Sophie Lewis: Exploring the Marginalization of Female and Non-Binary Voices in Barbershop Harmony
Abstract: In this paper, I investigate the circumstances that facilitate the marginalization of female and non-binary voices from male voices in the performance of barbershop harmony in America. Despite being rooted in African American traditions, the contemporary performance of barbershop harmony is regularly associated with middle class white males and is seemingly reluctant to change this image. This further encourages the marginalization of performers based on both gender identity and race. This project explores the historical instances of marginalization within the Barbershop Harmony Society of America (BHS) and how it has impacted the competitive environment today. I then analyze the BHS rule book and outline how their own rules are contradictory to their practices. Finally, I argue that the current set up of the BHS is harmful and exclusionary to female and non-binary voices and outline the impact that we as consumers of the art form could potentially have. I will utilize primary sources taken from the BHS themselves as well as examples of performing quartets. I focus on the perspectives of female and non-binary performers because the BHS is defined by the gender binary. From their enrollment forms to their competition categories, the male/female binary pervades through the system. While the BHS is making efforts to move towards racial equality in both its performers and spectators, the gender discrimination is still painfully obvious. By bringing these issues to light, I suggest that spectators can bring about change primarily through their listening and spending habits as they relate to the performance of Barbershop style music to further gender and racial equality in the BHS.
Bio: Sophie Lewis is a second year masters student at the University of Denver studying musicology. Originally from Scotland, she holds a 1st Class honors degree in music from the University of Aberdeen where she completed her undergraduate studies. Her research interests include music education methods and how they relate to mental health, equity efforts in the music industry and Scottish traditional music. Sophie is fortunate enough to be supported financially in her studies by the University of Denver, the Scottish International Education Trust and the McGlashin Trust without whom this research would not be possible. Sophie is also a cellist who thoroughly enjoys ensemble performance.
