Adolescent perceptions of singing: exploring gendered differences in musical confidence, identity and ambition

Orton, Alice; Pitts, Stephanie

doi:10.1080/14613808.2018.1507019

Cited by 8 publications

(9 citation statements)

References 37 publications

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“…This may be problematic, as customarily survey design recommends use of Likert-type scales (Likert, 1932) and some negatively worded questions to avoid automatic responses (DeVellis, 2012). Orton and Pitts (2019) surveyed adolescent perceptions of singing by asking English students in school Years 7, 8 and 9 (ages 12-14 years) to rate their enjoyment of various school-based and out-of-school music activities. The study reported a strong impact of motivation, confidence, selfefficacy and autonomy on the enjoyment of singing, with girls reportedly demonstrating more mature and flexible perceptions of singing.…”

Section: Survey Instruments In Music Researchmentioning

confidence: 99%

Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes

2021

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This article describes the design and implementation of a survey instrument specifically developed for 6–17-year-old Australian choral singers to access and measure participants’ perceptions of their self-esteem, self-efficacy, musical identity and social engagement as outcomes of participation in a high-quality choral ensemble. After reviewing existing music surveys and identifying their strengths, complementarities, differences and potential weaknesses, we adapted established surveys from psychology and social science literature to the choral music setting. An initial draft survey was trialled with higher education choristers and refined prior to implementation in six young choirs that were noted for their high-quality performance. Data from 202 surveys were analysed using confirmatory factor analysis and this resulted in a four-factor model. The validated survey was implemented twice over a six-month period with 61 choristers drawn from three choirs. Results showed that social and psychological benefits of choir participation were evidenced, maintained and even improved over time. Findings support the suitability and psychometric soundness of this new survey instrument, and demonstrate the usefulness of adapting psychological/social survey instruments to music research.

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Section: Survey Instruments In Music Researchmentioning

confidence: 99%

Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes

2021

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“…Culturally meaningful experiences have been identified by Hampshire and Matthijsse (2010) as vital for building cultural capital in children. Friendships have been highlighted by (Clift et al, 2016;Fernández-Herranz et al, 2021), and adolescents and children (Parker, 2014;Orton and Pitts, 2019;Zhukov et al, 2021). While much of this research has been conducted via surveys, the findings presented here let us hear children's voices directly.…”

Section: Discussion Of Initial Analysismentioning

confidence: 81%

“…For example, Barrett (2011) described focus on "vocal production, music reading and interpretation, and performance practice" in the training of young cathedral choristers (p. 282). Orton and Pitts (2019) highlighted motivation as a strong influence on choristers' enjoyment of singing. Kirrane et al (2017) showed that effective team-work and leadership are essential elements of success in a professional chamber choir.…”

Section: Discussion Of Initial Analysismentioning

confidence: 99%

“…Children's and young people's perspectives have also informed the growing body of research in choral singing activity. This research has largely focused on health, wellbeing and attitudes toward singing by participants across all ages: children (Welch et al, 2014;Barrett et al, 2020), adolescents (Lucas, 2011;Parker, 2014;Freer, 2016;Orton and Pitts, 2019) and the adult lifespan including young adults (Clift and Hancox, 2010;Clift et al, 2016;Fernández-Herranz et al, 2021). A recent survey developed specifically to access the perceptions of 6-17-year-old choristers who were engaged in high-level choral performance ensembles demonstrated a strong association between choral participation over time and positive improvements in the domains of self-esteem, self-efficacy, identity and social impact (Zhukov et al, 2021).…”

Section: Theoretical Framework and Previous Researchmentioning

confidence: 99%

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“A Common Obsession”: Children’s and Young People’s Perceptions of Learning in an Intensive Summer Choral Program

Barrett

Zhukov

2022

Front. Educ.

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This article reports the findings of an investigation of children’s and young people’s perceptions of learning and life outcomes, environmental supports and teaching and learning strategies encountered in an intensive summer choral program. Whilst the recognition of children’s and young people’s right to voice their perspectives was enshrined in the UN Convention on the rights of the child (1989), the music education profession has taken some time to foreground children’s and young people’s voice as a research focus. Initial investigations of music “student voice” have focused largely on school environments with fewer studies addressing youth music settings. The study addressed this gap through investigating children’s and young people’s perspectives of an intensive summer multi-level choral program (participants aged 11–24 years). Data were generated through semi-structured interviews with 11 choristers during the second and final week of the program. Stage One analysis identified 8 emerging themes and 28 sub-categories describing the experience of choral engagement. This was further refined through a Stage Two analysis against the five themes of a framework for understanding the meaning and value of music participation for children and young people in these settings, comprised of: (1) love of performance; (2) unity of purpose; (3) challenge and professionalism; (4) relationships and community; and (5) individual growth and wellbeing. Participants’ love of choral performance was supported across a virtuous cycle of choral engagement developed through being part of a motived cohort of like-minded “choir nerds” sharing a love of music and unity of purpose. Their appreciation of musical challenge and professionalism was evidenced in descriptions of intensive and demanding rehearsals focused on music detail and refining singing and general music skills. Key to their participation was a sense of being a member of an inclusive community with shared values for high standards of musicianship and performance, and connection with leading conductors and accompanists. Choristers reported individual growth and wellbeing citing increased singing and general music skills, increased confidence and independence, improved motivation, persistence and leadership skills, and, improved social skills including team-work and time-management skills.

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“…Papageorgi et al (2013) likewise established the same distinction between self-efficacy for learning and for performing, noting the latter’s close relation with stage fright (performance anxiety). Various other authors have underscored further aspects of musical competency in their respective scales, for example, Randles (2011), Upitis et al (2017), or Zelenak (2010) delve deeper into the components of self-efficacy or Ekinci (2014), Kurtuldu and Bulut (2017), Orton and Pitts (2019), or Watson (2010) develop specific scales related to musical or instrumental styles.…”

mentioning

confidence: 99%

General Musical Self-Efficacy Scale: Adaptation and validation of a version in Spanish

López

Alzugaray

Cuartero

et al. 2022

Psychology of Music

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This article presents the process of translation into Spanish, adaptation, and validation of the General Musical Self-Efficacy Scale by Ritchie and Williamon. After having carried out reverse translation and a preliminary study, the scale was tested on a sample of 668 students enrolled in six Spanish music academies (secondary school and university level). Our results corroborated the two original subscales: one for self-efficacy for learning (α = .792 and α = .734), and the other for self-efficacy for public performance (α = .773 and α = .780), after having removed one item in each subscale on the basis of internal consistency indicators and factorial analysis. The subscales we thereby obtained likewise presented good temporal stability ( r = .513 and .539); they both correlated with performance anxiety (stage fright); both correlated more highly with the public performance subscale. Validation data signaled higher scores obtained by students enrolled in university-level music academies, by students who had started music training at an earlier age, for the boys at secondary level, and for the younger group of students at secondary level. To summarize, this version of the General Musical Self-Efficacy Scale is a valid, reliable tool for measuring self-efficacy in Spanish music students.

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Adolescent perceptions of singing: exploring gendered differences in musical confidence, identity and ambition

Abstract: This is a repository copy of Adolescent perceptions of singing: exploring gendered differences in musical confidence, identity and ambition.

Cited by 8 publications

References 37 publications

Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes

Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes

“A Common Obsession”: Children’s and Young People’s Perceptions of Learning in an Intensive Summer Choral Program

General Musical Self-Efficacy Scale: Adaptation and validation of a version in Spanish

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