The Musical Self-Concept of Chinese Music Students

Abstract

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.

Measuring “musical self-concept” throughout the years of adolescence with MUSCI_youth: Validation and adjustment of the Musical Self-Concept Inquiry (MUSCI) by investigating samples of students at secondary education schools.

“…The following reasons may be considered: First, as already mentioned, it is possible that the wording of the items in the factors Technique & Information ( S3 ) and Spirituality ( S6 ) was not understood well or was not specific enough for students. This is in line with Petersen and Camp’s study (2016). They already mentioned for the factor Technique & Information ( F3 ): “It might be that the [Chinese] students did not relate technical music playing devices to their musical activity and therefore gave their interest in these devices a lower rating” (p. 7).…”

Factors and Clusters of Musical Self-Concept Discovered in a Cross-Cultural Sample of Swiss, Chinese, and Taiwanese Students

“…Which clusters or types can be identified and how can they be described in relation to the dimensions of the musical self-concept? Are the clusters similar to those identified in the study by Petersen and Camp (2016)? How do the clusters differ regarding sociodemographic and other personal parameters such as origin, age, course of study, or familial background?…”

Chinese folk music: Study and dissemination through online learning courses

“…The current application of multimedia and computer technologies in music education improves the effect and removes some limitations in traditional music learning. This allows students to study folk music more effectively and appreciate its charm with the help of modern teaching methods (Petersen & Camp, 2016 ; Wang, 2011 ; Xing et al, 2015 ).…”