Towards Gender Equality in the Music Industry: An Introduction

Strong, Catherine; Raine, Sarah

doi:10.5040/9781501345531.ch-001

Cited by 11 publications

(5 citation statements)

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“…It is well-known that there are many obstacles and barriers to engaging in subjects that require the use of technology or are aimed at developing expertise in using technology (Webster, 2012). Concerns surrounding how these barriersand the teaching of these subjectsmay intersect with gender have been raised by other academics (Armstrong, 2013;Born & Devine, 2015;Comber et al, 1993). It is therefore unsurprising that courses combining music and technology have predominantly male majority populations.…”

Section: Music and Technologymentioning

confidence: 99%

“…This paper only identifies the gender gaps present within areas of HME and does not aim to provide a novel explanation for their existence. The research may also allow for further identification of the underlying factors that lead to these gender gaps, developing on those explored by Green (1997), Armstrong (2013), Born and Devine (2015), Scharff (2019) and others. It should be noted that there are other areas of interest not engaged with throughout this article which are also of importance, such as social inequality (see: BULL, 2019).…”

Section: Conclusion and Further Researchmentioning

confidence: 99%

“…Some attempts have been made to offer more holistic approaches to these examinations of gender and music education. One report compiled by Bain (2019) used data from HESA to attempt briefly to identify gender inequalities across the broader context of HME. Whilst Bain does not fully establish the methodology of their specific (re)categorisations in the published report, the numbers present some concerns.…”

Section: Introductionmentioning

confidence: 99%

“…Whilst Bain does not fully establish the methodology of their specific (re)categorisations in the published report, the numbers present some concerns. For example, Bain identifies that only 14.45% of those studying composition degrees are female: as they put it, "the impact of genderisation of music can be seen" (Bain, 2019). Born and Devine (2015) also take a holistic view, categorising contemporary HME into two meta-categories of "traditional music" and "music technology" degrees.…”

Section: Introductionmentioning

confidence: 99%

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Exploring issues in categorisation of higher music education courses through FOI surveys of gender demographics in UK higher education institutions

Tatlow

2022

Brit. J. Music. Ed.

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A common conclusion drawn from publicly available Higher Education Statistics Agency (HESA) data releases is that Higher Music Education (HME) courses have a predominantly male population. However, HESA data has key issues when examining HME courses: which courses are reported as ‘music’ courses to HESA; how do universities decide which courses are ‘music’ courses; how many different topics are contained within the umbrella of ‘music’ courses? To address questions of gender representation in HME, universities in the UK were approached with Freedom of Information Act requests for the gender demographics of student populations on “music-related” courses. Information was gained on 3456 courses populations between 2014 and 2020, which was categorised by the subject of study. Six core undergraduate topics were identified: generic music degrees (female bias), degrees combining music and technology (male bias), degrees combining music and business (no gender bias), degrees on popular music (male bias), degrees combining music and theatre (female bias) and major conservatoire courses (no gender bias). No area was accurately represented by HESA data, and gender representation varied significantly between areas. These findings have implications for discussions of gender representation in HME across the UK.

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Section: Music and Technologymentioning

confidence: 99%

Section: Conclusion and Further Researchmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Exploring issues in categorisation of higher music education courses through FOI surveys of gender demographics in UK higher education institutions

Tatlow

2022

Brit. J. Music. Ed.

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“…There is growing interest in examining the gendered nature of music practices worldwide. Equity and access in the music industry has recently been explored via investigations of gender discrimination in classical music (Scharff, 2016), popular music (Strong and Raine, 2019), film music (Wilcox, 2021), and within the structure of colonization (Tan, 2021). This article contributes to this work by examining the range of literature that addresses the gendered nature of jazz and improvised music practices.…”

Section: Introductionmentioning

confidence: 99%

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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“A Little Togetherness”

Raine

2020

Palgrave Studies in the History of Subcultures and Popular Music

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Towards Gender Equality in the Music Industry: An Introduction

Cited by 11 publications

References 0 publications

Exploring issues in categorisation of higher music education courses through FOI surveys of gender demographics in UK higher education institutions

Exploring issues in categorisation of higher music education courses through FOI surveys of gender demographics in UK higher education institutions

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

“A Little Togetherness”

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