Gender and Race as They Apply to the Musical Genre, Essay Example

An entertainment favorite among individuals is music. Given its rapid spread and its distinct characteristic of influencing popular culture, it is no surprise that questions regarding its role in teaching about gender and race have been explored(Dowd 81–123). Through the use of dynamic imagery, appealing artists and storytelling feature, music videos provide messages about the characteristics and roles expected of people from different genders and ethnic groups (Hansen and Hansen 175–196). Music stretches across nations and demographic groups stretching its impact. Despite this wide reach,there has been consistent domination of the music scene by males compared to females. In the past, music was often perceived as a man’s world.

This type of domination could be accounted for by the fact that female voices were suppressed in different areas including music, literature and art (Fredrickson and Roberts 173–206). This was more severe cultures in Asia, Niger, and Siberia. Perhaps one of the most interesting contrasts is that while music was typically expected of men in some cultures, it was perceived as a feminine art form in other societies and cultures (Dowd 81–123). In Greek mythology, the museswho were credited with art forms such as music are female. Sirens would sing so beautifully that their voices would transcend the effects of this world and cause men to throw themselves into the seas. Men who would indulge in music at this time were thought to be effeminate such as Orpheus.

The systematic repression of history no doubt resulted in the disappearance of some of the music works by women. At this time in history, women were not expected to assert themselves in any capacity including arts. This systematic misogyny repressed talents. Women who would use herbs to treat others were hunted as witches. The positive and negative archetypes that developed over the years have persisted in history to manifest in the music genres of this era. Women are perceived as weak, fragile, frail, vulnerable and easy to sway (Fredrickson and Roberts 173–206). In addition, they are also viewed as dangerous and pervasive (owing to the perception stemming from the Eve syndrome) (Harrison and Fredrickson 216–232).  The most telling manifestation of this perception and historical repression is the failure of records of famous composers in the 19^th century. While names such as Wolfgang Amadeus Mozart and Ludwig Van Beethoven are associated with international fame, names such as Clémence de Grandval and Eliza Flower remain unknown. Even with the rise of female liberation, females were often associated with their male husbands. A woman would be known as a rock star’s wife before she is known as an independent musician.

The vocal association of females with music is also different across cultures. Ancient western cultures restricted women to instruments such as the piano, harp or flute. In Asia and Africa, women’s voices were perceived as superior to men in some occasions such as in professional mourning. With this came the demarcation of voice functions with females getting roles that were considered to be weaker. Female repertoires include lullabies. With the passing of time, it has been expanded to include a wider range. With the attachment of culture and ethnicity to gender, females are at a greater disadvantage with black women being the most objectified in modern music.

Music has been critiqued for long, as having misogynistic images and messages. Frisby and Aubrey (66) pointed out that the dominant discourse produced by music videos results in a reproduction of distorted images of female sexuality. This is severe in the representation of black women in music videos (Hooks 35). A fact that is seemingly at odds with this critique is the increase of highly successful and visible female artists over the years. Though female artists are far from being at par with male artists, research shows they have pushed boundaries of expected and acceptable norms. It is with regard to sexuality as well as gender in popular culture (Arnett 253–264). Despite the increased success of female artists, research suggests that the sexualization of women is yet to diminish. Based on this state of affairs, it can be deduced that female artists also objectify their bodies and that of other females. Content analysis studies have consistently found stereotyping and sexual objectification of gender roles. Based on societal roles and unintentional agenda setting, when people perceive that objectification will result in success, others follow suit. Consequently, even when some musicians do not stereotype, others will.

As one might logically deduce, different genres of music may be associated with particular races, genders and methods of objectification. Analysis of rap videos has revealed that female characters are often diminished and placed in positions of submission in comparison to male characters. In addition, the female is also objectified through the use of skimpy and revealing clothing typically meant to result in a higher degree of skin exposure (Frisby and Aubrey 66).

Different music genres also hold different expectations and norms about women’s sexuality. Some hip hop lyrics and music videos are particularly demeaning to women’s characters. These videos reflect and inform broader beliefs about the sexuality of black women (Arnett 253–264). In addition, the videos also use females as decorations and prop who are ignored. Even though, hip hop videos often feature women in objectified and submissive positions. Women too put themselves in these sexually submissive positions, in their videos (Conrad, Dixon and Zhang 134–156; Fredrickson and Roberts 173–206).

Contrasting with hip hop, the country genre is known for its continuously advocating socially sensitive norms, which manifests in less emphasis on showing skin, physical appearance and sexuality for women (Frisby and Aubrey 67). Some research points that pop music may be a middle ground while others show that pop too is rife with sexual stereotyping (Arnett 253–264). Men in hip hop music are often represented as engaging in antisocial themes such as drug use and violence, which often corresponds to black women (Frisby and Aubrey 68). On the other hand, country music rarely has these antisocial themes that correspond to white men engaging in less antisocial behavior – based on country music. Country music has been found to focus mostly on female characters that correspond to personality traits such as a good woman being kind and having a good heart. Typically, this corresponds to a white woman since they often described as having blonde hair and fair skin. On the other hand, rock music, which is typically associated with while males and females, sometimes represents antisocial behavior such as drug use and violence (Harper and Tiggemann 649–657). This is often characteristic of metal rock.

The Music genre is a representation of what the society is like and what people would like to see it become. Music emerges from the experiential creativity that encompasses the different successes and problems that people have been subjected to. Race and gender are likely to continue being stereotyped in music lyrics and videos (Conrad, Dixon and Zhang 134–156). However, the reasons for this may change with the changing perception of women and men in the society (Gill 147–166)

Works cited

Arnett, J. The sounds of sex: Sex in teens’ music and music videos. In J. D. Brown, J. R. Steele & K. Walsh-Childers (Eds.), Sexual teens, sexual media: Investigating media’s influence on adolescent sexuality(pp. 253–264). Mahwah, NJ: Lawrence Erlbaum, 2002. Print.

Aubrey, JS, and Frisby, CM. “Sexual objectification in music videos: A content analysis comparing gender and genre.” Mass Communication and Society 14. 4 (2011): 1–28. Print.

Conrad, KD., Dixon, TL, and Zhang Y. “Controversial rap themes, gender portrayals and skin tone distortion: A content analysis of rap music videos.” Journal of Broadcasting & Electronic Media 53 (2009): 134–156. Print.

Dowd, T. “Charting gender: The success of female acts in the U.S. mainstream recording market, 1940–1990.” Research in the Sociology of Organizations 23 (2004): 81–123. Print.

Fredrickson, BL, and Roberts, TA. “Objectification theory: Toward an understanding women’s lived experiences and mental health risks.” Psychology of Women Quarterly, 21 (1997): 173–206. Print.

Frisby, Cynthia M and Aubrey, J.S. “Race and Genre in the Use of Sexual Objectification in Female Artists’ Music Videos.” Howard Journal of Communications. 23. 1 2012): 66-87. Print.

Frisby, Cynthia M, and Aubrey, JS. Sexualized Representations in Music Videos: A  Content Analysis Comparing Gender and Genre. Paper presented at the meeting of the National Communication Association, Chicago, Illinois. 2009, November.

Gill, R. Postfeminist Media Culture. European Journal of Cultural Studies 10 (2007): 147–166. Print.

Hansen, CH, and Hansen, RD. Music and music videos. In D. Zillman & P. Vorderer (Eds.),  Media Entertainment: The Psychology of its Appeal (pp. 175–196). Mahwah, NJ: Lawrence Erlbaum Associates Publishers. 2000. Print.

Harper, B, and Tiggemann M. “The effect of thin ideal media images on women’s self-objectification, mood, and body image.” Sex Roles 58 (2008): 649–657. Print.

Harrison, K, and Fredrickson, B. Women’s sports media, self-objectification, and mental health in Black and White adolescent females. Journal of Communication, 53 (2003): 216–232.

Hooks, B. Black looks: Race and representation. Boston. MA: South End Press. 1992