, however, have an occasional character related to the specific path of each musician, while only recently a series of measures are being developed to raise awareness on the issue of gender segregation and promote a greater gender balance in music. Academic research might play an important role in disseminating reliable documentation of past and present activities of female musicians operating in different music worlds and evidence on the persistency of different forms of gender segregation, often hidden behind formal equality of opportunities.

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The Gender Stereotyping of Musical Instruments in the Western Tradition

Cited by 9 publications

References 1 publication

Director perspectives to equity, access, and inclusion in the school jazz ensemble

Director perspectives to equity, access, and inclusion in the school jazz ensemble

«Jubel og Kjærlighed, Fortvivlelse ogVanvid, Alt laa i dette tonende Væld»

Winds of Change? Gender Segregation in Music Education and Production in Italy

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