Theorizing Gender and Musical Composition in the Computerized Classroom

Classroom The increased use of information technology in schools is generally perceived as a positive, dynamic step into the future. By providing IT facilities for all children throughout their education we are affording them access to a wider range of career opportunities and educational experiences. Feminists have long debated the extent to which technology can be exclusionary for women because of its construction as a masculine domain, emphasizing 'masculine' characteristics of mastery, skill and control. By focusing on the music classroom, Armstrong explores gender and the compositional process and the effects of an overtly technological approach to composition. In the early part of the essay, she draws on Sherry Turkle's early work based on observations of male and female computer programmers. Despite observing a variety of computational styles Turkle concluded that, although technology allowed for this diversity, computer culture did not, noting that many females preferred a style that did not favour the canonical, plan-oriented, abstract thinkers who 'constitute an epistemological elite'. In her own research, Armstrong found that girls often became alienated from their own creative work because the culture of the music classroom appears to privilege a particular style of working. By focusing on the singing voice and the corporeal, Armstrong draws on aspects of cyberfeminism to illustrate how girls can transcend and subvert this masculine culture.

Keywords:

• Body
• Composition
• Cyborg
• Gender
• Music Technology
• Singing
• Voice