Tuning Inclusion: Bridging the Gender Gap in Music

Women in Music

In the annals of music history, we as a culture relish in the art of music and the impact that musicians make on historical and artistic development. Yet, in these celebrations, women are often excluded from the conversation or, at most, linger in the shadows of the works contributed by their male counterparts.

 The notion and cultural implications of marginalizing women's contributions to music provides an intricate look at how our media represents societal progress—or lack thereof. When we examine how women are portrayed as successful musicians, it leads to a depressive perspective in the musical landscape of Western culture.

 In all parts of the music industry from behind the scenes, with staging and management to the artists there is a deep seeded inequality that is present when discussing the visibility and legitimacy of women within the music industry. This is represented through the lack of media coverage, the sexism that goes on through lack of equalized journalist perspective, the roles that are given to women, our society's inability to not fit women into a box either through the exploration of genre or creativity as a whole.

 Another facet to this issue is how many women and non-gender identifying people don’t feel that they have the space in the industry to be creative and express themselves. Lead singer and songwriter for the band Not Your Ex-Lover, Kourtni, remarks on feeling small in the industry, saying, "You're standing in line at a concert and you're like, 'Oh sorry, sorry, that's just what women take on as a personality trait. Art is so sensitive, you go out there with your art and have men being like 'Oh, a girl band' and then you immediately feel smaller.”

 In an industry celebrated for its ability to amplify voices and transcend boundaries, the lack of visibility of women in the music scene remains a glaring dissonance. Despite significant strides in recent years towards gender equality in various sectors, from politics to corporate boardrooms, the music industry continues to lag behind, struggling to harmonize with the calls for inclusivity and representation.

 The Disconnect

Noah Bassett, a listing designer for concerts in Central Oregon, notes on this, by saying, "I think that from the artist to lighting, to the stage manager to the at stage plot. Those people all really care about what they’re doing on a personal level. But the people who make the money in the industry aren’t the stage crew or really the artists. It's the people who own the record labels and the people in the boardrooms. Those people don’t make passion-based decisions, they don’t give a shit about how good your music sounds, or if your music moves people, or if your lyrics mean something. They care about how much more they are spending to make it happen and how much they are going to get in return.”

 At the forefront of this issue are female musicians/creatives, women in staging, in management, composers, engineers whose talents often go unrecognized, over sexualized and undervalued compared to their male counterparts. Despite countless contributions to diverse genres spanning from pop to rock, jazz to hip-hop, many women find themselves relegated to the margins of mainstream recognition.

 The prevailing narrative often emphasizes their appearance over their artistry, perpetuating stereotypes and diminishing their creative agency.

 Dr. Dana Reason, a Canadian-born composer and musician with an illustrious career spanning genres, works as an educator, mentor, and advocate for the arts. She notes on the struggle she, herself, has endured at the hands of the male-dominated industry, saying, "Instead of allowing more female-identified folks to occupy spaces we think of one who gets through. This is highly problematic today. We can accept females in these sorts of roles like interpreter or songstress. What we can't quite get our head around is someone who is radically creative or radically experimental and identifies as female. This is a hard, hard space. We are so used to thinking about male geniuses.”

 Authors Vaughn Schmaltz and Alison Faupel in their article "Gender and Cultural Consecration in Popular Music" highlight a poignant example. They note that in a Rolling Stone article describing the greatest albums of all time, The Beatles are hailed as devoted "artists" and "pioneers" who achieved "magical transcendence." In stark contrast, the highest-ranking female artist, Joni Mitchell at 30th place, is praised for her "emotional honesty" and described primarily in terms of her "greatest musical achievement." This kind of comparison, focusing more on personal attributes and gender stereotypes  rather than the quality of her work, continues to happen when discussing the contributions of women in music.

 Furthermore, the under-acknowledgment of women musicians perpetuates a cycle of exclusion and marginalization that extends beyond the realm of music. Kiki, the drummer from the band Not Your Ex-Lover, remarks when discussing this topic, “I think about the scene from '10 Things I Hate About You' when he says, 'Look at these females and they can't even play their instruments’.”

 Inequality Extends Beyond Just the Artists

Beyond the spotlight, the lack of visibility extends to every facet of the music industry. Women face barriers to entry and advancement at every turn. The traditionally male-dominated culture within the industry not only discourages women from pursuing careers but also undermines their contributions when they do. Noah Bassett a lightning designer in Bend, Oregon notes on his opinion within the industry at a local level, he says “  I think at the local level it's pretty male dominated on the stage and it feels like a genre thing. It's interesting to see how it switches from genre to genre. Bluegrass for example is an extremely male dominated genre and it's usually a group of 8 guys on the stage and same goes for white boy reggae. Like slightly stupid or sublime. There’s a lot of masculine toxicity.”

 This disparity is not merely an issue of representation; it's a matter of equity and opportunity. Women in the music industry are routinely subjected to discrimination, harassment, and unequal treatment, further exacerbating the challenges they face in achieving success and recognition for their work.  Avalon Disco a stagehand in central  Oregon speaks on this saying “I'd say the main thing I have run into, is men underestimating what I am capable of and perhaps not initially giving me the responsibility to prove them wrong.”

 The absence of diverse voices not only limits artistic innovation but also perpetuates harmful power dynamics that stifle progress and perpetuate inequality.

 Addressing the lack of visibility of women in the music industry requires a multifaceted approach. It necessitates dismantling the systemic barriers that inhibit women's participation and amplifying their voices through intentional representation and inclusion initiatives. It also requires challenging ingrained stereotypes and biases that perpetuate gender inequality and creating a culture that values diversity and equity at every level of the industry.

Ultimately, achieving gender parity in the music industry is not just about fairness; it's about unlocking the full potential of an art form that thrives on diversity and creativity. By empowering women to take their rightful place on stage, behind the soundboard, and in every other aspect of the music business, we can create a more vibrant and inclusive industry that resonates with audiences around the world.

 When interviewing the Band Not Your Ex-Lover their lead guitarist and multi instrumentalist Julia, mentions how  she was scared to take up space on stage when she played in bands with men, so she would stand on an amp to give her some space and feel seen. Julia now reflects that “I was fortunate enough to learn my instrument really young and have played with mostly men, the only reason I felt welcomed, barely, was because I could play well and do what they were doing. I fought for it and it was rough. I didn't reach my full stage potential until I started playing with these ladies. With men, I was in the back and I'd give them the stage. I resorted to standing on amps, which is fine because that's my signature move now. I did that because they wouldn't give me space on stage.” Her band Mate, Lead singer, Kourtney remarked “ We like to yell at her to jump on stuff!”.  She also mentions how their mission as a band is to lift the voices of other women just as much as they are amplifying their own.

 A glaring example of how sexism is extended into the music scene is, Gale Wald from the Chicago Press, she remarks on Gwen Stefani and other up-and-coming rock and pop artists in the early 2000s. She believes they set a precedent for how our culture treats women musicians in modern-day. Wald says, “The strategy of appropriating girlhood, like the word girl itself, signifies ambiguously: as a mode of culturally voiced resistance to patriarchal femininity; as a token of a sort of 'gestural feminism' that is complicit with the trivialization, marginalization, and eroticization of women within music cultures.”

 This observation is crucial, noting that many women musicians are marketed to audiences and noted for their sexual appeal, which inherently exploits the nature of their art and creates an inability to truly express their creative potential, as opposed to many male musicians who are generally critiqued for the complexity and quality of their music.

 Dr. Dana Reason says “They are always putting that gaze on like “ she had blonde hair and was fit” like you could be a dude who is a troll and is disgusting all the things and were not going to talk about his appearance or that affect. You know but females it's what are you wearing, how is your hair? Are you still  20? All these things that take women out and not talk about the work that's being done.”

 Expanding on these perspectives, it's evident that the issues of gender inequality and representation within the music industry are multifaceted and deeply ingrained. While progress has been made, there's still a long way to go before women are afforded equal opportunities, recognition, respect and the ability to truly express their creative selves without the pressure of gender roles and the patriarchy within the musical landscape.

 Moving Forward

In conclusion, the discourse surrounding gender inequality in the music industry is far from over. The narratives and experiences shared by women and non-binary individuals within this realm highlight the persistent challenges they face, from lack of visibility and recognition to stereotyping and marginalization. As we reflect on the interviews and insights provided, it becomes increasingly evident that the issue extends beyond mere representation; it delves into the very structures and power dynamics that shape the industry. The voices of musicians, educators, and industry professionals interviewed underscore the urgent need for systemic change and a reevaluation of the industry's values and priorities.

Moving forward, it is imperative that we continue to amplify the voices of marginalized groups and challenge the status quo. This entails not only addressing overt forms of discrimination but also dismantling the subtle biases and ingrained attitudes that perpetuate gender inequality. It requires fostering inclusive spaces where individuals of all genders feel empowered to express themselves creatively and pursue their passions without fear of judgment or limitation.

Moreover, it is essential for stakeholders within the music industry, from record labels to media outlets to concert promoters, to prioritize diversity and inclusion in their decision-making processes. By actively promoting and supporting the work of women and non-binary artists, we can begin to reshape the cultural landscape and create a more equitable and representative industry for future generations.

Ultimately, achieving gender equality in music requires collective action and unwavering commitment from all stakeholders. It is only through solidarity, advocacy, and allyship that we can effect meaningful change and create a music industry that celebrates the diverse talents and contributions of individuals of all genders. As we continue on this journey, let us remain vigilant, resilient, and united in our efforts to build a more inclusive and equitable future for music. Lead singer from Not Your Ex- Lover lead singer, Kourtni said “ More femmes and thems”. We couldn’t agree more.

 Bibliography

 Wood, Elizabeth. “Women in Music.” Signs, vol. 6, no. 2, 1980, pp. 283–97. JSTOR, http://www.jstor.org/stable/3173927. Accessed 1 May 2024.

 Wald, Gayle. “Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth.” Signs, vol. 23, no. 3, 1998, pp. 585–610. JSTOR, http://www.jstor.org/stable/3175302. Accessed 1 May 2024.

 Roberts, Robin. “‘Sex as a Weapon’: Feminist Rock Music Videos.” NWSA Journal, vol. 2, no. 1, 1990, pp. 1–15. JSTOR, http://www.jstor.org/stable/4315990. Accessed 1 May 2024.

 Schmutz, Vaughn, and Alison Faupel. “Gender and Cultural Consecration in Popular Music.” Social Forces, vol. 89, no. 2, 2010, pp. 685–707. JSTOR, http://www.jstor.org/stable/40984552. Accessed 1 May 2024.

 Levande, Meredith. “Women, Pop Music, and Pornography.” Meridians, vol. 8, no. 1, 2008, pp. 293–321. JSTOR, http://www.jstor.org/stable/40338921. Accessed 1 May 2024.

   Bassett, Noah Personnel Interview May 12th, 2024

 Disco, Avalon Personnel Interview May 21st, 2024

 Reason, Dana Personnel Interview May 23rd, 2024