HIS STORY HER STORY Males, Females, and Singing

Andrea Ramsey, Ph.D. The Ohio State University

COMPLETE THE PHRASE?

•  Boys will be ________.

•  Sugar and spice and everything ____________.

•  Slugs and snails and ____ ___ ____.

•  “That’s not very “ _____ - like.”

NATURE VS. NURTURE

•  Much debate over how we are socialized as males and females vs. “hard-wired” brain differences

•  Stereotyped gender roles– expectations put forth by society: a “man” does this, a “woman” does that.

Today’s explorations: Male & female brain differences

How males & females learn

Males & females in choirs– differences between SSA, TTB, & SATB environments

Males & females & choral repertoire choices

Application

DISCLAIMER: -  Every human is unique! -  Bridge brains

(boys & girls who possess nearly equal qualities of both male & female brains)

-  Avoid generalizations & stereotypes

-  Allow the research to INFORM, but not CONFINE.

Male & Female Brain Considerations

Males, females,

and brain

considerations

Gurian, 2011 Brizendine, 2006

Males, females,

and brain

considerations

Gurian, 2011 Brizendine, 2006

Hormonal & Emotional Responses in the Brain •  Estrogen: more in females =lower tendencies toward aggression, competition

but ALSO lower tendencies toward self-reliance & self-assertion (risk-taking) •  Oxytocin (social recognition, bonding)= more present in female brain, females

more motivated to please, build relationships •  Testosterone- tied to sex & aggression, rises when males ‘win,’ declines when

they ‘lose.’ Tends to fluctuate less in females. •  Cortisol (stress hormone)- levels drop much more rapidly for males after

stressor is removed. Females may ‘stress’ about things for longer periods of time

•  EMOTION- Stereotypes are untrue. Both sexes experience intense emotion. Males are often less able to express it than females.

•  EMOTIVE CONTENT IN BRAIN- processed differently, activates different brain areas whether male or female •  Fight or Flight vs. Tend and Befriend

Gurian, 2011

Sax, 2005

James, 2007

Taylor, et al., 2000

Functional, Sensory, & Developmental Differences

Davis, 1999

James, 2007

McFadden, 1998

Velle, 1987

•  Memory >> different strengths •  Males fact recollection, encyclopedic recollection of information •  Females episodic memory of details & memories from earlier in

their lives •  Sensory Perception

•  Females tend to hear better and can hear softer sounds than males (longer cochlea in males)

•  Males have higher tolerance for noise •  Males have greater visual acuity, tend to see better in bright light. •  Females often see better in low light •  Females react more sharply & quickly to pain than males, however,

have a stronger resistance to long-term discomcomfort •  Developmental differences

•  Female brain develops faster •  Higher estrogen levels = increased focus

Classroom considerations: males, females & learning •  Boys often receive more praise & teacher-initiated contacts,

especially white males (Hall & Sandler, 1982; Sadker & Sadker 1994)

•  Girls and boys enter school roughly equal in measured ability, yet 12 years later, girls are often behind their male classmates in self esteem (Wellesley College & American Association of University Women, 1995)

•  Males tend to overestimate ability. Females tend to underestimate ability. (Chadwell, 2009)

•  Females are less likely to take risks. Males are more vulnerable learners. (Noble, 2000)

Implications for male & female learning

Males Females -  Separate, distinct tasks -  Active & challenging learning (stand vs.

sit?) -  Vary styles/activities, encourage social

learning -  Employ audio/visual aids -  Spatial considerations -  Noise considerations -  “Is this relevant to me?” -  “Does the teacher like me?”

-  Better at multi-tasking -  Benefit from a more socially

intimate classroom, connections & relationship building, “feelingfulness”

-  Encourage risk-taking -  “Will I be teased or look

stupid?” -  “Am I good enough to do

this?”

Anderson, 1970 Sax, 2006 James, 2007

Jorgensen, 1995 Gurian, 2011 Noble 2000

Brainstorm?

Males, Females, and Singing— Choirs & Gendered Interaction “With mixed gendered choirs, by and large, there is an internal balance by the presence of both genders…I am probably more business-like with the mixed gender choir, not because I’m uncomfortable, but because the awareness they have for each other keeps the rehearsal process moving in a certain direction.”

-Dr. Jonathan Reed Michigan State University

Your students behave & feel differently in mixed chorus than they do in men’s or women’s choruses.

safety

Young women in single sex settings are freed from constant pressure to please boys or be popular with the opposite sex. This kind of freedom can impact self-esteem and attitudes about ability. (DeBare, 2004)

The presence of opposite sex

“When singing involves maintaining an appearance in front of the opposite gender, it makes it more difficult to make music that comes directly from the heart. In an all-men’s choir, it’s much easier not to focus on how one appears, but rather to focus on making music.”

-Simon, open response

“I naturally feel closer to the men’s choir [than the mixed choir]. I don’t know …but I feel that in men’s choir I can be myself more than I can in mixed choir.”

-Jan (men’s chorus) open response

personal authenticity

“I behave more like myself in a women’s choir.” - anonymous open response

Exploring a High School Women’s Chorus 2011

Shared emotion

The Story of Janie

environment

Women’s Chorus Considerations

•  “All human beings, but especially women, crave a personal connection—a relationship of sorts. That can include, but is not limited to, their relationship/trust with their peers and their conductor.”

-Denise Eaton, Past TMEA president, retired TX high school choir teacher, editor for Carl Fischer/BriLee

•  Lyrics/text play more prominent role for women in songwriting/music making (Abramo 2011)

Hierarchy in the Women’s Chorus “ I think one of the biggest problems female singers face in our choral programs today is demonstrated in the way we organize our choral programs. In many programs, the flagship or top-tier ensembles are SATB or mixed choirs. Because there is a disparity in the ratio of female to male singers, a distinct disadvantage is created for females when auditioning for mixed ensembles. Often, talented and well-deserving female singers are not—and cannot—be placed into these ensembles. The remaining female singers are often placed into single gender choirs, which unfortunately, are then viewed as second-rate ensembles.”

- Lynne Gackle, Conducting Women’s Choirs, 2012

Hierarchy in the Women’s Chorus

“I noticed that my women were equating getting into mixed ensembles as ‘moving up’ in the choirs…and I decided that in order to change the culture I had to have an advanced women’s group…and it needed to be as good and interesting and doing the same amount of stuff as chamber [mixed] choir…so I created it.”

Mrs. Ellington, interview, Exploring a High School Women’s Chorus Culture, (Ramsey, 2011)

Another approach:

Sculpting the Women’s Chorus Environment •  Women-only environments often go one of two ways: •  Sisterhood/community/close bonds •  Cliques, bickering, drama (rumors, heightened emotion,

“mean girl” syndrome) •  Being deliberate in community-building: •  Icebreakers/teambuilding •  Social events for older singers •  Service projects or games for younger singers •  “Chocolate party” (Mary Hopper, Wheaton College) •  Emphasis on respect, deep similarities, exploration of text,

and the joy of singing in community with other women

DeBare, 2004

Bartolome, 2010

Exploring a High School Men’s Chorus 2012

Strength & sensitivity

Al: On the strong forte songs, you feel like a superhero more, and then on the other side, you feel more sweet and genuine and—(pauses for the word) beautiful. Well, in a handsome beautiful way. (MANLINESS / GENTLEMANLINESS)

Levi: I think Mr. Dover sets it up. He pretty much says it without saying it, ‘It’s okay to be sensitive and say what you feel and all. Just because we’re guys doesn’t mean we have to be these macho men all the time and be like, (extra-low speaking voice) “Oh, yeah, football!”

Dan: It’s this safe place where we can just be ourselves and talk about manly things like girls or whatever, or farts, but also talk about the sides of our souls that men a lot of times don’t discuss, and that’s something really cool about men’s choir. I think deep down we all knew that was one thing we really loved about it—that we got to talk about deep poetry and be vulnerable. And as a high school guy, that’s not something I think we found anywhere else—that vulnerability and being able to talk openly about emotion.

Teacher authority & Student ownership

Questioning…and truly listening. -  Who has the melody? -  Why do you think the composer chose to set the words

“Twenty will not come again” twice and with more emphasis the second time?

-  Can you give me three things we need to work on?

Mr. Dover: Fellas, you’ve done a great job of sharing. You’ve done a great job. You don’t need Mrs. Freeman and I [sic], you need yourselves to solve these problems. Tomorrow when you come to rehearsal, would you be prepared to solve your problems like this? Because you are amazing and you just said everything we need to get done.

Work & play

Eli: We have to be rowdy…we have to have our down times. Honestly, like before festival when it’s an hour straight of music with no rowdiness, it just gets intense, and some of us, like— Jan: Check out— Eli: Yeah, and then we have those times where he [Mr. Dover] gives us 5 minutes to tell a joke or something and then it just kind of gets us back and we’re good to go for the rest of the time. It really helps us. Steve: Yeah, the fact that we mix the entertainment and bonding with the actual work we have to do—it makes it easier to focus when we have to. Al: By slacking off, you get work done. It’s kind of a paradox.

What is the one

concept that threads

through everything?

vulnerability

“When you sing, you’re in a very vulnerable spot because—when you’re playing an instrument, you’re using something to create the sound. When you’re playing a sport, you’re using your body, you know? You mess up, okay, whatever, but when you’re singing, that’s all you have. That’s very personal. That’s very close to you. And when you can build that trust to sing in front of anybody in that men’s choir, that’s way stronger. You’re pretty much telling them, “I trust you with one of the most personal things I have.” -Levi, 17 yrs old

vulnerability

“At least for me, being vulnerable was one of my biggest fears. You don’t want to be vulnerable. You don’t want to show it in the hallway. That’s the last thing you want, but then when you have a place like men’s choir where you feel safe and comfortable and you realize that everyone’s in the same boat and has a lot of the same fears, it’s okay to wear your emotions on your sleeves and let things out and share with friends…and at the end of the day, they’ll support you through it.”

-Dan, 25 yr old alum of men’s choir

•  Put away your “smart aleck.” Put on your “artist hat.”

•  Let the men help define their safe space: “ When we want someone to share their opinion, what are the dos and don’ts of that as a listener?” •  Don’t laugh at somebody’s opinion, even if you disagree. •  It’s okay to say, “I see it a different way.” •  It’s not okay to say “you’re wrong.”

“We don’t give boys enough credit for sensitivity, artistry, and vulnerability. And if you set it up safely, they will come to it.” - Mr. Dover

Safety facilitating artistry

Male Chorus Considerations “There’s always been this stereotype that guys are these macho men. I mean, you see TV commercials and there’s always (using a character voice) ‘Beer, chips and football!’ you know? And all that other stuff. And you never see those guys singing. No, singing, I think is a very personal thing. So for a man to do that—I feel that’s really stepping out on the edge…”

- Levi Musical gender bias

•  Harrison (2008)- “participation in musical activities that are soft, gentle, small and high-pitched are not considered the domain of males.” (p. 224)

•  Freer (2010)- “missing males” in choral singing, suggest HS males often associate choral singing with being effeminate or participating in an undesirable activity.

Facing stereotypes & bias

Male Chorus Considerations •  “Work that is permeated with the ‘play attitude’ is art.

(Dewey) Work & play are both important as they engage the student in learning and reduce the artificial gap between life in school and life out of school. •  Theme nights (‘Merica, ugly holiday sweater,

campout, waterpark, etc) •  Challenging, musical repertoire that is attainable and

allows them to succeed (Stamer, 2009; Freer 2010)

Work, play and challenge

Repertoire selection drives our curriculum: M/F considerations

As human beings, aren’t we richer/more interesting/more complex than these stereotypes?

What do male choruses stereotypically sing about?

What do female choruses stereotypically sing about?

What do we WANT to sing about? Everything.

Appalachian Folk Song Arr. Andrea Ramsey & Tim Sharp

Banjo Pickin’ Girl

Kate: One thing that I’ll always remember is singing this song called Queen Jane [by Stephen Hatfield]…and she [the Queen] dies in childbirth. Our director sat us all down on the risers and said “Have you experienced a tragedy in your life?” And by the end of it, girls were pouring their hearts out. That moment was so intense. And you could never get that if there were boys. Never. ‘cause they wouldn’t open up like that, and—   Grace: And they’d probably make a joke.   Kate: Right, and when someone was telling a story, you could hear a pin drop. It was just silent. And…we made music after that.

repertoire

Dan: “A Hymn to God the Father” [by John Ness Beck]—that was a piece that I really felt like we could show that emotion. And as a high school guy, you just don’t show your emotions like that very often. And “Si Iniquitates” [by Samuel Wesley]—I remember that being in my freshman year—it was a really profound moment when we talked about “forgive my iniquities.” I remember the text for that, and I just remember that rehearsal being a really deep one. It’s funny—that was a long time ago, but I still remember that one specific rehearsal and how deep we went in that piece talking about the different layers of that. Andrea: Do you still remember your part? Dan: Yeah. (begins to sing) Si iniquitates observaveris…

repertoire

2013 Arkansas All-State Men Premiere of “The Roof ” Be the roof covering all this, Be the seasons with me. Our winters will be mild as the front porch Our autumns will be easy, Our springs will always bloom. Our summers will have breezes full of grace.

Be the curve of hands. Be the time between waking and sleeping. Be confusing. Be stunning. Be awkward, imperfect, beautiful you. Singular you. Exhaustingly complex you.

You are still becoming what you will be. Be the roof covering all this. Text by Isabel Zacharias

Male and Female Choruses as Sites of Identity Affirmation

•  Faulkner (2003) Singers in rural male choruses of Iceland •  Singing to “test oneself” “vocally and aurally checking

one’s self out– a reflective “who do I hear I am?” •  “Singing gentle, beautiful, clean, and pure. You’re not less of a

man for that, you’re more.” (p. 72).

•  Snow (2012) •  “…a women’s chorus may be a site that fosters a

diversity of human thought and experience to include the voice of the feminine, thus providing a portal for identity affirmation.” (p. 104)

identity

FINAL THOUGHTS •  Singing = vulnerability

•  Safety/trust seems to be a prerequisite for male vulnerability •  Moments of shared vulnerability seem to empower/embolden females

•  The choir room needs to be a safe place •  Females may feel safer in all-female setting

•  Single-sex choral experiences are valuable in providing singers: authenticity, openness, & freedom

•  As teachers •  Strive to create opportunities for men to be sensitive and expressive •  Strive to create opportunities for women to be strong and take risks

RESOURCES Conducting Women’s Choirs, Ed. Debra Spurgeon (2012) GIA publications With chapter contributions by Hilary Apfelstadt, Lynne Gackle, Lori Hetzel, Mary Hopper, Iris Levine, Joelle Norris, Sandra Snow, and many more…

Perspectives on Males and Singing, Eds. Harrison, Welch, and Adler (2012) Springer publishing

andrearamseymusic@me.com

Thank you!

andrearamseymusic@me.com

Thank you!

Oh, I should like to ride the seas, A roaring buccaneer; A cutlass banging at my knees, A dirk behind my ear. And when my captives' chains would clank I'd howl with glee and drink, And then fling out the quivering plank And watch the beggars sink.

Poem by Dorothy Parker Music by Carol Barnett

I'd like to straddle gory decks, And dig in laden sands, And know the feel of throbbing necks Between my knotted hands.

Song of Perfect Propriety

Oh, I should like to strut and curse Among my blackguard crew.... But I am writing little verse, As little ladies do.