It is evident that the court-based notions regarding women and music still persist. It is because women were barred from accessing such opportunities as writing and education in their respective cultures. However, court music experience provides education experience through visual arts, writing and poetry, as well as music. Women have achieved a privileged position because engagement of women in such privileged education setting provides women with a platform for intellectual exchange of ideas with their male patrons through artistic performance, conversation and drama. It is also apparent that female court musicians still share part of the musical world that belongs to men. Furthermore, they execute and perform roles that were inaccessible to women. What is more, the notion of educated female court musicians is still evident due to increased independence, education access and connection with powerful men, especially in the world of music (Dunbar, 2011). Nonetheless, in some cultures that are yet to undergo full civilization, participation of women in court music often threatens their image as virtuous women, irrespective of the musical skills that elevate their public image. It often results from the notion that restricts women to the primary role of preserving the bloodline through marriage rather than providing love or intellectual compatibility (Dunbar, 2011).
In the modern context, gender perception of male singers remains unchanged. Male singers are unconfined within any traditional structures since they have exerted dominance in the field over the women. Nonetheless, male singers have built upon the traditional stereotypes that cement power and control over the other gender. Male singers champion women’s expansion potential in the field of music. Noble women have been restricted to private performance using lutes, small keyboards, and other stringed instruments that do not require facial distortion or unladylike body positions. It is apparent that male singers have expanded their field of music to incorporate aspects that were traditionally reserved for women. However, although the modern world provides more opportunities for women in the world of music than traditional settings, women are still limited in their traditional domains, unlike their male counterparts. In the modern music, male singers dominate the urban folk music that has a well-seasoned tradition of all-male instrumental bands (Dunbar, 2011). Furthermore, males have special and typical performance in all events, including those where attendance is restricted to men. Traditionally, male singers have virtually written their own poetry, composed their own melodies and sung their songs. Therefore, male singers remain unconfined from a restricted music domain.
Although the use of syllable and schemes is unpopular in the modern music genre, some artists still employ rhymes in bars in order to enhance the quality of artistic work. For instance, in 2Pac’s song titled Dear Mama, the scriptwriter used similar rhyming couplets. Bar one rhymes with bar two, and bar three rhymes with bar four. Each couplet in the song represents a complete scriptwriter’s thought. Furthermore, the scriptwriter uses four bars and two ending rhymes. It is also apparent that each couplet constitutes a complete sentence or thought. In respect to the use of the rhyme scheme, Eminem is credited as a master of internal rhyme. In the song titled Lose yourself, Eminem’s rhyming ability is displayed. For instance, “His palms are sweaty, knees weak, arms are heavy”. Eminem introduces complete rhyming that makes it evident that modern songs still employ syllables and schemes in construction. However, music may not become an art in future because song writers fail to use schemes and syllables consistently in their art work.