此外，发现存在显著的性别差异，在人格方面报道以及那些已经被记录在案。（麦克唐纳德，哈格里夫斯，和米尔，2002，p. 125）他们对音乐人的使用为中心的和个人的，而是工具和社会。Kemp报告男性得分高的内向和一些措施的独立而女性得分较高，在一般人群中的敏感和焦虑的措施（1996，p. 108）。Kemp认为，类似的作曲家，人们可能期望的高水平的爵士音乐家的独立性，以及缺乏实现物质成功的欲望（190页）。Frederickson认为，一些女性选择不参与课堂因为社会礼貌和恐惧打破惯例（2000）。她称此为女性沉默。在爵士乐的风格一个女人可以避免即兴爵士防止被视为成功的男性应该在她的班。特别是青春期的女孩，有兴趣做和保持朋友（曼宁和哈根，1995）。在男性主导区域的成功可能会威胁到比即兴的成绩或奖项更重要的关系。如果年轻的女孩没有看到爵士乐即兴表演的成功，作为奖励他们的性别群体，他们可能会有一个不太积极的态度，学习即兴学习。
Moreover it is found That there are significant gender differences reported in most aspects of personality is well as those that have been documented.( Macdonald, Hargreaves, and Miell ,2002, p. 125) they summarizes the men’s use of music is as central and personal, while that of to be instrumental and social. Kemp reports men score higher on measures of introversion and some measures of independence while women score higher in measures of sensitivity and anxiety in general populations (1996, p. 108). Kemp suggests that, similar to composers, people might expect high levels of independence in jazz musicians, as well as a lack of desire for achieving material success (p. 190). Frederickson suggests that some women and girls choose not to participate in the classroom because of social politeness and a fear of breaking norms (2000). She refers to this as female silence. A woman in the jazz idiom may avoid being successful in jazz improvisation to prevent being viewed as unfeminine by males in her class. Adolescent girls, in particular, are interested in making and keeping friends (Manning & Hagen, 1995). Success in a male-dominated area might threaten relationships that are more important than a grade or award in improvisation. If young girls do not see success in jazz improvisation as rewarding for their gender group, they may have a less positive attitude towards learning improvisation.