While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.

The purpose of the study is to gain an overview of the prevailing vocal register vocabulary in Sweden today and to examine how the existing pluralism has a positive or negative impact. There is currently a diverse narrative surrounding vocabulary, and new vocal discourse trends have influenced the conversation about vocal register terminology.The vocabulary taught in higher music education will shape future narratives, prompting the question of whether voice instructors at academies of music believe that the wide range of vocabulary can influence vocal instruction and which discourses these instructors consider relevant.