Something
to think about (music and sex) as spring arrives.
Back
when I was taking music courses as an undergraduate at the University of
California, Santa Barbara, everyone was wondering why the great musicians were
male. Not all of them, of course; two female composers, Thea Musgrave and Emma
Lou Diemer, were on our faculty. Clara Schumann, Robert’s wife, was an example
from the nineteenth century. More recently, there was Dawn Upshaw. But this
list is very short, compared to the list of famous male composers.
It
is easy to attribute this solely to male oppression of females. Male domination
in music is just another example of male domination of society in general.
But
there is another factor at work. Males often show off to other males, and to
potential female mates, in the hopes of increasing their mating opportunities,
within or outside of a pair-bond, in humans as in many other animal species.
While this often takes destructive forms, such as war and abuse, it can also
take creative forms, especially in big-brained humans. Artistic or intellectual
creativity is often a way in which males can show off. We all know of the
spectacular paintings on European cave walls. But those same caves echoed the
music of bone flutes and drums by which musicians (perhaps mostly male) enthralled
their congregations.
This
happens more often males than females because evolutionary fitness in males
often results largely from the number of mates, while this is not true so much
in females. For a man, reproduction can consist of a single sex act, while for
a woman the whole process of pregnancy, childbirth, and raising children may be
her burden alone. Thankfully, there are many of us men who are nurturing and
faithful rather than rapacious. But a male can have hundreds of offspring (or
thousands, for Genghis Khan) while no woman can have that many. The inevitable
result of sexual competition is that some men have lots of offspring, while
most of the others compete with one another for whatever women are left.
Women
also compete with one another to have the best males as the fathers of their
children. Also, women need to have musical ability in order to recognize
it in men. Anna Schindler, herself only a passable musician, nevertheless
recognized the genius of Gustav Mahler and maneuvered herself into being his
wife. Nevertheless, sexual competition is stronger in men than in women.
Sexual
selection must have chosen whatever genetic basis there is for musical ability,
in men more than in women. But that genetic basis cannot be found only in men.
Men have a Y chromosome, which is largely a lump of useless DNA. The genetic
basis of musical proficiency must be found on either the X chromosome or the
non-sexual chromosomes, and this means that it shows up perhaps just as
frequently in girls as in boys. In the absence of ongoing sexual election,
musical ability, even if it began as a male characteristic, would soon equalize
itself between the sexes.
And
this is why even spectacular musical ability shows up in females even if it
started in males thousands of years ago.
Everyone
has heard of Wolfgang Amadeus Mozart, who was clearly a musical genius. But did
you know he had a sister who was perhaps just as gifted as he was? She was a
superb keyboardist, and her father Leopold took her on concert tours throughout
Europe at the same time as he took young Wolfgang. Audiences were perhaps even
more impressed with the beautiful Maria Anna Mozart (nicknamed Nannerl) than
with her little brother who could do musical tricks. But her father convinced
her that her only chance for success was as a performer and teacher, and as a
wife. While she continued teaching and performing until her own death, decades
later than Wolfgang’s, none of her compositions survive. One movie I saw (of
several that have been made) showed her, at about fifteen years old, sadly
burning her compositions in the family fireplace. It turns out Wolfgang was a
genius; but perhaps Nannerl was also. We will never know.

Natural
and sexual selection, drivers of human evolution, are not destiny. The
adaptations they provide must be continually maintained by culture, as I
explained above. As culture evolves, the forces of selection can change.
Thankfully they are already doing so. When I was in high school, most brass
players in school bands were boys, except the very competent Linda. The girls
chose flute and clarinet. When I was in California State Honor Band in 1974, I
was the last chair baritone horn player. The first chair player (in the concert
band) was a black girl. She was really good. I admired her for her pioneering
spirit on her instrument and for the way she represented her ethnicity. This
was an important part of my development, coming as I did from a racist family.
There
are forces that try to suppress opportunities for women. A few years ago, there
was a scandal among the Southern Baptists because male leaders often seduced
females without serious punishment. The church’s response? There were a few
women in positions of Southern Baptist leadership. The church removed them and
forbade women to be in such positions at all.
But
even religion cannot completely hide female talent. Probably every church choir
director has heard of composer Natalie Sleeth. Things look pretty grim for
women in conservative religion, but I suspect things will never get as bad as a
Margaret Atwood novel.