244
Jude Brereton, et al.
inclusive curricula for engineering and physical sciences (e.g. Hughes
(2015) can offer ideas transferable to music technology. Much can be
learned from those at HE who have recently established more inclusive
engineering programs (Salminen-Karlsson 2002; Mills et al. 2008; Peters
2011), which involve critical evaluation of all aspects of the curriculum
including subject content, teaching styles, marketing materials, wall dis-
plays, etc.
Change will not be effected merely by a change in curriculum content
since “gender inclusivity has to be thought of as a continuous process”
(Mills et al. 2008), but industry partners and higher education educators
working together with schools, teacher trainers, and exam boards must be
the starting point for establishing a more gender-inclusive music technol-
ogy curriculum at all levels.
Recommendation: Guidance provided for educators at all levels on
inclusive curriculum and teaching practice.
CONCLUSION
We have shown that gender inequality persists in education and the indus-
try around music production, despite the great potential and opportunity
for change towards a more gender-diverse discipline, which is ripe to be
harvested.
Nevertheless, without strong commitment, keen awareness, and posi-
tive engagement this exciting opportunity, signaled by emerging signs
of change, and arising from the potential for a closer interdisciplinary
working afforded by the development of new technologies, could be
squandered.
It is worth keeping a future vision in mind – where would we like to be
in 5, 10, 15 years’ time? Perhaps in a world where an all-female spacewalk
isn’t news, where an all-female music production team isn’t news, where
we don’t need safe spaces for women to work in music production, and
where an interview with a female music producer doesn’t garner comment
on their level of attractiveness.
To achieve this vision we need to be bolder and adopt active approaches
to gender diversity so that the future of music production is one where
it’s equally as likely that today’s children become the next generation of
Music Producers whatever their gender.
NOTES
1. https://tibbakoi.github.io/aesgender/
2. www.womeninmusic.org/stats.html
3. www.wisecampaign.org.uk/
4. www.wes.org.uk/
5. http://hernoise.org/
6. http://deliaderbyshireday.com/dd-archive/
7. https://sheisthemusic.org/
8. www.womensaudiomission.org/
245 Addressing Gender Equality in Music Production
9. www.analogtara.net/wp/projects/pink-noises/
10. https://yorkshiresoundwomen.com/
11. www.womeninmusic.org/
12. https://sonawomen.co.uk/
13. http://wiswos.com/
14. For an extensive but not exhaustive list, see: https://drlizdobson.com/2018/02/
18/feministsoundcollectives/
15. https://twitter.com/kejames/status/1111122027652546561
16. https://web.archive.org/web/20181104004611/www.midiplus.com/html/
mirror.html
17. www.midiplus.com/html/mirror.html
18. www.aes.org/community/diversity/
19. www.heforshe.org
20. https://twitter.com/d_rowson/status/1129080507415838722?s=12
21. https://downloads.bbc.co.uk/rd/pubs/bbc-rd-diversity-public-speaking-
policy-v1.0-jul-2019.pdf
22. https://helloworld.raspberrypi.org/
23. www.thisisengineering.org.uk/
24. www.jamesonline.org.uk/
25. www.jamesonline.org.uk/resources/JAMES-Music-Technology-in-
Education-2018-discussion-Doc.pdf
26. www.genderaction.co.uk/
27. https://blog.teachcomputing.org/new-gender-balance-in-computing-project-
announced
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