可能的音乐自我:音乐专业女生的经历

Helen English, Jon Drummond, Susan Kerrigan
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摘要

最近的研究和媒体文章引起了人们对澳大利亚本地和全球音乐行业性别不平衡问题的关注。在澳大利亚,人们呼吁全面改革高等音乐课程,以支持和鼓励女学生从事声音制作、屏幕作曲和现代音乐表演等女性比例严重不足的职业。为了响应这一号召,我们调查了一所地区大学音乐学位课程中女生的经历。作为一项高等教育音乐教育研究,我们重点关注女学生认为影响其参与特定音乐课程的任何障碍。我们采用了现象学方法,通过焦点小组收集数据,并通过 Markus 和 Nurius 所描述的 "可能的自我 "框架对数据进行研究。焦点小组的研究结果表明,女学生对某些职业道路缺乏信心,她们认为这些道路以男性为主,尤其是在以 STEM 为重点的音乐技术课程中,并且认为某些学习环境不具有性别包容性。可能的自我 "框架指出了情绪在女学生学习经历中的作用。积极情绪对自信学习的重要性适用于其他高等教育学科,尤其是 STEM 学科。
本文章由计算机程序翻译,如有差异,请以英文原文为准。

Im/possible musical selves: experiences of female music students in a music degree

Im/possible musical selves: experiences of female music students in a music degree

Recent studies and media articles draw attention to gender imbalances in the music industry, both locally in Australia and globally. In Australia, there have been calls to overhaul tertiary music programmes to support and encourage female students into careers such as sound production, screen composition and contemporary music performance, where women are greatly underrepresented. Taking up this call, we investigated the experiences of women in a music degree programme at a regional university. Positioned as a music education study at tertiary level, we focussed on any barriers female students perceived to be affecting their participation in specific music courses. We took a phenomenological approach, collecting data through focus groups and examining the data through a ‘possible selves’ framework, as described by Markus and Nurius. The findings from the focus groups indicated that female students felt unconfident about some career paths, which they described as male-dominated, notably in the STEM-focussed music technology courses, and perceived some learning environments as not gender-inclusive. The ‘possible selves’ framework pointed to the role of emotions in female students’ learning experiences. The importance of positive emotions for confident learning is applicable to other higher education disciplines, particularly those in STEM.

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