Relationships Among Band Festival Ratings,Director Gender,and Other Selected Factors

Abstract

The purpose of this study was to examine relationships among high school band festival ratings and director gender as well as school locale, school size, student socioeconomic status (SES), student race, repertoire difficulty, and ensemble name. Data included overall ratings of bands (N = 257) that performed at District Concert Assessments held across the state of Virginia during 2019 as well as demographic information from the National Center for Education Statistics. Statistical analysis of a subset of these performances (n = 151) revealed a statistically significant association between ratings and director gender, with male-directed ensembles more likely to receive a “I” rating than female-directed ensembles. However, hierarchical logistic regression revealed that repertoire difficulty and ensemble name were the best predictors of whether an ensemble would receive a “I” rating. Implications include the need to examine why female band directors may choose less difficult repertoire than male directors and to explore strategies for making the secondary band teaching profession more equitable and inclusive.

Keywords

adjudicated performance events conductor gender performance ratings repertoire sex/gender equity

Despite recent evolution in conceptions of gender, women continue to be a statistical minority in the field of secondary band teaching, particularly at the high school level. Although the percentage of high school band directors who are female has risen over the past 20 years, recent studies involving high school band directors have shown the percentage who are women still only ranges from 13% to 29% (Regier, 2021; Shanley, 2020; Shouldice & Eastridge, 2020).

As statistical minorities in their field, women report unique experiences as female band directors. Challenges include a lack of female role models, pressure to alter the way they dress or act, and struggles in the hiring process and/or interactions with administrators (Bovin, 2019; Coen-Mishlan, 2015; Draves, 2018; Fischer-Croneis, 2016; Jones, 2010; Mullan, 2014; Sears, 2010). Many female band directors express feelings of isolation and exclusion from their predominantly male colleagues, which is commonly referred to as the “Good Old Boys Club” (Bovin, 2019; Coen-Mishlan, 2015; Fischer-Croneis, 2016; Jones, 2010; Mullan, 2014; Sears, 2010). Some female band directors describe explicit discrimination from colleagues due to their gender and a number feel they are judged more harshly than their male colleagues in adjudicated events (Bovin, 2019; Coen-Mishlan, 2015; Jones, 2010; Mullan, 2014; Sears, 2010).

Seeking quantitative data regarding band festival ratings and director gender, Shouldice and Eastridge (2020) investigated 6 years of ratings from Virginia. The researchers accessed the Virginia Band and Orchestra Association’s public online archive of festival results for the years 2013–2018 and gathered director names and overall ratings of middle and high school ensembles. Their analysis revealed that male-directed ensembles were more likely to receive a “I” (Superior) rating, whereas female-directed ensembles more likely to receive a “II” (Excellent) rating.

Although Shouldice and Eastridge (2020) found an association between festival ratings and director gender, other factors may relate to both variables, including school location and size, school funding, performers’ race/ethnicity, repertoire difficulty, and ensemble name. For example, Greaves-Spurgeon (1998) found women are more likely to be hired in rural or smaller schools, which may be more likely to receive lower scores (King & Burnsed, 2009). In a series of studies examining solo and ensemble festival ratings, Bergee and colleagues found ratings to be associated with both school size and school locale, with students from metropolitan areas more likely to receive a “I” rating than those from nonmetropolitan areas (Bergee, 2006; Bergee & Westfall, 2005) and those from larger schools receiving higher average ratings than those from smaller schools (Bergee & McWhirter, 2005; Bergee & Platt, 2003). Schools with higher funding were also more likely to receive a “I” rating (Bergee, 2006; Bergee & McWhirter, 2005). Race may also affect ratings. In a study of music education majors’ ratings of solo instrumentalists, Elliott (1995/1996) found that black performers received significantly lower scores than white performers. Repertoire difficulty may also influence ratings, as numerous studies have shown that ensembles performing more difficult repertoire are rated significantly higher than those playing easier repertoire (Hash, 2012; Mick & Pope, 2018; Silveira & Silvey, 2020). Finally, Silvey (2009) found evidence that even an ensemble’s name can influence the rating received. Specifically, participants who rated audio recordings tended to rate those labeled “Wind Ensemble” higher than those labeled “Concert Band.”

Given that previous researchers have found associations between ratings and the aforementioned factors, it is possible that the difference in ratings found by Shouldice and Eastridge (2020) was not directly caused by gender but by one or more of these other variables. Therefore, the current study served as a follow-up to Shouldice and Eastridge, the purpose of which was to examine relationships among high school band festival ratings and director gender as well as school locale, school size, student socioeconomic status (SES), student race, repertoire difficulty, and ensemble name. Specific research questions included the following: (1) Is there a significant association between overall rating and director gender among Virginia high school band festival performances from 2019? and (2) What variable(s) best predicts the likelihood of an ensemble receiving a “I” rating?

Method

Data consisted of records from the Virginia Band and Orchestra Directors Association (VBODA) as well as information from the National Center for Education Statistics (NCES). Each of VBODA’s 16 districts hosts an annual District Concert Assessment, requiring a performance of three prepared pieces evaluated by three judges. Two of these pieces must be chosen from VBODA’s “Selected Music List,” which classifies the difficulty level of each piece on a scale from Grade 1 (easiest) to Grade 6 (most difficult). Ensembles/directors are visible to all judges and ratings utilize a 5-point scale, ranging from “I” (superior) to “V” (poor). Each ensemble is awarded an overall rating, typically consisting of the average of all judges’ ratings (Virginia Band and Orchestra Directors Association, 2016).

The site was selected because VBODA maintains a public archive of past District Concert Assessment results on their website (Virginia Band and Orchestra Directors Association, 2020). We obtained all archived reports from 2019 and recorded all results that included the first and last name of each director. Information for each ensemble included director name(s), school name, ensemble name, grade of music (difficulty), and overall rating. Listings for five districts were missing, but all other available results were utilized, yielding a total of 257 performances.

We coded each ensemble performance according to the assumed gender (male/female) of the director(s), inferring gender based on whether the director’s first name has traditionally been gendered as male or female in the United States.¹ If the first name of a director was gender-neutral or ambiguous (e.g., Casey, Jamie), we ascertained gender through an internet search (e.g., pronouns, title, photograph). Ensembles with two female co-directors were coded as female-directed and ensembles with two male co-directors were coded as male-directed. Any ensemble performance that listed both a male and a female director was coded as mixed-gender. In addition to director gender, we coded each ensemble’s name as “wind ensemble/wind symphony” or “other” (e.g., symphonic band, concert band, varsity band).

To determine school type, school size, student socioeconomic status (SES), and student race, we searched for each school on the NCES (2020) website for 2018–2019 and recorded the school’s locale (i.e., rural, town, city, or suburban), total number of students, number of students qualifying for free/reduced lunch, and number of white students. We then calculated each school’s percentage of students qualifying for free/reduced lunch and percentage of white students, each of which was split into quartiles for coding (i.e., 0%–25%, 26%–50%, 51%–75%, 76%–100%). We also clustered the total number of students into small, medium, and large categories for coding of school size (i.e., 0–999, 1,000–1,999, 2,000+).

Of the total sample of 257 high school band performances, 79.8% (n = 205) had male directors, 17.9% (n = 46) had female directors, and 2.3% (n = 6) had mixed-gender co-directors. Because the purpose of the study was to compare ratings of male-directed and female-directed bands, we removed groups with mixed-gender co-directors from further analysis as well as three ensembles designated as “comments only.” In addition, two schools were removed because they were not listed in the NCES database, leaving a total of 246 performances for which assumed director gender, rating, and demographic information were known.

Results

The mean overall rating for male-directed and female-directed high school band performances (N = 246) was 1.40. Table 1 shows the percentages of male-directed and female-directed ensembles receiving each rating, with the mode score indicated in bold. Because 96.3% of these ratings fell into the “I” or “II” categories, we removed the “III” ratings from further analysis. Therefore, we treated the dependent variable as categorical and used the chi-square independence test to answer our first research question. However, the assumption of independence of observations was violated due to some directors having participated with multiple groups. To alleviate this issue, we identified all directors who appeared in the database with multiple ensembles and kept only the top ensemble, resulting in a narrowed sample of 151 total performances. An alpha level of .05 was set as the threshold for statistical significance.

Table 1.

Percentages of Total Male-Directed and Female-Directed Ensembles Receiving Each Rating.

Director gender	“I” rating	“II” rating	“III” rating	“IV” rating	“V” rating
Male	66.7% (n = 136)	29.9% (n = 61)	3.4% (n = 7)	0.0% (n = 0)	0.0% (n = 0)
Female	50.0% (n = 21)	45.2% (n = 19)	4.8% (n = 2)	0.0% (n = 0)	0.0% (n = 0)

Results of the chi-square test for the first research question revealed a statistically significant association between overall rating and director gender, χ²(1) = 4.925, p = .026, with male-directed ensembles more likely to receive a “I” rating than female-directed ensembles. Among the 151 performances, 73.0% of male-directed ensembles received a “I,” whereas only 51.7% of female-directed ensembles received a “I.”

Before conducting the hierarchical logistic regression to answer our second research question, we utilized linear regression to examine the independent variables for multicollinearity. Variance inflation factors (VIFs) ranged from 1.124 to 2.248 and tolerance ranged from 0.445 to 0.890, indicating no serious multicollinearity issues.²

To determine the extent to which the independent variables predicted the likelihood of an ensemble receiving a “I” rating, we utilized a hierarchical logistic regression with overall rating as the dependent variable (1 = “I,” 0 = “II”). We entered the predictor variables in four steps, including only director gender (1 = male, 2 = female) at Step 1. Because previous research suggests a connection between director gender and school locale/size, we added those variables at Step 2, with dummy variables (1 = yes, 2 = no) for each locale category (i.e., rural, town, suburban, city) and size in three continuous groupings (1 = 1–999, 2 = 1,000–1,999, 3 = 2,000+). At Step 3, we added SES (1 = 76%–100% free/reduced lunch, 2 = 51%–75%, 3 = 26%–50%, 4 = 0%–25%) and race (1 = 0%–25% White, 2 = 26%–50%, 3 = 51%–75%, 4 = 76%–100%). Finally, we added repertoire difficulty (1 = easiest, 6 = most difficult) and ensemble name (1 = wind symphony/wind ensemble, 2 = other) at Step 4. The results of this hierarchical regression are shown in Table 2.

Table 2.

Hierarchical Regression Results: Predictors of Receiving a “I” Rating.

Predictor variables	B	SE(B)	β	p	Model sign.(p)	Nagelkerke R²	% correct
Step 1					.031*	.043	68.9%
Gender	0.923	0.424	2.517	.029*
Constant	0.069	0.372	1.071	.853
Step 2					<.001*	.265	74.8%
Gender	0.420	0.477	1.522	.378
Rural	0.531	0.576	1.700	.357
Town	−0.435	0.732	0.647	.552
Suburban	1.438	0.621	4.213	.021*
Size	0.944	0.352	2.571	.007*
Constant	−1.820	0.902	0.162	.044
Step 3					.128	.296	74.2%
Gender	0.400	0.489	1.493	.412
Rural	−0.007	0.653	0.993	.992
Town	−0.919	0.799	0.399	.250
Suburban	1.068	0.660	2.909	.106
Size	0.951	0.417	2.588	.023*
Socioeconomic status	0.368	0.275	1.445	.182
Race	0.250	0.274	1.284	.361
Constant	−3.237	1.268	0.039	.011
Step 4					<.001*	.458	80.8%
Gender	0.328	0.582	1.389	.572
Rural	0.339	0.760	1.404	.655
Town	−1.086	0.906	0.338	.231
Suburban	1.056	0.741	2.874	.154
Size	−0.049	0.488	0.952	.920
Socioeconomic status	0.091	0.318	1.095	.775
Race	0.050	0.303	1.051	.869
Difficulty	1.038	0.314	2.822	.001*
Ensemble name	1.328	0.557	3.774	.017*
Constant	−4.911	1.512	0.007	.001

p < .05.

Although the addition of gender in Step 1 showed significant changes in Nagelkerke R², the addition of school locale and size in Step 2 removed gender as a significant predictor of festival ratings. At this step, size emerged as a significant predictor as well as locale, with larger schools and suburban schools showing greater likelihood of earning a “I” rating. The addition of SES and student race at Step 3 did not have a significant effect on the R², although it removed suburban locale as a significant predictor of ratings. Finally, the addition of repertoire difficulty and ensemble name at Step 4 significantly improved the model, which accounted for 45.8% of the variance and correctly predicted 80.8% of all ratings. After all variables were incorporated at Step 4, the only remaining significant predictors of “I” ratings were repertoire difficulty and ensemble name, with the likelihood of receiving a “I” rating increasing with more advanced repertoire and with the ensemble name “wind symphony” or “wind ensemble.”

Further examination of the data in regard to these main predictors revealed no significant association between director gender and ensemble name, χ²(1) = 0.178, p = .673, with the title “wind ensemble” or “wind symphony” making up 38.5% of male-directed bands and 37.9% of female-directed bands. However, there was a significant association between ensemble name and whether the band was the top or only band at their school, χ²(1) = 36.160, p < .001. Among groups that were the only band at their school, 15.4% were named “wind ensemble” or “wind symphony,” whereas 63.0% of top groups from schools with multiple bands were named as such. Furthermore, among groups that were the only band from their school, 47.5% received “I” ratings, whereas 88.2% of top groups from schools with multiple bands received “I” ratings.

Although ensemble name did not vary by director gender, an independent t test revealed a significant difference in repertoire difficulty by gender (t = 3.017, df = 149, p = .003). Male-directed ensembles tended to perform more difficult repertoire (M = 4.61, SD = 0.992) than female-directed ensembles (M = 3.97, SD = 1.085). Overall, 52.4% of male-directed ensembles performed repertoire at Grade 5 or above, whereas 65.5% of female-directed ensembles performed repertoire at Grade 4 or below. Furthermore, all ensembles that performed at Grade 6 received a “I” rating; however, only two of the 29 female-directed ensembles (6.9%) performed Grade 6 repertoire, as illustrated in Figure 1.

Figure 1.

Band ratings as a function of director gender.

Discussion

Results of the current study show slight improvements in gender representation and equity compared with those of Shouldice and Eastridge (2020). The percentage of high school directors in 2019 who were female (17.9%) was slightly greater than the average for the years 2013–2018 (13.5%) and the percentage of female-directed ensembles receiving a “I” rating in 2019 (50.0%) was also greater than the average for the years 2013–2018 (42.2%). There was still a significant association between director gender and festival ratings in 2019, but gender was no longer a significant predictor of festival ratings once other factors were considered. This suggests that director gender itself is not the primary reason for the differences in scores. Instead, repertoire difficulty and ensemble name emerged as the main predictors of festival ratings, aligning with previous research (Hash, 2012; Mick & Pope, 2018; Silveira & Silvey, 2020; Silvey, 2009).

Although there was no association between ensemble name and director gender, ensemble name tended to be associated with whether the band was the only one at its school or the top group among multiple bands. If a school has multiple bands, it is likely that more advanced players are clustered in the top band, which could logically explain why such groups receive higher ratings than groups that encompass the entire range of playing abilities. A more puzzling finding is the significant difference in repertoire difficulty between male-directed ensembles and female-directed ensembles. This insight suggests that, rather than gender directly causing female-directed ensembles to receive lower festival ratings, female-directed bands tend to perform less difficult repertoire, which decreases the likelihood of receiving a “I” rating, as other researchers have also discovered (Hash, 2012; Mick & Pope, 2018; Silveira & Silvey, 2020).

This leads us to question why female band directors may be less likely to choose more difficult repertoire. One possibility is that women may be less confident than men, particularly in situations in which they are the gender minority. In a study of college psychology students, Ehrlinger and Dunning (2003) found that women’s confidence in science was lower than men’s, even when their competence was the same. This suggests that, even when female band directors and their ensembles are indeed competent, they may doubt their capability and choose easier repertoire. Furthermore, there is evidence that women tend to be less confident when they are competing against men or are in the gender minority within a group (Gneezy et al., 2003; Karpowitz et al., 2012). Being minorities in the band teaching profession may contribute to a lack of confidence among female band directors, which may deter them from choosing more challenging repertoire.

Another possible explanation for the difference in repertoire difficulty could be that male and female directors may vary in what influences their repertoire choice. Several researchers have found that men tend to be more competitive and/or ego-oriented than women. In a study of adults enrolled in a business program (Westbrook et al., 2011), men scored higher than women on a measure of personal development competitive orientation as well as hypercompetitiveness. Li et al. (1996) studied undergraduates enrolled in physical activity classes and found “male students tend[ed] to be more ego-involved (i.e., prefer more social comparison-based sport goals) than their female counterparts” (p. 237). These findings suggest that male band directors may be more likely to choose repertoire for competitive and/or ego-driven reasons, thereby influencing them to program music at the highest difficulty levels. This is not to say that women are naturally less competitive than men but possibly that men may be more socialized toward competitiveness. Furthermore, women are more likely to experience perfectionism at work than are men (Mitchelson, 2009), which may deter female band directors from choosing more difficult repertoire. Future research might focus on perfectionism, competitiveness, and ego-orientation among band directors and how this relates to repertoire choice as well as the ways in which women and men are socialized to act in particular ways in their roles as music teachers. Researchers also might examine the factors that influence band directors’ programming decisions, specifically as they relate to repertoire difficulty.

This study has a number of limitations. One is that gender was examined only in terms of the traditional male/female binary. Further research is needed to explore the experiences of band directors of all genders across the gender spectrum. The small sample of female-directed ensembles is another limitation of the study. Only 27 of the 151 ensembles included in the regression analysis were directed by women, which may have contributed to the omission of gender as a significant variable in the final model. Furthermore, all data were collected in one state, which may not be representative of all states. More research is needed to investigate whether similar associations between festival ratings and director gender exist in other states. In addition, that the measures of student SES and race reflected the entire school population rather than band students specifically is a limitation of this study, as previous research suggests students who participate in band are more likely to be White and of higher SES (Kinney, 2019). A future study might focus solely on the SES and race of band members rather than the entire school population.

Although results of this study do not suggest bias in the judging of female-directed bands, it is disconcerting that women receive lower festival ratings and that this may be due to the difficulty level of the repertoire they choose and/or the types of jobs they are more likely to hold. We may attempt to remedy this by encouraging female band directors to be more confident and/or competitive in both their repertoire choice and the types of jobs for which they apply, but it is equally important that men take an active role in addressing this issue. Numerous researchers have found that many female band directors feel marginalized in the profession, in large part due to a lack of support and/or respect from their male colleagues (Jones, 2010; Robinson, 2010; Sears, 2010). One may feel compelled to dismiss such a comment from one woman, assuming it is an isolated event. However, that numerous researchers have discovered a perception among female band directors of secondary band as a “good old boys club” (Bovin, 2019; Coen-Mishlan, 2015; Fischer-Croneis, 2016; Jones, 2010; Mullan, 2014; Sears, 2010) suggests this is a pervasive issue in the profession. As those in the majority and thus those who hold and maintain systems of power in secondary band teaching, it is incumbent upon male band directors and administrators to acknowledge these issues of gender in the profession and work to become allies who will empower and raise up women, making the field of secondary band more welcoming and equitable for all.

Supplemental Material

sj-docx-1-jrm-10.1177_00224294211060449 – Supplemental material for Relationships Among Band Festival Ratings, Director Gender, and Other Selected Factors

Supplemental material, sj-docx-1-jrm-10.1177_00224294211060449 for Relationships Among Band Festival Ratings, Director Gender, and Other Selected Factors by Heather Nelson Shouldice and Victoria Woolnough in Journal of Research in Music Education

Footnotes

Declaration of Conflicting Interests

The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was supported by Eastern Michigan University’s Undergraduate Research Stimulus Program.

ORCID iD

Heather Nelson Shouldice

Supplemental Material

Supplemental material is available in the online version of the article at .

Notes

Author Biographies

Heather Nelson Shouldice is associate professor of music education at Eastern Michigan University. Her research interests include music teacher beliefs and their relationships to teaching practice, musical identity development, and issues related to gender in music education.

Victoria Woolnough recently completed her Bachelor of Music Education degree at Eastern Michigan University and now teaches elementary general music in the Ann Arbor (MI) Public Schools. She is interested in pursuing more educational research studies and endeavors in her future career as a music educator.

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