RTRL.52: Children’s Perceptions of Gender Stereotypes in Musical Instruments (Pickering & Repacholi, 2002)

Source:

Pickering, S., & Repacholi, B. (2002). Modifying children’s gender-typed musical instrument preferences: The effects of gender and age. Sex Roles, 45(9-10), 623-643.

What did the researchers want to know?

Do older students perceive stronger gender stereotypes among musical instruments than younger students? Can exposure to counter-stereotyped musicians affect students’ instrument preferences?

What did the researchers do?

Pickering and Repacholi conducted a study involving 156 kindergarten students and 158 fourth-grade students. They showed the students videos of high-school musicians playing one of eight instruments that had previously been identified as either feminine (flute, violin, clarinet, cello) or masculine (drum, saxophone, trumpet, trombone) by Australian adults. The musicians wore school uniforms and all played the same musical excerpt. Participants were divided into three groups: one who viewed videos that aligned with gender stereotypes (e.g., females playing “feminine” instruments and males playing “masculine” instruments), one who viewed “counter-stereotyped” musicians (e.g., males playing “feminine” instruments and females playing “masculine” instruments), and one who simply viewed a static image of the instrument (with no musician visible).

Pickering and Repacholi had each student view their assigned videos individually (in a room separate from their classroom) and then asked them which instrument they would most like to play.

What did the researchers find?

Students in the control group (who saw static images rather than musicians) were significantly more likely to select instruments consistent with gender stereotypes than those inconsistent with gender stereotypes. There were, however, no significant differences in stereotyping by gender or age.

When all three groups were compared, Pickering and Repacholi found that students in the control group and the gender-consistent group were equally likely to prefer gender-consistent instruments. However, students exposed to the counter-examples were significantly less likely to choose gender-consistent instruments. 

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. (This study found that women are 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.

RTRL.30: The Effect of Movement-based Instruction on Beginning Instrumentalists’ Rhythmic Sight-reading (McCabe, 2006)

Source:

McCabe, M. C. (2006). The effect of movement-based instruction on the beginning instrumentalist’s ability to sight-read rhythm patterns. Missouri Journal of Research in Music Education, 43, 24-38.

What did the researcher want to know?

Does movement-based instruction affect beginning instrumentalist’s rhythmic sight-reading ability?

What did the researcher do?

Study participants were 81 students in 6th-, 7th- or 8th-grade who were enrolled in a beginning instrumental music class which met 5 times a week for 40 minutes (four separate classes). All classes used the same method book and used a variety of rhythm syllables and vocalization techniques (Kodaly syllables, numerical syllables, sizzling, note names). However, the control group (two classes) was “not allowed to use bodily movements to mark the beat or to clap rhythm patterns” during rhythm instruction (p. 29), while the experimental group (two classes) moved to the beat of recordings, clapped rhythm patterns while tapping their foot or marching to the beat, played rhythms while tapping the beat, conducted the beat pattern while chanting rhythms, and “use[d] designated body movements to represent different beat values” (p. 30). Instruction lasted for 18 weeks, with 15 minutes of rhythmic instruction per class period. The Watkins-Farnum Scale, a standardized music achievement test, was used to measure each student’s rhythmic sight-reading ability, both before and after the 18-week instruction period.

What did the researcher find?

Watkins-Farnum rhythm sight-reading scores indicated that, although both groups scored similarly on the pre-test, the treatment group scored significantly higher than the control group on the post-test. Overall, the students who experienced movement-based instruction showed an average gain that was 229% greater than the average gain of students who were not allowed to move.

What does this mean for my classroom?

Moving to the rhythm and/or beat can help students develop a stronger sense of rhythm and become more proficient at rhythmic sight-reading. Some teachers may be hesitant to encourage or allow students to move because they may believe it is distracting to the audience. However, the findings of McCabe’s study suggest that requiring students to remain still actually hinders their rhythmic development. Engaging students in movement-based instruction can enhance their sense of rhythm and help them perform with a more consistent tempo. Findings also suggest that aural reinforcement of the beat (e.g., using a metronome, teacher tapping or clapping the beat for students) may not be as effective as FEELING the beat.

One helpful suggestion I have heard is to have students tap their heels to the beat (rather than the traditional practice of toe-tapping) because this larger movement engages more weight, thus helping students better feel the beat. This article provides many more ideas for incorporating movement in the instrumental classroom to facilitate beat competency:

RTRL.25: The Influence of Beginning Instructional Grade on String Student Enrollment, Retention, and Performance (Hartley & Porter, 2009)

Source:

Hartley, L. A., & Porter, A. M. (2009). The influence of beginning instructional grade on string student enrollment, retention, and music performance. Journal of Research in Music Education, 56(4), 370-384.

What did the researchers want to know?

Does the starting grade level of beginning string instruction affect initial enrollment, retention, or ensemble performance by the seventh-grade year?

What did the researchers do?

Hartley and Porter surveyed 166 elementary, middle, and junior high school string teachers in Ohio about their initial enrollment, retention at the end of the first year of instruction, and retention at the beginning of the seventh-grade year. To gauge performance achievement, Hartley and Porter visited and recorded 22 middle school orchestras (that were primarily made up of seventh-grade students), 36% of which started in fourth grade and 32% started in fifth grade and sixth grade respectively. Three string specialists (who were not told the starting grade level of the ensembles) rated each performance using the state-approved form for large-group adjudicated events.

What did the researchers find?

Just over half (50.3%) of all schools enrolled 20% or less of students in the starting grade level, 37.6% enrolled 20% to 40%, and only 12.1% enrolled 40% or more. When comparing the percentages of the student body who enrolled in beginning strings according to starting grade level, Hartley and Porter found no statistically significant differences in initial enrollment.

In terms of retention at the end of the first year of instruction, 23% of teachers reported retaining 50-65% of students, 19.6% retained 65-80% of students, 36.5% retained 80-95% of students, and 22.6% retained 95-100% of students. There was a significant difference in relation to starting grade level: schools with later starting grade levels were more likely to retain 80% or more of their students at the end of the first year of instruction, as shown in the table below.

 

 

 

 

 

In terms of retention at the beginning of the seventh-grade year, 12.8% of teachers reported retaining 30% or less of students who initially enrolled, 27.6% retained 60% of students, 40.4% retained 90% of students, and 19.2% retained 95-100% of students. There was a significant difference in relation to starting grade level: schools with later starting grade levels were more likely to retain 60% or more of their students at the end of the first year of instruction, as shown in the table above.

When comparing the overall ensemble performance ratings, there were no statistically significant differences between groups that began instruction in fourth grade, fifth grade, or sixth grade.

What does this mean for my classroom?

Some teachers may worry whether starting instrumental music at a later grade level could have negative effects in comparison to starting at an earlier grade level. However, delaying the start of instrumental music until sixth grade likely will not hurt initial enrollment or performance achievement in later grades and may actually help increase retention.

Additionally, Hartley and Porter found that schools with a fourth-grade start level were more likely to have fewer meetings per week than sixth-grade beginners, and schools with more class meetings per week were more likely to have a higher retention rate at the end of the first year. If given the choice between starting instruction in an earlier grade level but with fewer class meetings per week or starting in a later grade level but with more frequent class meetings, the latter may be preferable.