Women in Contemporary UK Jazz: Artistic Voice, Gender and Professional Identity

十多年前，当我组建我的第一支乐队时，它的男女比例使我们在爵士乐界变得罕见。从那时起，我继续在英国爵士乐行业工作，越来越意识到男性和女性音乐家在知名度和机会方面的差异。尽管取得了进步，但女性仍然是少数，继续面临着职业发展的障碍。在英国，有可能在现有研究的基础上，提供与性别和爵士乐相关的全面调查。只要有可能，我的研究也将涵盖少数族裔性别。作为一名实践者，我对英国爵士乐有一个个人和广泛的视角。我有一个女性同事关系网，随着时间的推移，我了解了她们的生活经历。我曾在许多签署了KeyChange Pledge(Raine 2019)的音乐节和场地演出，经常与女性艺术家一起演出，我还参加了2017年的“改变”研讨会。作为球员、领导者和爵士乐集体成员，我与草根爵士乐有着密切的关系。我也是一名教育工作者和ABRSM考试人员。我的重点将是对女性的生活经历进行详细的研究，范围从目前正在接受教育的女性到30年前开始职业生涯的女性。我还将采取一种自我人种学的方法，借鉴我学生时代的经验--当时我没有上爵士乐钢琴课，而是提供了数字贝斯--到了我现在的职位上，我在一个父权制行业中开创了自己的投资组合职业生涯。我热衷于在肯特大学研究这个项目，因为导师在定性研究方法、性别研究和音乐心理学方面经验丰富。NYJC为田野工作提供了丰富的背景，并拥有代代相传的导师链。我对初步研究的反应是，越来越多的人感到赋权，并认识到对这位21世纪英国爵士音乐家的新理解的潜力。

Over a decade ago when I formed my first band, its 50/50 gender balance made us a rarity on the jazz scene. Having continued to work in the UK jazz industry since then, I've become increasingly aware of the disparities in visibility and opportunity between male and female musicians. Despite progress, women are still a minority and continue to experience barriers to career progression.There is potential to build on existing research and provide a full-scale investigation relating to gender and jazz in the UK. Wherever possible, my research will also encompass minority genders.As a practitioner I have a personal and wide-ranging perspective on UK jazz. I have a network of female colleagues and have been privy to their lived experience over time. I have played at many of the festivals and venues that signed the Keychange Pledge (Raine 2019), often with female artists, and I participated in the 2017 'Making the Changes' symposium.I have a close relationship to grass roots jazz as a player, leader, and jazz collective member. I am also an educator and ABRSM examiner.My focus will be to produce detailed research on the lived experience of women, ranging from those currently in education to those who began their careers 30 years ago. I will also take an autoethnographic approach, drawing on experience from my schooldays - when I was steered away from jazz piano lessons and instead offered figured bass - to my current position having carved out a portfolio career whilst navigating a patriarchal industry. I am keen to research this project at Kent University as the supervisors are highly experienced in qualitative research methods, gender studies and music psychology. NYJC provides a rich range of contexts for fieldwork and has a mentorship strand running through generations.My response to initial research is one of a growing sense of empowerment and recognition of the potential for a new understanding of the 21st-century UK jazz musician.