Developing Growth Mindset in the Ensemble Rehearsal

Adams, Kari

doi:10.1177/0027432119849473

Cited by 6 publications

(5 citation statements)

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“…However, flow and grit were highest in those with the most musical training, offering a tantalizing hint as to the effects of non-cognitive factors and flow experience in motivating musicians to undertake long years of training and practice. As research in the field of implicit theories and specifically on the growth mindset intervention continues to progress (Adams, 2019; Yeager et al, 2019), we will move closer to understanding the relationship between flow and non-cognitive traits such as grit and growth mindset, which could help musicians better position themselves to enter flow and reduce the detrimental effects of performance anxiety.…”

Section: Discussionmentioning

confidence: 99%

What Does it Take to Flow? Investigating Links Between Grit, Growth Mindset, and Flow in Musicians

2021

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While it may seem effortless for great musicians to deliver beautiful works of art, little is known about the hard work behind these performances. Musicians require grit to sustain effort over many years of training but flow can sweeten this experience. Growth mindset, referring to the belief that ability is malleable, is often related to grit and has been theorized to be conducive to flow. Self-identified musicians, between 18 and 57 years of age ( N = 162), participated in an online survey investigating the potential links between grit, growth mindset, and dispositional flow. Correlational analyses revealed that grit was a significant predictor of flow but no correlations between growth mindset and grit or flow were found. Furthermore, a hierarchical regression analysis taking into account participants’ musical training, personality traits, and performance anxiety found that grit did not predict dispositional flow over and above what can be predicted by practice hours and music performance anxiety. Altogether, these findings offer a closer look at the effects of the non-cognitive factors of growth mindset and grit on the experience of flow in music performance.

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Section: Discussionmentioning

confidence: 99%

What Does it Take to Flow? Investigating Links Between Grit, Growth Mindset, and Flow in Musicians

2021

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“…Dabei spielen gerade Lehrpersonen z. B. durch ihre Rückmeldungen im Musikunterricht eine große Rolle für die Ausbildung einer dynamischen Subjektiven Theorie bei Schüler*innen, wobei das Handeln und Denken der Lehrpersonen wiederum von deren eigenen Subjektiven Theorien über Musikalität gelenkt wird(Adams, 2019;O'Neill, 2011). Der in dieser Studie validierte Fragebogen kann auch dazu eingesetzt werden, um dieses Social System des Motivationsmodells besser zu verstehen.…”

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Struktur subjektiver Theorien über Musikalität und Validierung eines Messinstruments

Eisinger

2021

Jahrb. Musik.

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Musiker*innen werden geboren, nicht gemacht. Diese Überzeugung findet sich häufig in der allgemeinen Bevölkerung, bei vielen Musiker*innen und auch Musiklehrpersonen. Im Rahmen dieser Überzeugung wird Musikalität als angeboren und unveränderbar angesehen. Solch eine stabile Subjektive Theorie über Musikalität steht im Gegensatz zu einer dynamischen Subjektiven Theorie über Musikalität, bei der musikalische Fähigkeiten als veränderbar und erlernbar betrachtet werden. Eine dynamische Subjektive Theorie über Musikalität ist jedoch ein entscheidender Faktor dafür, dass Personen ihr musikalisches Potential entfalten können. Um die Subjektiven Theorien über Musikalität empirisch erfassen zu können, war das Ziel der vorliegenden Studie die Struktur der Subjektiven Theorien in der Domäne Musik mithilfe eines englisch- und eines deutschsprachigen Messinstruments zu überprüfen. Dafür wurde ein für den Musikbereich adaptiertes Selbstauskunftsinventar von englischen (n = 595, 71,6 % weiblich, M = 13,49, SD = 1,74) und deutschen (n = 385, 53,2 % weiblich, M = 10,51, SD = 0,71) Schüler*innen ausgefüllt. Die Ergebnisse der Reliabilitätsüberprüfungen und der konfirmatorischen Faktorenanalyse sprechen für ein multidimensionales, hierarchisches Konstrukt, welches zwei Faktoren zweiter Ordnung enthält (Entity und Incremental), und weiter differenziert zwischen der Ursache und der Veränderbarkeit von Musikalität mit vier Faktoren erster Ordnung (Learning vs. Gift und Improvement vs. Stable). Durch das Messinstrument können bei zukünftigen (Langzeit-) Untersuchungen individuelle Unterschiede in der Entwicklung musikalischer Subjektiver Theorien von Schüler*innen aufgedeckt und der Einfluss der Subjektiven Theorien über Musikalität auf die allgemeine musikalische Entwicklung untersucht werden.

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“…The first step towards effectively coping with MPA, in our opinion, would be to reappraise pre-performance anxiety as excitement in music performance. If integrated in music education, young musicians can adopt an opportunity mindset (as opposed to a threat mindset) (Adams, 2019;Tan et al, 2021) to recognize pre-performance arousal as an inherent aspect of music performance, with various benefits. The second step is the regular use of preventive strategies, developing psychological and musical skills.…”

Section: Discussionmentioning

confidence: 99%

Psychological Perspectives on Musical Experiences and Skills

2024

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Psychology of Music is a flourishing area of research in the Western Balkans. However, much of its findings and insights have remained relatively unknown outside the region. Psychological Perspectives on Musical Experiences and Skills features recent research from the Western Balkans, foregrounding its specific topics, methods, and influences, and bringing it into productive conversation with complementary research from Western Europe and further afield. The essays in this collection investigate the psychology of listening and performance and their relevance to music practice. Employing a range of research methodologies, they address divergent themes, from a cross-cultural understanding of aesthetic experiences and innovations to attract new audiences, to developmental perspectives on musical growth and the challenges of mastering performance skills. Authors reflect independently and collaboratively on how these psychological processes are shaped by the different traditions and geopolitical conditions inside and outside the Western Balkans. The result is a volume that emphasizes how musical experiences and practices happen not in isolation but in socio-cultural environments that contribute to their definition. This work will appeal to musicians, music educators, students, researchers, and psychologists with an interest in the psychology of music and exemplify ways forward in decolonizing academia.

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Developing Growth Mindset in the Ensemble Rehearsal

Cited by 6 publications

References 13 publications

What Does it Take to Flow? Investigating Links Between Grit, Growth Mindset, and Flow in Musicians

What Does it Take to Flow? Investigating Links Between Grit, Growth Mindset, and Flow in Musicians

Struktur subjektiver Theorien über Musikalität und Validierung eines Messinstruments

Psychological Perspectives on Musical Experiences and Skills

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