This study examines <the gender discrimination against the female musician in the music history>. Many people had believed that women does not have musical talent pointing out the fact that all great musicians were men. The reason might not be what many people think. Musical history tells us that women musician having musical talent hardly had chance to develop and show it. Patriarchism prevailing the society had worked also in musical fields, sometimes more intensively. Patriarchal ideology and social system based on it demand that active, productive, resonable, creative, scientistic, technical characters be reserved to man. In that system, women take only passive, reproductive role. The long music history shows that female musicians had been permitted musical activities on the condition that their musical activities encourage the femininity. For example, women were totally excluded in the field of composition, which is considered as creative domain, and the situation was not different in the instrumental performance requiring high technical expertise. Women musicians were free, or encouraged to play key-board music or harps for that they had to take a female posture during the performance. Even in that case, they were allowed to play in the home, not in public. Exceptionally women vocalists were allowed to sing in public from the beginning of music history. This can be explained by the fact that they were needed for their role restricted often to a prostitute image using body to seduce men. This gender discrimination in the musical production and performance had given strong impact on musical education. In a sense, it is reproduced in a exactly similar way in the field of music education. Women had been prohibited from taking musical lesson to become a music professionals. They were only allowed to be trained by means of cultivating their general culture. Under this context, musical education was considered as symbol of wealth. The critical examination of the musical history shows clearly that the gender discrimination in music filed is not separated from the paternalistic ideology and many sex-based prohibitions on the societal level. It demonstrates also that the sexual discrimination was reproduced and strengthened in music field. The reason why there were no great female musicians, therefore, have to be searched not in the lack of musical talent of women but in the socially constructed constraints, the patriarchal system.

제1장 서론 
제2장 음악적 가부장제 
제3장 작곡에서의 여성 소외 
제4장 여류 음악가에 대한 성 역할 
제5장 음악교육의 성차별적 목적 
제6장 결론 
참고문헌

• 민은기