SOCIETAL INFLUENCES ON THE MUSICAL INSTRUMENT CHOICES OF 5th
AND 6th GRADE BEGINNING BAND STUDENTS IN FOLSOM, CALIFORNIA
Nicole René De Vous
B.A., California State University, Sonoma, 1998
THESIS
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF MUSIC
(Education)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
SPRING
2011
SOCIETAL INFLUENCES ON THE MUSICAL INSTRUMENT CHOICES OF 5th
AND 6th GRADE BEGINNING BAND STUDENTS IN FOLSOM, CALIFORNIA
A Thesis
by
Nicole René De Vous
Approved by:
__________________________________, Committee Chair
Sue Metz, M.A.
__________________________________, Second Reader
Clay Redfield, D.M.A.
_______________________
Date
ii
Student: Nicole René De Vous
I certify that this student has met the requirements for format contained in the University
format manual, and that this thesis is suitable for shelving in the Library and credit is to
be awarded for the thesis.
__________________________, Graduate Coordinator
Ernie Hills, D.M.A.
Department of Music
iii
___________________
Date
Abstract
of
SOCIETAL INFLUENCES ON THE MUSICAL INSTRUMENT CHOICES OF 5th and
6th GRADE BEGINNING BAND STUDENTS IN FOLSOM, CALIFORNIA
by
Nicole René De Vous
Statement of Problem
In observing the process of fifth and sixth grade beginning band students of
Folsom, California choose their instruments for the school year, it was noticed that there
were many underlying societal factors that affected the choices they made. One of the
more common societal factors, and one that has received the most amount of scrutiny in
scholarly journals, is that of gender stereotypical instrument associations. However, other
factors, such as peer/family influence, socio-economic limitations, accessibility of a
certain instrument, ease of transport and instrumental associations of specific cultures,
were overheard from students as other reasons they selected the instrument they did. To
address this problem, these fifth and sixth grade beginning band students were surveyed
as to which of these societal factors influenced the instrumental choices they made.
Sources of Data
Much of the information for this thesis was compiled from peer-reviewed,
scholarly journals in the fields of music education and music psychology. Additionally,
theses and dissertations from other Music Education students across the United States
provided insight into similar issues as well as pathways to locating more resources. One
iv
of the greatest resources for this thesis came from the elementary band teachers in
Folsom, California as well as their students.
Conclusions Reached
The results of the student surveys were compiled and analyzed so as to better
understand how to address future students so they may be more knowledgeable about and
prepared to choose an instrument out of desire rather than circumstance.
_______________________, Committee Chair
Sue Metz, M.A.
_______________________
Date
v
ACKNOWLEDGMENTS
Several years ago, as an undergrad student, a wise man told me that I should “use my
gifts” as I sought to find my place in the world and tried to envision my future career. As
soon as I started studying music education, I knew that he was right; it was a perfect fit.
Thanks, Dad.
I need to first acknowledge my parents, Jim and Larryne De Vous, for their unending and
unconditional support, on many levels. This road had a few speed bumps and pot holes
along the way and I know that, for a while there, we all wondered when this journey
would be complete. I also need to thank my sister, Dani De Vous, and best friend and
adopted sister, Stephanie Krisiak, for being not only my cheerleaders, but also voices of
reason when I had trouble keeping on my path.
I wish I could acknowledge everyone who has influenced and supported me over the past
four years but that could be another thesis entirely. Many, many thanks to my family and
friends for loving and supporting me and being understanding all of those times when I
said, “I can’t. I have homework.”
Additionally, I need to thank and acknowledge a few special people that really shaped me
as a graduate student. Thank you to Dr. Laura Basini for helping me understand higher
levels of thinking and writing. You certainly made me bend my mind and, although it
was painful at times, I know that it was necessary and valuable. Also, a huge “thank you”
vi
goes out to Professor Sue Metz. I so appreciate your patience and guidance and truly
enjoyed the opportunities we had to talk and brainstorm. You made this experience so
much easier and less stressful.
Lastly, I need to acknowledge the elementary music teachers of the Folsom-Cordova
Unified School District. What the Folsom-Cordova Unified School District has is so rare
anymore. You all teach with your hearts and it shows. Continue doing what you do and
pass the magic of music on as long as you can. The students will be better human beings
because of it.
vii
TABLE OF CONTENTS
Page
Acknowledgments....................................................................................................... vi
List of Bar Graphs ......................................................................................................... x
Chapter
1. INTRODUCTION ..................................................................................................1
Need for Study ...................................................................................................2
Purpose.............................................................................................................. 3
Procedures ..........................................................................................................3
Delimitations ......................................................................................................4
2. REVIEW OF LITERATURE ..................................................................................5
Introduction ........................................................................................................5
Societal Factors ..................................................................................................5
Timbre of Instrument ...................................................................................... 10
Gender Investigation ........................................................................................12
3. RESEARCH PROCEDURES ................................................................................17
Introduction ......................................................................................................17
Researcher ........................................................................................................17
Setting ..............................................................................................................17
Subjects ............................................................................................................18
Research Design...............................................................................................18
Data-Gathering Techniques .............................................................................20
Data Analysis Techniques................................................................................21
4. RESULTS ..............................................................................................................22
Introduction ......................................................................................................22
viii
5. SUMMARY, MAJOR FINDINGS AND RECOMMENDATIONS ....................34
Introduction ......................................................................................................34
Problem Statement ...........................................................................................35
Summary and Discussion .................................................................................35
Sub Problem 1 ..................................................................................................36
Sub Problem 2 ..................................................................................................38
Sub Problem 3 ..................................................................................................39
Major Findings .................................................................................................42
Observations ....................................................................................................43
Recommendations for Further Research ..........................................................43
Appendix A. Student Survey ..................................................................................... 46
Appendix B. Reasons for Choosing Instrument ......................................................... 47
Appendix C. Why Certain Instruments are Better Suited for Girls .............................50
Appendix D. Why Certain Instruments are Better Suited for Boys .............................53
Bibliography ................................................................................................................56
ix
LIST OF BAR GRAPHS
Page
1.
Bar Graph 1 – Respondent’s Sex ......................................................................... 23
2.
Bar Graph 2 – Which Instrument Will You Be Playing This Year? ................... 24
3.
Bar Graph 3 – Reasons for Choosing Instrument .................................................25
4.
Bar Graph 4 – Do You Think There are Musical Instruments that are Better
Suited for Girls? ....................................................................................................28
5.
Bar Graph 5 – If You Answered Yes to Question 4, Which Ones .......................29
6.
Bar Graph 6 – Do You Think There are Musical Instruments that are Better
Suited for Boys? .................................................................................................. 31
7.
Bar Graph 7 – If You Answered Yes to Question 6, Which Ones? .................... 32
x
1
Chapter 1
INTRODUCTION
An initial interest in gender stereotypes and their effect on the musical instrument
choices of students in an Introduction to Graduate Studies course three and a half years
ago paved the road for a desire to look beyond gender stereotypes and toward other
factors that might influence such choices. In observing the class rosters of beginning band
classes, one will definitely notice a dichotomy: flute classes that are highly female, brass
classes that are highly male. Since the groundbreaking Abeles & Porter study of 1978,
there have been several studies completed with regards to gender and sex-stereotyping of
musical instruments (Boulton & O’Neill, 1996; Bruce & Kemp, 1993; Conway, 2000;
Fortney & Boyle, 1993; Delzell & Leppla, 1992; O’Neill & Harrison, 2000; Sheldon &
Price, 2005; Sinsel, Dixon & Blades-Zeller, 1997; Tarnowski, 1993; and Zervoudakes &
Tanur, 1998). Hal Abeles, who, along with Susan Yank Porter, can be credited as the
trail-blazer in the study of gender and instrument choice, recently published a follow-up
to his 1978 research on the same subject in an effort to determine whether or not musical
instrument gender associations are changing.
By observing the true process of instrument selection at the beginning of the
school year, it became apparent that there were many other reasons for musical
instrument choices besides gender: familial/peer influence, accessibility to an already
available instrument, socio-economic limitations, ease of transport, and even gender
2
associations that are influenced by belonging to a specific culture1. In researching
available scholarship regarding societal influences on musical instrument selection, there
were very few results. One of the few studies which included societal influences that
affect instrument selection was performed in 1993 by Patrick M. Fortney, J. David Boyle
and Nicholas J. DeCarbo. This study was performed at thirteen middle schools in Florida
and in this research, it was concluded that the four most common influences in making a
specific instrument choice were sound, the middle school music teacher, parents and
friends.2
Need for Study
In observing the manner in which students choose their band instruments for their
beginning band classes in Folsom, California, it was noted that there were many common
phrases overheard: “My grandfather/mom/brother/etc. played this instrument”, “I can’t
afford to get my own instrument so I’ll play whatever the school district can loan me”,
“My best friend and I wanted to be in the same music class”, “I liked my music teacher
last year and want to be in his/her class again this year”, “I picked flute because it fits in
my backpack easily and I ride my bike to school” and even “I picked flute because I have
a crush on a fellow flute student”. The writer found the societal and gender influences on
musical instrument choices in Folsom to be unfortunate and somewhat debilitating for
Katherine Sinsabaugh, “Understanding Students Who Cross Over Gender Stereotypes
in Musical Instrument Selection” (Ph.D. dissertation, Columbia University, 2005).
1
Patrick M. Fortney, J. David Boyle and Nicholas J. DeCarbo, “A Study of Middle
School Band Students’ Instrument Choices,” Journal of Research in Music Education 41
(1993): 28-39.
2
3
beginning band students. What are the reasons for their choices and what can be done so
that future beginning band students in Folsom are able to make more educated and
desirous choices?
Purpose
The purpose of this thesis was to survey 5th and 6th grade beginning band students
in the city of Folsom, California in the Folsom-Cordova Unified School District and to
gain a better understanding of why students make the instrument choices they do. This
survey was not completed simply as a matter of curiosity, but as a way to gauge how
students make these choices. The results of the survey were analyzed and the resulting
data was used to contemplate a more equitable manner of aiding future beginning band
students in Folsom to make choices that are more central to their own desires rather than
other outside, societal influences. By helping students better plan and understand their
instrument choices in beginning band, there will be a direct corollary to more buy-in and
interest in music and better retention rates as students progress from elementary school
through high school and hopefully beyond.
Procedures
The procedure by which data was collected consisted of a survey that was
distributed to all 5th and 6th grade beginning band students in Folsom, California. The
elementary schools that took part in this research were Blanche Sprentz, Carl Sundahl,
Empire Oaks, Folsom Hills, Gold Ridge, Natoma Station, Oak Chan, Sandra J. Gallardo
and Theodore Judah. The writer directed the students through the survey in the same,
scripted manner so as not to influence any specific outcome and the surveys were kept
4
completely anonymous. Students were surveyed in small, instrument-isolated groups
which consisted of students who play flute, clarinet, trumpet and trombone (the four core
instruments offered by the music department).
Delimitations
As with any survey and analysis, one always runs the risk of those taking the
survey not being completely truthful. Despite alerting the students to the fact that their
answers were completely anonymous, there was still a chance that a child may answer
untruthfully either by peer goading, disinterest or any number of reasons. Additionally, as
well thought-out as any survey may be, certain societal influences that had not even been
considered arose which expanded the course of the research.
5
Chapter 2
REVIEW OF LITERATURE
Introduction
Much research has been done regarding the factors that contribute to the musical
instrument choices made by students at the inception of their musical careers. Of this
research, a majority focused on gender stereotypes and their effects on the musical
instrument choices that children make when beginning a band program. One of the
foremost studies in the field, and the one against which most other research is compared,
was completed in 1978 by Harold F. Abeles and Susan Yank Porter. Although less
common, scholars such as Steven Nelson Kelly completed some research to indentify if
students chose specific instruments based on sound and timbre preference. Whereas
significant investigations have been launched in the aforementioned fields, one field that
has had little focus is whether or not other societal factors, such as family, friends,
teachers, etc. may influence students’ instrument selection choices.
Societal Factors
In 2004, Canadian music education professor Jonathan G. Bayley performed
research to investigate ways that music teachers prepare students for selecting an
instrument. Moreover, his “investigation identified the nature of the educational and
musical experiences that occur prior to determining students’ instrument choices.”3 As a
Jonathan G. Bayley, “The Procedure by Which Teachers Prepare Students to Choose a
Musical Instrument,” UPDATE: Applications of Research in Music Education 22/2
(2004): 23-34.
3
6
result of his research, Bayley found that a frequent method used by music teachers to
steer students toward certain instrument choices was manipulating the pool of
instruments from which students could choose. For example, “both saxophone and
percussion were excluded primarily because they were considered to be “too popular with
students.”4 Another way that a majority of the surveyed music teachers socially
influenced students’ instrument choices was by providing demonstrations at the schools
that fed into their music programs.
Continuing with the research that was started by Bayley, Dale Edward Bazan also
completed research in which he studied “the factors influencing student instrument
choice, and the selection procedures used by directors of beginning bands.”5 Like Bayley,
Bazan distributed his surveys to elementary/beginning band teachers to determine the
methods employed in assisting students’ instrument choice. Although a majority of
Bazan’s study focused on the teachers’ instrument selection procedures, he spent a
modest amount of time investigating the societal influences that affected student
instrument choice as determined by the beginning band teachers. The most popular
response was “Friends (peer pressure)”, with “Relatives” coming in third (the second
Bayley, “The Procedure by Which Teachers Prepare Students to Choose a Musical
Instrument,” 28.
4
Bazan, Dale Edward, “An Investigation of the Instrument Selection Processes Used by
Directors of Beginning Bands,” MM thesis, University of Northern Iowa, 2004.
5
7
highest vote-getter was “The sound of the instrument, which will be investigated more in
the next section of this paper).6
Patrick M. Fortney, J. David Boyle and Nicholas J. DeCarbo conducted research
in 1993 in order to determine which factors influenced the students’ musical instrument
choices. The subjects of the survey were 990 sixth-, seventh-, eighth- and ninth-grade
students from beginning and intermediate band groups in Dade County, Florida. In their
survey, the researchers sought to find out if any of the following factors influenced
students’ choices: “Parents, Friends, Elementary music teacher, Middle school music
teacher, Other teacher’s advice, I liked the sound, I saw it on T.V., Cost of the
instrument, Size of the instrument, Availability of the instrument, Other reason not listed
above”.7 To this list of possible societal influencers, the respondents were to mark
“None”, “Some” or “A Lot” for each item on the list.8
As a result of their survey, the researchers found that the most influential factors,
other than sound, which will be covered in the next section of this paper, were “’people’
influences, that is, the middle school music teacher, parents, and friends”. 9 The factors
Bazan, “An Investigation of the Instrument Selection Processes Used by Directors of
Beginning Bands,” 19.
6
Patrick M. Fortney, J. David Boyle and Nicholas J. DeCarbo, “A Study of Middle
School Band Students’ Instrument Choices.” Journal of Research in Music Education 41
(1993): 28-39.
7
Fortney, Boyle and DeCarbo, “A Study of Middle School Band Students’ Instrument
Choices,” 31.
8
9
Ibid., 34.
8
that were less influential were “in order, television, elementary music teachers, cost of the
instrument, other teachers and a variety of ‘other’ influences”.10
Along the same lines, Steven Paul Katzenmoyer performed research that
identified the reasons that students chose certain instruments; however, in addition to
surveying students, Katzenmoyer also investigated what “music teachers perceive as the
factors that influence student instrument selection”.11 After surveying 1,073 fifth- through
ninth-grade students, Katzenmoyer came to the conclusion that the most common reasons
a student chose to play a certain instrument were “parents, other relatives, friends, music
teachers, sound of the instrument, look of the instrument, size of the instrument,
availability of the instrument, cost of the instrument and familiarity of the instrument
through television and celebrity status”.12
Much like the research mentioned above, Kirstin D. P. Carlson also investigated
the influences of family, peers, timbre and gender on instrument choice. Carlson focused
her research on fifth-, sixth- and seventh-grade students as well as parents of fifth-grade
students. One demographic that Carlson chose to investigate that was not covered by the
aforementioned researchers was a group of seventh-grade students who had dropped out
of music after just one year of study. In discussing the results of her survey, Carlson
10
Ibid., 34.
Steven Paul Katzenmoyer, “A Study of the Factors That Influence the Musical
Instrument Selections of Students: A Comparison of Teacher and Student Perceptions,”
DMA diss., Shenandoah University, 2003.
11
Katzenmoyer, “A Study of the Factors That Influence the Musical Instrument
Selections of Students: A Comparison of Teacher and Student Perceptions,” 116.
12
9
focused on each influential factor as a separate sub-category. For instance, the first factor
she discussed was “Influences of Family”13 wherein she asked her subjects if any of the
following factors influenced their instrument choices: “Did your family own the
instrument?”, “Did someone in your family play the instrument?”, “Did your parents
want you to play the instrument?” and “Is there one reason why you chose your
instrument?”14 Carlson chose to employ a “yes” or “no” response for each question and in
tallying the results, she found that the most frequent response from each sub-group was
that someone in the respondents family played the instrument.
In investigating the influence of peers, Carlson was “surprised by such low
percentages of students choosing their instrument because a friend wanted them to.”15
According to the table in which she broke down the responses to that question, the
highest affirmative response only measured at 14 percent.
Kirstin D. P. Carlson, “The Beginning Band Choice: It’s Instrumental Influences of
Family, Peers, Timbre Preference, and Gender Stereotyping on Instrumental Choice of
Band Instruments,” MS thesis, Minnesota State University Moorhead, 2001.
13
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 33.
14
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 36.
15
10
Timbre of Instrument
The timbre (or sound quality) of an instrument is a slightly more prevalent area of
research when investigating student instrument choice. Almost all of the literature
described in the previous section of this chapter can also provide insight into instrument
timbre preferences as well.
As was mentioned in the previous section, Fortney, Boyle and DeCarbo’s
research found that 51 percent of students chose their specific instrument because of “the
sound of the instrument”. Even after given “I liked the sound” as a multiple-choice option
for the basis of their instrument choice, some students took advantage of an open-ended
question to reiterate instrument sound as a reason for wanting to play their chosen
instrument.16 However, when the researchers sought to find out reasons why certain
instruments, mostly flute and tuba, were preferred less than others, 16 percent of
respondents specified that the sound of the instrument was a deterrent (just after
perceived instrument difficulty and instrument size).17
As was mentioned in the previous section of this chapter, Kirstin D. P. Carlson
conducted research with a group of fifth- through seventh-grade students to determine the
frequency of family, peers and timbre as influences in the instrument choices made. Of
the three factors, Carlson’s research concluded that timbre was the most influential.
According to the students she surveyed, 95 percent of fifth graders, 67 percent of sixth-
Fortney, Boyle and DeCarbo, “A Study of Middle School Band Students’ Instrument
Choices,” 34.
16
17
Ibid., 34.
11
graders, 82 percent of seventh-graders, and 100 percent of seventh-graders who opted not
to continue in band chose their instrument because they “liked the sound of it”.18
Phillip David Payne also conducted a study that sought to determine the
frequency of instrument timbre as an influential factor when students chose to play an
instrument. To take this type of research one step further, Payne drew correlations
between personality type and instrument timbre preference. However, in stripping away
any weight based on personality type, Payne found that, regardless of personality type,
“sound was reported as the most influential factor in choosing an instrument.”19
Also mentioned in the previous section of this chapter, Dale Edward Bazan’s
research found that instrument sound was the second-most frequent response when
inquiring about what factors influenced student instrument choice. Conversely, when
asked about the reasons why students change instruments, the least-popular response was
“Does not like the sound of the instrument”.20
In a study by Steven Nelson Kelly, 261 third-grade students were asked to listen
to recordings of individual instruments and then, on an answer sheet, specify whether it
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 38.
18
Payne, Phillip David, “An Investigation of Relationships Between Timbre Preference,
Personality Traits, Gender, and Music Instrument Selection of Public School Band
Students,” Ph.D. diss., University of Oklahoma, 2009.
19
Bazan, “An Investigation of the Instrument Selection Processes Used by Directors of
Beginning Bands,” 20.
20
12
“sounded like an instrument a boy would play or an instrument a girl would play”.21 So,
although there is research pertaining to instrument timbre as a major factor in influencing
students’ instrument choices, it is often closely tied to research that investigates how
timbre preferences are guided by gender roles and stereotypes.
Gender Investigation
In 1978, Harold F. Abeles and Susan Yank Porter performed research in North
Carolina, Indiana and Delaware to determine if associating gender with musical
instruments would “serve to constrict the behavior and thus the opportunities of
individuals” thereby limiting “the range of musical experiences available to male and
female musicians in several ways.”22 Prior to Abeles and Porter’s research, very little
scholarship existed with regards to gender investigation within the musical world. In
analyzing their brief, six-item works cited list, only two references are listed that have
any basis in the world of gender stereotypes with regard to musical instruments. Because
of this, in reading through more current scholarship relating to gender stereotyped
musical instrument choices, a significant majority of researchers cite the groundbreaking
Abeles and Porter study from 1978.
At that time, Abeles and Porter conducted four different studies that sought to
determine if different populations would come to the same conclusions about gender
stereotyped musical instruments. Respondents ranged from adult community members,
Kelly, Steven Nelson, “An Investigation of the Influence of Timbre on Gender and
Instrument Association,” Contributions to Music Education, 24 (1997): 43-56.
21
Harold F. Abeles and Susan Yank Porter, “The Sex-Stereotyping of Instruments,”
Journal of Research in Music Education, 26/2 (1978): 65-75.
22
13
collegiate music majors and non-music majors, kindergarten through fifth grade students
and young children, ages three through five. After their research was completed, a
conclusion was reached that “musical instrument gender associations are widespread
throughout all age groups, starting with children’s initial introduction to the instruments
and may be the dominant factor in instrument selection, possibly having a major effect on
the music vocational choices of individuals.”23
In looking at a continuum of instruments from these studies, going from feminine
to masculine, flute is continually listed as the most feminine instrument and the trumpet,
the most masculine. As we will see through analyzing further gender investigation
research, this is a very common belief.
Jonathan G. Bayley completed research that delved into gender stereotypes;
however, his research focused on music teachers, rather than student musicians
themselves, and the methods they employed to assist in the beginning band student’s
instrument selection. Because of this, Bayley’s research could be categorized under the
sub-problem of Societal Factors as well as it takes a sociological approach to viewing
how much influence music teachers have on the instrument selection process. In his
investigation, Bayley focused on a large number of questions ranging from “procedural
controls or guidelines…teachers implement in order to manipulate student instrument
selection”24 to “ways…teachers counterbalance stereotypical gender associations.”25
23
Abeles and Porter, “The Sex-Stereotyping of Instruments,” 74.
Jonathan G. Bayley. “The Procedure by Which Teachers Prepare Students to Choose a
Musical Instrument.” UPDATE: Applications of Research in Music Education 22/2
(2004): 23-34.
24
14
Much like the research conducted by Abeles and Porter, Bayley found that the older
children got, the more apt they were to select instruments that were stereotypical of their
gender. As a result, Bayley also found that, according to the beginning band directors
surveyed, the most popular instrument for girls was flute and the most popular instrument
for boys was trumpet.26
Although Bayley’s research was consistent with research done by Abeles and
Porter, one should note that the results were drawn from surveying music teachers instead
of the students themselves. Kirstin D. P. Carlson, however, focused most of her research
on fifth- through seventh-grade students, save one group of fifth-grade parents. In asking
students if they felt certain instruments were better for girls to play, the results mirrored
most research in stating that flute was the most feminine with clarinet coming in
second.27 Conversely, in asking which instruments were better for boys to play, tuba rated
first with trombone coming second and euphonium and trumpet coming in third, which is
slightly different than the research first performed by Abeles and Porter wherein trumpet
was rated as most masculine.28
Bayley, “The Procedure by Which Teachers Prepare Students to Choose a Musical
Instrument,” 23.
25
26
Ibid., 29.
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 43.
27
28
Ibid., 44.
15
Whereas most of the surveys discussed thus far have been focused on students in
fifth-grade and higher, Rosemary Bruce and Anthony Kemp chose to focus their
investigation on younger children, ages five through seven. A slight variation on the
gender investigation topic, however, came in the form of varying the sex of the
instrument demonstrators. As a whole, the female children still gravitated toward the flute
and the male children gravitated toward the trombone. There were times after the
demonstrations, however, where students were invited to come forward to look at one
instrument and frequently, the girls were more apt to go toward the female demonstrators
and the boys, toward the male demonstrators, oftentimes regardless of which instrument
they had played.29
As time has passed and paradigms have shifted, there has been research
completed to investigate if gender stereotypical musical instrument preferences have
changed, first in 1994 by Jason Zervoudakes and Judith M. Tanur and then, in 2009, by
Hal Abeles. Zervoudakes and Tanur conducted their research by requesting concert
programs from area schools encompassing the past three decades and then coding the
performers’ genders based on their first names. Also taken into consideration was the
proportion of female musicians versus male musicians in band. Over time, female
participation had grown which in turn, affected the number of females playing all
instruments and created more desegregation.30
Bruce, Rosemary and Anthony E. Kemp, “Sex-Stereotyping in Children’s Preferences
for Musical Instruments,” British Journal of Music Education, 10 (1993): 213-217.
29
Zervoudakes, Jason and Judith M. Tanur, “Gender and Musical Instruments: Winds of
Change?,” Journal of Research in Music Education, 42 (1998): 58-67.
30
16
Finally, taking the search about gender stereotypical instrument choices fullcircle, Hal Abeles sought to investigate whether things had changed since his
groundbreaking study in 1978. Abeles performed a study of college students’ beliefs
about which instruments they felt were more feminine and which were more masculine
and placed them on a continuum. The results he found completely corroborated the
research he had performed 31-years earlier although the scores were less significant.
Additionally, Abeles researched the instrumentation from several middle schools, grades
six through eight, and found that “the scores are ‘very similar’”31 to what he found in his
1978 research.
Abeles, Hal, “Are Musical Instrument Gender Associations Changing?,” Journal of
Research in Music Education, 57 (2009): 127-139.
31
17
Chapter 3
RESEARCH PROCEDURES
Introduction
This chapter contains information pertaining to the collection of data as well as
methods of research for this paper. Also included in this chapter will be information
about the researcher, the research setting, the subjects of the study, the survey that was
administered as well as the techniques used for the analysis of the data.
Researcher
The researcher is in her twelfth year as a music teacher. She began her career
teaching a before-school elementary band and during her student teaching, was offered an
opportunity as a long-term substitute teacher at Brook Haven Middle School in
Sebastopol, California. While employed at Brook Haven Middle School, the researcher
also taught a recorder class and a band class at Sonoma Charter School. In 2004, the
researcher began teaching band and orchestra in the Folsom-Cordova Unified School
District. After receiving her Bachelor of Arts at Sonoma State University, the researcher
is now pursuing her Master of Arts degree in Music Education at California State
University, Sacramento.
Setting
The research occurred at nine elementary schools in the Folsom-Cordova Unified
School District, all located in Folsom, California, which is a suburb of Sacramento. The
schools surveyed for this paper were: Blanche Sprentz Elementary, Carl Sundahl
18
Elementary, Empire Oaks Elementary, Folsom Hills Elementary, Gold Ridge
Elementary, Natoma Station Elementary, Sandra J. Gallardo Elementary and Theodore
Judah Elementary. Because music serves as the intermediate elementary classroom
teachers’ prep time, a music course is required by all fourth, fifth and sixth graders
enrolled in the school district. In fifth and sixth grade, students may choose to enroll in
general music, intermediate strings or beginning band.
Subjects
The students surveyed were fifth and sixth grade students enrolled in band. A
majority of the students were beginners; however, at two elementary schools, there are
sixth grade classes where some students were enrolled in band as fifth graders.
Research Design
The researcher created a survey that included both multiple-choice and shortanswer questions to determine the societal influences that caused students to make the
musical instrument choices that they did at the beginning of the school year. Also of
further interest is comparing and contrasting the research that was done previously with
regards to:
 Frequency of specific instrument choices;
 Correlations between gender and instrument choice;
 Family influences;
 Student beliefs with regards to gender-appropriate instrument selection.
The survey consisted of five questions with two questions requiring further information
if the subject answered “yes” to the initial question. Also included in the survey was a
19
question that required a response, whether it be one of the multiple-choice options or a
fill-in-the-blank response. The remainder of the survey questions were in a forced-choice
format which required students to make a choice from one of the given options.
The first of the forced-choice questions required the students to indicate their
gender of either (boy) or (girl). The second forced-choice question inquired as to which
musical instrument the student chose to play for the school year. Their possible options
were comprised of the instruments offered at their school for the year: (flute), (clarinet),
(trumpet) or (trombone). By combining the frequency of responses of both questions
number one and number two, the researcher was able to find out not only which
instruments seemed to be most popular amongst the students but also whether or not
there was a correlation based on gender-specific instrument choices.
The third question on the survey supplied the subjects with nine statements
relating to reasons why they may have chosen to play a specific instrument. Students had
the option of choosing from the following statements: (I like the way it sounds), (A
family member played it), (It’s lightweight/easy to carry), (My parents wanted me
to play it), (I’ve always wanted to play it), (We had the instrument at home
already), (I had a better chance of getting a school instrument), (It is a more
popular instrument) or (It is a less popular instrument). Also included at the end of
question number three was a field that allowed the students an opportunity to share a
reason for their instrument selection that was in addition to or in lieu of the statements
listed above.
20
The fourth and sixth questions on the survey were partly forced-choice in that the
students were to answer either (yes) or (no) when asked whether they felt there were
instruments that were better suited for boys or for girls. Should the subject answer (yes)
for either of these questions, it was then indicated that they needed to further explain
their answer. In questions five and seven they indicated which instrument they felt was
better suited for girls or boys by circling any of the following: (flute), (clarinet),
(trumpet) and/or (trombone). Additionally, if they felt that specific instruments were
better suited for certain genders, they were presented with an open field to explain why
they felt as such.
Data-Gathering Techniques
During the first three weeks of school, all band students were combined in one
group at each school as school instruments were distributed, rosters were solidified and
start-up supplies and procedures were discussed. It was during that time that the
researcher pulled students from the full band group based on instrument choice so as to
keep survey groups at a manageable size. Students were given the survey and a pencil
and were then directed through the survey item-by-item to ensure full comprehension
and to avoid data-gathering errors/omissions. The students were all guaranteed that their
responses were anonymous and that completely honest feedback would be most useful.
Regrettably, the researcher did notice that in the case of questions four and six, where an
answer of (yes) required consequently answering questions five and seven, that students
were seen erasing their answer and changing it to (no). Because students changed their
answers when they were instructed to then answer a related question, the researcher was
21
led to believe that a handful of students simply did not want to answer the next question
thoughtfully and decided instead to avoid answering it altogether.
Data Analysis Techniques
Upon completion of all 470 student surveys, each survey was numbered from 1 to
470 and the collected data was then entered into SPSS/PASW statistical software. A
majority of the items on the survey, with the exception of fill-in-the-blank and short
answer questions, were given a numerical value. In the case of questions with only two
choices (boy/girl, yes/no), responses were given a value of “0” or “1”. In the case of
question number two which asked for a response based on instrument choice, responses
were given the following values: flute = 0, clarinet = 1, trumpet = 2 and trombone = 3. A
database was then created with fields that corresponded to the questions on the survey
and the responses for each survey were entered into the database.
Frequencies were run for each field in the database and upon analysis of the
frequency results, the researcher was able to better determine which correlations were
strongest and of most value for the purpose of this paper. The output derived from the
frequency results was indicated both in numerical/percentage form as well as in the form
of bar graphs.
22
Chapter 4
RESULTS
Introduction
This chapter is a report on the results of the survey that was administered for this
paper. Four-hundred seventy fifth- and sixth-grade beginning band students at nine
elementary schools in Folsom, California, were given an anonymous survey during their
band class at the beginning of the 2010-2011 school year. The survey consisted of seven
questions, some of which required additional responses should the student provide a
“yes” answer to the preceding question. This chapter is broken into seven separate
sections, one for each of the questions included in the student survey. Each section will
explain the survey responses in both bar graph form and narrative. The results will begin
with a breakdown of respondents’ sex and will culminate with a summary of the findings.
23
Bar Graph 1
The first question on the student survey asked students to indicate whether they
were a boy or a girl by circling the correct sex. Of the four hundred seventy students
surveyed, as is shown in Bar Graph 1, 53.94 percent identified themselves as boys and
46.06 percent identified themselves as girls.
24
Bar Graph 2
In the Folsom-Cordova Unified School District, all fourth- through sixth-grade
students in elementary school are required to enroll in a music class. It is written into the
teachers’ union contract that students will participate in music for seventy minutes each
week, during which time the classroom teachers receive their prep. In fifth- and sixthgrade, students are given the option of general music, intermediate orchestra and
beginning band. If students choose the beginning band option, they are offered the
opportunity to begin playing the flute, clarinet, trumpet or trombone. As is displayed by
25
Bar Graph 2, 18.3 percent of students chose flute, 36.8 percent chose clarinet, 34.4
percent chose trumpet and 10.6 percent chose trombone as their band instrument choices
for the 2010-2011 school year.
Bar Graph 3
Question number three of the student survey questioned students as to their
reasons for choosing to play the instrument they did for the school year. Students were
given a list of nine reasons why one might choose to play a particular instrument. The
choices in question number three were derived by researching which reasons for
26
instrument choice are most typically heard by the music teachers each year. In selecting
their answers, students were asked to circle all of the statements that were true for them.
Additionally, following the nine statements from which students could choose, there was
also a space in which students to write in any further responses that were not listed.
In looking at Bar Graph 3, the responses have been organized in descending
order, such that in reading from left to right, we begin with the most popular responses.
The top two statements students chose were Instrument Sound and Always Wanted to
Play, being selected by 75.5 percent and 66.6 percent of the students, respectively. The
next two statements that received a high amount of selection by the students were
Lightweight/Easy to Carry at 30.8 percent and Family Member Played at 25.8
percent. The next four responses showed to be less influential in how students made their
instrument choices. Of these responses, 11.1 percent of students indicated that they chose
the instrument as it was a More Popular Instrument, 10.2 percent of students Already
Had Instrument at Home, 10 percent of students felt that Parents Wanted Student to
Play and 9.1 percent of respondents felt their chosen instrument was a Less Popular
Instrument. The response that appeared to be least influential in student instrument
choice was Better Chance at Getting a School Instrument.
Several of the write-in answers were aligned with choices that students were
already given from which to choose. However, perhaps they felt they either needed to
better explain their choices or they simply didn’t see the correlation between a given
choice and their believed reason for the instrument choices they made. All of the write-in
responses were read and given a tag word so that responses could be better tabulated. In
27
an effort to keep the write-in responses manageable as far as scope, only the top five
responses will be reported.
Of the ninety-nine students that wrote in a response to better indicate why they
chose the instruments they did this year, 15 percent, and the top choice of respondents,
specified that their instrument looked fun. The second most popular response for
instrument choice was that a family member played the instrument, as indicated by 12
percent of respondents. Eleven-percent of respondents specified that they wanted a
change from the instruments they either played last year or have studied privately.
Another highly influential reason why students made their specific instrument choices
this year was that they thought it was cool, according to 10 percent of students. To round
out the top-five write-in responses, 7 percent of students chose their instruments based on
the fact that they felt their instrument was similar to one they already knew how to play,
hence making it less challenging to learn.
28
Bar Graph 4
Despite the Folsom music teachers’ best efforts to convince students otherwise,
there are still rumblings of students feeling that there are instruments that are better for
girls to play, and others they feel are better for boys to play. In looking at Bar Graph 4, it
appears that the numbers are starting to tip more in favor of instrument equality despite a
student’s sex. As is indicated above, 25.3 percent of students believed that there are
instruments that are better suited for girls.
29
Bar Graph 5
If students answered Yes for question four, that they did indeed believe there were
instruments that were better suited for girls, they were asked to indicate which of the four
offered instruments would be best for girls. The overwhelming popular vote shows that
101 students believe flute is best suited for girls, followed by 48 students feeling that
clarinet is also best suited for girls. Not surprisingly, only four students felt that trumpet
was better suited for girls and two students felt as such about trombone.
Using the same technique that was employed for the write-in responses with
30
regards as to why students chose their given instruments, when students were asked to
qualify their feelings that certain instruments were more suitable for girls, the responses
were given a corresponding tag word to better organize the responses. Of the eighty-nine
students that felt there were instruments better suited for girls, 33.7 percent of responses
were aligned with gender stereotypes that have been perpetuated by society, family,
friends, etc. With regards to instrument sound, 29.2 percent of respondents felt that the
timbre of the instrument sounded more feminine, more similar to a girl’s voice and
delicate, which, according to one respondent, “boys aren’t.” Of the respondents, 11.2
percent did not take the opportunity to further explain why they thought certain
instruments were better suited for girls and simply responded with “because.” Other
reasons respondents felt that there were instruments better suited for girls included ease
(9 percent), the looks of the instrument (9 percent), girls’ intelligence (5.6 percent) and
that it was challenging, which is better for girls (2.3 percent).
31
Bar Graph 6
The sixth question on the student survey asked students if they thought there were
instruments that were better suited for boys. The results were relatively similar to the
results seen with regards to whether or not students felt there were instruments that were
better suited for girls. Again, a majority of the students surveyed felt that there should be
no gender delineations whereas 27.9 percent of respondents felt that there indeed are
instruments that are better suited for boys to play.
32
Bar Graph 7
The seventh question on the survey requested that students who answered “yes”
for question six indicate which musical instruments they felt were better suited for boys.
As is displayed in Bar Graph 7, one can see that the responses firmly attest that trumpet
and trombone are far more suitable for boys, receiving 46 percent and 38.5 percent of the
votes respectively. Clarinet received 12.5 percent of the votes and flute, by comparison,
was only selected by 3 percent.
In evaluating the write-in responses for the second half of question seven, in
33
which students were requested to further explain why they felt certain instruments are
better suited for boys, there were some very clear-cut popular answers, as was the case
with investigating instruments better suited for girls. The most popular response, which
came from 32.2 percent of respondents, was aligned with gender stereotypes, much like
the responses collected with regards to instruments that are better suited for girls. The
second most popular reason why certain instruments are more suitable for boys was
based on the timbre of the instrument. These responses accounted for 20 percent of the
responses, with students alluding to the dark sound of the instrument and that brass
instruments tend to sound more manly. The third most popular answer that arose, at 8.9
percent, was in reference to the strength required to both hold and play certain
instruments. At times, students mentioned physical strength and at other times, they
alluded more to the lung power they felt was necessary to play instruments like
trombone. Rounding out the top-five answers as to why the respondents felt certain
instruments were better for boys was that they felt certain instruments were cooler than
others, which totaled 5.5 percent of the responses.
34
Chapter 5
SUMMARY, MAJOR FINDINGS AND RECOMMENDATIONS
Introduction
In this chapter, the survey results from chapter four will be summarized with each
summary broken down into sub-problems. The sub-problems will focus on the influence
of societal factors, instrument timbre and gender investigation on the musical instrument
selections of the beginning band students in Folsom, California, as determined by the
results of the student survey. The survey results will then be discussed by focusing on the
findings of the literature and research introduced in chapter two. Lastly, this chapter will
provide a summary of the research findings of this paper as well as provide
recommendations for further research.
Data was collected by distributing surveys to 470 fifth- and sixth-grade beginning
band students at nine elementary schools in Folsom, California. After indicating their sex
and the instrument they chose to play for the school year, students indicated the reason(s)
for choosing to play that instrument via multiple choice statements, as well as a fill-inthe-blank field, to determine the frequency of the following factors as major influencers:
instrument timbre/sound, instrument weight, desire to play, instrument availability,
family/peer influence, and instrument popularity. The purpose of the survey was to
determine to which degree the following factors were considered by students to be
influential in guiding them toward their beginning band instrument choice: societal
influences, the timbre of the instrument and gender stereotypes/investigation.
35
Problem Statement
The purpose of this thesis was to identify what societal factors contributed to the
ultimate musical instrument choices of 5th and 6th grade beginning band students in
Folsom, California.
Summary and Discussion
As was investigated in chapter four, survey participants were asked to identify the
instrument they decided to play this year in beginning band. Of the respondents (of which
53.94 percent were boys and 46.06 percent were girls), 18.3 percent chose flute, 36.8
percent chose clarinet, 34.4 percent chose trumpet and 10.6 percent chose trombone.
After determining the frequency with which students chose to play their given
instruments this year, the survey inquired as to the reasons behind their choices. Chapter
four broke the responses down into the following categories and their respective
frequencies: Instrument Sound - 75.5 percent, Always Wanted to Play - 66.6 percent,
Lightweight/Easy to Carry - 30.8 percent, Family Member Played - at 25.8 percent, More
Popular Instrument - 11.1 percent, Already Had Instrument at Home - 10.2 percent,
Parents Wanted Student to Play - 10 percent, Less Popular Instrument - 9.1 percent, and
Better Chance at Getting a School Instrument - 4.1 percent.
Additionally, several students chose to fill in a blank field to offer other reasons
for the musical instrument choices they made this school year. These write-in responses
added the following reasons for instrument choice to the list already mentioned above:
The Instrument Looked Fun – 15 percent, A Family Member Played the Instrument – 12
percent (which was a choice listed in the multiple responses in question three), Wanted a
36
Change From the Instrument They Already Knew How to Play - 11 percent, The
Instrument Seemed Cool - 10 percent, and The Chosen Instrument Was Similar to One
They Already Knew How to Play - 7 percent.
The remainder of the survey questioned the respondents about their opinions on
whether or not they felt that there were instruments that were better suited for each
gender and if so, which instruments. The results showed that 74.7 percent of respondents
felt there were instruments that were better suited for girls and 72.1 percent of
respondents felt there were instruments that were better suited for boys.
Sub Problem 1
To what extent are the following factors considered by students to be a
reason for selecting their chosen instrument for beginning band: (1) societal factors?
One of the first issues to discuss in this sub-problem is defining what might be
considered a “societal factor” within the realm of this paper. For the sake of this paper,
“societal factors” are defined as general factors such as family, friends, peers, acceptance,
desire, the media and other things that might shape a student’s culture. In exploring the
survey responses provided by the students, a large amount referred to societal factors as a
major influencer in helping to guide students’ instrument choices.
In survey question three, in which students were asked to select from nine of the
more common statements regarding reasons for making instrument choices, a majority of
the students selected reasons such as an existent desire to play a given instrument, a
family member’s prior study of an instrument, the popularity of the instrument, the
instrument’s size, the instrument’s availability, and the wishes of a parent/family
37
member. The most popular of the societal factors as displayed by the results of the survey
was the present desire to learn how to play a certain instrument, which was indicated by
66.6 percent of the students surveyed. The perceived ease of portability struck 30.8
percent of students as a significant reason to choose a certain instrument and 25.8 percent
of respondents chose their instrument because another family member had played it.
Among those responses were students who felt they could receive additional help at
home due to a family member’s familiarity with their instrument. A relatively small
number of students, only 10 percent, chose to play their instrument due to the desire of
one or more family members. One rationale that never surfaced from students’ write-in
responses was the effect that peers had on their instrument choices.
These conclusions somewhat mirror those that were reached by Fortney, Boyle
and DeCarbo, as well as Katzenmoyer and Carlson. The research performed by these
scholars found that “’people’ influences”32 had a tendency to be the more prevalent
reasons for the instrument choices students made. More specifically, in Carlson’s
research, she found that by inquiring “Did your family own the instrument?”, “Did
someone in your family play the instrument?”, “Did your parents want you to play the
instrument?” and “Is there one reason why you chose your instrument?”33 that many of
the students answered affirmatively, thereby corroborating her feeling that family
Fortney, Boyle and DeCarbo, “A Study of Middle School Band Students’ Instrument
Choices,” 31.
32
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 33.
33
38
influences played a major part in how beginning band students chose their given
instrument.
Sub Problem 2
To what extent are the following factors considered by students to be a
reason for selecting their chosen instrument for beginning band: (2) timbre of
instrument?
Although a majority of the students that completed this survey have never heard
of the word “timbre” (nor know what it means), it was surprisingly one of the more
common responses when beginning band students were asked why they chose their given
instrument this year. Because the term “timbre” (which is “the quality of tone distinctive
of a particular singing voice or musical instrument”34) can be a bit complex, it was
assumed that most students would recognize the phrase “I like the way it sounds” as a
more familiarly worded alternative.
In examining the results of the student survey, a resounding 75.5 percent of the
respondents indicated “I like the way it sounds” as a reason for making the instrument
choice they did. Of the nine multiple-choice statements, this was the statement with the
highest frequency of votes, thus the most significant factor when compared to the others.
Fortney, Boyle and DeCarbo researched the study of student instrument choice in 1993
“Timbre – Definition and More from the Free Merriam-Webster Dictionary,” MerriamWebster, Incorporated, accessed April 12, 2011, http://www.merriamwebster.com/dictionary/timbre.
34
39
and in their research they found that timbre was also the most common reason (at 51
percent) for students choosing a certain instrument.35
In further investigating the write-in responses provided by the students at the end
of survey question three, many students, without knowing it, commented on the timbre of
instruments as a reason for making their choice this year. Among the responses were
phrases such as “It has a deeper sound”, “It sounds more heavy”, “It makes duck sounds
that boys like” and even “It sounds more manly”. It should be noted, however, that
although many students identified deep/low sounds as a reason for choosing an
instrument, none of the respondents mentioned an instrument sounding higher, lighter or
delicate.
Sub Problem 3
To what extent are the following factors considered by students to be a
reason for selecting their chosen instrument for beginning band: (3) gender
stereotypes/investigation?
The second half of the student survey inquired as to whether or not students felt
that there are instruments that are better suited for girls or better suited for boys. If they
answered affirmatively, a follow-up question requested that the students indicate which
of four instruments (flute, clarinet, trumpet, trombone) would be best suited for each
gender. Of the 470 students surveyed, 25.3 percent felt that there were instruments better
suited for girls and 27.9 percent felt that there were instruments better suited for boys. In
Fortney, Boyle and DeCarbo, “A Study of Middle School Band Students’ Instrument
Choices,” 34.
35
40
further examining which instruments would be better suited for girls, an overwhelming
number of respondents felt that flute was the most fitting for female students, followed by
clarinet. Of the instruments that were better suited for boys, the most popular response
was trumpet, followed by trombone.
As was previously mentioned in Chapter 2, a significant amount of research has
been completed with regards to the effect of gender stereotypes on the musical instrument
choices and associations children make. By comparing the results of the present survey
with the results compiled by Abeles and Porter in 1978, flute is still considered by
students to be the most feminine instrument and the trumpet the most masculine.36 These
results were also consistent with those of Kristin D. P. Carlson in her study of fifththrough seventh-grade students’ attitudes toward gender specific instrument associations
(although in her study, tuba was most masculine with trumpet ranking second).37
In the present survey, after stating which instruments students felt were more
feminine or masculine, they were instructed to elaborate on why the felt certain
instruments were more suitable, gender-wise. Appendices C and D, respectively, give a
comprehensive list of reasons that students identified specific instruments as more
feminine or masculine. In describing the reasons that students felt some instruments were
recognized more along feminine lines, the more common responses were: because girls
are more peaceful/elegant, like flutes; because girls, like flute, have a high sound;
36
Abeles and Porter, “The Sex-Stereotyping of Instruments,” 74.
Carlson, “The Beginning Band Choice: It’s Instrumental Influences of Family, Peers,
Timbre Preference, and Gender Stereotyping on Instrumental Choice of Band
Instruments,” 43.
37
41
because I’ve seen girls play it; because it is higher/pretty/small; and because it is more
challenging and girls will practice more. Judging by the responses, it appears that the
students feel girls have superior intelligence and discipline, which they deem necessary
for the study of flute. Also, being true to prior research in which the role of media had an
effect on the culture of students, images of female flute players abound and therefore
send a message to beginning band students that this instrument is better suited for
females. Also of note is the fact that students drew conclusions between the physicality of
girls and the appearance and sound of the instrument.
With regards to how students felt about more masculine instruments, some of the
more prevalent responses were: because boys like big/loud things, because it has a
deeper/lower sound, because it is heavy and boys can carry it/you have to be strong and
because mostly boys play it. These responses drew sharp parallels to the responses that
were given with regards to the more feminine instruments in that they referenced boys’
physicality, both in terms of timbre preference/similarities to male voices, as well as
physical strength, which, it was implied, boys have more of than girls. Therefore,
whereas girls appeared to be better suited for stereotypically-feminine instruments, such
as flute, due to the perception that girls are more intelligent/disciplined, boys appeared to
be better suited for stereotypically-masculine instruments, such as trumpet and trombone,
because of the perception that boys are physically stronger.
42
Major Findings
This thesis has investigated, analyzed, identified and compared the reasons that
fifth- and sixth-grade beginning band students in Folsom, California have chosen to play
specific instruments for the 2010-2011 school year. Upon analyzing the results of a
student survey that was administered at the beginning of the school year and comparing
those results with prior research as was mentioned in the review of literature, it was found
that the students in Folsom, California feel rather similarly to what would be considered
typical responses from earlier research. Students today still feel that societal factors, such
as media input, family/peer influence, and accessibility to an instrument, had an effect on
the instruments they chose to play. Timbre is also of high consideration in choosing an
instrument, just as it was in the research performed by Carlson. Lastly, with regards to
gender association and its impact on the instrument choices students make, although there
seemed to be a correlation between instrument choice and gender, a significant number of
respondents felt that there is no delineation between instruments that are better suited for
girls or boys (74.7 percent and 72.1 percent, respectively).
In looking at percentages such as the aforementioned feeling of instrumentequality and comparing that with prior research, it appears that although there are still
opinions that certain instruments possess gender identities, more and more students feel
like they have more options in choosing an instrument. As taken from a student survey,
one respondent felt that “… anyone can play anything if they really wanted to.” It is
attitudes such as this that illuminate the change of culture that is happening in the world
43
today; and as paradigms in daily life and world culture shift, so do those of children and
the opportunities they are afforded.
Observations
Recently, the Folsom elementary school music teachers held demonstrations for
their incoming fifth-grade students where they explained the musical instrument options
for their fifth-grade year and played the instruments from which the students could
choose. The teachers were highly cognizant of stressing the importance of “choosing an
instrument that you like the sound of, the one that makes you excited and the one you
know you’ll want to practice.” Emphasis was placed on affirming that there are no “girl
instruments or boy instruments” and in an effort to dissuade students from being afraid of
the trombone due to its size, the music teacher let a few children hold the instrument and
the children acknowledged that no, it wasn’t very heavy at all.
Recommendations for Further Research
It appears that continuing to stress non-gendered instruments and discouraging the
notion that bigger instruments are heavy is just a start in encouraging students to choose
the instrument for which they have the most passion. Based on the nature of this study,
the following recommendations for further research are suggested:
1. Distribute surveys to both students and their parents to determine any differences
as to why students may have chosen to play certain instruments.
2. At future demonstrations for incoming beginning band students, have a male
music teacher demonstrate the stereotypically feminine instruments and a female
demonstrate the stereotypically masculine instruments.
44
3. In an effort to continue researching the focus of timbre/sound when children
choose their beginning band instruments, provide students with CD examples of
certain instruments to see which one they most like the sound of (without
allowing them to know which instrument they are listening to). Will their mostpreferred sound be the same as the instrument they thought they wanted to play?
4. At the end of the teacher demonstrations in the spring, set up a station of
instruments where children can hold the instruments and see which one they are
most comfortable with, physically.
45
APPENDICES
46
APPENDIX A
Student Survey
Please CIRCLE the best answer for each question/statement below.
1.
I am a:
boy
girl
2.
Which instrument will you be playing this year?
flute
3.
clarinet
trumpet
trombone
I chose to play this instrument because (circle all that apply to you):
It’s lightweight/easy to
carry
My parents wanted me to I’ve always wanted to play We had the instrument at
play it
it
home already
I had a better chance of
It is a more popular
It is a less popular
getting a school
instrument
instrument
instrument
I like the way it sounds
A family member played it
Are there any other reasons not listed above? ____________________________
_________________________________________________________________
4.
Do you think there are musical instruments that are better suited for girls?
Yes
5.
No
If you answered yes to question 4, which ones?
Flute
Clarinet
Trumpet
Trombone
Why? ___________________________________________________________
6.
Do you think there are musical instruments that are better suited for boys?
Yes
7.
No
If you answered yes to question 6, which ones?
Flute
Clarinet
Trumpet
Trombone
Why? ___________________________________________________________
47
APPENDIX B
Reasons for Choosing Instrument
A lot of my friends play it.
After cello for the second year, I decided I wanted to play the clarinet.
Because
Because I don't want to play brass
Because I don't want to play brass or strings
Because I would love to play it and my friends are playing it
Because it sounds fun!
Because it's big.
Because it's fun.
Because my dad wants me to play the saxophone.
Because my dad was in the navy and it would be cool for my dad too.
Because my dead grandpa played it.
Cub Scout Bugler
I already play other instruments at home.
I already played an instrument outside of school, so I needed one that
was not extremely difficult.
I also like its shape.
I am a good singer and I can change my notes easily.
I can be in the middle school band
I can store it in my backpack.
I can wake up my brother at 4 a.m.
I chose it also because it's challenging.
I did general music last year and I wanted to play the trumpet.
I did it because it was like the recorder.
I did it last year and my family wanted me to play it.
I did trumpet last year and it was very fun.
I feel like it's a good chance to learn how to play an instrument
I hear clarinet transitions into saxophone easily and my dad played
saxophone and I want to play saxophone in middle school.
I just felt like it.
I like it because it's awesome, cool and because it has a cool sound.
I like it.
I like jazz; I have the option of saxophone [in middle school].
I like the instrument. I was good at it.
I love band instruments.
I love to make beats and rhythms with the three keys.
I picked it because it can be in the jazz band.
I played it last year at a different school.
I played last year.
48
I played the recorder so I wanted to play the clarinet.
I saw it had lots of notes so it looked cool.
I think it will be fun.
I think it would be fun.
I think it would be good to learn to play.
I think songs played with the trumpet are beautiful.
I thought it would be fun to try it.
I used to play the flute but I switched to the guitar
I want to be in the Folsom Jazz Band.
I want to play saxophone.
I wanted to give myself a challenge.
I wanted to play it last year when I played recorder
I'd like to play it for the rest of my life.
I'm going to learn how to play a beat box on it when I get good at it.
I've always wanted to play a woodwind instrument
I've wanted to try it.
It can be in the middle school/high school jazz band.
It feels better and it's easier to make sound.
It had a lot of buttons and buttons are cool and I wanted to be cool.
It has a beautiful melody
It is a new experience.
It is cool.
It looked cool.
It looked fun and challenging.
It looked fun to play.
It looked like fun and I played it last year.
It looks cool
It looks fun to play.
It looks like a fun instrument.
It seems easy
It sounds interesting
It was the teacher's favorite instrument.
It's a challenge and I love challenges!
It's awesome
It's because I wanted to try something new.
It's cool.
It's fun to play.
It's just plain AWESOME
It's loud.
It's not that heavy.
It's really close to a recorder.
It's very cool and I would love to play it.
Lots of friends played it and said it was really fun
More girls.
49
My best friend played it.
My dad always wanted to play it but never did; so I decided to play it
for him.
My friend played it.
My older brother will teach me.
My older sister could help me because she played it.
My sister helps me play it.
My sister plays it so she can help me.
My sister wants me to play it
My sisters played it.
My uncle played it and I think it's cool
No one else played it (except my dad - a long time ago).
No one plays it (mostly nobody)
Other instruments are too loud.
The army uses it.
The case is small and I love it.
The sound of it matches my personality.
The trombone looked fun to play and it was different.
The trumpet is too hard to blow
50
APPENDIX C
Why Certain Instruments are Better Suited for Girls
A bunch of girls play it
A flute girls choose mostly
A lot of people like it.
All instruments are fine for girls. They can do what they want, no matter
what instrument.
Because
Because a flute is more girly
Because a lot of girls play them.
Because flute is all shiny.
Because flute is more of a girl instrument and more girls play it.
Because girls always play it and it is not tough
Because girls are all playing flute, no boys.
Because girls are better at multitasking.
Because girls are lazier than boys
Because girls are more peaceful, like flutes.
Because girls are sometimes better than boys
Because girls learn faster.
Because girls like playing it.
Because girls probably like instruments that are cylinder-shaped.
Because girls, like flute, have a high sound
Because I see it would be a girl instrument
Because I think girls are suited for them.
Because I've seen some girls play it.
Because it has a beautiful sound.
Because it has a lighter sound.
Because it is a good instrument.
Because it is easier.
Because it is higher
Because it is pretty
Because it is small and high.
Because it looks better suited
Because it sounds pretty and you blow lightly.
Because it sounds sweet; boys aren't.
Because it suits them
Because it's a girly one.
Because it's a small instrument.
Because it's easier to carry and sounds good.
Because it's higher.
Because it's more of a girl instrument.
Because it's small.
51
Because it's soft like girls
Because more girls play it.
Because more girls today.
Because most girls do them.
Because most girls play it.
Because my auntie says so
Because my brother says so.
Because my sister played it.
Because my sister plays it
Because there's only one boy in the flute class.
Because they are better looking.
Because they are easy.
Because they are elegant like girls.
Because they are high-pitched.
Because they are more delicate.
Because they are smart and have good hand/eye coordination.
Because they have a light sound.
Because they look smart
Because they practice.
Because they sound higher
Because they sound pretty for girls.
Everyone can be able to play whatever they want, no matter what
gender.
General music because it has singing
Girls have more concentration.
Girls have pointy nails.
Girls like it.
Girly noise
I just do
I just have a feeling it is
I think it is a girl instrument.
I think it represents a girl because it is a very high instrument.
I think it's a girl instrument.
I think it's for girls.
I think that anyone can play anything if they really wanted to.
In cartoons, all girls play it and some of my friends' moms played.
It is easy to play.
It is girlish.
It is lighter than most instruments.
It is lightweight and it is easy to blow in.
It is more challenging and girls will practice more
It is more of a smooth instrument.
It is peaceful music.
It is very peaceful.
52
It seems like a higher note and most girls like that more than boys.
It sounds high; girls scream high pitch!
It sounds like a girl instrument.
It sounds like a girl should play it.
It sounds pretty for girls
It sounds pretty.
It's a girly instrument.
It's more of a girl instrument.
Its looks and sounds
Low sounding and light.
More girls play it.
Most girls play flute or clarinet.
Only two boys are playing it.
The flute has a high sound.
They are more girly.
They are smaller, and girls are smaller.
They blow better
53
APPENDIX D
Why Certain Instruments are Better Suited for Boys
All boys like it and most people play it.
Because
Because a flute doesn't sound like a boy instrument.
Because boys have dark voices and they have strong lungs
Because boys have louder instruments.
Because boys like big, loud things.
Because I am one.
Because I just see them playing those
Because I play it
Because I said so.
Because in movies, girls play flutes.
Because it has a deeper sound.
Because it has a lower sound.
Because it is a good instrument.
Because it is awesome.
Because it is deeper.
Because it is heavy and boys can carry it
Because it is louder and challenging.
Because it just seems boyish.
Because it just seems like it!
Because it just seems like they like it.
Because it sounds like a boy instrument.
Because it sounds like a boy would.
Because it sounds manly.
Because it sounds more heavy.
Because it suits them
Because it takes a lot of lung power.
Because it takes harsh blowing.
Because it would make a lot more sense for boys to play these ones.
Because it's big; our [clarinet] is small. [Boys] are strong we [girls] are
weak.
Because it's big.
Because it's brass
Because it's harder.
Because it's opposite than girls.
Because it's pretty hard to blow.
Because it's very boyish
Because most boys do it.
Because most boys play it.
Because most boys usually play it.
54
Because most of the boys are taller.
Because my brother says so and he plays it.
Because of its boyish style.
Because of their sounds and looks.
Because people in middle and high school will tease them if they have a
flute and clarinet.
Because some boys love the way it sounds.
Because the boys like it better.
Because there are not enough choices.
Because they are better suited
Because they are big and make big, weird sounds.
Because they are stylish for boys.
Because they are very big.
Because they have a deeper sound.
Because they have a low sound.
Because they have a sharper, louder sound.
Because they have lower voices
Because they sound good.
Because they're louder.
Because you don't need to sing
Because you have to be strong.
Because.
Better for being a boy because better sound.
Better to focus and heavy duty.
Boys are stronger and trombones weigh a lot.
Boys have thicker fingers.
Boys like them.
Boys would like to do the Boy Scout call.
Deeper instruments.
I just do
I just have a feeling it is
I play it.
I think because these instruments, boys like more.
I think boys would enjoy trumpet better.
I think so because the trumpet and trombone make a deeper sound.
I think that anyone can play anything if they really wanted to.
I've seen some people play at sidewalks to get money.
It has a low sound
It has a lower sound
It has a lower sound.
It has a manly noise
It is a low instrument.
It is cool.
It is heavier than most instruments.
55
It is heavy and hard to carry.
It makes raspberry noises.
It might make them calmer.
It seems more boyish.
It sounds boyish
It sounds cool and it makes a duck sound that boys like.
It sounds good.
It would be too heavy [for girls].
It's better for boys
It's cool
It's cool for boys.
It's more likely to be a guy instrument
It's simple and easy to play.
Louder.
Many boys play it.
More boys play it.
More boys play them.
56
BIBLIOGRAPHY
Abeles, Harold F. and Susan Yank Porter. “The Sex-Stereotyping of Musical
Instruments.” Journal of Research in Music Education 26 (1978): 65-75.
Bayley, Jonathan G. “The Procedure by Which Teachers Prepare Students to Choose a
Musical Instrument.” UPDATE: Applications of Research in Music Education 22/2
(2004): 23-34.
Bazan, Dale Edward. “An Investigation of the Instrument Selection Processes Used by
Directors of Beginning Bands.” MM thesis, University of Northern Iowa, 2004.
Boulton, Michael J. and Susan A. O’Neill. “Boys’ and Girls’ Preferences for Musical
Instruments: A Function of Gender?” Psychology of Music 24 (1996): 171-183.
Bruce, Rosemary and Anthony E. Kemp. “Sex-Stereotyping in Children’s Preferences for
Musical Instruments.” British Journal of Music Education 10 (1993): 213-217.
Burt, Allison J. “Factors Influencing Music Playing Preferences of Beginning Band
Students.” MM thesis, Bowling Green State University, 1998.
Byo, James Lawrence. “An Assessment of Musical Instrument Preferences of ThirdGrade Children.” Bulletin of the Council for Research in Music Education 110 (1991):
21-32.
Carlson, Kirstin D. P., “The Beginning Band Choice: It’s Instrumental Influences of
Family, Peers, Timbre Preference, and Gender Stereotyping on Instrumental Choice of
Band Instruments.” MS thesis, Minnesota State University Moorhead, 2001.
Clayton, Martin, et al., eds. The Cultural Study of Music: A Critical Introduction. New
York, NY: Taylor & Francis Books, Inc., 2003.
Conway, Colleen Marie. “Gender and Musical Instrument Choice: A
Phenomenological Investigation.” Bulletin of the Council for Research in Music
Education 146 (2000) 1-17.
Cutietta, Robert A. and Peter A. McAllister. “Student Personality and Instrumental
Participation, Continuation, and Choice.” Journal of Research in Music Education 45
(1997): 282-294.
Elliot, C. A. and M. Yoder-White. “Masculine/Feminine Associations for Instrumental
Timbres Among Children Seven, Eight, and Nine Years of Age.” Contributions to
Music Education 24 (1997): 30-39.
57
Elliott, David James. Music Matters: A New Philosophy of Music Education. New York,
NY: Oxford University Press, 1995.
Eros, John. “Instrument Selection and Gender Stereotypes A Review of Recent
Literature.” UPDATE: Applications of Research in Music Education 27/1 (2008): 5764.
Farnsworth, Paul R. The Social Psychology of Music. Ames, Iowa: The Iowa State
University Press, 1969.
Fortney, Patrick M., J. David Boyle and Nicholas J. DeCarbo. “A Study of Middle
School Band Students’ Instrument Choices.” Journal of Research in Music Education
41 (1993): 28-39.
Gould, Elizabeth. “Music Education in Historical Perspective: Status, Non-musicians
and the Role of Women.” College Music Symposium 32 (1992): 10-18.
Graham, Brenda J. “Relationships Among Instrument Choice, Instrument Transfer,
Subject Sex and Gender-Stereotypes in Instrumental Music.” DME diss., Indiana
University, 2005.
Green, Lucy. Music, Gender, Education. Cambridge, UK: Cambridge University Press,
1997.
Griswold, Philip A. and Denise Chroback. “Sex-Role Associations of Music
Instruments and Occupations by Gender and Major.” Journal of Research in Music
Education 29 (1981): 57-42.
Hallam, Susan. “Sex Differences in the Factors Which Predict Musical Attainment in
School Aged Students.” Bulletin of the Council for Research in Music Education 161162 (2004): 107-115.
Hargreaves, David J. The Developmental Psychology of Music. Cambridge, UK:
Cambridge University Press, 1986.
Hargreaves, David J. and Adrian C. North, eds. The Social Psychology of Music. Oxford,
UK: Oxford University Press, 1997.
Howe, Sondra Wieland. “Reconstructing the History of Music Education From a
Feminist Perspective.” Philosophy of Music Education Review 6 (1998): 96-106.
Katzenmoyer, Steven Paul. “A Study of the Factors That Influence the Musical
Instrument Selections of Students: A Comparison of Teacher and Student
Perceptions.” DMA diss., Shenandoah University, 2003.
58
Kelly, Steven Nelson. “An Investigation of the Influence of Timbre on Gender and
Instrument Association.” Contributions to Music Education. 24 (1997): 43-56.
Kiehn, Mark T. “Development of Music Creativity Among Elementary School
Students.” Journal of Research in Music Education 51 (2003) 278-288.
Koskie, JaNell Lynn. “The Influences of Mitigating Social Factors on Gender
Stereotyping in Musical Instrument Selection: A Case Study Approach.” MM thesis,
Bowling Green State University, 1999.
Koster, Keith A. “Demonstrator Gender and the Woodwinds: Investigating Children’s
Differential Views of Gender Propriety.” Missouri Journal of Research in Music
Education. 35 (1998) 68.
Lamb, Roberta, Lori-Anne Dolloff and Sondra Wieland Howe. “Feminism, Feminist
Research, and Gender Research in Music Education.” In The New Handbook of
Research on Music Teaching and Learning, edited by Richard Colwell and Carol
Richardson. Oxford, UK: Oxford University Press, 2002.
Leppla, David Alan and Judith Katherine Delzell. “Gender Association of Musical
Instruments and Preferences of Fourth-Grade Students for Selected Instruments.”
Journal of Research in Music Education 40 (1992): 93-103.
Maidlow, Sarah L. and Rosemary Bruce. “The Role of Psychology Research in
Understanding the Sex/Gender Paradox in Music.” Psychology of Music 27 (1999):
147-158.
Million, Erin, Lynn A. Perreault and Kennth M. Cramer. “Perceptions of Musicians:
Gender Stereotypes and Social Role Theory.” Psychology of Music 30 (2002): 164174.
O’Neill, Susan A. and Anna C. Harrison. “Children’s Gender-Typed Preferences for
Musical Instruments: An Intervention Study.” Psychology of Music 28 (2000): 81-97.
Payne, Phillip David. “An Investigation of Relationships Between Timbre Preference,
Personality Traits, Gender, and Music Instrument Selection of Public School Band
Students.” Ph.D. diss., University of Oklahoma, 2009.
59
Pegley, Karen Ann “Kip”. “Like Horses to Water: Reconsidering Gender and
Technology within Music Education Discourses.” Women & Music: A Journal of
Gender and Culture 10 (2006): 60-70.
Ryan, Charlene Anne. “Gender Differences in Children’s Experience of Musical
Performance Anxiety.” Psychology of Music 32 (2004): 89-103.
Sheldon, Deborah A. and Harry E. Price. “Sex and Instrumentation Distribution in an
International Cross-Section of Wind and Percussion Ensembles.” Bulletin of the
Council for Research in Music Education 163 (2005): 43-51.
Sinsabaugh, Katherine. “Understanding Students Who Cross Over Gender Stereotypes in
Musical Instrument Selection.” Ph.D. diss., Columbia University, 2005.
Sinsel, Tiffany, Wallace E. Dixon, Jr., and Elizabeth Blades-Zeller. “Psychological Sex
Type and Preferences for Musical Instruments in Fourth and Fifth Graders.” Journal
of Research in Music Education 45 (1997): 390-401.
Stewart, Erin E. and Christopher Millender Johnson. “Effect of Sex Identification on
Instrument Assignment by Band Directors.” Journal of Research in Music Education
52 (2004): 130-140.
Stewart, Erin E. and Christopher Millender Johnson. “Effect of Sex and Race
Identification on Instrument Assignment by Music Educators.” Journal of Research in
Music Education 53 (2005): 348-357.
Tarnowski, Susan Mary. “Gender Bias and Musical Instrument Preference.”
Applications of Research in Music Education 12 (1993): 14-22.
Wehr-Flowers, Erin. “Differences Between Male and Female Students’ Confidence,
Anxiety, and Attitude Toward Learning Jazz Improvisation.” Journal of Research in
Music Education 54 (2006): 337-349.
Wright, Ruth. “Gender and Achievement in Music Education: The View From the
Classroom.” British Journal of Music Education 18 (2001): 275-291.
Zdzinski, Stephen Franklin. “Parental Involvement, Gender and Learning Outcomes
Among Instrumentalists.” Contributions to Music Education 21 (1994): 73-89.
Zervoudakes, Jason and Judith M. Tanur. “Gender and Musical Instruments: Winds of
Change?” Journal of Research in Music Education 42 (1998): 58-67.