What did the researcher want to know?
What is the nature of adults’ anxiety toward music/singing, and what do they feel is the root of this anxiety?
What did the researcher do?
Abril conducted a narrative inquiry to examine singing anxiety among three adults who expressed fear of singing and claimed they lack musical ability. These young women (who were enrolled in a university music methods course for non-music majors taught by the researcher) participated in multiple interviews and kept journals to reflect on their experiences with music/singing.
What did the researcher find?
These adults believed that success in music, specifically singing, is the result of a natural “gift” or “talent.” According to one participant, “the ability to make music is something that comes to you when you are really young … you just have it or you don’t. It’s not like other subjects in school because those you can work at and get better” (p. 8). Because they felt they lacked “musical talent,” they believed they were incapable of singing.
All three participants recalled negative musical experiences from their childhood, in which they received the implicit message from their music teachers that they were not musical. One participant began to feel she lacked musical ability when she tried out for the school choir in fifth grade but didn’t make the cut, saying, “It really hurt my self-esteem regarding my musical ability” (p. 8). Another participant described a similar experience of not being accepted into the school choir in sixth grade. She shared, “I was devastated! I quit singing after that because I figured. . . my music teacher was the expert! That really shattered my musical self-image. Since then I’ve felt pretty incapable” (p. 6). The third participant recalled an instance during childhood in which her music teacher was upset because someone was singing “wrong notes.” Worried that it was her, she stopped singing and soon after quit the choir. This participant said, “It was that bad experience that has stifled me. Since then I haven’t developed or grown in music. I don’t think teachers realize the great impact they have” (p. 10).
What does this mean for my classroom?
The issue of gender-stereotyping of instruments persists in music education. However, the results of this study suggest that exposing students to musicians who defy gender stereotypes can help them resist rather than perpetuate these stereotypes. When choosing audio/video or live examples for use in the music classroom, music educators should be conscious of who is represented and work to actively combat gender stereotypes. In addition to noticing the gender of instrumentalists featured in the music classroom, teachers should also pay attention to the gender of composers and conductors so that students see women represented in these roles. Music educators might also notice who is (or is not) represented in our professional materials, such as textbooks and journals. (For example, this study shows that women have been much less likely to be represented as conductors in photographs published in the Music Educators Journal.) Similarly, teachers can notice the race/ethnicity of those who are represented. This noticing is the first step to taking action in ensuring that the representation in our classrooms is one that allows ALL students to see themselves represented in a diversity of musical roles.
A teacher’s words and actions have tremendous power. Music educators should be aware that many students may attribute success in music to innate talent, and the perception of a lack of talent can be damaging to one’s musical self-concept and motivation to engage in music-making. Rather than perpetuate the myth of musical ability as the result of innate talent, we can emphasize the importance of effort and practice and work to communicate the powerful message that anyone can become a competent music maker and enjoy making music in their daily lives.