by Kaley Lane Eaton
Well, here we are. It is 2016, and 14 of the top US orchestras have programmed zero works by female composers in the 2016-2017 season. The U.S. presidential election has exposed various unsettling realities that women experience on a daily basis, much of which is particularly relatable for women in leadership positions in male-dominated fields.
As a female composer working towards my DMA in composition, after spending years entrenched in feminist liberal arts colleges and female-dominated opera programs, it is easy to get discouraged about the state of women; indeed, recent studies have shown that gender imbalance in favor of men can actually contribute to health problems for women in those fields. But the imbalance in our field need not be permanent.
In 2013, as part of my Master’s thesis, I conducted a study titled “Women, Creativity, and the Classroom” with the goal of highlighting how women versus men are conditioned to experience their creativity in the music classroom. As my study found (and additional research supports), gender imbalance in creative leadership roles is rooted in K-12 classrooms across America.
The lack of women in our music education paradigm is rooted in the lack of presence of women in the actual world of music. The popular new music blog NewMusicBox conducted an informal study of progressive chamber ensembles that focus on performing the work of recent and living composers, calculating the percentages of their season repertoire composed by women:
Both interpretations of these pie charts are troubling: that women have written only an average of 16% of all existing new music, or that these ensembles are deliberately selecting such a small percentage of actual existing repertoire.
These numbers reflect the kind of education that girls and women receive in school and higher education: A History of Western Music by Grout and Palisca, the standard music history text used in most institutions, includes only eight mentions of women as composers in its 1136 pages. Consistently, only 15.8% of doctorates awarded in music composition and theory go to women.
Despite the wealth of research that points to a universal (although with variation) aptitude for creativity among children, there is a gap in research that examines how each gender navigates creativity in differing social circumstances. Carol Gilligan’s groundbreaking work illuminates the fact that pubescent girls deal with dissociation, a psychological phenomenon where one questions the validity of experience and hesitates to express experiences authentically.
Gilligan notes, “If [girls] speak freely and reveal what they see and hear and know through experience, they are in danger of losing their relationships.” If we assume this truth, then young girls feel their relationships are at risk when they express their authentic selves, which distances them from the desire to pursue creative and expressive work. This was the concept I attempted to unearth in my research, and my findings prove dissociation is well at work within the minds of our young girls.
Methods Phase I: Surveys
I undertook a variety of methods to collect data from two 6th grade drumming classes and two 9th and 10th grade (combined) choir classes: during the initial phase, I administered a detailed survey in which I asked students to rank their feelings towards, enjoyment of, and beliefs about their creative activity. Students had the opportunity to justify their numerical rankings with written responses, which most chose to do – these responses heavily impacted my conclusions. On the same survey, I also asked these students to list their musical role models.
Below is a selection of questions and their results, visualized into a graph. A “5” on the answering scale indicates strong agreement, and a “1” indicates strong disagreement.
To read the full study, which featured a series of six questions, please click here.
Survey Question: I feel comfortable taking risks in improvisation and composition activities.
6th Grade Responses
9th/10th Grade Responses
Findings:
- All girls who answered with 2 or 3 indicated a fear of making a mistake, being laughed at, or cited their lack of experience with music. Their responses showed high social awareness: “my peers will think,” “they will laugh,” etc.
- High school girls indicated that mistakes were a major component of the activity: those that answered 4 and 5 had justifications like “I might mess up but I know it’s ok,” and those that answered low cited reasons such as “I make too many mistakes.” As our improvisation activity had no possible “mistakes,” the girls were allowing a fabricated idea of the “mistake” to inform their comfort level.
- Many girls of all scoring levels indicated they were low in self-esteem and therefore did not feel comfortable taking risks.
- By contrast, 6th grade boys answered with only 4s and 5s – showing strong confidence in risk-taking. These boys explained that improvising and risk-taking were enjoyable regardless of circumstance, and not a single boy used any vocabulary relating to the opinion of their peers.
- High school boys indicated confidence was related to skill – “It’s fun because I am good at it.”
- Not a single survey from a high school boy used the word “mistake” or any of its synonyms. One survey did say rather poignantly, “No risk and no consequence to improvisation.”
Questions in the survey phrased using “I believe” were designed to assess students’ levels of self-esteem and self-confidence in their creative ability. Self-esteem and self-confidence are not accurate predictors of actual talent and creativity in either men or women from childhood to adulthood, with men typically showing inflated confidence and women showing low self-esteem. My findings support that; these questions showed great gender and age disparity.
Survey Question: I believe I have leadership skills in music.
6th Grade Responses
9th/10th Grade Responses
Findings:
- This question showed not only the greatest gender disparity in both ages, but also the greatest change from 6th grade to high school. Genders answered in nearly opposite percentages in all grades.
- Comments that students left on surveys display the same trends that the other questions indicate – where boys viewed leadership as an expression of individual power, girls viewed leadership as a construction primarily in place to help others. Girls were careful not to justify their high scores with self-praise but rather with acknowledgement of group needs.
- Girls that cited strong or neutral attitudes towards leadership skills in both 6th grade and high school were unanimous in their view of leadership as a role that is in place to help others, rationalizing their scores with statements such as “I work well with groups,” “Students tend to ask me for help,” “I want to encourage others,” and “I’m not the best but I want to help others.” Responses such as these reflect the tendency for girls of all ages to divert positive attention away from themselves and attribute it to outside forces.
- Boys showed waning confidence with age in their responses to this question as well, but also illuminated their conception of leadership as fundamentally different from the girls’ conception: leadership was a mark of success, of individual power and talent – not a role primarily concerned with helping others.
- Boys in all grades cited achievement, confidence and skill (or lack thereof) as a means of justifying their leadership scores. Those that answered low said they were “not a leader”, “not comfortable”, “just started with music” or “didn’t play an instrument” and those that answered highly said “I play in a band”, “I’m great at music”, “I love music,” “music is my strength,” and “I’ve led musical groups before.”
- This is important to contrast with the high school girls’ answers – boys felt that their passion and their strength was enough to qualify them as a leader, whereas girls unanimously cited nomination from their peers as the primary reason for pursuing leadership.
Overall, these responses illuminate the central problems that divide our genders from childhood throughout adulthood: society places more pressure on women to be a certain “way,” whatever that “way” may be. In 6th grade, girls begin to display awareness of society’s pressures: that in order to succeed, they must fit someone else’s definition of who they are. Because creativity and identity are intricately intertwined, this inhibits the development of their creative life. Boys, however, respond to different pressures and display less fear of failure. The pressures of masculinity that so shape their adolescent life predispose them to risk-taking in order to be accepted by male peers. Creativity is simply another form of risk-taking, and the likelihood that boys will face societal rejection upon taking creative risks is much smaller.
Methods Phase II: Expressing their experiences
During the second phase, I designed an improvisation activity for 6th grade students and asked them to write, draw, or somehow represent on paper their experience during the improvisation activity. Following the written activity, each student had the opportunity to share his or her experience with the class. I created two poems, one using the girls’ responses and one using the boys’, of which each line is a student-written response.
Girls
My mind was all over the place.
They might think I’m crazy.
I felt like my mind was an unknown puzzle trying to find the right pieces, the pieces were my peers, community.
What would work with the other person?
I was thinking about sounds that would sound really good or bad.
What I did sounded bad.
I felt like we were a community.
I was nervous that if I messed up maybe some people would laugh at me.
We are a community.
With each beat came harmony.
The rhythm didn’t come as planned, so I thought of something else.
I had nothing to be afraid of.
I stare at the window as I drum my new idea and try to tune in.
I am listening with the beats on my hand, their beats on my ears, and the drum in my heart.
Boys
My mind was blank.
In my own world with my own beat yet fully aware of the beats around me.
At first I didn’t know what to do but then I got into rhythm, it was really easy for me. I think I am nervous because it’s out of my comfort zone and I don’t really do music.
When I put my hand on a drum I can feel it lingering through my fingers.
I felt very musical and a little offbeat.
When we started the first improv I didn’t have a clue what to do. When we did the second I had a better idea.
A certain rush comes through me that I can’t explain, it feels like I could do anything I put my mind to.
Who will I be?: Musical Role Models
When I researched this same group of students’ musical role models, the results were harrowing:
- Of the 27 artists mentioned by both 6th grade girls and boys, zero were female.
- 50% of the 6th grade girls and 13% of 6th grade boys indicated they had no musical role models. 26.6% of high school girls and 17.6% of high school boys had no musical role models.
- Comparing this data to the survey data, in which 6th grade girls answered with lower scores for each question across the board, there seems to be a correlation at this age between available role models and creative confidence.
- 30 high school girls mentioned 46 artists, 20 of which were female. High school girls represented the most diverse stylistic tastes of all samples, with role models ranging from classical, pop, and classic rock to musical theatre.
- Interestingly, this sample was the only group to mention family members as role models, with 4 of the 30 girls citing relatives as major musical influences. Four high school girls also mentioned their classroom music teacher – who is a woman – as a musical role model.
- In stark contrast, the 18 high school boys surveyed mentioned 40 artists, only one of which was female. Only one high school boy mentioned family as an influence and only one mentioned the classroom music teacher.
The numbers are clear: young women and men do not have enough female musical role models. Perhaps most troubling is the fact that, of all the samples, only the high schools girls mentioned female artists as role models, and even then, at a lower rate than they mentioned male artists. In order for us to claim true equality in the way we educate our young musicians, both boys and girls should ideally be claiming comparable numbers of male and female role models.
What Can We Do?
The classical music world – especially the portion that contains new music, in which living composers are the vital presence – is a relatively small portion of society. There are few opportunities to have conversations about gender representation because the majority of white, male composers and conductors in leadership positions have rarely had to battle institutional barriers; thus the conversation of institutional barriers rarely makes the top of the agenda.
Further, in speaking with some of my composing colleagues and collecting survey data from adult, professional female composers and conductors, many women noted hostility between women in our field. Often, this is reported as conflict between women who celebrate their gender as an important factor of their art and women who refrain from explicitly speaking about it. Thus the gender conversation, in gender imbalanced situations, can range from inspiring, to awkward, to, unfortunately, silencing or even harassing, as reported in several surveys. The unpredictability of this kind of conversation based on past experiences, according to these same reports, often prevents women (and men) from bringing it up.
The best way we can improve the situation is to address the problem, and to think critically about the music that we consume, study, perform, and share. Music teachers must work tirelessly to develop their own curriculums that include equal representations of female and male composers and creative role models and refrain from using old textbooks that do not provide accurate representations of women and people of color. This is no easy task, as even the most dedicated of progressive teachers often fail to provide their students with fair numbers. It is, however, feasible. There is enough available published music for school music ensembles to be able to provide close to equal representation of female composers at school concerts.
Where possible, educators can incorporate composition into school curriculum to allow for student compositions to be presented in concert as well. Educators may also opt for an active role in the pursuit of equality by asking students to write letters to publishing companies and arts organizations that fail to provide decent representation of women.
Conclusions
Our music industry, in all its facets – from underground indie rock to classical music to corporate pop – reflects our societal attitude towards women: we are not creative agents, but targets of male visions. This mentality has permeated our school system, where the same dichotomy is enforced in the way that we allow our students to relate to one another socially and in the way that we, as teachers, encourage and reprimand them.
Behaviorally, we expect girls – from kindergarten to high school – to follow rules rather than question them. Every day, the patterns that our girls experience in school are reinforced by the patterns they see in women in the media. As girls age and become more aware of social roles and dynamics, they consequently begin to pigeonhole themselves as appeasers, as helpers, as bystanders. We heap the responsibility of perfect social order in the classroom on our girls rather than expecting equal contribution AND deviation from both genders. Girls of all ages should feel just as comfortable as boys to mess up, to break rules, to be punished – this is how we develop confidence, and this is how we break creative boundaries.
In my data, it became clear that over time, girls associate creativity with deviation from the group, and boys associate creativity with individual success. What seems like a difference in vocabulary is representative of our society’s depressingly imbalanced attitude towards the role of women. What results from this imbalance is exactly what we have now: consistently misunderstood female public figures, and very few women in creative leadership roles. This, in turn, reinforces the vicious cycle: in this world, there are few creative female role models and, most importantly, new, relevant art is not being created to its full capacity.
Can our world progress in equality, in empathy, in opportunity for all, if this is the dominant paradigm? My answer is yes: it is in the hands of artists and educators, who are thankfully and wonderfully radical in what they do, to chip away at this paradigm.
Every initiative made by major arts organizations to combat social problems, be they issues of race, social class, gender, or other imbalances in the arts community, serves to help women and girls rise up. Every resilient and brave woman that applies for professorships, fellowships, and grants inspires a friend, student, or colleague. Every mother that shares what her day at work was like with her daughter creates an inspired young leader. Every woman that makes a record inspires a girl to write her first song. And every vote made towards candidates, initiatives, and policies that address equity helps to create a society where women and men both lead and take creative risks. For these reasons, I am optimistic.
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