RTRL.47: Band Performance Ratings and Director Gender (Shouldice & Eastridge, 2020)

Source:

Shouldice, H. N., & Eastridge, J. L. (2020). A comparison of Virginia band performance assessments in relation to director gender. Journal of Research in Music Education, 68(2), 125-137.

What did the researchers want to know?

Given that existing research shows many women perceive gender-related discrimination in their jobs as secondary band teachers, is there a significant association between band festival ratings and director gender at the middle school or high school level?

What did the researchers do?

Shouldice and Eastridge accessed 6 years (2013-2018) of District Concert Assessment ratings sponsored by the Virginia Band and Orchestra Directors Association (VBODA), which are publicly available on the VBODA website. Data included ensembles’ overall performance ratings and director names, which Shouldice and Eastridge used to code each ensemble performance according to the assumed gender (male/ female) of the director(s). If the first name of a director was ambiguous or gender-neutral (e.g., Robin, Jamie), they performed an internet search to ascertain gender (via pronouns, title, and/or photograph). Finally, Shouldice and Eastridge then conducted statistical analyses to ascertain the percentages of ensembles receiving each rating (by level and director gender) and whether there was a statistically significant relationship between director gender and overall performance rating.

What did the researchers find?

At both the middle school and high school levels, male-directed ensembles were more likely to receive a I rating while female-directed ensembles more likely to receive a II rating. The table below shows the percentages of ensembles receiving each rating by director gender, and the bar chart shows the comparison of I and II ratings by gender and level.

Table 1. Percentages of Ensembles Receiving Each Rating, by Director Gender.*

Figure 1. Number/Comparison of I and II Ratings Included in Chi-Square Analyses.*

*Due to required assumptions of the Chi-Square test, multiple ensemble performances from the same director were randomly removed so that only one listing was included for each director, which is why 3,229 performances are reflected in Table 1 but only 730 in Figure 1.

What does this mean for my classroom?

We cannot definitively infer the cause behind the association between ensemble ratings and director gender discovered by Shouldice and Eastridge. However, it is worth reflecting on possible explanations for this finding. One explanation might be that societal norms expect and permit men to display the behaviors and characteristics that are associated with being a successful band director (such as assertiveness and competitiveness) whereas these traits may be less expected and/or acceptable in women. Another potential explanation could be that women are more likely to be hired for band teaching jobs in smaller and/or rural schools/districts, which may be more likely to earn lower ratings than ensembles from larger school districts. Finally, female-directed bands may receive lower ratings than male-directed bands as a result of gender bias, either explicit or implicit.

One possibility is that gender bias might influence judges to rate female-directed groups differently than male-directed groups. Given that previous research findings suggest larger ensembles or those performing more difficult classifications of music may tend to receive higher ratings than smaller ensembles or those performing easier music, it is also possible that gender bias may be an influence in the hiring practices that lead to greater numbers of men than women securing jobs in larger, more prestigious programs that are likely to perform more advanced repertoire.

The results of this study indicate that although improving, a gender imbalance still exists in the secondary band teaching profession. Discrimination in the hiring process may be one possible explanation for this persistent gender imbalance, as suggested by findings of existing research. It is critical that those involved in the hiring process examine their own biases and actively work toward more equitable hiring of men and women. It is also crucial to strive for more equitable representation of women in the field of secondary band teaching. Rather than reinforcing the common image of conductor as male, music educators and music teacher educators might actively work to provide students with images of women in these teaching roles.

Related Research Summarized by “Research to Real Life”:

Career Intentions and Experiences of Pre- and In-service Female Band Teachers (Fischer-Croneis, 2016)

Male and Female Photographic Representation in 50 Years of Music Educators Journal (Kruse, Giebelhausen, Shouldice, & Ramsey, 2015)

RTRL.09: “Career Intentions and Experiences of Pre- and In-Service Female Band Teachers” (Fischer-Croneis, 2016)

Source:

Fischer-Croneis, S. H. (2016). Career intentions and experiences of pre- and in-service female band teachers. Journal of Research in Music Education, 64(2), 179-201.

What did the researcher want to know?

What are women’s experiences in realizing their professional goals as band teachers?

What did the researcher do?

Fischer-Croneis conducted a multiple case study of nine women in the midwestern U.S. who were teaching band or finishing their undergraduate preparation to become band teachers. The inservice teachers’ years of experience ranged from 4 to 34, and they were teaching either middle school or a combination of middle and high school. Fischer-Croneis individually interviewed each participant, using open-ended questions to elicit discussion regarding their experiences as female band teachers in two main areas of focus: 1) Gaining entry into the profession, and 2) Navigating the profession.

What did the researcher find?

In terms of gaining entry into the band-teaching profession, several participants described experiences in which they had been given interview-related advice based on their gender, were asked interview questions they felt a man would not have been asked, or believed they had not been offered high school band teaching jobs due to their gender. Others sensed “the potential for unspoken bias,” including one young woman who felt that a hiring committee might question whether she would “do this job to the full extent” due to the assumption that “she’s in a prime baby-making age” (p. 187).

In navigating the profession, some of the participants felt pressure to adopt a more “masculine professional persona” in order to be accepted in the “band world” (p. 188). While they did feel that it was becoming easier to identify female band teachers at the national level, such as Mallory Thompson at Northwestern University, many participants were unable to name a female band teacher they knew at the local level. Only one of the three preservice teachers was able to name a female high school band teacher.

Though they felt things were improving, all of the in-service teachers confirmed the perception of a “Good Ol’ Boys’ Club” in the band world, which they most notably felt at places like state conferences or the Midwest Clinic. Other experiences shared by participants included being mistaken for the assistant band director (because the male assistant was assumed to be the head director), challenges in networking “with those in power—perceived by many of the participants to be typically men,” and a feeling of a “double standard” in that “the assertive behavior [a woman] must embody to be a successful band teacher [does] not match social conventions for women” (p. 192).

What does this mean for my classroom?

Women continue to be a minority in the band teaching profession, and many female teachers experience persistent feelings of exclusion in the band world. Female band teachers in a similar study by Coen-Mishlan (2015) even felt they were treated differently at adjudicated events and questioned whether their bands were judged more critically. Music teachers and music teacher educators should remain aware of the underrepresentation of women in the band teaching profession and the resultant lack of role models for female band teachers. We can look for instances in which gender stereotypes may be reinforced. For example, an examination of the photographs featured in issues of Music Educators Journal from the years 1962-2011 revealed that 79% of the photographs depicting conductors showed men in this role, and there were no photographs of female conductors in any issue of MEJ during 2001 (Kruse, Giebelhausen, Shouldice, & Ramsey, 2015). Media that music teachers use in their classrooms may also reinforce similar stereotypes, which we can look for and avoid.

In addition to avoiding the perpetuation of gender stereotypes, we can actively work to combat them by exposing students to examples and images of female band directors. Individuals serving on hiring committees should be conscious of the possibility of bias against female band teachers, particularly when filling high school band teaching positions, and male band teachers can consciously work to help women feel included and valued in the profession.

References:

Coen-Mishlan, K. (2015). Gender discrimination in the band world: A case study of three female band directors. Excellence in Performing Arts Research, 2, Article 1. https://doi.org/10.21038/epar.2014.0104
Kruse, A. J., Giebelhausen, R., Shouldice, H. N., & Ramsey, A. L. (2015). Male and female photographic representation in 50 years of Music Educators Journal. Journal of Research in Music Education, 62(4), 485-500. https://doi.org/10.1177/ 0022429414555910