Rod O'Brien

Dr. Veblen
MusEd 1800A
November 20, 2016

Are Music Instrumental Gender Associations Changing

Hal Abeles of Columbia University attempts to dissect the reasoning as to why some instruments are
chosen by one sex over another and the implications we could be facing in the future. This is an
extremely thought provoking and appropriate piece given the uncharted social climate we see
unravelling before us today. Today's multi dimensional society is changing at an exponential rate and
Abeles attempts to forecast what next generations music educators should be aware of in terms of
sexual bias.

I feel that you can look at Abeles report as functioning on a multi purpose level; On the surface it
ambiguously looks at which gender prefers which type of instrument but on a more in depth level, it
sheds insight on the ramifications of the transgressions in gender repression of equality.

Although Abeles' makes very compelling arguments that heavily resonate with me, there are certain
parallels I don't feel are accurate, for example, comparing gender bias to sports. The reason is because
that the properties of sports tend to be genetically constraining (ie. football) in compared to higher arts
where it's vastly more mentally consuming. When bringing up studies of students and why they choose
particular instruments at an early age he uses arguments such as 'the rise of feminism' to bring
perspective. Although he makes very significant points, I feel it would hold more validity in how the
exterior world views instruments on a macro scale, I don't feel that 'the rise of feminism' is in the
foreground of an elementary school, or even high school students when choosing an instrument to their
liking.

Abeles brings up studies that contrast the difference between elementary school students and high
school but is unsuccessful in isolating the dependant variable as to why this is. He comes to the

conclusion that students tend to conform later as opposed to earlier. This could just be speculation but
it could be because the younger they are, the less likely they are to have any idea whatsoever what
theyre choosing. Children are considerably less informed and may as well be just choosing it for vague,
unrelated reasons, not by a means of sexual confines at all. As well, the reader has to be presumptuous
that these studies are being conducted in America and might not be as relevant in other parts in the
world with different value systems. He goes on to label that certain instruments such as violin,
saxophone and flute are feminine instruments, my first reaction is that in other parts of the world like
Asia, those instruments take on an entirely different connotation and held in a much more masculine
regard. The author later touches on this in his final thoughts.

The report talks about the uprising of breaking down sexual identification of instruments from the 70's
until present day but what about when orchestral music was much more in vogue? I heavily doubt that
past generations adhered to this social construct. For instance, I doubt that Vivaldi was considered less
masculine for playing the violin, or more relevant, Charlie Parker or John Coltrane were viewed as 'girly'
for playing the sax. I'm not as heavily versed in flutists but around the time of the French Revolution,
which wasn't really that long ago in the grand scheme of things, Pamina didn't think it was feminine
when protagonist, Tamino, was rescuing her using The Magic Flute in Mozart's aforementioned German
opera.

I feel that that masculine/feminine construct is a social construct is the byproduct imposed from the
exterior culture we live in only today. I feel like these barriers aren't impossible to break down because
they're relatively new in the progression of the human race-they weren't always this way. In the
Baroque times, things like symmetry and balance were core values. Dance and instrumental
provenience were held in high regard of health and intelligence where today's lifestyle doesn't
necessarily have as well of pronounced respect or value system. In more relevant times, women weren't
employed into professional orchestras until the 20 th c and among them, the highly regarded ones not
until the 21st c. The Berlin Orchestra didn't hire a full time female until 2007. My question is, in an
ensemble full of string and wind instruments who Abeles considers to be feminine, in all that time, are
all those orchestra members considered to take on feminine connotations? I'm sure that's not the case.
Even though Abeles does provide empirical evidence, I'm not suggesting his report is fabricated however
his findings are not entirely objective.

I imagine that if flute/violin playing was more lucrative, or music making altogether, it'd take on an
entirely different connotation in terms of sexuality. Something Abeles could elaborate more effectively
is how the exterior world views these instruments as opposed to just examining, solely, on music
students and how they come to chose their instruments. It should be noted that it is commonly stated
that only about 12% of Canadian high school students choose to enroll in band to begin with so he's
examining the gender base of particular group and not a general consensus.

Lastly I'd like to touch on reasons why I think genders choose particular instruments. Although Abeles
tries to blur the connection of sex to choosing of instruments, to play 'devil's advocate', is it wrong to
classify instruments as female or male? The French, Spanish and other latin derivative languages
associate particular nouns with gender, is that going to be scrutinized eventually? To a degree I don't
feel it is entirely ignorant to label instruments by gender as instruments are just another form of evoking
or conveying energy, maybe it's discerning. Perhaps it's genetically incapsulated to associate horns and
drums as masculine. From a Darwin perspective, we might be engineered through generations to
associate it with war which in turn associates it with survival. Survival/hunting are what males are
genetically engineered to do. Finally, maybe there are energetic properties to them as well. Abeles also
touches on this in his conclusion. The timbres of instruments equate to dominance such as the low
vibrations of a bass or timpani in contrast where the flute is very light and bright.

Abeles makes some excellent points and given the past infringement of feminine repression and the
momentum of societal changes of today, no matter where you sit on the matter, it is a core issue a
music educator should be aware of and very sensitive to.