音樂的性別研究在近十年蔚為風潮，並產出極其豐碩的研究成果。LucyGreen 的《音樂、性別與教育》，是第一本從教育觀點探討音樂與性別關係的專書，1997 年由英國劍橋大學出版社出版，是音樂教育性別研究的重要文獻。全書分為兩個部份，第一部分從社會學的觀點檢視音樂歷史，探討音樂的意義及女性的音樂實踐，以「父權結構」為核心概念，亦即由男性在社會各層面所建立的權力關係，分別檢視歌唱、演奏、創作/即興等面向，分析「女性特質」如何在父權體系之下被形塑、增強與複製。第二部份探討教育場域中音樂意義的性別化，採取俗民誌的研究方法，以英國中學的教師與學生為研究對象，透過問卷與訪談蒐集資料，調查音樂教學現場中隱而不現的性別化音樂意義。作者不認為根深蒂固的偏見或刻板印象可以在短時間內扭轉，但教育應從性別政治的現象與結構中解放，採取另類觀點來進行教學，讓女性與男性學生在從事音樂活動時，都能參與並體驗到音樂最本質的愉悅感。

Gender studies in music have become a trend in the last decade, and a great deal of research has flourished. Lucy Green’s Music, Gender, Education (Cambridge University Press, 1997) is the first book to focus on the role of education in relation to music and gender. It has become one of the most significant books on gender studies in relation to music education.This article summarizes and evaluates the book, especially in regard to the following issues: a sociological perspective in the examination of music history,patriarchy and how it affects the concept of ‘femininity’, and ethnographic methods that can lead to gendered musical meanings in the context of schools, among others.Green’s research methods are also examined in relation to these issues.