Hostname: page-component-78c5997874-94fs2 Total loading time: 0 Render date: 2024-11-10T13:23:23.320Z Has data issue: false hasContentIssue false
  • English
  • Français

Informal learning of popular music: gender monoglossia and heteroglossia

Published online by Cambridge University Press:  14 September 2020

Alison Butler ,
Kelly Bylica  and
Ruth Wright
Alison Butler*
Affiliation:
Don Wright Faculty of Music, Talbot College, Western University, London, Ontario, Canada
Kelly Bylica
Affiliation:
Don Wright Faculty of Music, Talbot College, Western University, London, Ontario, Canada
Ruth Wright
Affiliation:
Don Wright Faculty of Music, Talbot College, Western University, London, Ontario, Canada
*
Corresponding author. Email: abutle45@uwo.ca
Get access Rights & Permissions [Opens in a new window]

Abstract

This paper reports on a small-scale study in an elementary school in Southern Ontario, Canada. The study investigated relationships between students’ perceptions and practices of gender in popular music education with particular attention given to communication, instruments and technology and development of freedoms and constraints. The findings present a more opaque picture than previous research, suggesting that students frequently transgress binary gendered patterns of practice and perception in this particular field. Gender monoglossia and heteroglossia provide a useful explanatory framework for analysis, indicating that further application of these concepts to issues in popular music education might be most fruitful.

Keywords

Genderinformal learningpopular music educationmonoglossiaheteroglossia
Type
Article
Information
British Journal of Music Education , Volume 38 , Issue 1 , March 2021 , pp. 43 - 57
Check for updates
Copyright
© Cambridge University Press 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ABRAMO, J. M. (2011a). Gender differences in the popular music compositions of high school students. Music Education Research International, 5, 1–11.Google Scholar
ABRAMO, J. M. (2011b). Gender differences of popular music production in secondary school. Journal of Research in Music Education, 59(1), 21–43.CrossRefGoogle Scholar
ARMSTRONG, V. (2001). Theorizing gender and musical composition in the computerized classroom. Women: A Cultural Review, 12, 35–43.Google Scholar
BAYTON, M. (1992). Out on the margins: Feminism and the study of popular music. Women: A Cultural Review, 3(1), 51–59.Google Scholar
BAXTER, P. & JACK, S. (2008). Qualitative case study methodology: Study design and implementation for novice researchers. The Qualitative Report, 13(4), 544–559.Google Scholar
BJÖRCK, C. (2010). Claiming Space: Discourses on Gender, Popular Music, and Social Change. Gothenburg: University of Gothenburg.Google Scholar
BJÖRCK, C. (2011). Freedom, constraint, or both? readings on popular music and gender. Action, Criticism and Theory for Music Education, 10(2), 8.Google Scholar
BJÖRCK, C. (2013). A music room of one’s own: Discursive constructions of girls-only spaces for learning popular music. Girlhood Studies, 6(2), 11–29.CrossRefGoogle Scholar
BUTLER, J. (1993). Bodies that Matter: On the Discursive Limits of “Sex”. New York: Routledge.Google Scholar
CLAWSON, M. A. (1999). When women play the bass: Instrument specialization and gender interpretation in alternative rock music. Gender & Society 13(2), 193–210.CrossRefGoogle Scholar
COMBER, C., HARGREAVES, D. J., & COLLEY, A. (1993). Girls, boys and technology in music education. British Journal of Music Education, 10, 123–134.CrossRefGoogle Scholar
DIBBEN, N. (2002). Constructions of femininity in 1990s girl-group music. Feminism & Psychology, 12(2), 168–175.CrossRefGoogle Scholar
FERM-ALMQVIST, C. (2017). Becoming a guitar playing woman – The risk of unequal gender role conservation in non-formal ensemble music education. In Wright, R., Beynon, C. & Younker, B. A. (eds.), 21st Century Music Education: Informal Learning and Non Formal Teaching in School and Community Contexts. https://books.google.ca/books/about/21st_Century_Music_Education_Informal_Le.html?id=drhfAQAACAAJ&redir_esc=y.Google Scholar
FRANCIS, B. (1998) Power Plays: Primary School Children’s Construction of Gender, Power and Adult Work. Stoke-on-Trent: Trentham Books.Google Scholar
FRANCIS, B. (2010). Re/theorising gender: Female masculinity and male femininity in the classroom? Gender and Education, 22(5), 477–490.CrossRefGoogle Scholar
GREEN, L. (1997). Music, Gender, Education. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
GREEN, L. (2001). How Popular Musicians Learn: A Way Ahead for Music Education. Aldershot: Ashgate.Google Scholar
GREEN, L. (2002). Exposing the gendered discourse of music education. Feminism & Psychology, 12(2), 137–144.CrossRefGoogle Scholar
GREEN, L. (2008). Music, Informal Learning and the School: A New Classroom Pedagogy. Aldershot: Ashgate.Google Scholar
HALLAM, S., CREECH, A., SANDFORD, C., RINTA, T., SHAVE, K. & MCQUEEN, H. (2009). Survey of Musical Futures: A Report from Institute of Education University of London for the Paul Hamlyn Foundation. London: Institute of Education, University of London.Google Scholar
PEGLEY, K. (2006). Like horses to water: Reconsidering gender and technology within music education discourses. Women and Music: A Journal of Gender and Culture, 10, 60–70.CrossRefGoogle Scholar
REAY, D. (2001). ‘Spice Girls’, ‘Nice Girls’, ‘Girlies’, and ‘Tomboys’: gender discourses, girls’ cultures and femininities in the primary classroom. Gender and Education, 13(2),153–166.CrossRefGoogle Scholar
SIMONI, M. & YOUNKER, B. A. (2008). Project Lovelace: Teenage girls and technology-based composition. International Computer Music Association Conference Proceedings, 8. http://hdl.handle.net/2027/spo.bbp2372.2008.025.Google Scholar
SMITH, G.D. (2015). Masculine domination in private sector popular music performance education in England. In Burnard, P., Hofvander-Trulsson, Y. & Soderman, J. (eds.), Bourdieu and the Sociology of Music Education (pp. 61–78). Farnham: Ashgate.Google Scholar
TOBIAS, E. S. (2014). Solo, multitrack, mute? Producing and performing (gender) in a popular music classroom. Visions of Research in Music Education, 25, 1–28.Google Scholar
WRIGHT, R. (2015) Bourdieu and music education: habitus, field and capital in Canadian music education in Burnard, P., Hofvander-Trulsson, Y. & Soderman, J. (eds.), Bourdieu and the Sociology of Music Education (pp. 79–98). Farnham: Ashgate. Portuguese translation licence requested 2017.Google Scholar
WRIGHT, R. (2016) Informal learning in general music education. In Abril, C. & Gault, B., (eds.), Oxford Approaches to Teaching General Music (pp. 209–240). New York: OUP.CrossRefGoogle Scholar
WRIGHT, R. (2017a). The longer revolution: The rise of vernacular musics as ‘New Channels of General Learning.’ Journal of Popular Music Education, 1(1), 9–24.CrossRefGoogle Scholar
WRIGHT, R. (2017b). Introduction: The complexities of informal learning and non-formal teaching in 21st century society. In Wright, R., Beynon, C., Younker, B. A. (eds.), 21st Century Music Education: Informal Learning and Non Formal Teaching in School and Community Contexts. https://books.google.ca/books/about/21st_Century_Music_Education_Informal_Le.html?id=drhfAQAACAAJ&redir_esc=y.Google Scholar
WRIGHT, R., YOUNKER, B.A., BEYNON, C., HUTCHISON, J., LINTON, L., BEYNON, S., DAVIDSON, B. & DUARTE, N. (2012) Tuning into the future: Sharing initial insights about the 2012 Musical Futures pilot project in Ontario. The Canadian Music Educator, 53(4), 1–15.Google Scholar