The relations among musical instrument performance self-efficacy, self-esteem and music performance anxiety in pre-service music teachers

Girgin, Demet

doi:10.5897/err2017.3251

Cited by 9 publications

(3 citation statements)

References 15 publications

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“…Denial of the importance of central elements to the achievement of an outcome is not an adaptive response to one’s deficits and will ultimately generate significant MPA in young musicians. There has been increasing interest in self-efficacy research in music performance which promises to be a fruitful direction for future research ( Egilmez, 2015 ; Demet, 2017 ; Dobos and Piko, 2017 ; Orejudo et al, 2017 ; González et al, 2018 ; Zarza-Alzugaray et al, 2020 ).…”

Section: Low Self-esteem “False Self” and Pathological Accommodationmentioning

confidence: 99%

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

Kenny

2023

Front. Psychol.

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I commenced my academic exploration of music performance anxiety in a study with opera chorus artists from Opera Australia in 2004. I subsequently postulated a new theory of the aetiology of music performance anxiety and began the development of the Kenny Music Performance Anxiety Inventory (K-MPAI) to assess the hypothesized theoretical constructs underpinning its diverse clinical presentations. I proposed a new definition of music performance anxiety in 2009 and revised the item content of the K-MPAI from 26 to 40 in 2011. Over the ensuing years, many researchers have used the K-MPAI in studies on a wide variety of musicians, including vocalists and instrumentalists, popular and classical musicians, tertiary music students, and professional, solo, orchestral, ensemble, band, and community musicians. To date, the K-MPAI has been reported in more than 400 studies and has been translated into 22 languages. It has been the subject of more than 39 dissertations. In this paper, I examine the research that has used the K-MPAI to assess the theory and to ascertain how well the assessment tool, and its cross-cultural validation have provided evidence for its factorial structure, robustness, and utility. The evidence indicates that the factorial structure remains consistent across cultures and different populations of musicians. It has good discriminative ability and utility for diagnostic purposes. I conclude with some reflections on how the K-MPAI can guide therapeutic interventions and with some thoughts on future directions.

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Section: Low Self-esteem “False Self” and Pathological Accommodationmentioning

confidence: 99%

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

Kenny

2023

Front. Psychol.

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“…However, a study that was based on pre-service music teaching students in universities in Turkey indicated that an inverse relation existed between the participants’ musical instrument performance self-efficacy and self-esteem (Girgin, 2017). Girgin raises a possible explanation for these findings, negating the usually indicated positive relations, stating they may be due to the cultural gap between the study participants and those on which the existing literature is based.…”

Section: Self-esteem Grit and Msementioning

confidence: 99%

Music self-efficacy predicted by self-esteem, grit, and (in)formal learning preferences among amateur musicians who use online music tutorials

Harpaz

Vaizman

2022

Psychology of Music

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The present study explores the relationship between music self-efficacy (MSE) and self-esteem, grit, and learning and playing habits of amateur musicians who use online music tutorials (OMTs) while learning to play new pieces. Amateur musicians ( N = 409) from 30 countries answered research questionnaires, including preferences of autonomy OMTs (foster independent learners and incorporate knowledge) versus dependent OMTs (based mainly on imitation and provide little further knowledge). Ordinary least squares regression indicated that the independent variables accounted for 50% of the variance in the dependent variable (MSE) and that the model was significant. The results indicated that self-esteem, grit, preferences of autonomy OMTs, playing with others and weekly hours of playing were positive predictors of MSE. In addition, dependent OMTs were negatively correlated with MSE. The findings highlight the need to examine any possible causality in the relationship between learning and playing habits, and MSE of amateur musicians. In addition, data were collected in the midst of the Covid-19 worldwide impact and should be further explored post-Covid-19.

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“…Another study emphasized the importance of family support directly and through musical performance anxiety for self-efficacy in performing in front of an audience, while finding that public performances led to a higher degree of musical self-efficacy in girls only (Zarza-Alzugaray et al, 2020). Girgin (2017) also stated that there is a low-level significant relationship in the opposite direction between the self-efficacy of playing an instrument and the level of self-esteem; determined that there is a moderately significant positive correlation between instrument playing self-efficacy and music performance anxiety levels.…”

mentioning

confidence: 99%

Translation and validation of music performance self-efficacy scale into Turkish

Börekci

Dalkıran

Nacakcı

2023

International Journal of Music Education

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The Music Performance Self-Efficacy Scale (MPSES) is an important scale designed to reflect the four sources of self-efficacy of Bandura by Zelenak, and has been used in many studies of music education in the international literature in recent years. This study was carried out to ensure the validity and reliability of the Turkish translation of the MPSES. Participants ( N = 613) were students (men n = 291; women n = 322) in undergraduate-level music education programs in Turkey. The translation process included the following steps, which were performed by a translation group: (1) translation into Turkish, (2) back translation into English, and (3) cross-cultural adaptation. First and second-level confirmatory factor analysis results showed good model-data fit (for one main dimension and four sub-dimensions). Therefore, the Turkish version of MPSES produced satisfactory internal consistency coefficients (α = .75–.91). Additionally, t-test results and item-total score correlation coefficients also revealed that the items re distinctive. Accordingly, The Turkish version of MPSES is a valid and reliable tool for determining the sources of music performance self-efficacy for those who will do research in Turkish.

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The relations among musical instrument performance self-efficacy, self-esteem and music performance anxiety in pre-service music teachers

Cited by 9 publications

References 15 publications

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

Music self-efficacy predicted by self-esteem, grit, and (in)formal learning preferences among amateur musicians who use online music tutorials

Translation and validation of music performance self-efficacy scale into Turkish

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