What’s Sex Got To Do With It? By Megan Wicks-Rudolph Biological and sociological sex differences in the secondary music classroom
Are there differences in the way males and females learn and process information? Some educators may be skeptical about this question. Well, let’s think for a minute about two different scenarios to see if sex differences exist in the secondary music instrumental and choral classroom.
Scenario One - Instrumental: You are a secondary band director and you have two sectional rehearsals scheduled. Your band is working on Holsinger’s “Prairie Dances.” The first sectional is with the Tuba section, which is all male. The other sectional is with the flute section, which is all female. Do you approach each section the same (pacing, verbiage, questioning, etc.).
Scenario Two - Choral: You are a secondary choir director and you have two sectional rehearsals scheduled. Your choir is working on Mozart’s “Dies Irae.” The first sectional is with the basses, which is all male.
2006; Gurian, 2001; James, 2007; Moir & Jessel, 1991; Obleser, Rockstroh & Eulitz, 2004; Ruytjens, Albers, Van Dijk, Wit, & Willemsen, 2006; Shaywitz et al., 1995; Snodgrass & Harring, 2004-2005; Van Dyke, Zuverza, Hill, Miller, Rapport, & Whitman, 2009), (b) hearing differences (Brizendine, 2006; Moir & Jessel, 1991; Sax, 2005), and (c) behavioral differences (Cable & Spradlin 2008; Carp, 2004; Downey & Vogt, 2005; Jorgensen & Pfeiler, 2008; Pollard, 1999; Sadker & Sadker, 1994; Sax, 2009; Wilson, 2010). The author believes that knowledge of these biological and sociological sex differences could potentially benefit instruction in the secondary choral and instrumental classroom.
The second sectional is with an all- female group of sopranos. Do you approach each sectional the same (pacing, verbiage, questioning, etc.).
The literature pertaining to sex differences suggests that an educator should teach these groups differently, and that there is a possibility that knowledge of these differences could positively impact the instruction and learning in the classroom (Cable & Spradlin, 2008; Hannon & Ratliffe, 2007; Rex & Chadwell, 2009; Sax, 2005; Sax, 2010). Additionally instructors who teach in both a same-sex and mixed-sex environment should not use the same pedagogical strategies or materials (Streitmatter, 2002). Secondary choral and instrumental directors tend to be in these situations all of the time (ex. Sectionals, women’s choirs, men’s choirs, etc.). It is important to note that not all females and males may exhibit the traits that are about to be discussed, as these are generalities.
Biological and sociological differences Researchers and authors suggest there are numerous issues regarding sex differences that affect learning and instruction in general education classrooms. Most of these sex differences can be categorized into either biological or sociological differences. Differences include, but are not limited to, (a) brain differences (Bland, 2003; Brizendine,
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Brain differences Biological sex differences in the brain’s structure and function are important to understanding the optimal way in which each of the sexes learns. Educators who have knowledge of the brain’s structure and function could possibly be more effective in the classroom because of their increased knowledge of how each of the sexes learns. Structural brain differences include, but are not limited to, differences in hemispheric size and amount of connectors between the hemispheres. Functional biological sex differences include, how each sex processes information and communicates (Barhon- Cohen, 2005; Gurian, 2001; James, 2007; Moir & Jessel, 1991; Sax, 2005; Shaywitz et al., 1995; Vasich, 2005).
In 1967, Herbert Lansdell was the first to discover major structural differences in the female and male brain (as cited in Moir & Jessel, 1991, p. 42). Lansdell’s research led to the hypothesis that spatial skills and language skills are controlled by both halves of the brain in women and are more specified to one area of the brain in men (Moir & Jessel, 1991). Numerous studies have confirmed Lansdell’s initial findings (Obleser et al., 2004; Ruytjens et al., 2006; Shaywitz et al., 1995; Snodgrass & Harring, 2004-2005; Van Dyke et al., 2009). This finding is important because it was the first research to indicate that there were processing differences in the brain. Males tend to have brains that are very compartmentalized; therefore they are efficient processors of information (Moir & Jessel, 1991). The information enters the male brain, travels to the
section that needs to process that information, and an answer is verbalized or the information is stored. The female brain, on the other hand, tends to be more complex. When information enters the female brain the hemispheres communicate with each other regarding that information before it is verbalized or stored (Bland, 2003; Brizendine, 2006; Gurian, 2001, Gurian & Stevens, 2004; Moir & Jessel, 1991). Hence females tend to connect past experiences with new ones, where males tend to only process the new information with little connection to past experiences. Additionally sharing information and connections to the verbal side of the brain makes expressing emotions easier for females (Gurian, 2001; James, 2007).
Language processing differences Broca’s area is responsible for producing words, processing grammatical structures, and formulating speech. Broca’s area is more engaged in females and could be the reason for female dominance in verbal and communication skills (Gurian, 2001). The literature regarding sex differences suggests that it is difficult for males to express feelings, because of the lack of communication between the hemispheres (Moir & Jessel, 1991). Therefore, it may not be beneficial in the secondary music classroom to ask males “How does this music make me feel.” Generally males have a difficult time answering this question and often their answer may sound insensitive when in reality their brains are not wired to answer that question efficiently. When females are asked the same question they usually have no problem coming up with how the music makes them feel. This is because of the communication that takes place between the hemispheres during most activites (Bland, 2003; Brizendine, 2006; Gurian, 2001; James, 2007; Moir & Jessel, 1991; Obleser et al., 2004; Ruytjens et al., 2006; Shaywitz et al., 1995; Snodgrass & Harring, 2004-2005; Van Dyke et al., 2009).
Based on a study done by Ruytjens et al (2006), males showed a weaker connection between a visual image pertaining to speech and the auditory speech sound. This finding could be beneficial to conductors who are trying to show their ensembles visual cues by using their mouths to form vowel shapes, form words, or give silent direction during rehearsal or performance. This research suggested that
May/June 2013
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