Instrument Gender Stereotypes
In the fifth or sixth grade, students that have shown interest in participating in beginning band classes walk into the band room and undergo the critical process of musical instrument selection. For most, the instrument chosen will remain at their side for the next seven to eight years and beyond. Parents and family members debate over the costliness of the brass instruments versus the woodwinds. Friends beg and pressure friends to choose the same instrument in order to preserve their proximity during school time. The director is nervous because two of his three tuba students are going to high school. Pre-service music educators are equipped with the knowledge necessary to determine which students have aptitude on specific instruments in terms of embouchure (mouth) shape and other physical and technical characteristics. However, directors old and new are not fully aware of the unconscious gender associations that influence the outcome of instrument selection. The girls of this new band class pick up their flutes and clarinets while the boys grab their trumpets, trombones, and drums.
In terms of the efficacy and ability of a musical ensemble, there is no differing result between all-male, all-female, or mixed ensembles. Neither sex possesses physical abilities for an instrument that cannot be achieved by the opposite sex. Thus, the consistent association of "girl to flute" and so on only extends the exposure of these stereotypes to younger students and continues the cycle of harassment and bullying for cross over students. What must music educators do in order to combat these stereotypes and eliminate negative emotional trauma experienced by students who play instruments associated with the opposite sex?
According to Dolorfino (2011), the first step for all teachers when confronted with gender stereotypes is to self-reflect on how these associations have influenced their instruction. Music teachers should consider if their ensemble contains students who perform on non-stereotypical instruments. Since the music teacher's influence on a student's musical growth begins on the first day when an instrument is chosen, awareness of these biases should enable teachers and parents to make decisions based solely on musical and technical ability. Positive environments and support of all students, whether they perform on stereotypical instruments or not, is essential. Although studies by Abeles (2009) report that gender associations are gradually lessening, intervention by teachers is necessary to challenge this social construct. Presenting instruments to new students by non-stereotypical musicians and working closely with parents is necessary to maintain unbiased selection. It is important to realize, though, that praising a student for playing a "cross over" instrument only prolongs the stereotype. High school directors should also reflect on the associations that exist in their programs, and work towards promoting equitable treatment for non-stereotypical instruments both inside the classroom and out in their school and personal communities.
Dolorfino, J. (2011). Gender associations and musical instruments. Leading Notes. Retrieved from http://www.leadingnotes.org/2011/06/15/dolorfino-2/
Payne, P.D. (2014). Relationships among timbre preference, personality, gender, and music instrument selection. Journal of Band Research, 50(1), 40-53.
Sinsabaugh, K. (2005). Understanding students who cross over gender stereotypes in musical instrument selection (Doctoral dissertation). Retrieved from RILM Abtracts of Music Literature. (2005-06586)
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In the modern course of American music education, what caused this gender-based segregation between instrument families? Dolorfino (2011) argues that these biases are not part of our innate biology but instead are learned throughout early life experiences such as "a female child sees female flautists in the local high school marching band" or "a male child's older brother tells him that violin is for girls." Although no direct cause that explains the development of these associations since Lowell Mason's first music school in 1837 has been pinpointed, these gender stereotypes and associations towards musical instruments have existed for more than three decades (Abeles, 2009). In similar studies conducted by Payne (2014) and Abeles (2009), students making shockingly divisive preferences in timbre and instruments between girls (namely flute and clarinet) and boys (trumpet, trombone, and drums). Despite this segregation, most pre-service music educators should be able to admit that there are no distinct physical differences between males and females that enable either to perform better on wind, percussion, or string instruments. With that being said, our job as music educations is to challenge this status quo to promote equity in our classrooms and communities.
The effects of these biases and associations have a cyclical, infinite, and highly negative effect on young students of music. Not only do students and teachers carry their own personal perspectives on the stereotypes, but parents and other members of the community do as well, and they are often not opposed to voicing their opinions. According to Dolorfino (2011), students' peers notice when someone is playing an instrument that goes against the norm of gender association. One particular study that was conducted by Sinsabaugh (2005) as part of a doctoral dissertation from Columbia University examined students who "crossed over" instrument gender stereotypes. Her research indicated the presence of bullying that occurs as a result of a student choosing a non-stereotypical instrument. This dissertation also includes the testimonies of two boys who admit to being harassed for playing the flute. Results showed that girls, however, are more likely to choose a cross-over instrument than boy students. It is also noted that in most cases, the teacher or parent of a particular student gave the final decision as to what instrument he or she would play. This alone highlights the importance of educating pre-service music instructors to be aware of implicit gender biases.
The effects of these biases and associations have a cyclical, infinite, and highly negative effect on young students of music. Not only do students and teachers carry their own personal perspectives on the stereotypes, but parents and other members of the community do as well, and they are often not opposed to voicing their opinions. According to Dolorfino (2011), students' peers notice when someone is playing an instrument that goes against the norm of gender association. One particular study that was conducted by Sinsabaugh (2005) as part of a doctoral dissertation from Columbia University examined students who "crossed over" instrument gender stereotypes. Her research indicated the presence of bullying that occurs as a result of a student choosing a non-stereotypical instrument. This dissertation also includes the testimonies of two boys who admit to being harassed for playing the flute. Results showed that girls, however, are more likely to choose a cross-over instrument than boy students. It is also noted that in most cases, the teacher or parent of a particular student gave the final decision as to what instrument he or she would play. This alone highlights the importance of educating pre-service music instructors to be aware of implicit gender biases.
In terms of the efficacy and ability of a musical ensemble, there is no differing result between all-male, all-female, or mixed ensembles. Neither sex possesses physical abilities for an instrument that cannot be achieved by the opposite sex. Thus, the consistent association of "girl to flute" and so on only extends the exposure of these stereotypes to younger students and continues the cycle of harassment and bullying for cross over students. What must music educators do in order to combat these stereotypes and eliminate negative emotional trauma experienced by students who play instruments associated with the opposite sex?
According to Dolorfino (2011), the first step for all teachers when confronted with gender stereotypes is to self-reflect on how these associations have influenced their instruction. Music teachers should consider if their ensemble contains students who perform on non-stereotypical instruments. Since the music teacher's influence on a student's musical growth begins on the first day when an instrument is chosen, awareness of these biases should enable teachers and parents to make decisions based solely on musical and technical ability. Positive environments and support of all students, whether they perform on stereotypical instruments or not, is essential. Although studies by Abeles (2009) report that gender associations are gradually lessening, intervention by teachers is necessary to challenge this social construct. Presenting instruments to new students by non-stereotypical musicians and working closely with parents is necessary to maintain unbiased selection. It is important to realize, though, that praising a student for playing a "cross over" instrument only prolongs the stereotype. High school directors should also reflect on the associations that exist in their programs, and work towards promoting equitable treatment for non-stereotypical instruments both inside the classroom and out in their school and personal communities.
Reference List
Abeles, H. F. (2009). Are musical instrument gender associations changing? Journal of Research in Music Education, 57(2), 127-139.
Dolorfino, J. (2011). Gender associations and musical instruments. Leading Notes. Retrieved from http://www.leadingnotes.org/2011/06/15/dolorfino-2/
Payne, P.D. (2014). Relationships among timbre preference, personality, gender, and music instrument selection. Journal of Band Research, 50(1), 40-53.
Sinsabaugh, K. (2005). Understanding students who cross over gender stereotypes in musical instrument selection (Doctoral dissertation). Retrieved from RILM Abtracts of Music Literature. (2005-06586)
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