The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.

No abstract

Cultural and societal settings in which an individual is raised, and the role of music and musical training during an individual’s upbringing, shape the relation to music and the conception of the self with regard to music in the present and in the future. Accordingly, differing cultural and musical biographical backgrounds are reflected in differences of musical self-concepts. The aim was to assess distinct musical self-concept types of Chinese, Taiwanese, and Swiss university music students with an adapted version of the Musical Self-Concept Inquiry (MUSCI), and to analyze these types in terms of the manifestation of different dimensions of the musical self-concept as well as sociodemographic and further personal characteristics. 805 university music students took part in the study. The sample included 293 Swiss, 356 Chinese, and 156 Taiwanese students. An adapted version of the Musical Self-Concept Inquiry was administered, and the data subjected to a principal component and a confirmatory factor analysis to determine the factors of the musical self-concept. A cluster analysis was carried out to identify self-concept clusters. H-, U-, Chi2, and two-sample Kolmogorov–Smirnov Z-tests were carried out to assess cluster differences in the factor manifestations, as well as sociodemographic and further personal aspects. The Musical Self-Concept Inquiry-SwisSino could be confirmed with regard to three factors (ability, mood management, dance), while other factors could not be retained. Three significantly distinct clusters were identified, which differed regarding the factor manifestation and the students’ origin, gender, course of study, main instrument, practice hours, and parental educational background and musical activity. However, due to only a few dimensions of the musical self-concept being verified, the broadness of the concept was restricted. Advances in quantitative comparative music studies will thus require further work on conceptional issues as well as the clarification of cultural notions and adequate translations.

No abstract