Instrument of Choice

Music is a blessing. No matter what your level of participation everyone can relate to some aspect of music. Personally, I believe that is it one art form that no matter what gender, race, creed, or age everyone can appreciate and participate. For this reason, children all over the world are educated in music. The broad spectrum of music education ranges anywhere from playing a musical instrument to studying genres, composers, and cultural phenomena associated with music history.

The most common form of music education in America is band. Catering to children without prior musical experience, band programs are designed to help kids select a musical instrument, learn the fundamentals, and develop a life-long healthy respect and relationship with music. These are merely idealistic goals for a very flawed system. Consequently, the music programs across the nation do many kids a disservice. Instead of guiding them toward positive musical experience, many programs are poorly funded and run by disinterested band directors. This is a huge problem. Generations of children have received the bulk of their musical experiences from school band, thus their whole perceptions of music will be based on whether or not those experiences were positive. More often than not, these experiences are negative. In my opinion the root of negative perceptions of music can generally be traced to the musical instrument selection process.

Usually, a child is given the option to enroll in band. Once their parents have signed the consent form, the child is given the choice of a musical instrument. Now, before I describe the process any further, it is important to note that there are two kinds of contributing factors in this process: external and internal. External factors are based on influences outside of the child’s personal preference-instrument cost, instrument availability, band director’s influence, parent’s influence, peer pressure, and gender associations. Internal factors are derived from the child’s preference, such as timbre –color preference, physical aptitude, and general interest.

Several studies, dating from the 1970's to the present, that demonstrate the extent to which external factors affect instrument selection (Abeles). The two most influential external factors were band director's opinion and gender associations. However, over the last 20 years band directors have reformed their musical instrument selection process, basing their guidance more on physical aptitude and timbre preference (Gordon's Instrument Timbre Preference Test).

Unfortunately, the one external factor that has changed the least is gender association. Gender association is defined by a clear distinction between instruments based on the ideas of femininity and masculinity. For instance, flutes, clarinets, and most strings instruments are categorized as feminine instruments. On the other hand, trumpets, trombones, and percussion have traditionally been classified as male instruments.

Why are gender associations so problematic? If a child bases their instrument choice primarily on the social pressure of gender associations and their peers' influence, more than likely they will choose an instrument that they will not wish to continue, possibly tainting their relationship with music for the rest of their lives.

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"Can you play more like a MAN?

If I had a nickel for every time a conductor told me that...hah, I would be able to easily afford the "education" that they so forcefully bestow upon me. I do sound bitter.

Do not get me wrong. I LOVE PLAYING MUSIC. There is no greater feeling in the world than standing alone on a stage with the bright lights transfixed upon your trembling figure. Breathing your last breathe as you lower your hands from the instrument and let the applause wash over you. To be inspired and to inspire.

But there are those days, those trying days, where you cannot seem to play anything right. The whole orchestra is watching, waiting for you to play your part correctly...for the 3rd, 4th, maybe even 5th time. Tensions are running high and the conductor is getting frustrated, so what does he do? "Well, that's ok, but...can you play more like a man?"

What does that mean? Aside from sounding super-duper politically incorrect, it is also remarkably vague. What does a man play like? Loud, soft, supple, full, dry, articulate, rough, slow, marcato, legato, faster, slower? If someone said, "ride a bike like a man" what would you do? I would probably laugh and pretend to ride like a monkey. I'm even laughing at the idea of someone asking me to play like a man.

However, in orchestra, the biggest hierarchy known to music, what the conductor says generally goes. If the conductor is good, he's as good as gold (maybe even God). I say 'he' because female conductors are the rarest, most endangered creature in the world. In order to understand the gravity that a statement like this has, you need to understand that classical music is built on tradition, respect, discipline, and perfection. All of these components contribute to successful musicians and in turn make-up successful orchestras.

In college, a great orchestra thrives on psychological torments and constant pressure to be perfect. Of course, music students subject themselves to this because they wish to be the best and play with the best musicians. When a conductor singles you out, nine times out of ten its negative. That means that they heard something or you are doing something that sends a red flag up. The job of the conductor is to guide the orchestra and to create the best possible playing environment. Though, every once in a while, conductors will resort to less-than-kosher practices to squeeze the results they want out of a musician.

In the last four years of playing percussion, I have never once witnessed a male musician being told to "play like a man." That statement would be absurd and degrading. Yet, in the last month I have been told this phrase twice and I have observed another female percussionist being told the same thing in another rehearsal.

It is not a matter of whether or not I "play like a man." Instead, it is the manner, meaning, and effectiveness of a comment like this. It is inappropriate, degrading, vague, and psychologically scarring-telling female musicians subconsciously that their ideal musical standard should be based on their male compatriots. Just to tip the scale of inequality even more, I have never heard a conductor tell male musicians to play more like women.

Voice-Trifecta

I would hate to be the person who gets on this blogger's bad side. If you are looking for an easy-going dip into gender dynamics in popular music...THINK AGAIN! Prepare to hold on to your eyes, ears, and anything else you hold dear. Juilane Shephard unleashes venomous language in Visualize: Women Shredding. Contrary to the author's frequent historical inaccuracies about classical music,

"continuing to pretend women didn't contribute,"

I found Juiliane Shephard's use of modern day slang and allusions whole-heartedly amusing. In fact, Western music history courses strive to stress the importance of female contributions in Western music. Specifically, Hildegard of Bingen (Medieval composer/nun), Countess Eleanor of Acquitaine (patroness/troubaritz), and Clara Schumann (composer/virtuoso pianist) are among some of the most celebrated figures in all of music history.

In this blog Shephard compares and contrasts the attention male and female guitarists receive in an issue of Elle magazine. She wastes no time grilling Elle by stating,

"the latest infraction to the female rocker canon..."

How eloquent? Shephard pins the word "canon" to the "female rocker" donkey probably in the hope that her readers will pick up that classical music reference. Though, I would hardly cry foul to female musicians over Elle's mere mention of the guy rockumentary, It Might Get Loud.

Shephard, though, seems out for blood. She hacks at these male guitarists calling them,

"a big old honking sausage party of fellows noodling on their fretboards in united male vituosity."

Haha! What is so brilliant about this statement is that she ties a group of mis-fit hippie throw-back guitarists into a pseudo-good ol' boys club. Some how painting Eric Clapton, John Mayer, and Eddie Van Halen look like the MAN. Bravo!

Skillfully, the author places a link to the Top 20 songs of the 2000s where she writes:

"dude-festily/male-bondy activity."

Almost like a subtle hint of dog crap virtually masked by the scent of a freshly mown lawn; its subliminal. The link supports her opinion; there are five members of the top 20 artists that are female. Shephard also links the reader to Elle's article "Twelve Greatest Electric Female Guitarists." She criticizes Elle for their witness to a movie release and then criticizes Elle for prefacing the article with reference to male artists.

Shephard uses run-on sentences that add a sense of bottle-necked ranting; she cannot seem to get the words typed fast enough:

"In the spirit of it all, Elle did the 2nd most dude-festily/male-bondy activity after riffing: they made a list of the top 12 female electric guitarists (because not only can ladies shred, they can also be music nerds, go fig)."

In all fairness, I often find that I cannot quite phrase a sentence without trying to throw in the kitchen sink as well. Her sentence style is clear, but underdeveloped. Except when she decides to really vent. Which by the way, I feel confident that my bias, weak commentary quota is filled for this week. She has lots of note-worthy allusions and words, but no substantial proof to merit her argument.

This particular blogger seems witty. I use the word seems because her lack of information about music history made me a tad bit skeptical. She also picked a rather shallow diving point from which to launch her poorly-researched remarks. The tone of her blog was disgruntled. Maybe she was driving down the street in her Vespa and was cut off by B.B. King.



Profile Post


Eureka! The blog I found is a little off the beaten path, compared to my original potential blogs, but I think its worth exploring. The blog topic is "Focus on What You Desire" by guest blogger Madalyn Sklar. Generally the main blogger is Carla Lyne Hall, a NYC-based singer/songwriter. Her blog entitled Rock Star Life Lessons focuses on the female music business perspective and the techniques required to master music. The tips and tools offered in Rock Star Life Lessons are generously bestowed upon the reader by numerous interviews of female music biz insiders and Internet resources to get you quickly climbing the stairway to the stars.

However, maybe this blog is NOT the best thing since Mango chutney (my favorite condiment EVER!) Ms. Hall seems to rarely be "home;" most of the entries on her blog are submitted by guest bloggers, such as Sklar. I prefer blogs that are consistently written by an individual, affording the reader an opportunity to become intimately connected to their commentary. I found another con , when I realized quickly after scouring technorati.com that this blog is not even a blip on the radar. ("Stand by your man...")

One of my aims in writing this blog is to discover more resources for female musicians...and myself. I would like to know how to survive in this big, wide world as a musician. I have a dream too; it involves a small house, a husband, and kids that get to go to college. Many in my profession would say the college bit is pushing the economic potential of our field. Just how does one earn a living as an artist? Hah, its one of the many enigmas of our universe.

So when I went digging and found this golden nugget, I could not resist. "Focus on What You Desire" targets frustrated and desperate musicians like myself, by emphasizing the art of determination and discipline (p.s. two of the hardest behavioral patterns to develop) in music. (One day, you too young grasshopper will succeed, as I.) Sklar writes: "remove the things that interrupt you like email, surfing the web." This is a great tip, however I found it ironic that a blogging musician would suggest to readers to remove a distraction that is her mouthpiece. Hah. In fact, not only is this blog her cheer megaphone by which she toots motivational pearls of wisdom; her job is a music industry coach. Her lively hood depends on young musicians searching on the Internet in vain hopes for quick and easy ways to get famous fast! Silly isn't it? She warns not be sidetracked by the very gadgets and gizmos which keep her and her cohorts afloat. Sklar goes too far, by wrapping this 'gift' of a blog with a large, 'go team, go' ribbon, "So what are you waiting for? Your dreams and desires await you!" I think all the mushy stuff AND the lack of clarity aside, she makes an excellent point. Focus is the root of success in music, perhaps in anything for that matter.

This post would have been terrific if it had actually given the reader any shred of actual, usable, concrete advice. Even a 12-step program on ‘How to Become Famous’, however irrational, would be more informative than this blog. my blog will occasionally touch upon success advice for the music biz and include more practical application and details.

"Success Leaves Clues" was a neat entry. Its fortune cookie unfolded a message"you don't have to reinvent the wheel." The artists that we admire: Esperanza Spalding, Marilyn Crispell, Terri Lyne Carrington, and others have all started from nothing and grew into notoriety. That means if they can do it we can do it. Carla Lyne Hall suggests that we utilize those seminal figures that we idolize and study their paths to greatness. Learn from their stories and capitalize on their success.

Rock Star Life Lessons is professional, but emphasizing the importance of self-education. Halls' posts are informative, but lack details. Unfortunately, the audience that would generally take interest in this blog was musicians seeking more resources to "break-in" to the scene. But Hall's posts rarely specify exactly how one becomes successful. Like the monk practicing within the walls of the monastery, he can recite all the scriptures from memory and chant the sacred chants, but yet...is he, himself enlightened?



Howdy World

DRUM ROLL PLEASE! Rrrrrrrrrrrrrr! After much deliberation ladies and gentlemen, I have finally chosen a topic...social dynamics of gender in music. My blog is entitled "The Little Drummer Girl." Interesting, yet vague; familiar, and yet diminutive...hah, I know. Bear with me for a moment, there is a sick logic to my selection. As we all know, “The Little Drummer Boy” is a catchy little Christmas carol played over and over in malls throughout America. For the one percent of the world who does not remember, let me jog your memory: (Rum-pum-pum-Pum, etc.) What I am sure most people may not know is that Katherine K. Davis composed the song in 1945. Yes, a woman, that is correct! Ironic isn’t it? Davis was an American-born composer who studied with the most sought after composition teacher of the 20^th century, Nadia Boulanger. Some of Boulanger’s notable students include Leonard Bernstein, Philip Glass, and even Quincy Jones. "The Little Drummer Girl” is a sarcastic spin on a simple title and a deep musical allusion to the power of the female presence in music. See? I knew there was a good reason why I chose this title.

My studies and career in music are defined by my gender and I feel that a lifetime of servitude to music has afforded me a unique perspective. Through the course of my blog, I will explore the historical nether regions that give evidence to the contribution and strife associated with being a female musician in a male-dominated profession. Not to mention "The Little Drummer Girl" blog will be chalk full of my own daily experiences and commentary revolving around this very same issue. Also, I plan to interview a few faculty members such as Erica Muhl, who studied with Boulanger and Sharon Lavery to gather their views on being a woman in the music business. Just as a side note, I do not intend to take a strictly feminist perspective on this topic. I do not necessarily disagree with some of the assumptions that are made about female musicians. SURPRISE! Unfortunately, there are many, many, MANY women who make it more difficult than it already is to be treated with respect and dignity in the music business. These women often use their sexuality as their only means of gaining attention and they usually are not very good musicians. Which brings me to my next point…

Here are some potential little "ditties" I stumbled across in the wee hours: a brief overview of the female role in music (ranging from antiquity to 20th century), to be or not to be (performance practice and femininity), this one time at band camp...(feminine vs. masculine instruments), and so you think you can play (male-derived standards of "true" musicality). These are just the tip of the iceberg.

Hopefully, if all goes well, my blog will be a potpourri of opinion, historical information, and exposure to talented female musicians redefining the music business. Also, opportunities to get involved! What I do not want my blog to be is another hack site overflowing with useless and underdeveloped opinions and little to no evidence or research to support claims. The most important function of this blog is to educate; to shed entertaining and informative light on a small microcosm of bigger social issues.

Re: Visualize: Women Shredding

I loved the language this blogger unleashed in Visualize: Women Shredding. Even though the author is historically inaccurate about classical music "continuing to pretend women didn't contribute," I found Juiliane Shephard's use of modern day slang and allusions whole-heartedly amusing. In fact, Western music history courses consistently stress the importance of female contributions in Western music. Specifically, Hildegard of Bingen (Medieval composer/nun), Countess Eleanor of Acquitaine (patroness/troubaritz), and Clara Schumann (composer/virtuoso pianist) are among some of the most celebrated figures in all of music history.

In this blog Shephard compares and contrasts the attention male and female guitarists receive in an issue of Elle magazine. She wastes no time grilling Elle by stating, "the latest infraction to the female rocker canon..." How eloquent? Shephard pins the word "canon" to the "female rocker" donkey probably in vain hopes that her readers will pick up that classical music reference. Though, I would hardly cry foul to female musicians over Elle's mere mention of the guy rockumentary, It Might Get Loud.

Shephard, though, seems out for blood. She hacks at these male guitarists calling them, "a big old honking sausage party of fellows noodling on their fretboards in united male vituosity." Haha! What is so brilliant about this statement is that she ties a group of mis-fit hippie throw back guitarists into a pseudo-good ol' boys club. Some how making Eric Clapton, John Mayer, and Eddie Van Halen look like the MAN. Bravo!

Skillfully, the author places a link to the Top 20 songs of the 2000s where she writes "dude-festily/male-bondy activity." Almost like a subtle hint of dog crap masked almost entirely by the freshly mown lawn. Subliminal. Shephard also links the reader to Elle's article "Twelve Greatest Electric Female Guitarists."

Her sentences were generally run-on sentences such as, "In the spirit of it all, Elle did the 2nd most dude-festily/male-bondy activity after riffing: they made a list of the top 12 female electric guitarists (because not only can ladies shred, they can also be music nerds, go fig)." Her sentence style is pretty clear, but luckily her blog was so short. Otherwise, I might have grown weary of her style. In all fairness, I often find that I cannot quite phrase a sentence without trying to throw in the kitchen sink as well.

This particular blogger seems witty. I use the word seems because her lack of information about music history made me a tad bit skeptical. She also picked a rather shallow diving point from which to launch her poorly-researched remarks. The tone of her blog was disgruntled; she was trying to pick a fight.


http://www.thetripwire.com/news/2009/08/24/visualize-women-shredding/