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Syftet med föreliggande studie är att undersöka vilka motivationsfaktorer som varit viktiga för musikhögskolestudenter när det gäller musikutövande och musikstudier. Syftet är även att undersöka om några samband finns gällande kön, huvudinstrument och genre i relation till motivationsfaktorerna. Områdesorienteringen belyser olika synsätt på området och definitioner av begreppet motivation. Den tidigare forskningen lyfter vidare fram tidigare studier på området som visar att bland annat lust, elevinflytande, lärare och musik inom familjen kan vara viktiga motivationsfaktorer till musikutövande och till att delta i musikundervisning. Studiens forskningsfrågor undersöks med hjälp av ett kvantitativt angreppssätt i form av en enkät där olika bakgrundsfaktorer kartläggs och respondenterna svarar på frågor om motivation och förhåller sig till påståenden av Likert-typ. I enkäten lämnade respondenterna även vissa fritextsvar som har krävt en kvalitativ behandling i form av tematisk analys. Resultatet visar på flera vanliga motivationsfaktorer, så som lust, förebilder och utbildningar och flera signifikativa samband gällande bakgrundsfaktorerna kön, huvudinstrument och genre i relation till motivation hittades. Studiens resultat bekräftar till viss del tidigare forskning. På grund av studiens urvalsmetod kan dock inga generaliseringar göras utifrån studiens resultat. Diskussionen belyser bland annat gränslandet mellan yttre och inre motivation. Arbetets titel är ett citat ur det insamlade fritextmaterialet. / The purpose of the present study is to examine what motivates Music College-students in their musicianship and in their choice to study music. The purpose is also to examine whether there are any significant connections between factors such as gender, primary instrument or genre in relationship to motivation. Chapter two presents different views on the subjectmotivation, with the help of relevant literature and earlier studies. Earlier studies show that desire, student participation, teachers, and music in the family are important motivational factors. The research questions are examined with a quantitative method where a poll was used to gather the data. Some qualitative data was also collected, through free text answers written by the participants. The participants answer questions about background factors and fill in Likert scales that measure different motivational attitudes. The results show that, among others, desire, role models and education are common motivational factors. Several significant connections between gender, primary instrument and genre in relationship to motivation was found. The result confirms earlier studies in some ways. Due to the method used to select the participants, no generalizations towards the total population can be made from presented results. The discussion lifts questions about what the distinction between intrinsic and extrinsic motivations are. The title is a quotation from one of the free text answers

Thesis (Ph.D.)--University of Melbourne, Faculty of Education, 2006. / Typescript. Includes bibliographical references (leaves 314-372).

Extensive research on the psychological benefits of psychological skills training in sport has been conducted in Sport Psychology, with unambiguous positive results. However, psychological skills training has not yet been fully applied in the Psychology of Music. Mindfulness training, and specifically the mindfulness, acceptance and commitment (MAC) approach, has been applied in sport, but thus far no MAC intervention on musicians has been published. The combination of Psychological Skills Training (PST) and mindfulness (the MAC approach) training is more rare and has not yet been used in music studies. The configuration of mindfulness (MAC) and PST has been applied in a sport setting, but has never been tested in a proper intervention programme for music students. This study fills this gap. The primary aim of this research was to implement and evaluate the effect of PST, in combination with mindfulness, on undergraduate music students. The second aim was to determine whether the intervention programme had an impact on the students’ psychological well-being and the management of music performance anxiety. The third aim was to evaluate whether the students’ psychological skills and mindfulness have improved. The fourth aim was to determine whether the combination of PST and mindfulness training was successful. The fifth aim was to evaluate whether the cross-over from Sport Psychology to the Psychology of Music in terms of the knowledge base, intervention PST protocols and psychometric measuring instruments was meaningful. The sixth aim was to determine whether the correlations between the psychological constructs (subscales) of the pre-intervention test measurements on all the respondents were meaningful. A convenience sample of 36 undergraduate music students from the Department of Music at the University of Pretoria was selected. The students were asked to participate voluntarily. The experimental group consisted of 21 students, and the remaining 15 students formed the control group. A quasi-experimental design was implemented in this research to address problems that might occur because of the voluntary selection method employed. Voluntary participation was adopted to ensure that the participants were fully engaged in and committed to this study. The aspects of motivation and commitment were essential prerequisites for this research to be successful, because full commitment and maximum attendance of the intervention sessions were crucial to be able to determine the impact of this intervention programme. The results indicated a significant improvement in positive relationships with others within the experimental group, as measured by Ryff’s Psychological Well-being Scale. Pre- and postintervention test results within the experimental group indicated a statistically significant improvement in all three subscales of the Competitive State Anxiety Inventory-2 (cognitive state anxiety, somatic state anxiety and self-confidence). A statistically significant improvement on five of the seven subscales of Bull’s Mental Skills Questionnaire (self-confidence, anxiety and worry management, concentration ability, relaxation ability and levels of motivation) were reported, and on the Five Facet Mindfulness Questionnaire, the subscales of “describe” items and “non-judge” items improved significantly from the pre-intervention test to the postintervention test in the experimental group. Interestingly, the growth mindset within the experimental group also increased significantly, while the fixed mindset decreased significantly. This significant positive increase in the scores of the experimental group might be an indication that the intervention programme had a moderately significant impact on important psychological dimensions of the participating undergraduate music students. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Psychology / unrestricted

Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.

Literature on stereotypes and implications of stereotype threat has grown considerably over the past decade. While numerous studies examine college major biases, they predominantly focus on STEM and business students. For Music Majors (MMs), some of the conventional musician stereotypes include susceptibility to heavy drinking, drug use, and their nonpecuniary advantages as artists. In this study, Q methodology, which incorporates a combination of quantitative and qualitative properties, was used to identify Non-Music Majors’ (NMMs) shared subjectivity among their opinions of MMs. The primary research questions were as follows: (a) What current stereotypes do Non-Music Majors hold regarding the Music Majors? (b) Which themes emerge based on Non-Music Majors’ detailed descriptions of Music Majors? The researcher additionally sought to explore the impetus behind dominant musician stereotypes, including their portrayals as perpetual starving artists, overly emotional, prone to heavy drinking and drug use, and financially irresponsible. The study had two main objectives: (a) to identify NMMs’ current stereotypes of MMs; and (b) to explore ways in which NMMs and MMs can implement a more close-knit alliance and cross-disciplinary partnerships and collaborations in college settings. The study was conducted in Spring 2023 with 30 NMMs from a large U.S. graduate school of education. The participants comprised only graduate-level students who had formally declared one primary major and participated remotely using an online Q Method Software. The study findings, which utilized Q analyses, thematic analyses of post-Q-sort surveys and interviews, provided a nuanced yet wide-ranging validation of the cross-disciplinary biases in college settings. The research revealed that NMMs viewed MMs as being born with innate talent/gift, who were eclectic, disciplined, and coming from high-income backgrounds. NMMs also perceived MMs as being perfectionists with many hobbies outside of music, who were endlessly curious but more prone to recreational drug use compared to NMMs. All participants shared that musician stereotypes, whether positive or negative, were pervasive in college settings. Stereotypes are universal: however, discussions of lesser-known stereotypes, such as college major biases, are seldom considered. Q methodology, in this respect, facilitates a comprehensive understanding of the diverse perspectives within a social group. When combined with post-Q-sort surveys and interviews, Q can be a powerful tool to help elucidate subjective perspectives—for educators and students alike—in dynamic and evolving educational contexts. The researcher hopes this study will encourage others to explore, analyze, and optimize the use of Q in the field of music and music education.

This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.

Studentantalet på Luleå Tekniska Universitet I Piteå har gått från hela 900 till 300 de senaste ca 12 åren. En trend som både Piteå kommun och LTU vill motarbeta, samtidigt som Piteå kommun vill öka antalet inflyttande till platsen. På uppdrag av det kommunala företaget Piteå Science Park så var därför målet med detta examensarbeteatt ta fram en lösning som både ökar intresset för de musikutbildningar som erbjuds på LTU i Piteå och Framnäs Folkhögskola samt uppmuntrar de studerande till att vilja bo kvar i staden efter avklarade studier. Examensarbetet ingår i utbildningen Teknisk design högskoleingenjör vid Luleå Tekniska Universitet. I projektet användes IDEOs Human-Centered design-process bestående av de tre faser inspiration, ideation och implementation. I varje fas användes ett antal metoder för att, på ett metodiskt och produktivt vis, utveckla ett koncept som uppfyllde de krav och önskemål som satts av uppdragsgivaren och målgruppen. Här genomfördes bland annat, en mängd intervjuer med både användare och experter, olika workshops för att ta fram och vidareutveckla idéer, insamling av inspiration med hjälp av metoden benchmarking och slutligen prototypande av konceptet. Under intervjuerna med användarna kom en hel del intressanta behov och önskemål fram, till exempel att de tyckte att det måste finnas fler och prisvärda aktiviteter i Piteå och att de inte besöker centrum oftare än 1 gång per vecka i snitt. Arbetet resulterade i slutkonceptet Pitepuls som är en eventhemsida där alla Piteås evenemang är samlade under ett och samma tak. Sidan innehåller event kopplade till kultur, sport, religion, och friluftsaktiviteter och skall vara tillgänglig för både studerande, fastboende och turister. Projektet genererade ett koncept som har potential att lyfta fram Piteå som eventstad och därmed öka dess attraktivitet, både bland unga vuxna men också bland fastboende och turister, samt att det därmed hjälper Framnäs och LTU Piteå att sticka ut bland mängden folkhögskolor och musikhögskolor.

Syftet med den föreliggande studien är att undersöka i vilken grad elever vid det estetiska gymnasieprogrammet med inriktning musik känner inre motivation till att ägna sig åt övning på sitt huvudinstrument. Syftet är också att undersöka om det finns några samband mellan graden av inre motivation och genre, tidigare musikutbildning, och musicerande familjemedlemmar. I områdesorienteringen lyfts litteratur fram som berör övningsbegreppet och motivationsbegreppet, liksom tidigare forskningsstudier på området. Studien är en kvantitativ sådan där data har samlats in med hjälp av en digital enkät. Ett bekvämlighetsurval av respondenter har gjorts, varför ingen bortfallsanalys har kunnat göras. Resultatet visar att respondenterna upplever en generellt hög grad av inre motivation till att ägna sig åt övning, och att det finns ett statistiskt signifikant samband mellan en hög grad av inre motivation till att ägna sig åt övning och hobbymusicerande föräldrar. Inga samband mellan en hög grad av inre motivation till att ägna sig åt övning och genre eller tidigare musikutbildning kunde påvisas. Diskussionen belyser resultatet i relation till relevant tidigare forskning på området. / The purpose of the present study is to examine to what degree high school students studying music experiences intrinsic motivation for practicing their instrument. The purpose is also to find out if there are any connections between intrinsic motivation for practicing and musical genre, previous musical education, or family members engaging in musical activities. Chapter two presents relevant literature on practicing and motivation, as well as previously conducted studies on the subject. The present study is quantitative, and data has been gathered using an online survey. A convenience sample of respondents was used and therefore no dropout analysis could be carried out.   The result shows that the respondents experience a rather high level of intrinsic motivation for practicing their instrument, and that there is a statistically significant connection between a high level of intrinsic motivation for practicing and having parents who take part in musical activities in their spare time. No connections could be found between a high level of intrinsic motivation for practicing and musical genre or previous musical education. Chapter six discusses the result in relation to relevant literature and previously conducted studies on the subject.

Music performance anxiety (MPA) is one of the most frequently reported problems among music students and professional musicians. It can potentially cause severe performance impairment and distress. Possible contributing characteristics are low musical self-efficacy, low self-esteem, inadequate preparation and previous performing experiences. The aim of the theoretical part of this study was to explain the phenomenon of MPA from various perspectives and with all its manifestations; to describe its psychological, social and educational contributing factors and to offer an analysis of coping strategies that could be used in the education system. The aim of the research project was to investigate the relationship between MPA, self-esteem and self-efficacy; to examine possible differences in the levels of MPA, self-efficacy and self-esteem between music students studying in three different higher education institutions, and to determine whether such differences could be attributed to their different educational experiences. Surveyed participants were 53 (quantitative study) and 10 (qualitative study) music students studying in the Manhattan School of Music in New York, the Music Academy in Prague and the Music Academy in Zagreb. Research data were collected using both quantitative (Rosenberg Self-Esteem...