Abstract Evaluative performances, such as festivals and conservatory examinations, frequently play a large role in formal piano study. Many teachers and parents assume that requiring students to participate in these evaluations will result in several benefits, including increased discipline and motivation, exposure to a balanced and rigorous music curriculum, and access to helpful feedback from expert adjudicators and examiners. However, not all students experience positive outcomes as a result of their participation in evaluative performances. Using a multi-method approach that incorporates grounded theory and narrative inquiry, this research provides insight into how beginning and intermediate piano students experience participating in festivals and examinations and what factors contribute to the quality of students’ experiences. Positive experiences with evaluative performances are characterized by positive emotional outcomes, meaningful music learning, and the development of a strong musical identity. The theoretical model developed through this research presents several important contributors to students’ positive experiences with evaluative performances, including students’ understandings, values, and goals related to music learning, and their abilities and inclinations as performers. The entire learning process must take place within a supportive relational context. When students have positive experiences with evaluative performances, their self-efficacy is heightened. They also experience self-determination regarding their music studies and their involvement in evaluative performances. The self-efficacy and self-determination that follow students’ success and positive experiences motivate further involvement in music study.

Abstract Evaluative performances, such as festivals and conservatory examinations, frequently play a large role in formal piano study. Many teachers and parents assume that requiring students to participate in these evaluations will result in several benefits, including increased discipline and motivation, exposure to a balanced and rigorous music curriculum, and access to helpful feedback from expert adjudicators and examiners. However, not all students experience positive outcomes as a result of their participation in evaluative performances. Using a multi-method approach that incorporates grounded theory and narrative inquiry, this research provides insight into how beginning and intermediate piano students experience participating in festivals and examinations and what factors contribute to the quality of students’ experiences. Positive experiences with evaluative performances are characterized by positive emotional outcomes, meaningful music learning, and the development of a strong musical identity. The theoretical model developed through this research presents several important contributors to students’ positive experiences with evaluative performances, including students’ understandings, values, and goals related to music learning, and their abilities and inclinations as performers. The entire learning process must take place within a supportive relational context. When students have positive experiences with evaluative performances, their self-efficacy is heightened. They also experience self-determination regarding their music studies and their involvement in evaluative performances. The self-efficacy and self-determination that follow students’ success and positive experiences motivate further involvement in music study.