AbstractFrom the late 1960s to mid-1980s, ‘ukulele was the spark plug of an extracurricular music program in the Halifax school system. Ignoring the instrument’s novelty associations, the Supervisor of Music Education redefined its use value, calling on mostly female teachers and volunteer mothers to propagate it anew. The instrument itself was redesigned physically and acoustically as a technology of inclusion, attracting multitudes of women and girls in Atlantic Canada, but few boys. This article accounts for gendered differences in the uptake of ‘ukulele during this period.
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