Sociala könsstrukturer i den högre musikutbildningen

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Abstract

The aim of this study is to describe and explain in a general way the gender structure of music education at the Royal College of Music in Stockholm. Three periods are chosen; 1797 to 1821, around 1850 to around 1900, and 1957 to 1993. The investigation focuses on the extent to which values and ideologies have changed as far as female musical activity during two centuries is concerned. During the first period a “Singschule” connected to the newly established Royal Academy of Music in Stockholm was started. This school was intended for boys, girls and amateur musicians from Stockholm’s upper classes. The implicit aim was to educate boys, but the education was better matched to the general ideology of girls’ education. After some years the girls were in the majority, and they were also the most qualified. Since the aim of the school was to educate boys, the management decided to close the school in 1821. During the middle of the century Swedish society changed radically and schools were increasingly opened to female students. From 1854 the Royal College of Music gradually opened its doors to women. This education was very popular, and during some years girls were in the majority. After about 1885 the number of boys increased and the number of girls decreased (see fig. 1). The boys entered a range of classes and studied on all instruments, but the girls entered few classes and studied mostly singing and piano playing. After this education the majority earned their living as piano and/ or song teachers. During the 1960s and 1970s there were about 2/3 male students and about 1/3 female students (see fig. 4). Most female students studied song, piano and the organ, and followed the music teachers training class. The gender structure was approximately similar to the situation at the turn of the century. During the 1980s the number of male students decreased radically and the proportion of female students increased. In 1993 we find female students in the majority, and this dominance is seen particularly in the music teachers training class. One can therefore conclude that teaching today, as before, is a typical female profession. However, the top positions in the pedagogical field (eg. deans and supervisors) are held by men. The education of orchestral musicians has assimilated more female students during the 1980s. Today there are about 50% male and 50% female students. Thus, a pattern of gender structure is obvious: in the orchestras male musicians are still in a clear majority and they occupy the prominent positions. Another observation is that the proportion of female musicians is higher in orchestras in smaller towns, but lower in the elite orchestras in Stockholm. Also, only a few women have become established as composers and conductors. The developments at the College of Music in Stockholm, and also at the College of Music in Gothenburg (Sweden’s second town) can be characterized as a process of feminisation. However, since male and female students are associated with different values and conditions in musical life, the outcome of their studies differs. This study shows that musical life reflects the more general gender structure in Swedish society. It is considered easier, and is furthermore expected, that male students should reach top positions in musical life. Apart from some well known exceptions, girls in general are made more “invisible”.