differences
between
female
and
male
student
professional
occupation choices
1.
TI: The Reasons Students Choose Teaching Professions
AU: Krecic, Marija Javornik; Grmek, Milena Ivanus
SO: Educational Studies, v31 n3 p265-274 Sep 2005
The purpose of the paper is to present the reasons students at the Faculty of
Education in Maribor, Slovenija, chose pedagogy for their study direction, and
therefore becoming a teacher. A total 237 second-year students of the
academic year 2003/04 were included in the research. Of the five groups of
reasons for choosing this program (altruistic, material, self-realization and
alternative, and reasons arising from aspiration stereotype), students most
often asserted self-realization, including: teaching provides a useful public
function for the whole society; as a teacher, I can be an example to children
and young people; this profession will give me a chance for professional
development during my whole career; and teaching will enable me to use all
my abilities (and talents--for example, music, verbal, dancing, etc.) Important
differences were found to exist between students of different disciplines.
2.
TI: A Descriptive Study of Myers-Briggs Personality Types of
Professional
Music
Educators
and
Music
Therapists
with
Comparisons to Undergraduate Majors
AU: Young, Sylvester; Steele Anita Louise
SO: Journal of Music Therapy48.1 (Spring 2011): 55-73
The purpose of the current study was to determine personality types
and demographic characteristics of professional music educators an d
music therapists. The researchers also sought to determine if
personality types of professionals were consistent with undergraduate
majors in those fields and personal characteristics as suggested by
The Music Education National Conference (MENC) and the American
Music Therapy Association (AMTA). The research of Steele and Young
(2008) found
strong similarities and
1
some
differences between
undergraduate music education and music therapy students. The
possibility that basic types extend across the life spa n may strengthen
understanding of job satisfaction, stress, burn out and other factors
affecting retention. Participants were a voluntary convenience sample
of 253 music educators (n = 110) and music therapists (n = 143). The
highest preference for music educators was Extrovert-Intuition-FeelingJudgment (ENFJ) and the highest preference for music therapists was
Introvert-Intuition-Feeling-Judgment
(INFJ).
The
difference
in
the
collective type of each group was their "outlook on life", which was
either Extrovert or Introvert. However, both groups were the same in
their secondary type functions of "NFJ". A comparison of findings with
the Steele and Young (2008) study suggested small changes in
personality type over time. Caution must be exercised in generaliz ing
findings; however this descriptive investigation may serve as the basis
for future studies, which should help foster a stable work force in these
professions.
3.
TI:
Gender
and
Participation
in
High
School
and
College
Instrumental Jazz Ensembles
AU: Mckeage, Kathleen M
SO: Journal of Research in Music Education 52.4 (Winter 2004): 343356.
This study is an examination of the relationship between gender and
participation in high school and college instrumental jazz, ensembles.
Student demographic and attitudinal information was collected using
the researcher-designed Instrumental Jazz Participation Survey (IJPS).
Undergraduate college band students (N = 628) representing 15
programs offering degrees in music education were surveyed. Gender
and jazz ensemble participation were found to be related at both levels;
2
52 % of women and 80% of men surveyed reported playing jazz in high
school, and 14% of women and 50 % of men played in college. The
results indicated that attitudes toward participation are influen ced by
both gender and jazz experience. Women and men were found to differ
in their stated reasons for quitting jazz. Women's decisions to
discontinue were affected by primary instrument selection, institutional
obstacles that narrow participation options, feeling more comfortable in
traditional ensembles, and an inability to connect jazz participation to
career aspirations.
4.
TI: The Effect of Background Music on the Perception of
Personality and Demographics
AU: Lastinger, Daniel L, V,
SO: Journal of Music Therapy 48.2 (Summer 2011): 208-25.
This study seeks to discover stereotypes people may have about
different music genres and if these stereotypes are projected onto an
individual. Also, the study investigates if music therapy students are
more or less biased than non-music majors in this regard. Subjects (N
= 388) were comprised of student members of the American Music
Therapy Association (N = 182) and students from a college in the
southeastern United States who were not music majors (N = 206).
Subjects were asked to listen to a recording and complete a short
survey. Subjects assigned to the control condition heard only a person
reading a script. Subjects assigned to one of the four experimental
conditions heard the same recording mixed with backgrou nd music and
ambient crowd noise, intended to simulate a live performance. Subjects
were asked to rate the person in the recording on personality
descriptors and predict demographic information in the survey. Many of
3
the survey responses were significantly affected by the genre of music.
For example, it was shown that when in the presence of rap or country
music, all subjects rated the personality of the person in the recording
significantly more negative than when in the presence of classical,
jazz, or no music. There were no significant differences between the
groups for any variable or condition when comparing survey responses
between college students and AMTA student members.
5.
TI:
Sexual
Orientation
and
Music
Education:
Continuing
a
Tradition
AU: Bergonzi Louis
SO: Music Educators Journal 96.2 (Dec 2009): 21-25,4 .
In a recent report on school climate, * nine of ten LGBT high school
students were verbally harassed because of their sexual orientation; *
60 percent of LGBT students feel unsafe because of personal
characteristics, such as sexual orientation or race/ethnicity, compared
to one out of five students in the general population; * about a third of
LGBT students are absent or miss class for safety reasons, compared
with only 5 to 6 percent of students in general; * almost half (44.1
percent) of LGBT students experience harassment or assault; and *
nearly two-thirds of LGBT students heard homophobic remarks from
school
personnel.1
These
behaviors
contaminate
the
school
environment and make adolescence an even greater challenge for
LGBT students. A growing number of school districts are making efforts
to curtail harassment and discrimination in schools through legislative
and policy changes.3 However, I could find no information about the
percentage of American school districts providing inservice workshops
4
on diversity or sexual orientation that may improve the lives of LGBT
youth in schools.
6.
TI: A NEST OF NIGHTINGALES: CUZZONI AND SENESINO AT
HANDEL'S ROYAL ACADEMY OF MUSIC
AU: Wier, Claudia Rene
SO: Theatre Survey, suppl. Operatic Intersections 51.2 (Nov 2010):
247-273.
Italian prima donna Francesca Cuzzoni (ca. 1698-1770) was the first
internationally recognized virtuosa to sing high soprano women's roles.
Although her work served as a model to the female performers who
followed, no in-depth critical study has been written about her
groundbreaking career on the opera stage of the Royal Academy of
Music in London, where she was the celebrated prima donna from 1723
to 1728. During her tenure, the Royal Academy became one of the
most important opera companies in Europe, rivaling those of the
Viennese court, the Paris Opera, and the Italian opera houses of
Naples and Venice. Her arrival on the London stage signaled a shift in
the ways composers set roles in relationship to vocal categories and
gender. In particular, Cuzzoni's superior virtuosic voca l abilities
influenced and inspired German George Friedrich Handel's (1685 1759) compositional style and his musical treatment of dramatic
elements
7.
5
TI: Personality influences career choice: sensation seeking in
professional musicians
AU: Vuust, Peter; Gebauer, Line; Hansen, Niels Chr
SO: Music Education Research; Jun2010, Vol. 12 Issue 2, p219 -230,
12p,
Despite the obvious importance of deciding which career to pursue,
little is known about the influence of personality on career choice. Here
we investigated the relation between sensation seeking, a supposedly
innate personality trait, and career choice in classical and 'rhythmic'
students at the academies of music in Denmark. We compared data
from groups of 59 classical and 36 'rhythmic' students, who completed
a psychological test battery comprising the Zuckerman Sensation
Seeking Scale, the Spielberger State-Trait Anxiety Inventory, as well as
information about demographics and musical background. 'Rhythmic'
students had significantly higher sensation seeking scores than
classical
students,
predominantly
driven
by
higher
boredom
susceptibility. Classical students showed significantly higher levels of
state anxiety, when imagining themselves just before entering the
stage for an important concert. The higher level of anxiety related to
stage performance in classical musicians was not attributed to group
differences in trait anxiety, but is presumably a consequence of
differences in musical rehearsing and performance practices of the two
styles of music. The higher sensation seeking scores observed in
'rhythmic' students, however, suggests that personality is associated
with musical career choice
8.
TI: Music activities in primary school: students' preferences in the
Spanish region of Murcia.
6
AU: Vicente-Nicolás, Gregorio; Mac Ruairc, Gerry
SO: Music Education Research; Sep2014, Vol. 16 Issue 3, p290 -306
The aim of this study was to determine the preferences of primary
school children in relation to the types of activities that typically take
place in music classrooms. For the purposes of this study, these
classroom-based music activities have been categorised into five
areas: singing, playing instruments, listening, reading and writing music
and movement/dance. The sample consisted of 4700 students and 20
music teachers from different public and private primary schools from
the Region of Murcia (Spain). For the purposes of data collection two
questionnaires,
one
for
students
and
one
for
teachers,
were
administered. The data were analysed using quantitative techniques.
The results reveal significant differences between the preferred
activities of boys and girls. The study also identified differences
between the expressed preferences of students in the lower and higher
grades for particular types of musical activities and what teachers
consider as important in the implemented music curriculum.
9.
TI: Gender differences in computer- and instrumental-based
musical composition
AU: Shibazaki, Kagari; Marshall, Nigel A
SO: Educational Research; Dec2013, Vol. 55 Issue 4, p347-360
Background: Previous studies have argued that technology can be a
major support to the music teacher enabling, amongst other things,
increased student motivation, higher levels of confidence and more
individualised learning to take place [Bolton, J. 2008. Technologically
mediated composition learning: Josh’s story. British Journal of Music
7
Education 25, no. 1: 41–55; Kardos, L. 2012. How music technology
can make sound and music worlds accessible to student composers in
further education colleges. British Journal of Music Education 29, no. 2:
143–51]. In contrast, a reasonable number of alternative voices
[Conlon, T. and Simpson, M. 2003. Silicon Valley versus Silicon Glen:
The impact of computers upon teaching and learning: A comparative
study. British Journal of Educational Technology 34, no. 2: 137 –50;
Convery, A. 2009. The pedagogy of the impressed: How teachers
become victims of technological vision. Teachers and Teaching 15, no.
1: 25–41; Treadway, M. 2001. Making a difference? An investigation
into the relationship between ICT use and standards in secondary
schools. Cowbridge: Fischer Family Trust] have also argued against
the claims made for the effectiveness of technology in enhancing the
learning
process.
More
specifically,
recent
wo rk
by
Armstrong
[Armstrong, V. 2008. Hard bargaining on the hard drive: Gender bias in
the music technology classroom. Gender and Education 20, no. 4: 375 –
86; Armstrong, V. 2011. Technology and the gendering of music
education. Aldershot: Ashgate] has explored issues of technology and
music education in relation to gender, suggesting that the construction
of gendered meanings associated with digital technologies is having a
major effect on pupils’ attitudes and thus ultimately, on their level of
achievement in areas such as musical composition. However, there is
relatively little research on how primary-aged boys and girls relate to
technology as a composing tool and how they experience this
compared with using more traditional instruments to compose. More
specifically, very little research has been carried out into the extent to
which boys and girls differ in their attitudes towards using technology
as a composing tool. Purpose: This small-scale, exploratory study had
two main aims. The first aim was to investigate whether any gender
differences existed between the attitudes of boys and girls towards the
8
use of computers in creating musical compositions. The second aim
was to compare their attitudes between composing with instruments
and composing with computers. Sample:Our study was based in
England and involved class groups of 10–11-year-old pupils in three
state primary schools; a total of 63 children were involved in creating
short musical compositions over a two-week period. Forty-three of them
were
interviewed
about
their
experiences.
Methods:Our
method
involved children composing two pieces of music on the same theme.
In the first lesson, they composed a piece using a musical notation
software package on a computer whilst in the second lesson they
composed a piece on the same theme using percussion instruments.
Forty-three
children
(22
pairs
of
children)
were
subsequently
interviewed about their attitudes towards composing with computers
and with percussion instruments. Findings and discussion:Our finding s
suggested that children could appreciate both the advantages and
disadvantages of using computers to compose musical pieces and a
number of differences existed between boys and girls in terms of their
attitudes and the way in which they composed their pi eces. The
findings also suggested that differences might exist in the way in which
boys and girls integrated previous musical knowledge, skill and
teaching into the compositional process as well as affecting their levels
of motivation, confidence and self-esteem in gender-specific ways.
Conclusions:This small and exploratory study suggests that variations
do
exist
in
children’s
approaches
to
computer-based
musical
composition activities and that attitudes do appear to vary as a function
of gender.
10.
TI: Gender differences in instrumental learning among secondary
school students in Hong Kong
9
AU: Wai-Chung Ho
SO: Gender & Education; Jul2009, Vol. 21 Issue 4, p405-422
This paper examines the extent of gender differences, and discusses
the role of gender in musical instrument learning. It focuses on the
collective instrumental experiences of 1493 Chinese students (774
boys and 719 girls attending grades 7-13) within Western and nonWestern musical traditions in Hong Kong. The discussion draws
attention to gender differences in the learning of Chinese and
Western musical instruments, in musical interest and instrumental
learning, and in the reasons why students learn or do not learn musical
instruments. The paper argues that, while female and male students
exhibit different attitudes towards the types of instruments learnt,
significant correlations exist between their interest in music and
parental support for their instrumental learning. Gender is brought to
the fore by the pedagogical actions of the teacher, the mass media and
by parental efforts to reduce gender bias and stereotypes through
school, public and family education
11.
TI: Exploring the content of instrumental lessons and gender
relations in Australian higher education
AU: Zhukov, Katie
SO: British Journal of Music Education; Jul2008, Vol. 25 Issue 2, p159 176
This
observational
study
analysed
the
lesson
content
of
24
instrumental lessons (piano, strings and winds) using a gender balanced
sample
(equal numbers of
male/female
teachers and
students) from five Australian higher education institutions to ascertain
10
the priorities of topics in advanced applied music lessons in the
Western Classical tradition. The results were analysed according to
gender to determine differences of approach between male a nd female
teachers and male and female students. Same-gender and differentgender pairings were also considered. Technique was found to be of
the greatest importance, followed by Articulation and Expression. Some
gender differences have emerged between the teachers, with the male
teachers tending towards a more analytical approach and the female
teachers adopting more balanced lesson content. The treatment of
students
showed
some
divergence,
with
greater
emphasis
on
Expression in the lessons of female students, whereas the male
students studied more Structure. The results demonstrate stereotypical
gender behaviour among the teachers and towards their students not
previously observed in this educational setting.
12.
TI: Gender differences in musical instrument choice.
AU: Hallam, Susan; Rogers, Lynne; Creech, Andrea
SO: International Journal of Music Education; Feb2008, Vol. 26 Issue
1, p7-19,
Historically, there have been differences in the musical instruments
played by boys and girls, with girls preferrin g smaller, higher-pitched
instruments. This article explores whether these gender preferences
have continued at a time when there is greater gender equality in most
aspects of life in the UK. Data were collected from the 150 Music
Services in England as part of a larger survey. Some provided data
regarding the sex of pupils playing each instrument directly. In other
cases, the pupils' names and instruments were matched with data in
the national Common Basic Data Set to establish gender. The findings
11
showed
distinctive
patterns
for
different
instruments.
Girls
predominated in harp, flute, Voice, fife/piccolo, clarinet, oboe and
violin, and boys in electric guitar, bass guitar, tuba, kit drums, tabla and
trombone. The least gendered instruments were African drums, cornet,
French horn, saxophone and tenor horn. The gendered pattern of
learning was relatively consistent across education phases, with a few
exceptions. A model was developed that sets out the various influences
that may explain the continuation of historical trends 'in instrument
choice given the increased gender equality in UK society.
12