Philosophy of Music Education Review

Music education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.¹ Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.² At the postsecondary level in the U.S., women constitute less than 10%.³ In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.

In terms of women university band directors, researchers have investigated employment trends,⁴ personal and occupational characteristics,⁵ occupational role models, and professional identity.⁶ Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies⁷ demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,⁸ their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.

The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities⁹ of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,¹⁰ is central.