Abstract
This article discusses how the scarcity of female representation in music history curriculums, music textbooks, and traditional classical music repertoire affects student aspirations for professional careers in music and the way in which students relate to the music. The role of political issues and social movements in the classroom, such as those concerning gender issues, remains a controversial issue. However, it is also evidently a critical aspect in better understanding and re-creating the context for women in music. This article seeks to provoke discussion surrounding traditional music curricula in the vast disparity between male and female figures in music education and to encourage continual refinement of modern classical music curricula to present a more comprehensive view of music and music history.
Introduction
Gender issues of late have been a dividing force in modern political and social agendas. As societal views of women changed, we began to see at the turn of the 21st century a call for greater representation of women in positions of leadership, a push for a greater representation of women in professional fields, and a general consensus to strive for increased gender equality.
While opinions remain divided as to the existence of a discrepancy between opportunities given to men compared with women, and debates continue on the validity of the wage gap argument, there undoubtedly exists a disparity between the way in which women and men are paid, treated, and represented in almost all professional fields, and the music industry is no exception (Sin, Stillman, & Fabling, 2017). The reasons for this discrepancy continue to be hotly debated, and consequently, avid discussion around gender issues continues to remain at the forefront of the current political sphere. It is no wonder then that these social sentiments will inadvertently affect many aspects of society, including education. It affects the way in which the material is presented in the classroom, the selection of the material presented to students, and in extension, the perspectives in which music and music history are presented. The idea is, of course, controversial. It remains debatable whether feminist ideas, political causes, and social movements should play a role in the music classroom, or any classroom for that matter. Do we as music educators have a duty to present these ideas in the classroom or to abstain in the case of inadvertently influencing our students to our own political views?
In this article, we will explore the presentation of women in music history, how the presence of, or lack thereof, female representation in traditional music repertoire and music education curriculum can influence the student learning experience, and how teachers can introduce and manage gender issues in the music classroom.
Women in Music
Prominent throughout the late Classical and Romantic eras were the expectations for women to assume the roles of mothers, wives, and homemakers; to remain in the home; and see to the household. This was a time where it was hardly acceptable for women to have a professional career outside the conventional “feminine” duties (i.e., needlework, cleaning, etc.), let alone make a significant impact in the advancement of the arts. Of course, these social sentiments extended beyond these eras both before and after. However, it was during this time that the number of women in conservatories preparing for a professional career in music began to increase. Still, as activities for women in the 19th century continued to be restricted to household and domestic chores, contributions by women to music and music education remained “confined to the home, young children, and women’s organizations and institutions” (Howe, 2009).
The Representation of Women in Music
Nevertheless, some women would have had access to a formal education in music during the 19th century and many actively partook in musical activities. However, the current curriculum and textbooks commonly used in music classes do not altogether reflect the number of women active in the musical community during this time. Social restraints may have prevented women from making a significant impact in the musical sphere at the time. Indeed, although women composed large works, they were limited in the professional positions they could hold and so may not have been offered the same opportunities for their work to be performed as their male counterparts. However, despite these social limitations, a number of prominent female figures have made their mark in music history, as just from the Classical era alone, figures such as Princess Anna Amalia and Jane Mary Guest could have made for excellent study in the music classroom. So why is it that the vast majority of students never hear of the prominent female composers of the day? Pool (1979) states that “this is not because there have been no women composers, but rather because women’s contributions as composers have been left out of standard histories.” Negative attitudes toward women in professional music careers extend back hundreds of years, as seen in George Upton’s 1880 publication Women in Music. Upton describes that women were unfit to create music in the same way as men, writing that women “have failed as creators” and that a woman “cannot project herself outwardly.” Although he does acknowledge that women’s contributions to music have been limited, in part, by the domestic and homemaking roles assigned to them, he undoubtedly expresses an opinion not entirely outrageous in the 19th century.
Times have of course changed, but the attitudes of the past may have inadvertently affected the way in which history is currently presented. Gates (1994) asserts that this male dominant view of music history inevitably leads to misinformation (see also Baker, 2003). The omittance of female figures in music education, and the lack of general teachings about significant female composers and musicians, delivers a subtle but powerful statement—that the works of female figures were either nonexistent or inadequate, not as worthy of examination as the works of their male counterparts. Baker (2003) states that “it sends a powerful message that compositions are not a field for women to pursue.”
On a more positive note, a recent shift toward a more inclusive view of music history has begun. An examination of the inclusion of women in music history textbooks reveals that the number of women included in music history textbooks is increasing (Peeples & Holz, 2001). While the study acknowledges that this increase could “simply be attributed to the expansion in the length of the texts themselves,” there is still undoubtedly an increase in the inclusion of female figures in modern textbooks. However, a more in-depth analysis of the discussion of women’s contribution to music may reveal a more complete picture of how music textbooks are evolving with regard to the presentation of women (Peeples & Holz, 2001).
Female Composers in Classical Repertoire
Student music books and classical music curriculum cover the conventional styles of classical music predominantly through the major figures that have been heralded as representative of their respective eras or styles, such as Bach, Chopin, Debussy, and so forth. Rarely do they stray from the standard composers whose works have been used time and time again. Unfortunately, the lack of female role models in music history and in music composition ultimately speaks to the lack of female role models in a student’s repertoire. The few female musicians in music history are vastly outnumbered and overshadowed by the male figures, and it is from this perspective that concerns were raised about how this absence may influence young students, both male and female.
Music is a form of expression, closely associated with one’s identity. The lack of female representation in music therefore begs the question of the importance of having prominent female figures to better provide a personal or emotional connection for female students and musicians. The fact that most prominent composers featured in traditional classical repertoire are middle-aged European men would seem to make the disconnect that much more pronounced.
The presence of significant female figures in music from the past can be encouraging for aspiring musicians, both male and female alike, as Pool (1979) expresses, “Knowing that women have pursued composition and have met with some success, despite widespread prejudices and lack of educational opportunities in composition, can give women added confidence needed to persevere in a career that is difficult for both women and men” (p. 28)Other professional fields, notably science, technology, engineering, and math (STEM) fields, have seen an increase in female voices and representation. A recent study demonstrated that the presence of female science professors provided positive role models for women and reduced implicit stereotypes about women in science (Young, Rudman, Buettner, & McLean, 2013). The presence of role models helps dispel negative stereotyping for female musicians, stemming from the fact that we hardly hear of, analyze, or perform works written by women composers (Baker, 2003; Vagts, 1989). Reflecting the sentiments stemming from a lack of female role models in music, Clara Schumann, a German pianist and composer of the 19th century, stated, “I once believed that I had creative talent, but I have given up this idea; a woman must not wish to compose—there never was one able to do it.”
An Alternate Perspective
One of the biggest arguments against a revision of the traditional music curriculum to include more female figures is that music knows no gender. It is hardly likely that a student listening to, or studying, a piece of music would identify it as a piece written by a male or by a female. Rather, it may be argued that the primary focus in the music classroom should not be on whether the composer was male or female, or the general social consensus around females in music, but rather on the music itself, on the style, on the structure, and on the interpretation. On that note, it is not so much the masculinity or the “maleness” of composers that is emphasized, if brought up at all, in the music classroom. This raises the concern that an overemphasis of social contexts and political views may take attention away from the music and more significant aspects of music history concerning style, structure, and transformation throughout the centuries. Additionally, Baker (2003) suggests that some music educators feel that a “segregated, supplemental approach is not helpful.” By overemphasizing which pieces were created by men, and which pieces were created by women, we risk categorizing music into “men-only” and “women-only” bins, segregating what should be the universal language of music. Emotional connections that students make with the music can, in many cases, be completely unrelated to the composer.
Be that as it may, the current representation of musical figures in traditional music education fails to accurately encompass a holistic view of musical society, both from the past and in the present. While the music itself continues to be the primary focus of lessons, inclusivity, which extends to female figures only, serves to enhance the knowledge we present to our students. Simply disregarding the glaring omittance of female figures would not only be an unfortunate underrepresentation of a significant part of music today but also, more important, be to our students a great disservice, in failing to adequately address and bring to the forefront a major part of music and modern society.
Modern-Day Role Models
While traditional classical repertoire pieces demonstrate a poignant lack of female composers, aspiring female musicians may still have a number of both historical and modern-day role models to look up to. The significant historical contributions of women such as Hildegard of Bingen and Clara Schumann, who have made impacts in music despite the constraints of their social roles, can be especially encouraging. Furthermore, with the rise of social media and interconnectedness through the Internet, female and male musicians alike can reach audiences like never before and students are thus able to witness talents from all over the world. Women who have made strides in the modern realm of classical music such as conductor Marin Alsop, and even viral musical performers like violinist Lindsey Stirling, can just as much serve as powerful role models for music students.
Additionally, teachers themselves can serve as one of the most direct and influential role models for their students. Therefore, although female representation may be lacking in traditional repertoire, numerous opportunities exist for students to be exposed to strong female music role models today.
In the Classroom
In the music classroom, whenever approaching social issues such as gender diversity and gender roles throughout history, teachers may find it helpful to consider the following three points:
Discuss the importance of historical, political and social context: While it is still important to keep the focus on music in the music classroom, social and political factors are undoubtedly key players in influencing the way in which music has been and continues to be shaped. Appreciating the contemporary context surrounding the music at the time of its creation helps students understand why male figures are predominantly presented in music education curriculums. In addition, providing social context is especially helpful in understanding for what purpose a piece may have been composed, for what audience, and how these factors play into the style and structure of the music.
Encourage active discussion: If I could rewrite history to change “Claude Debussy” to a “Claudia Debussy,” I would expect that for most of my students it would hardly make a difference. However, would that have changed the way in which Debussy’s work was perceived at the time, and would that influence the way in which Debussy’s work is presented today? These are the types of questions that I would encourage my students to think about and actively discuss.
Empower students to think critically: One of the big takeaways of the entire experience of exploring the way in which material is presented in classrooms is that it teaches students that even textbooks may not always provide a complete picture and to not simply take in the information at face value but to question, to analyze, and to reflect.
Two possible approaches can be considered when addressing potential gender issues in the music classroom, particularly in response to the lack of female representation in repertoire and in textbooks. The first approach involves de-emphasizing the disparity between male and female figures in music and emphasizing instead the style, the interpretation, and the nuances of the music. Similar to the concepts discussed in An Alternate Perspective, it is not so much the gender of the composer or performer that should be the focus but rather the music itself. On the contrary, the second approach involves highlighting prominent female musicians, composers, and figures in music throughout history and in the current professional music world. More specifically, this approach does not seek to discredit or undermine the contributions of male figures in music but to bring to light, and perhaps to balance, that of the male counterparts. Introducing to students female contributions in music provides diversity and an alternate perspective to what has been a primarily stagnant traditional music curriculum. Music educators have sought to take into consideration the diversity of the student body, to ensure no student is left out, and to strive to be inclusive regardless of race or gender. One way of doing so would be to bring a diverse set of musical concepts and styles to the classroom, encompassing many walks of life in modern multicultural society.
These two approaches fall on opposite ends of a spectrum and depending on one’s perspective the ideal classroom may lie on either end or anywhere in between. It is my belief that students would most greatly benefit from a combination of the two. The ideal musical classroom would place the greatest emphasis on the music itself (as opposed to its “gender”) but would still seek to include and mention, if not highlight, influential female figures throughout music history and in the modern music world.
Indeed, no matter what approach, the idea of introducing an alternative perspective not only benefits female students but also the student body as a whole. As a music teacher, I constantly wonder, and question, whether the curriculum I teach to my students is adequately comprehensive, and I feel the need to continue to include additional material outside of the realm of the traditional music classroom. I strive to teach my students to think critically, to know that there are always multiple perspectives to a single topic, and that even the material presented to them in class may not always give the full picture. Introducing female figures not commonly presented in music classrooms provides an alternate view, a proposition for critique, yet continual improvement in music education to better provide a holistic and comprehensive view of music history, how music has changed throughout the centuries, and how perspectives on music have changed with it.
Conclusion
While the role of social sentiments and political affairs such as gender issues in the classroom remains a controversial topic, it seems it may be impossible to completely avoid certain subjects in the classroom, especially if the social atmosphere surrounding students demands their attention. As an educator, I feel it is my duty to present to my students as comprehensive and holistic an education as possible, which includes considering and discussing concepts and musical figures not traditionally taught in music classrooms. I hope to empower my students to continue to pursue music by presenting to them prominent musicians who have overcome obstacles and contributed to musical development. Ultimately, the music classroom I strive to create is one where the music takes precedence and the music figures presented are musicians from whom all students can draw inspiration.
Footnotes
Declaration of Conflicting Interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.