This research adds to the growing body of music self-efficacy literature by profiling changes in instrumental performance self-efficacy perceptions of 157 high school student musicians over the course of a 3-day competitive honor orchestra festival in order to clarify contextual influences upon self-efficacy perceptions within a high-stakes music performance environment. Student participants completed surveys, participated in interviews, and were observed by a team of researchers over the course of the festival. Reported instrumental performance self-efficacy beliefs were profiled over time by characteristics of gender, orchestra placement, and influence of competitive environment versus social support. Repeated measures analysis revealed a significant general increase in students’ instrumental performance self-efficacy beliefs over time, with a delayed increase in self-efficacy beliefs of females placed in the top orchestra. Qualitative data from interviews, observations, and open-ended survey responses were analyzed according to the sources of self-efficacy and in relation to statistical results. Findings suggest a strong influence of enactive mastery experience for all students, and a negative influence of competitive environment upon female self-beliefs. Recommendations include providing positive enactive mastery experiences for all students, and teacher awareness of student differences by gender, competitive placement, and influence of social support.

Music teachers can empower students with control over their own music ability development by helping them foster positive self-efficacy beliefs. This article reviews general education and music research concerning Bandura’s theoretical four sources of self-efficacy (enactive mastery experience, vicarious experience, verbal/social persuasion, and physiological and affective states), in order to guide music teachers in determining effective methods and approaches to help students develop a sense of music self-efficacy and subsequent music achievement. A brief summary of each self-efficacy source category is provided, along with a discussion of the means whereby self-efficacy perceptions can be developed within both general education and music learning environments. Each of these four sections reviews research and simultaneously provides corresponding practical suggestions for educators.

ArticleResearch Studies in Music Education 32(2) 201-213 AbstractAs a part of a larger international mapping exercise to examine students' motivation to study music as compared to other school subjects, this article draws upon data from a sample of 3037 students in the USA to observe perceptions of values, competence and interest in music study (in school versus outside of school) among music learners and non-music learners. Students were grouped into three grade levels: (a) 6, (b) 7-9, and (c) 10-12. Music learners in the USA had significantly higher motivational profiles for music and some other school subjects as compared to non-music learners. Music interest inside of school was ranked significantly lower than for any other subject, while music interest outside of school was ranked second highest for any subject in grades 6 and 7-9, and highest of all subjects in grades 10-12. This article addresses cultural and contextual issues in the USA to consider how music advocates might better demonstrate the importance and usefulness of music study as an academic course. Practical recommendations include encouraging a broader emphasis beyond performance and competition, and promoting opportunities for autonomous music learning within the school setting. and the USA), which examined students' motivation to study music as compared to other school subjects (e.g., art, mother tongue language, physical education (PE), mathematics, science). Readers should refer to the lead article in this series (McPherson & O'Neill, this issue), for a full explanation of the theoretical assumptions underpinning the study, reliability and validity of the questionnaire scales, and description of the methods used to gather and analyse data. Further information 202Research Studies in Music Education 32 (2) on the eight-country analysis can be obtained by contacting the research team leader (McPherson). The studies in this series draw on the expectancy-value theoretical framework (Eccles et al., 1983; Eccles, Wigfield, & Schiefele, 1998) in order to examine the competence beliefs, values and perceptions of task difficulty of 24,143 students across the eight countries. Competence beliefs were defined as expectations for success or the belief about how well each student thought she or he could do in each subject or upcoming task. Subjective task values were conceptualized in terms of four major components: attainment value or importance, intrinsic value or interest, utility value or usefulness, and the cost of participating in the subject.Four key issues in the overall eight-country analysis as reported by McPherson and O'Neill (this issue) were investigated: (a) whether competence beliefs and values declined across all eight countries; (b) whether perceptions of task difficulty increased across school levels; (c) differences in students' rating of competence beliefs, values and task difficulty for music as compared to other school subjects; and (d) differences among boys and girls, and those students who were or were not learning an instrumen...

In this literature review, we examine literature about pedagogical content knowledge (PCK) in relation to in-field and out-of-field teaching experience and pedagogical training in general education subjects, music subjects, and more specifically string music education. Out-of-field teaching has been defined as a lack of fit between teachers' preparation and their teaching assignments (Ingersoll, 1998). Our intention is to highlight the importance of providing non-string specialists who are assigned string classes with the string-specific support they need to help them be successful in their teaching careers. Hamann, Gillespie, and Bergonzi (2002) reported that 74% of the string openings between 1999 and 2001 were filled with teachers whose primary instrument was a string instrument. However, only 50% of the string openings in the 2008-2009 school year were filled by teachers with a string primary (Smith & Alexander, 2010). Smith and Alexander (2010) speculated a rise in the need for additional string educators in the future based on an aging 760970U PDXXX10.