This thesis has the purpose to attend to questions of the likes. Where are all the female musicians? Are there really so little of them or are they simply underrepresented? How are female musicians represented and portrayed if they are successful or trying to gain success? All of these questions above are heavily drenched with more or less visible sexism.
The first part of the thesis focuses on explaining how the current status quo has developed and what is keeping
it firmly in its place. The second part deals with the various existing forms of sexism, examining carefully the forms that are more difficult to recognize such as microaggressions and microinsults.
The final part looks closely at the female body and how it is used, portrayed and exploited, arguing that the female body is a social construction, shaped and used for clear purposes. Possible ways out are examined as well as the difficulty in seeking a transformation of representation since oftentimes solutions stem from the same source that created the
problems in the first place. The purpose of this thesis is neither to shame men nor condemn the industry altogether, although I will be critical and harsh of things that must be eyed critically. I attempt to shine a light on a new path that not only female artists have to take, but one that can and should be created hand in hand with record labels, managers and all people involved in the music business.
Table of Contents
I. Introduction
II.
1. The Power of Habit
2. Canon Wars
3. The Importance of Role Models
III.
1. Forms of Sexism
2. Microaggressions
3. The Female Body
IV. Conclusion
Objectives & Topics
This thesis examines the systematic underrepresentation and marginalization of female artists within the pop music industry, investigating how ingrained cultural habits, male-dominated canons, and the commodification of the female body perpetuate these gender disparities.
- Analysis of gender inequality in music production and industry management.
- The role of the "musical canon" and how it excludes female creative contributions.
- The psychological and professional impact of underrepresentation and the need for positive role models.
- Examination of overt and subtle forms of sexism, including microaggressions in the music landscape.
- The intersection of media portrayal, the female body, and commercial exploitation.
Excerpt from the Book
3. The importance of role models
“I look to you. After all my strength is gone, in you I can be strong. I look to you. And when melodies are gone, in you I hear a song.” Whitney Houston was one of the most accomplished female artists, having seven consecutive number one Billboard Hot 100 songs and her self-titled debut album became the best-selling debut album by a woman in history in 1985. In her song “I look to you” from 2009 she was able to convey the impact someone looked upon can have. We won’t be able to know to whom she was referring exactly, but it’s a fact that role models play an important role. Before sweeping over into the fields of pop music, I want to quickly define the term in order to continue with a better understanding. In their 2008 published volume “Role models in the Roman world. Identity and Assimilation”, Sinclair Bell and Inge Lyse Hansen, both editors of the book, offer a short definition, saying that
[t]he term “role model” has assumed a prominent place in our cultural lexicon for more than a half century now, becoming a catchword in debates about multiculturalism and the cult of celebrities, among others. The range of individuals characterized as role models in modern society also ranges widely, from traditional figures of authority, such as head of state, to iconic presences who loom large in the (pop-)cultural landscape, such as Barbie. […] [A] role model is defined as “a person whose behavior in a particular role is imitated by others. (Bell, Sinclair, Inge Lyse Hansen, “Role Models in the Roman world. Identity and Assimilation, 2008, p.3 and 4)
Summary of Chapters
I. Introduction: This chapter introduces the persistent gender imbalance in the music industry by analyzing historical and current trends, highlighting the need to rethink industry machinery.
II. The Power of Habit: Explores how established habits and male-dominated autopilot in hiring and promotion processes maintain the current industry status quo.
II. 2. Canon Wars: Discusses how the concept of a "musical canon" historically favors male artists and marginalizes female contributions, effectively shaping the public perception of greatness.
II. 3. The Importance of Role Models: Examines the psychological necessity of representation, arguing that seeing successful women in music is crucial for young girls to visualize and pursue their own careers.
III. 1. Forms of Sexism: Differentiates between various types of sex discrimination, focusing on subtle and covert forms that often go unnoticed but deeply impact female artists.
III. 2. Microaggressions: Analyzes how everyday verbal and environmental slights create a climate of hostility, effectively keeping marginalized groups out of influential industry spaces.
III. 3. The Female Body: Argues that the female body is a social construction often exploited by the industry, where female artists are judged more by their appearance than their musical talent.
IV. Conclusion: Summarizes the thesis, emphasizing that while the industry is deeply gendered, changing these dynamics is possible through awareness, intervention, and increased representation.
Keywords
Sexism, Pop Music, Gender Inequality, Music Industry, Canonization, Female Body, Role Models, Microaggressions, Representation, #meToo, Symbolic Annihilation, Patriarchy, Cultural Construction, Career Development, Inclusion.
Frequently Asked Questions
What is the central focus of this thesis?
The thesis explores the systematic underrepresentation of women in the pop music industry, investigating the social, cultural, and structural factors that create and maintain these inequalities.
What are the primary themes discussed?
Key themes include the impact of ingrained social habits, the exclusionary nature of the musical canon, the importance of role models for young female musicians, various forms of subtle and overt sexism, and the commodification of the female body.
What is the core research question?
The work seeks to explain why female artists remain underrepresented despite their talent, and how the industry can shift towards more inclusive representation and fair career paths.
Which scientific methodology is applied?
The author uses a qualitative research approach, drawing on academic literature, media studies, sociological concepts (such as habit loops and symbolic annihilation), and reports from inclusion initiatives to analyze current music industry practices.
What topics are covered in the main body?
The main body systematically progresses from the historical and psychological "habits" of the industry to the exclusionary nature of cultural canons, followed by a detailed examination of sexism and the portrayal of women's bodies in media.
How would you describe the key characteristics of this research?
The thesis is critical, interdisciplinary, and advocacy-oriented, combining music theory, sociology, and feminist critique to shed light on deep-seated biases in the music business.
How does the thesis relate to the #meToo movement?
It contextualizes the #meToo movement as a catalyst for music industry change, noting how these debates have successfully highlighted the urgent need to address gender-based misrepresentation and sexual harassment.
What conclusion does the author draw regarding the "female body" in music?
The author argues that the female body acts as a social construction and a battleground where industry expectations often favor physical attractiveness over artistic agency, which serves as a method of keeping women in subordinate positions.
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- Raluca Pößl (Autor:in), 2018, Sexism in Pop Music, München, GRIN Verlag, https://www.grin.com/document/1170829
