Historically, organology reflects gender bias in musical instrument design. Related to this, the American media Quartz at Work tested the world's top 20 orchestras in the British Gramophone magazine and found the rate of men in the world's top orchestras is as high as 69%. This phenomenon reflects that gender bias has existed before the 19th century evidencing the fact that the instrument manufacturing industry serving this Western European classical musicians has been dominated by men and affects its practice in countries throughout the world. Women who learn on these musical instruments are forced to adapt their bodies to instruments that are oversized and awkward for them facing a higher risk of performance injury. For example, focusing on the "big musical instrument" - viola which emerged in the 19th century, petite female players need to extend their upper limbs away from the central axis more than the violin, which increases the player’s risk of injury. Moreover, viola has not yet been standardized. So, in making and design it's more flexible on adjusting the size.

The objects whom the musical instruments are designed for in this research are petite Asian women whose average height and body type is relatively smaller Western European women. Adjusting the size of musical instruments based on the viola model of the viola d'amore style of the luthier Hiroshi Iizuka, who has worked predominantly in the building of new instruments since 1977.Referring to female body data from the Taiwan National Human Body Measurement Database of the Institute of Labor and Occupational Safety and Health of the Ministry of Labor, I argue that organological design informed by issues of gender awareness and equality make it possible to strike a balance between comfort and resonance.