Gender biases in music criticism can manifest in various ways, including assuming that male musicians are inherently more talented, judging female musicians based on their appearance, and expecting female musicians to conform to traditional gender roles in their performances.

There are several terms used to describe the tendency to view music created by women as less serious or legitimate than music created by men, including musical sexism, gendered musical hierarchy, and musical misogyny.

Common stereotypes associated with female musicians include the idea that they are primarily singers or vocalists, that they are less technically proficient than male musicians, and that they are more emotional and expressive in their performances.

The practice of excluding women and marginalized groups from music criticism and journalism can be referred to as musical gatekeeping, gendered musical exclusion, or musical marginalization.

Positive steps towards addressing gender bias in music criticism include increasing the representation of women and marginalized groups in music criticism, encouraging music critics to be more aware of their own biases, and providing training and resources to music critics on gender and diversity issues.

The tendency to focus on the personal lives and relationships of female musicians rather than their musical achievements can be referred to as musical voyeurism, gendered musical objectification, or musical gossip.

Female musicians who challenge traditional gender roles in their music often face criticism, such as being accused of not being authentic to their gender, trying to be too masculine, or not respecting traditional values.

The practice of using gendered language to describe music in a way that reinforces stereotypes can be referred to as musical gendering, gendered musical language, or musical sexism.

Positive steps towards increasing the representation of women and marginalized groups in music criticism include providing mentorship and support to aspiring music critics from underrepresented groups, creating opportunities for women and marginalized groups to write about music, and encouraging music publications to hire more diverse critics.

The tendency to judge female musicians more harshly than male musicians for the same mistakes can be referred to as a musical double standard, gendered musical bias, or musical misogyny.

Positive steps towards addressing gender bias in music criticism include encouraging music critics to be more aware of their own biases, providing training and resources to music critics on gender and diversity issues, and increasing the representation of women and marginalized groups in music criticism.

The practice of excluding women and marginalized groups from music festivals and other live music events can be referred to as musical gatekeeping, gendered musical exclusion, or musical marginalization.

Positive steps towards increasing the representation of women and marginalized groups in music festivals and other live music events include providing financial support to women and marginalized groups to attend music festivals, encouraging music festival organizers to book more diverse lineups, and creating safe and inclusive spaces for women and marginalized groups at music festivals.

The tendency to view music created by women as more emotional and less intellectual than music created by men can be referred to as musical essentialism, gendered musical stereotypes, or musical sexism.

Positive steps towards addressing gender bias in music education include encouraging music teachers to be more aware of their own biases, providing training and resources to music teachers on gender and diversity issues, and creating opportunities for women and marginalized groups to pursue music education.