The purpose of this study was to compare the creative musical identities of pre-service music education students in the United States and England. A 20-item survey was created based on previous work in the area of music teacher identity (Isbell, 2008). Survey items related to music making activities typically associated with creativity in music education, including composition, improvisation, popular music, and ‘new music’ ensemble participation, were completed by students (n = 159) from nine different universities in the United States and nine universities in England. Findings suggest that pre-service music education students in the US feel less confident about their abilities to compose music, less comfortable teaching composition, and are less likely to plan on ‘teaching students to compose/improvise their own original music when [they] get a job as a music teacher’ than their English colleagues. Differences in primary and secondary socialization are proposed to account for the differences in survey responses between the two populations. The authors propose that music educators in the US might benefit from consideration of incorporating some practices from the system in England.

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The purpose of this study was to discover relationships in student perceptions of what it means to be a "good musician" across grade level, with regard to gender, and according to different school music affiliations among an intact school culture. The specific problems were to determine (1) what percentage of students choose to participate in school music, (2) if there is a trend in self-reported good musicianship across grade levels, (3) if there is a relationship between gender and music self-efficacy, and (4) which factors defining "good musician" are indicated most frequently across different grade levels. Subjects (N = 1,219) were students grades 4 through 12 at a moderate-size, suburban school district in the midwestern United States. Subjects were administered an online researcher-devised survey protocol inquiring about areas of musicianship. Results indicate that a majority (56%) of students chose not to participate in school music, that student self-perceptions of being a good musician decreased in relationship to grade level, that girls indicated being a good musician significantly more than boys (p < .0001), and that the category "Performs/practices an instrument" was the most cited response for each grade level.

The purpose of this study was to validate a measure of creative identity with a population of pre-service teachers in the USA, to further validate the measure with a Finnish population, and to compare both populations regarding their perceptions of themselves as creative musicians. The researcher developed a tool, the Creative Identity Measure (CIM), based on the work of Isbell (2007) to examine this area. The specific research questions were as follows: 1. What factors can explain creative identity in music? 2. What is the internal consistency within the factors that explain creative identity in music? 3. Do differences exist between the two populations with regard to each sub-scale? Results of factor analysis reveal that the CIM can be meaningfully divided into four sub-scales with a US population (n = 159) and a combined US and Finland population (n = 277). Significant differences were discovered for sub-scales one (Creative Music Making Self-Efficacy), two (Value of Creative Musicianship Areas), and four (Value of Popular-Music Making/Listening in the Classroom), suggesting that the Finnish pre-service music teachers possess a stronger creative identity than their contemporaries from the USA. Significant differences were not found for sub-scale three (Willingness to Allow for Creativity in the Classroom), suggesting that both populations of pre-service music teachers are equally willing to allow time for creativity.