| Summary: | 碩士 === 國立臺灣師範大學 === 音樂學系 === 106 === This study intends to analyze gender ideology of music textbooks in high schools of Taiwan and Mainland China through content analysis. It analyzes gender ratio, stereotypes and relations of textbooks using Tseng Ching-wen’s (2017) Category List of Gender Ideologies in Music Textbooks of High Schools. Samples of textbooks exist in six editions and twelve versions, including Sanmin, New Wun Ching and Ouxin of Taiwan as well as People’s Music, Hunan Literature and Art, and Guangdong Hwaseong of Mainland China, In this study, conclusions are reached as follows:
1. Gender ratio: Cross-strait pictures, lessons and composers mostly focus on males, so gender imbalance exists. In Taiwan, the most striking disparity is seen in the T3 Edition, while the gaps are the smallest in the T2 Edition, where text about female figures are more worth learning. In Mainland China, the gaps are the most evident in the M1 Edition, and females occupy a little higher proportion than males in the M2 Edition; text regarding female figures in the M3 Edition are more worth learning.
2. Gender stereotypes: In both Taiwan and Mainland China, males get involved in more types of music specialties and activities. Females and males mostly specialize in singing and composition respectively; most females participate in singing and orchestra performances, while males mostly take part in percussion and orchestra performances as well as singing. Gender stereotypes are relatively prominent in the T1 and T3 editions of Taiwan as well as the M3 edition of Mainland China.
3. Gender relations: Lessons and lyrics are mainly about equality in both Taiwan and Mainland China, where females are subordinate to males in most cases. In the text, females are mostly wives, sisters and nieces of males; in lyrics, females wait for and are obsessed with males. In the T1 edition of Taiwan, there are some subordinations, which are not seen in Mainland China for the time being.
4. Cross-strait differences: Although gender imbalance exists in both Taiwan and Mainland China, there are more females ratio in textbooks of Taiwan than those of Mainland China. In terms of gender stereotypes, females get involved in more music specialities in textbooks of Taiwan compared with Mainland China. Concerning gender relations, no subordination is detected in text of Mainland China which cover less content. Songs are generally the same in terms of cross-strait equality, subordination type and reasons.
At last, the researcher puts forward suggestions concerning textbook editors, teachers and future research based on above conclusions.
Keywords: Gender Ideology, Music Textbooks, High Schools, Cross-strait.
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