The beat goes on: music education, identity and lifelong learning

Musicians crossing musical instrument gender stereotypes: a study of computer-mediated communication

“…The importance of identity in music has been studied by Hargreaves, Miell, and MacDonald (2002) and others (Lamont 2011;Freer and Bennett 2012). Hargreaves, Miell and MacDonald suggest that musical identities are shaped and reshaped through conversations and interactions with others.…”

Elementary students' definitions and self-perceptions of being a ‘good musician’

“…The literature on motivation suggests that children's musical competence beliefs and musical self-efficacy, as well as to what they attribute musical success or failure, are powerful factors in students' motivation and resultant level of achievement in music (Austin, Renwick, and McPherson 2006;Linnenbrink-Garcia, Maehr, and Pintrich 2011;Maehr, Pintrich, and Linnenbrink 2002;Smith 2011). Just as powerful are the ways in which students do or do not identify themselves as musicians (Lamont 2011), which may be related to the ways in which students conceive of musical ability and what it means to be a good musician. Investigating the intersection of these factors may shed light on the ways in which they influence students' musical development.…”

Habitus and flow in primary school musical practice: relations between family musical cultural capital, optimal experience and music participation

“…There are three possible explanations for this: firstly, because, as highlighted by Lamont (2011), children are initially motivated by extrinsic reasons; secondly, because some children may display especially low levels of intrinsic motivation towards musical practice, owing to negative attitudes or constraints within their family milieu; and lastly, because attaining absorption may ultimately only be dependent on personal willingness to invest in that kind of attention.…”

“…Music pedagogues are beginning to acknowledge that if pupils are to achieve and develop intrinsic motivation and enduring engagement in musical practice, they must have a strong musical selfconcept (Lamont, 2011). However, as is well known, prior formal or informal music education and its corresponding musical background can greatly condition people's experiences in the field of music learning (Moore, 2012) and sociocultural context can easily act as a constraint or enable people's perception of agency while learning music (Wiggins, 2011).…”

“…The notion of 'habitus', so closely linked to attitudes and interests, can be helpful in explaining willingness to practice music and -something more central to our research -how this willingness is related to intrinsic motivation towards musical practice, given that the latter is a key aspect of learning processes (Deci, 1971), and of music learning processes in particular (Bakker, 2005;Lamont, 2011).…”