THE BRAVURA MUSICAL ABILITY IS NOT

GENDER DISCRIMINATORY
ATINUKE ADENIKE OLAYADE
 DESIGN LAYOUT
i. Abstract
ii. Introduction
iii. Problem Statement
iv. Research question
v. Significance and Scope of the Study
vi. Basic Theories
vii. Methodology
Viii Findings
 INTRODUCTION
i. The purpose of this study is to determine if female student instrumentalist believe that
gender affect their ability or approach to playing the brass instruments.
ii. The domination of men in brass instruments performance is more obvious in Nigeria than
it is in other parts of the world. Discriminatory actions against the involvement of women in
instrumental musical performances has grown over the years for certain reasons that can
be curtailed. The female gender have also in one way or the other contributed to their
sidelining through their choices of musical instruments and the roles they play in the
orchestral.
iii. Optimal instrumental musical experience and performance is not gender discriminatory, it
is accessible to whoever desires to acquire the ability without biases or timidity.
iv. It also cross-examine the concept of systematic instrumental musical skills acquisition that
is achieved by diligence and regular practice with zero tolerance for the impediment of
rhythmic and tonal lapses.
v. The research attempts to address what institutes a bravura instrumentalists.
 BACKGROUND OF THE STUDY

i. The issue of female non-participation in the learning and performance of

certain orchestral instruments is a conversant topic in music studies, one that
remains a puzzle to tackle and that has spawned extensive interest among
music intellectuals and enthusiasts who try to find out why it is so and to
understand how music outlines the feminine characters or personalities within
the orchestra group membership.
ii. The connection between natural distinctiveness and societal expectations;
and, on perceptive ability, on the peoples concept of who should play what
and why have contributed significantly to this assertion.
iii. The redefinition of the female gender role in the orchestra has become
mandatory for an inclusive future orchestra performance.
 PROBLEM STATEMENT
i. Orchestra instruments learning and performance have significant benefits that are
hidden from most Nigerian female music students. This research attempt to
elaborates on these benefits.

ii. One major issue in this study is the analysis of the strategic process that may unify
and differentiate the selective choice of orchestra instrument by the female students
within and outside the University system. This will include the adjustable inspiration
behind traditions of instrumental selections, focusing on the qualities of the
preferences of this gender type that may be used to reset the practice.

iii. There is a gap between female inclusion in the performance of a number of orchestra
instruments and the societal prescriptions of what they are expected to play.
 RESEARCH OBJECTIVES AND QUESTIONS

The objectives of the study are to:

i establish how the female gender tastes for certain orchestra instrument emerge;
i. strategize on the process that may unify and differentiate the selective choice of orchestra
instrument by the female students;
ii. investigate the connection between natural distinctiveness and societal expectations; and,
on perceptive ability, in the selections of orchestra instruments; and
iii. redefine the female gender role in the orchestra for an inclusive future performance.

Research Questions
iv. How did the female gender taste for certain orchestra instruments emerge?
v. Why is it necessary to strategize on the process that may unify and differentiate the
selective choice of orchestra instrument by the female students;
vi. What direction of investigation should be adopted to connects between natural distinctive
traits for instrumental playing and societal expectations; and, on perceptive ability, in the
selections of orchestra instruments; and
vii. Why is the redefinition of the female gender role in the orchestra necessary for an inclusive
future performance.
 SIGNIFICANCE OF THE STUDY

i. A study of this nature seeks to clear the negativity associated with the selection of
certain orchestra instruments among females and proposes ways and means of
strategizing on the process unifies and differentiates the selective choice of orchestra
instrument by the female students.
ii. The investigation on the connection between natural distinctiveness and societal
expectations; and, on perceptive ability, in the selections of orchestra instruments by
female students demystify the assertion that certain instruments are female inclined.
iii. The redefinition of the female gender role in the orchestra will contributes to an
inclusive future orchestra performance.

iv. The study will also be helpful as an analytical material in the teaching of female
inclusion in the performance of brass instruments in the orchestra.
 SCOPE

i. The research focuses on the demystification of optimal instrumental musical ability,

experience and performance as gender discriminatory, proving that the ability to play
brass instruments for example is accessible to whoever desires to acquire the ability
without biases or timidity.
ii. It also cross-examine the concept of systematic instrumental musical skills acquisition
that is achieved by diligence and regular practice with zero tolerance for the
impediment of rhythmic and tonal lapses.
iii. The scope will also address what institutes a bravura instrumentalists.
 THEORETIC FRAMEWORK

i. Progressive traditionalism (Emielu, 2018)

Emielu (2018)
“Music performance could be seen as a body of artistic expression that are dynamic rather static,
retaining their freshness and relevance through a continuous process of reawakening, redefinition, sself
renewal and development” (Emielu, 2018, p.227)
 RELATING THE THEORIES OF MY
RESEARCH

• The holistic idea of this theoretic frame works is first of all to assert the fact
that the ability to perform the brass instruments of the orchestra needs to be
broadened and innovated to create a form of inclusiveness for continuity and
a space for new ideas from incoming generations.
 HOW THE RESEARCH WAS CONDUCTED
(METHODOLOGY)
• Oral interview: one-on-one interview.
• Participant observation.
• Library and archival studies.
• Analysis and interpretation.
 RESEARCH FINDINGS

i. The findings reveals that the there is need for a competing interest in the selection of orchestra
instruments by the female gender because the spirit of man is not gendered based, every spirit is
a male. And what a man can do a woman can equally do. That does not suggest women liberation
because women were never enslaved.
ii. There study suggests that the notion and actions that are connected with the selection of
orchestra instruments by female student that are fundamentally obstructive rather than
comprehensive, and premeditated rather that noble should be discarded.
iii. It has been established by the findings that a unique and socially responsive actions must be
taken by both the students and their teachers to shape and encourage the learning of brass
orchestra instruments by female students.
iv. The study reveals the benefits of playing brass instruments to include support for good breathing
ability, increases retention of musical knowledge, increases organizational, structural or
administrative ability, improves self-control and absorption, builds self-assurance, afford a
resourceful outlet and enriches the appreciative of music.
v. Female students can today stand to construe, apply (the knowledge they have already acquired
in music), screen the benefits and recognition they stand to gain (by playing the brass
instruments) in consideration of the vision they have created for themselves based on the
understanding of the economic challenges among others.

vi. Dynamic process in instrumental skills acquisition is made possible by the sustenance of
FIGURE :1 FEMALE FRENCH HORN PLAYERS
FIGURE :2 A FEMALE TUBA PLAYER
FIGURE :3 A FEMALE EUPHONIST
FIGURE :4 A FEMALE TROMBONIST
FIGURE :5 A FEMALE BRASS BAND
FIGURE :6 ANOTHER FEMALE BRASS BAND
 CONCLUSION
The study concludes that gender does not in any way affect the ability or approach to playing the
brass instruments.
The domination of male in the performance of brass instruments in the orchestra is quite obvious
but that does not nullify the institution of the new drive to instigates the inclusion of the female
counterpart. The non participation of female students in the core brass instrumentals performance
has constituted a subtle act of ascendency by their male counterpart but this tradition can be broken
with the new consciousness for a reorientation.

An attempt was made to give an account of the requirements for the inclusion of female students in
the core performance of brass instruments in an orchestra, by tight-fitting or enlightening them
based on uniqueness of a female brass artiste, the different element of observable skills that may
enhance the variation of orchestra performance.

Despite the roles institutions of higher learning plays in the revival, operation, and advancement of
female inclusion in the core brass instruments learning and performance, the bequest of this
inclusion still resides in the collective efforts of the teachers, students and parents for an exclusive
definite reinforcement for distinct change and influence.
 RECOMMENDATION

The study recommends the hiring of skillful instrumentalists with special motivating skills that can
inspire female students to desire the learning of brass instruments of the orchestra.