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Specialist Young Musicians' Role Models: Whom Do They Admire and Why?

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Title: Specialist Young Musicians' Role Models: Whom Do They Admire and Why?
Language: English
Authors: Ivaldi, Antonia
Source: Music Education Research. 2013 15(2):180-195.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 325 Chestnut Street Suite 800, Philadelphia, PA 19106. Tel: 800-354-1420; Fax: 215-625-2940; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 16
Publication Date: 2013
Document Type: Journal Articles
Reports - Research
Tests/Questionnaires
Education Level: Secondary Education
Descriptors: Musicians, Role Models, Adolescents, Questionnaires, Values, Occupational Aspiration, Foreign Countries, Ability, Musical Instruments, Special Schools, Beliefs, Student Attitudes, Music Education
Geographic Terms: United Kingdom
DOI: 10.1080/14613808.2012.742049
ISSN: 1461-3808
Abstract: Previous research into adolescents' musical role models has shown that young people are more likely to identify a celebrity figure due to their image and perceived fame, than because of their musical ability. The current research is a development of Ivaldi and O'Neill's (Adolescents' musical role models: Whom do they admire and why?) study by exploring the role models of young dedicated musicians to see who they admire and why. One hundred and seventeen adolescents, aged 13-19, took part in a questionnaire study, drawn from both conservatoire ("n"=60) and county service ("n"=57) environments. Both famous and non-famous figures were identified, with the reasons relating to image, higher achievement and dedication. Adolescents' beliefs and values for music were also explored in relation to their attainability and aspiration beliefs for becoming like their role model. The differences between the two studies are discussed in general, and the current picture of adolescents' musical role models is presented. (Contains 10 tables.)
Abstractor: As Provided
Number of References: 18
Entry Date: 2014
Accession Number: EJ1012331
Database: ERIC
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  Value: <anid>AN0088070817;54y01jun.13;2019Feb13.17:24;v2.2.500</anid> <title id="AN0088070817-1">Specialist young musicians' role models: whom do they admire and why? </title> <p>Previous research into adolescents' musical role models has shown that young people are more likely to identify a celebrity figure due to their image and perceived fame, than because of their musical ability. The current research is a development of Ivaldi and O'Neill's (Adolescents' musical role models: Whom do they admire and why?) study by exploring the role models of young dedicated musicians to see who they admire and why. One hundred and seventeen adolescents, aged 13–19, took part in a questionnaire study, drawn from both conservatoire (n=60) and county service (n=57) environments. Both famous and non-famous figures were identified, with the reasons relating to image, higher achievement and dedication. Adolescents' beliefs and values for music were also explored in relation to their attainability and aspiration beliefs for becoming like their role model. The differences between the two studies are discussed in general, and the current picture of adolescents' musical role models is presented.</p> <p>Keywords: role models; young musicians; ability; famous and non-famous figures; attainability; aspirations</p> <p>This study is a development of previous work on adolescents' musical role models that looks at the role models of highly engaged and committed musical adolescents. To date, with some exceptions (which are discussed later), there is little research that focuses on role models specifically within the music domain. Most of the research that has been conducted has focused on a variety of areas such as sports, film and television (see, e.g., Bromnick and Swallow [<reflink idref="bib1" id="ref1">1</reflink>]; Duck [<reflink idref="bib3" id="ref2">3</reflink>]); this research has identified that young people are more likely to identify celebrities as their role models, rather than non-famous individuals. The current study is a development of the author's previous work (Ivaldi and O'Neill [<reflink idref="bib8" id="ref3">8</reflink>], [<reflink idref="bib10" id="ref4">10</reflink>]). But, whereas in that earlier work we focused on a sample of typical adolescents, here a sample of specialist young musicians is used in order to be able to make some general comparisons. The term specialist is used as it reflects those that are highly engaged with music at a junior conservatoire and county level. In the earlier studies, the 381 adolescents were between the ages of 13 and 15 and came from the North West of England. They participated in the research during their music lesson at school, and generally had a low level of engagement with music. This study adopts the same definition of a role model used in Ivaldi and O'Neill ([<reflink idref="bib8" id="ref5">8</reflink>]), based on Pleiss and Feldhusen's ([<reflink idref="bib17" id="ref6">17</reflink>]) and Gauntlett's ([<reflink idref="bib11" id="ref7">11</reflink>]) notion that a role model is someone that a person admires, without necessarily holding expectations and/or aspirations to become like him or her.</p> <hd id="AN0088070817-2">What do we know about adolescents' musical role models?</hd> <p>In line with Duck ([<reflink idref="bib3" id="ref8">3</reflink>]) and Bromnick and Swallow's ([<reflink idref="bib1" id="ref9">1</reflink>]) studies, Ivaldi and O'Neill's ([<reflink idref="bib8" id="ref10">8</reflink>]) study of musical role models found that 92% of adolescents aged 13–14 identified a famous figure, with 70% of these musicians being singers. Thus, the musical role model identified does not necessarily have to play an instrument, but can also include pop singers and songwriters/composers. In addition to the dominance of famous figures being identified, there have also been patterns found in the sex of the role model, with older and more recent research suggesting that both boys and girls admire male famous figures than female figures (see Ivaldi and O'Neill [<reflink idref="bib8" id="ref11">8</reflink>]; Bromnick and Swallow [<reflink idref="bib1" id="ref12">1</reflink>]). Raviv et al. ([<reflink idref="bib18" id="ref13">18</reflink>]) explored the idolisation of pop singers with a sample of 280 teenagers, and found that girls identified more notably with the features of the pop singer (e.g. voice, stage presentation, overall appearance and style of dress) than boys.</p> <hd id="AN0088070817-3">Adolescents admire their musician due to their perceived image, dedication and ability</hd> <p>In Ivaldi and O'Neill's ([<reflink idref="bib8" id="ref14">8</reflink>]) study, adolescents were asked to identify a musical role model and then rate, using a Likert scale, 14 reasons for why they admired them. A factor analysis was conducted that yielded three factors as to why the adolescents admired their role model. The first factor was <emph>dedication</emph> (with reasons including working hard, being committed and determined), <emph>popular image</emph> (e.g. being good looking, popular) and <emph>ability</emph> (e.g. being good on more than one instrument, overcoming physical difficulties). However, focus group data that analysed discussions surrounding these reasons suggested that the findings were not so clear; image was found to have a much greater presence in the adolescents' discourse, and that the role models were far less likely to be identified as a result of their ability. These findings are discussed in full in Ivaldi and O'Neill's ([<reflink idref="bib8" id="ref15">8</reflink>]) study.</p> <hd id="AN0088070817-4">Those who play instruments have higher attainability and aspiration beliefs to become like th...</hd> <p>Further measures that were explored in the original 2008 data-set were adolescents' attainability and aspiration beliefs to become like their role model. Similarly to the reasons for admiring, adolescents were first asked how much they thought they could become as successful, talented, popular, etc. as their role model and how much they wanted to become as successful, talented, popular, etc. as their role model. The items yielded two separate factors, with loadings of <emph>attainability</emph> and <emph>aspirations</emph>, respectively. These results are discussed further in the study of Ivaldi and O'Neill ([<reflink idref="bib10" id="ref16">10</reflink>]) within the framework of social and upward comparison employed by Lockwood and Kunda ([<reflink idref="bib12" id="ref17">12</reflink>], [<reflink idref="bib13" id="ref18">13</reflink>]) as a context for understanding role models. They argue that role models can be equally self-enhancing and demoralising, and that it is the individual's perceived relevance and attainability of their role model that will help determine the extent in which their admired figure has a positive or negative influence.</p> <p>Finally, in conjunction with these measures, adolescents' competence beliefs and values for music were explored using the framework of expectancy-value theory (see, further, Eccles, O'Neill, and Wigfield [<reflink idref="bib5" id="ref19">5</reflink>]). Two components of the model are used here: <emph>expectancies for success</emph> are defined by an individual's confidence in their ability to succeed at a given task, which can have a significant role in predicting achievement in their chosen pathway or career (Eccles et al. [<reflink idref="bib6" id="ref20">6</reflink>]) and <emph>subjective task values</emph>, which relate to the extent in which a task satisfies the need of the individual through the importance of the task, intrinsic value and the usefulness of the task (see, further, Eccles et al. [<reflink idref="bib4" id="ref21">4</reflink>]).</p> <p>In the original study, adolescents answered questions that related to their expectancies for success and subjective task values by rating how good they thought they were at music (e.g. how good they were at playing a musical instrument, how good they thought they were at music compared to other activities they did), and how much they valued music (e.g. how much they liked playing a musical instrument and the extent to which they found it useful and important). Factor analysis was conducted on these items and yielded two factors – that of <emph>competence beliefs</emph> and <emph>values.</emph> These factors were then used to examine whether adolescents' competence beliefs and values influenced their attainability and aspiration beliefs for becoming like their role model. Findings suggest that, firstly, adolescents that played musical instruments had higher competence beliefs and values for music than those who did not play instruments and, secondly, those who played instruments were more likely to believe that they could become like their role model and wanted to become like their role model than those who did not (for further discussion of these findings see Ivaldi and O'Neill [<reflink idref="bib10" id="ref22">10</reflink>]).</p> <hd id="AN0088070817-5">Who might specialist adolescents admire as their musical role models and why?</hd> <p>Building on Ivaldi and O'Neill ([<reflink idref="bib8" id="ref23">8</reflink>], [<reflink idref="bib10" id="ref24">10</reflink>]), this study aims to examine the musical role models identified by specialist young musicians who are engaged in a high level of musical activity. Specifically, using two groups of musicians – junior conservatoire students and county level students – this study adopts the same questionnaire used in Ivaldi and O'Neill ([<reflink idref="bib8" id="ref25">8</reflink>]) and examines: (<reflink idref="bib1" id="ref26">1</reflink>) who specialist adolescents admire, (<reflink idref="bib2" id="ref27">2</reflink>) the reasons for admiring their role models, (<reflink idref="bib3" id="ref28">3</reflink>) specialist adolescents' attainability and aspiration beliefs for becoming like their role model and (<reflink idref="bib4" id="ref29">4</reflink>) the role that their competence beliefs and values play in their attainability and aspiration beliefs.</p> <hd id="AN0088070817-6">Method</hd> <p></p> <hd id="AN0088070817-7">Participants</hd> <p>One hundred and seventeen young musicians were recruited from a junior department of a conservatoire (<emph>n=</emph>60) and two music services (hereon in 'county level' pupils; <emph>n=</emph>57). All were from the same geographical area. These two groups were selected for comparison as they shared important similarities and differences. Both groups contained students who were deemed committed to music as they studied and participated in music, to a high level, outside of the school curriculum. However, the conservatoire students were required to demonstrate a higher level of musicianship, assessed through audition, in order to be accepted into the junior conservatoire. In addition, they received more tuition on their instruments, and attended compulsory lessons in theory, harmony, aural training and composition. For full details of the sample see Ivaldi ([<reflink idref="bib7" id="ref30">7</reflink>]). Both the conservatoire and county level students were recruited in two age groups, 13–15 and 17–19 years of age, in order to draw on a variety of potential musical experiences that might occur at the two educational levels (GCSE and A'level) that the students were currently at (junior conservatoire: 13–15=32, 17–19=28; county level: 13–15=38, 17–19=19).</p> <hd id="AN0088070817-8">Materials</hd> <p>Data were obtained using the questionnaire employed in Ivaldi and O'Neill ([<reflink idref="bib8" id="ref31">8</reflink>]), and reported in full in Ivaldi ([<reflink idref="bib7" id="ref32">7</reflink>]). The questionnaire consisted of five main sections: (<reflink idref="bib1" id="ref33">1</reflink>) information regarding their first instrument learnt and the current instrument being studied; (<reflink idref="bib2" id="ref34">2</reflink>) the various musical activities they were involved in; (<reflink idref="bib3" id="ref35">3</reflink>) their competence beliefs and values relating to these activities (adapted from Eccles, O'Neill, and Wigfield [<reflink idref="bib5" id="ref36">5</reflink>], O'Neill [<reflink idref="bib15" id="ref37">15</reflink>]); (<reflink idref="bib4" id="ref38">4</reflink>) role models; and (<reflink idref="bib5" id="ref39">5</reflink>) the factors they perceived to have been the most important in their musical development so far, and their aspirations for the future. It is sections 3 and 4 that are reported here and where comparisons with the original sample will be made. (For information on the activities they were involved in, and the factors they perceived to have been important in their development, see Ivaldi [<reflink idref="bib7" id="ref40">7</reflink>]).</p> <p>Respondents were first asked to provide demographic information about their age and sex. In section 3, competence beliefs and values were measured in exactly the same way by asking participants how good they thought they were at playing an instrument, and how useful, important and enjoyable playing an instrument was.</p> <p>In section 4, respondents were then asked to think of a musician they admired (which could be anyone from a celebrity, friend, family member or teacher), or to think of someone most teenagers their age admired if they could not think of someone for themselves. If the role model was famous they were asked to say if he or she was a singer and/or instrumental player and/or songwriter/composer. They were given 14 reasons for admiring this musician and asked to rate them using a Likert scale ranging from 1 (<emph>not at all</emph>) to 7 (<emph>a lot</emph>). Questions included because they were talented, worked hard, committed and determined, good looking, an inspiration and popular. Respondents were also asked how much they thought they could become as talented, committed and determined, popular etc., and how much they wanted to become as talented, committed and determined, popular, etc.</p> <hd id="AN0088070817-9">Procedure</hd> <p>The questionnaire took approximately 45 minutes to complete, and was administered when the respondents were attending the conservatoire or music service. The research was conducted in accordance with the British Psychological Society's Ethical Code. Consent was obtained before the administration of the questionnaire, including from the parents of those in the 13- to 15-year-old age group. Respondents were informed of their right to withdraw at any time, and were assured that their responses would remain anonymous.</p> <hd id="AN0088070817-10">Results</hd> <p></p> <hd id="AN0088070817-11">What types of musical role models do young musicians admire?</hd> <p>A total of 111 of the respondents could identify someone that they admired; only two answered for other teenagers, whilst four did not answer. The frequencies of responses were examined for the question 'who is the musician that you admire the most?' Only 54.7% of respondents identified famous role models compared to 45.3% who admired non-famous musicians, which were made up of family members, friends and teachers. The percentages suggest that the conservatoire students were more likely to identify a non-famous figure than the county level students. In cases where the young musicians had identified someone famous, this was mostly likely to be an instrumental player, rather than a singer or songwriter/composer. The second, most frequent, 'type' of role model admired after someone famous was that of teacher (24.5%). Frequencies are reported in Table 1.</p> <p>Table 1. Types of musician admired by conservatoire and county level students.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Conservatoire</td><td>County level</td><td>Total</td></tr><tr><td>Who is this musician?</td><td><italic>N</italic></td><td>%</td><td><italic>N</italic></td><td>%</td><td><italic>N</italic></td><td>%</td></tr></thead><tbody><tr><td>A teacher</td><td char=".">14</td><td char=".">13.2</td><td char=".">12</td><td char=".">11.3</td><td char=".">26</td><td char=".">24.5</td></tr><tr><td>A friend</td><td char=".">9</td><td char=".">8.5</td><td char=".">4</td><td char=".">3.8</td><td char=".">13</td><td char=".">12.3</td></tr><tr><td>A family member</td><td char=".">5</td><td char=".">4.7</td><td char=".">4</td><td char=".">3.8</td><td char=".">9</td><td char=".">8.5</td></tr><tr><td>Someone famous</td><td char=".">26</td><td char=".">24.5</td><td char=".">32</td><td char=".">30.2</td><td char=".">58</td><td char=".">54.7</td></tr></tbody></table> </ephtml> </p> <p>Out of the 54.7% of young musicians that admired famous musicians, further analyses were conducted to see what type of famous musician they were. Descriptive statistics and chi-square results are presented in Table 2.</p> <p>Table 2. Number (and percentage) of famous singers, instrumentalists, and songwriters/composers admired by conservatoire and county musicians, with chi-square result.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Conservatoire</td><td /><td>County level</td><td /><td /><td /></tr><tr><td /><td><italic>N</italic></td><td>%</td><td><italic>N</italic></td><td>%</td><td>χ<sup>2</sup></td><td><italic>df</italic></td><td><italic>p</italic></td></tr></thead><tbody><tr><td>Is this person a famous</td></tr><tr><td> Singer</td><td char=".">6</td><td char=".">10.5</td><td char=".">18</td><td char=".">31.6</td><td char=".">36.17</td><td char=".">1</td><td char=".">0.000</td></tr><tr><td> Instrumentalist</td><td char=".">33</td><td char=".">45.2</td><td char=".">34</td><td char=".">46.6</td><td char="." /><td char="." /><td char=".">0.027*</td></tr><tr><td> Composer/songwriter</td><td char=".">12</td><td char=".">22.2</td><td char=".">16</td><td char=".">29.6</td><td char=".">21.11</td><td char=".">1</td><td char=".">0.000</td></tr><tr><td><italic>*</italic>Fisher's Exact.</td></tr><tr><td>NB: the admired musician could be more than one type (i.e. singer and instrumentalist).</td></tr></tbody></table> </ephtml> </p> <p>A significant association was found for the types of famous musician and musical group, with the frequencies suggesting that county level students were more likely to identify a famous singer, instrumentalist and composer/songwriter than the conservatoire students. The biggest difference found was for famous singers.</p> <hd id="AN0088070817-12">Whom exactly do young musicians admire?</hd> <p>For the famous musicians there was a large variety of role models identified with there being little duplication amongst respondents, these are categorised in Table 3.</p> <p>Table 3. Categories of famous role models identified.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Conservatoire <italic>N</italic>=31</td><td>County <italic>N</italic>=32</td><td>Example</td></tr></thead><tbody><tr><td>Classical instrumentalist</td><td char=".">18</td><td char=".">7</td><td>Yo-Yo Ma, Yehudi Menuhin, Alison Balson, Martin Roscoe, Martha Argerich, Rostropovich, Lang Lang, Alicia de Larrocha, Michael Collins, Wynton Marsalis, Jacqueline du Pré.</td></tr><tr><td>Classical composer</td><td char=".">3</td><td char=".">2</td><td>J.S. Bach, Vaughan Williams, Beethoven, Schubert.</td></tr><tr><td>Composer/songwriter (other)</td><td char=".">3</td><td char=".">1</td><td>Andrew Lloyd Webber, John Williams, Yann Tiersen.</td></tr><tr><td>Jazz musician</td><td char=".">2</td><td char=".">4</td><td>Maynard Ferguson, Charlie Parker, Louis Armstrong, Duke Ellington, Herbie Hancock.</td></tr><tr><td>Pop/rock singer</td><td char=".">4</td><td char=".">17</td><td>Madonna, Travis Barker, Bob Geldoff, Avril Lavigne, Elvis Presley, Leona Lewis, Slash.</td></tr><tr><td>Rap</td><td char=".">1</td><td char=".">1</td><td>Snoop Dogg, Mike Jones.</td></tr></tbody></table> </ephtml> </p> <hd id="AN0088070817-13">Do young musicians admire male role models more than female role models?</hd> <p>Although no strong (significant) association was found between the sex of the respondents and the sex of the role model identified [χ<sups>2</sups> (<reflink idref="bib1" id="ref41">1</reflink>, _I_N_i_=106)=3.58, <emph>p</emph>=0.58], the frequencies suggest that male respondents (49.1%) and female respondents (50.9%) identified male role models more than female role models (74.5% and 25.5%, respectively).</p> <hd id="AN0088070817-14">Why do young musicians admire musical role models?</hd> <p>Similarly to the original study, the factor analysis generated three-factor loadings for the reasons why the young musicians admired their role model. The first factor's items suggest <emph>image</emph>, as the items related to being good looking, cool/trendy and popular. The second factor's items suggest <emph>higher achievement</emph>, as the items related to achieving more perhaps to that of others. The third factor's items suggest <emph>dedication</emph>, as the items related to working hard and being a good example. Items and factor loadings are reported in Table 4.</p> <p>Table 4. Summary of items and factor loadings for varimax orthogonal three-factor solution, after rotation, for the adolescents' reasons for admiring their role model.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Item</td><td>Factor 1</td><td>Factor 2</td><td>Factor 3</td></tr></thead><tbody><tr><td><italic>I/teenagers admire this musician because he or she was/is ...</italic></td></tr><tr><td>Good looking</td><td char=".">0.80</td><td char="." /><td char="." /></tr><tr><td>Cool/trendy</td><td char=".">0.85</td><td char="." /><td char="." /></tr><tr><td>Popular</td><td char=".">0.84</td><td char="." /><td char="." /></tr><tr><td>Ambitious</td><td char="." /><td char=".">0.45</td><td char="." /></tr><tr><td>Able to overcome personal difficulties</td><td char="." /><td char=".">0.82</td><td char="." /></tr><tr><td>Able to overcome physical difficulties</td><td char="." /><td char=".">0.73</td><td char="." /></tr><tr><td>Good for his/her age</td><td char="." /><td char=".">0.54</td><td char="." /></tr><tr><td>Good on more than one instrument</td><td char="." /><td char=".">0.72</td><td char="." /></tr><tr><td>A good player/singer or composer/songwriter</td><td char="." /><td char="." /><td char=".">0.74</td></tr><tr><td>Committed/determined</td><td char="." /><td char="." /><td char=".">0.82</td></tr><tr><td>Hard working</td><td char="." /><td char="." /><td char=".">0.57</td></tr><tr><td>A good example</td><td char="." /><td char="." /><td char=".">0.67</td></tr><tr><td>An inspiration</td><td char="." /><td char="." /><td char=".">0.56</td></tr><tr><td>Eigenvalue</td><td char=".">2.65</td><td char=".">2.62</td><td char=".">2.49</td></tr><tr><td>Percentage of variance</td><td char=".">18.96</td><td char=".">18.69</td><td char=".">17.76</td></tr><tr><td>Cronbach's alpha</td><td char=".">0.84</td><td char=".">0.79</td><td char=".">0.70</td></tr></tbody></table> </ephtml> </p> <hd id="AN0088070817-15">Do conservatoire and county level musicians' competence beliefs and values differ for music?</hd> <p>In order to explore the young adolescents' attainability and aspiration beliefs to become like their role model, the respondents' beliefs and values for music first need to be explored. Following Eccles et al.'s ([<reflink idref="bib4" id="ref42">4</reflink>]) study, a factor analysis was conducted on the beliefs and values items to confirm whether or not the same two factors of competence beliefs and subjective values emerged, as has been found in previous literature. For this analysis, two beliefs items were removed: 'if you were to list all the people in your music class from the worst to the best at playing an instrument, where would you put yourself?' and 'how good do you think most teenagers your age are at playing a musical instrument'. The former was removed due to the fact that most of the students participated in a school music class and a conservatoire/county music class, therefore, leading to ambiguity in which class to consider in their answer to the question. The latter item was removed due to it correlating very weakly with the other variables and had a loading of less than 0.4 in the factor analysis, which is considered to be very weak (see, further, Costello and Osborne [<reflink idref="bib2" id="ref43">2</reflink>]). There was one value item that was removed 'for me being given the chance to play an instrument is not at all important/very important' due to it be heavily skewed and kurtosed. Items and factor loadings are reported in Table 5.</p> <p>Table 5. Summary of items and factor loadings for varimax orthogonal three-factor solution, after rotation, for the adolescents' musical beliefs and values.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Item</td><td>Factor 1</td><td>Factor 2</td><td>Factor 3</td></tr></thead><tbody><tr><td>In general, how much do you like playing a musical instrument?</td><td char=".">0.91</td><td char="." /><td char="." /></tr><tr><td>In general, I find playing a musical instrument very boring/very interesting.</td><td char=".">0.88</td><td char="." /><td char="." /></tr><tr><td>In general, I think playing an instrument is not much fun/a lot of fun.</td><td char=".">0.84</td><td char="." /><td char="." /></tr><tr><td>For me, being good at playing an instrument is not at all important/very important.</td><td char=".">0.59</td><td char="." /><td char="." /></tr><tr><td>Compared to other activities I do, playing an instrument is not at all important/very important.</td><td char=".">0.62</td><td char="." /><td char="." /></tr><tr><td>How good do you think you would be in a job playing a musical instrument?</td><td char="." /><td char=".">0.70</td><td char="." /></tr><tr><td>For me, putting a lot of effort into playing an instrument is not at all important/very important.</td><td char="." /><td char=".">0.63</td><td char="." /></tr><tr><td>In general, how useful is being able to play a musical instrument?</td><td char="." /><td char=".">0.81</td><td char="." /></tr><tr><td>When I am older, being able to play an instrument would be not at all useful/very useful.</td><td char="." /><td char=".">0.88</td><td char="." /></tr><tr><td>How good are you at playing a musical instrument?</td><td char="." /><td char="." /><td char=".">0.85</td></tr><tr><td>How good would you be at learning a new musical instrument?</td><td char="." /><td char="." /><td char=".">0.72</td></tr><tr><td>Compared to other activities you do, how good do you think you would be at playing an instrument?</td><td char="." /><td char="." /><td char=".">0.71</td></tr><tr><td>Eigenvalue</td><td char=".">3.55</td><td char=".">2.92</td><td char=".">2.13</td></tr><tr><td>Percentage of variance</td><td char=".">29.56</td><td char=".">24.36</td><td char=".">17.75</td></tr><tr><td>Cronbach's alpha</td><td char=".">0.89</td><td char=".">0.84</td><td char=".">0.72</td></tr></tbody></table> </ephtml> </p> <p>Unlike the original research, the factor analysis generated three-factor loadings rather than two (previously competence beliefs and values). The difference with these data was that the value items loaded onto two factors. The first factor's items suggest <emph>intrinsic value</emph>, as the items related to interest, liking and fun. The second factor's items suggest more <emph>extrinsic value</emph>, as the items related to the perceived usefulness of playing. In Ivaldi and O'Neill's ([<reflink idref="bib10" id="ref44">10</reflink>]) study, these two factors formed the one factor of subjective values. The third factor, <emph>competence</emph>, related to items that measure perceived ability at playing an instrument. Three composite scores were created for each of the three factors and used in the following analyses.</p> <p>In order to explore the extent to which the conservatoire and county level students' beliefs and values for music differed, a 2×2 multivariate analysis of variance (MANOVA) was conducted on the dependent measures of intrinsic value, extrinsic value and competence beliefs. The independent measures were the conservatoire and county level students, and the 13- to 15-year-old and 17- to 19-year-old age groups.</p> <p>Significant effects were found for the conservatoire and county level students for intrinsic value [<emph>F</emph>(<reflink idref="bib1" id="ref45">1</reflink>,<reflink idref="bib116" id="ref46">116</reflink>)=4.19, <emph>p</emph><0.043], extrinsic value [<emph>F</emph>(<reflink idref="bib1" id="ref47">1</reflink>,<reflink idref="bib116" id="ref48">116</reflink>)=10.98, <emph>p</emph><0.001] and competence beliefs [<emph>F</emph>(<reflink idref="bib1" id="ref49">1</reflink>,<reflink idref="bib116" id="ref50">116</reflink>)=6.42, <emph>p</emph><0.013]. Observations of the means suggest that the conservatoire students had higher intrinsic and extrinsic values, and competence beliefs than the county level students (see Table 6 for means and standard deviations).</p> <p>Table 6. Means and standard deviations for beliefs and values.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Intrinsic value</td><td>Extrinsic value</td><td>Competence beliefs</td></tr><tr><td /><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td></tr></thead><tbody><tr><td>Conservatoire</td><td char=".">6.07 (0.84)</td><td char=".">6.48 (0.61)</td><td char=".">6.00 (0.69)</td><td char=".">6.01 (0.99)</td><td char=".">5.31 (1.03)</td><td char=".">5.65 (0.82)</td></tr><tr><td>County level</td><td char=".">5.47 (1.03)</td><td char=".">6.42 (0.72)</td><td char=".">5.32 (1.24)</td><td char=".">5.25 (1.61)</td><td char=".">4.92 (1.10)</td><td char=".">5.07 (1.05)</td></tr><tr><td>Total</td><td char=".">5.75 (0.99)</td><td char=".">6.46 (0.65)</td><td char=".">5.64 (1.07)</td><td char=".">5.70 (1.32)</td><td char=".">5.10 (1.07)</td><td char=".">5.42 (0.95)</td></tr></tbody></table> </ephtml> </p> <p>A significant effect was also found for the 13- to 15-year-old and 17- to 19-year-old students on intrinsic value [<emph>F</emph>(<reflink idref="bib1" id="ref51">1</reflink>,<reflink idref="bib116" id="ref52">116</reflink>)=17.64, <emph>p</emph><0.000] with observation of the means suggesting that those in the 17- to 19-year-old age group had higher intrinsic values than those in the 13- to 15-year-old age group (see Table 6). No interactions were found for cohort or age group.</p> <hd id="AN0088070817-16">What are young musicians' attainability and aspiration beliefs for becoming like their role m...</hd> <p>The original items that measured respondents' beliefs about how much they thought they could become the musician they identified and how important it was to become the musician that they identified were also subjected to factor analysis, as given in Tables 7 and 8.</p> <p>Table 7. Summary of items and factor loadings for varimax orthogonal two-factor solution, after rotation, for the adolescents' attainability beliefs to become like their role model.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Item</td><td>Factor 1</td><td>Factor 2</td></tr></thead><tbody><tr><td><italic>When you compare yourself to the musician, how much do you think you could become as ...</italic></td></tr><tr><td>Successful as him/her</td><td char=".">0.89</td><td char="." /></tr><tr><td>Good a player/singer as him/her</td><td char=".">0.89</td><td char="." /></tr><tr><td>Committed/determined as him/her</td><td char=".">0.84</td><td char="." /></tr><tr><td>Talented as him/her</td><td char=".">0.91</td><td char="." /></tr><tr><td>Ambitious as him/her</td><td char=".">0.56</td><td char="." /></tr><tr><td>Good looking as him/her</td><td char="." /><td char=".">0.94</td></tr><tr><td>Popular as him/her</td><td char="." /><td char=".">0.87</td></tr><tr><td>Eigenvalue</td><td char=".">3.57</td><td char=".">2.12</td></tr><tr><td>Percentage of variance</td><td char=".">50.97</td><td char=".">30.24</td></tr><tr><td>Cronbach's alpha</td><td char=".">0.92</td><td char=".">0.87</td></tr></tbody></table> </ephtml> </p> <p>Table 8. Summary of items and factor loadings for varimax orthogonal two-factor solution, after rotation, for the adolescents' aspiration beliefs to become like their role model.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Item</td><td>Factor 1</td><td>Factor 2</td></tr></thead><tbody><tr><td><italic>When you compare yourself to the musician, how important is it for you to become as ...</italic></td></tr><tr><td>Successful as him/her</td><td char=".">0.88</td><td char="." /></tr><tr><td>Good a player/singer as him/her</td><td char=".">0.90</td><td char="." /></tr><tr><td>Committed/determined as him/her</td><td char=".">0.91</td><td char="." /></tr><tr><td>Talented as him/her</td><td char=".">0.91</td><td char="." /></tr><tr><td>Ambitious as him/her</td><td char=".">0.73</td><td char="." /></tr><tr><td>Good looking as him/her</td><td char="." /><td char=".">0.92</td></tr><tr><td>Popular as him/her</td><td char="." /><td char=".">0.85</td></tr><tr><td>Eigenvalue</td><td char=".">3.86</td><td char=".">1.76</td></tr><tr><td>Percentage of variance</td><td char=".">55.12</td><td char=".">25.07</td></tr><tr><td>Cronbach's alpha</td><td char=".">0.92</td><td char=".">0.77</td></tr></tbody></table> </ephtml> </p> <p>In contrast to the original study, two factors emerged for attainability. The first factor was interpreted as <emph>attainability-achievement</emph> for the five items, and the second factor was interpreted as <emph>attainability-image</emph> for the two items.</p> <p>Identical loadings on the two factors were also found for the aspiration beliefs. The first factor was interpreted as <emph>aspiration-achievement</emph> for the five items, and the second factor was interpreted as <emph>aspiration-image</emph> for the two items.</p> <p>Although it has been argued that factors of less than three items can be unstable (see, for instance, Costello and Osborne [<reflink idref="bib2" id="ref53">2</reflink>]) it was decided to maintain both the attainability-image and aspiration-image items as factors as the two image items were highly correlated and loaded clearly on the second factor. They were also the only two items that measured image and, therefore, it is likely that, had there been additional image items, these would have correlated further with the two image items.</p> <p>In order to explore the extent to which the conservatoire and county level students' attainability and aspiration beliefs to become like their role model differed, two 2×2 MANOVAs were conducted on the independent measures of conservatoire and county level students, and the 13- to 15-year-old and 17- to 19-year-old age groups, and the dependent measures of <emph>attainability-achievement</emph> and <emph>attainability-image</emph>, and <emph>aspiration-achievement</emph> and <emph>aspiration-image</emph>, respectively.</p> <p>Significant effects were found for the conservatoire and county level students for <emph>attainability-achievement</emph> [<emph>F</emph>(<reflink idref="bib1" id="ref54">1</reflink>,<reflink idref="bib111" id="ref55">111</reflink>)=5.98, <emph>p</emph><0.016], with observations of the means suggesting that the conservatoire students had higher <emph>attainability-achievement</emph>beliefs than the county level students (see Table 9 for means and standard deviations). Significant effects were also found for the 13- to 15-year-old and 17- to 19-year-old age group for <emph>attainability-achievement</emph> [<emph>F</emph>(<reflink idref="bib1" id="ref56">1</reflink>,<reflink idref="bib111" id="ref57">111</reflink>)=4.07, <emph>p</emph><0.046] and <emph>attainability-image</emph> [<emph>F</emph>(<reflink idref="bib1" id="ref58">1</reflink>,<reflink idref="bib111" id="ref59">111</reflink>)=4.00, <emph>p</emph><0.048], with observations of the means suggesting that students in the 13- to 15-year-old age group had higher <emph>attainability-achievement</emph> beliefs and higher <emph>attainability-image</emph> beliefs than those in the 17- to 19-year-old age group (see Table 9).</p> <p>Table 9. Means and standard deviations for attainability beliefs.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Attainability-achievement</td><td>Attainability-image</td></tr><tr><td /><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td></tr></thead><tbody><tr><td>Conservatoire</td><td char=".">5.21 (1.53)</td><td char=".">4.99 (1.64)</td><td char=".">4.17 (2.28)</td><td char=".">4.16 (1.92)</td></tr><tr><td>County level</td><td char=".">4.86 (1.46)</td><td char=".">3.77 (2.12)</td><td char=".">4.99 (1.77)</td><td char=".">3.36 (2.57)</td></tr><tr><td>Total</td><td char=".">5.01 (1.49)</td><td char=".">4.51 (1.92)</td><td char=".">4.62 (2.04)</td><td char=".">3.85 (2.20)</td></tr></tbody></table> </ephtml> </p> <p>For the aspiration beliefs one significant effect was found for the conservatoire and county level students for <emph>aspiration-achievement</emph> only [<emph>F</emph>(<reflink idref="bib1" id="ref60">1</reflink>,<reflink idref="bib113" id="ref61">113</reflink>)=7.48, <emph>p</emph><0.007], with observations of the means suggesting that the conservatoire students had higher <emph>aspiration-achievement</emph> beliefs than the county level students (see Table 10 for means and standard deviations).</p> <p>Table 10. Means and standard deviations for aspiration beliefs.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td /><td>Aspiration-achievement</td><td>Aspiration-image</td></tr><tr><td /><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td><td>13–15 <italic>M</italic> (SD)</td><td>17–19 <italic>M</italic> (SD)</td></tr></thead><tbody><tr><td>Conservatoire</td><td char=".">5.81 (1.16)</td><td char=".">5.67 (1.40)</td><td char=".">2.75 (1.78)</td><td char=".">3.25 (2.11)</td></tr><tr><td>County level</td><td char=".">5.03 (1.67)</td><td char=".">4.76 (2.20)</td><td char=".">3.55 (2.13)</td><td char=".">2.80 (2.17)</td></tr><tr><td>Total</td><td char=".">5.38 (1.50)</td><td char=".">5.31 (1.79)</td><td char=".">3.19 (2.01)</td><td char=".">3.08 (2.12)</td></tr></tbody></table> </ephtml> </p> <hd id="AN0088070817-17">Discussion</hd> <p>The aim of the study was to explore who specialist adolescents' admired as their role models and the reasons why. In addition, it looked at the young musicians' attainability and aspiration beliefs for becoming like their role model, and the role that their competence beliefs and values play in these attainability and aspiration beliefs.</p> <hd id="AN0088070817-18">Famous versus non-famous musical role models</hd> <p>This study continues to support the notion that adolescents admire more famous figures over non-famous figures, with 54.7% of respondents identifying famous musicians. However, this figure is in contrast to the earlier Ivaldi and O'Neill ([<reflink idref="bib8" id="ref62">8</reflink>]) study, where 92% of adolescents admired famous figures – 70% of which were pop singers. Out of the famous figures in the current study, conservatoire and county level students were mostly likely to select an instrumental player, rather than a singer or songwriter/composer. Differences between these two groups were at their greatest for pop singers, with the county level students more likely to select a pop singer than the conservatoire group. When adolescents identified non-famous figures, they were more likely to select teachers (24.5%) than any other kind of non-famous figure.</p> <p>This increase in non-famous figures, particularly teachers, and the choice of instrumental famous musicians rather than pop singers may be interpreted in relation to Lockwood and Kunda's ([<reflink idref="bib12" id="ref63">12</reflink>], [<reflink idref="bib13" id="ref64">13</reflink>]) notion of relevance. With the adolescents engaged in much more musical activity, including one-to-one instruction, whilst being taught by leading figures in the field (as is the case with the conservatoire students in particular), the exposure to top musicians and teachers enables them to have a greater resource of relevant role models to choose from. This suggestion is supported further by observing the specialist nature of the famous musicians they have identified (e.g. Alicia de Larrocha, Rostropovich, Michael Collins, etc.), and therefore at some point been exposed to, within their musical environment. In the original study, the few classical musicians known and identified by the adolescents were famous dead composers, crossover artists or media-known figures such as Pavarotti, Charlotte Church and Vanessa Mae. It is more than possible that most of these adolescents would not have heard of many of the classical figures identified by those in the same age group in the present study, let alone identify them as role models. Thus, these findings reinforce the notion that in order for adolescents to be able to identify potential role models, they need to have a resource of figures to draw on. Furthermore, Ivaldi ([<reflink idref="bib7" id="ref65">7</reflink>]) documents the breadth of musical activities that the current sample of young musicians were engaged in. One of the activities included attending concerts and musical events, which 93% had taken part in. The extra-curricular activities that might accompany learning to play an instrument are, therefore, also providing an additional source of potential role models. However, it should be noted that the acknowledged increase in exposure to role models does not, itself, determine the relevance of the musical figure for the adolescent, but, rather, suggests that it is the opportunities provided by participating in the specialist music environment that allows the individual to perceive a greater notion of relevance.</p> <p>Finally, unlike in the original study where it was found that both male and female respondents were more likely to select a famous male role model, no significant association was found. However, the frequencies suggest that this distinction is still present. This lack of significance might be accounted for by the fact that fewer respondents were identifying famous musicians and so the gender divide was not so prominent.</p> <hd id="AN0088070817-19">Reasons for admiring the musician</hd> <p>Similarly to the previous research, the factor analysis generated three-factor loadings for the reasons why the young musicians admired their role model: dedication, image and higher achievement. However, the third factor was structured slightly differently compared to that in the earlier study, which was labelled 'ability'. The items that loaded onto this factor suggested a higher level of ability or achievement than that of 'ability' as it included items such as good on more than instrument, good for his/her age and overcoming a physical difficulty. In other words, the 'ability', as seen by the adolescents in the original study, had been raised even higher by the adolescents in the current study. This finding could, again, be explained by the fact the respondents are in specific music environments where they are surrounded by ability on a daily basis, thus, their measure of it might be elevated in order to stand out from their own norm. Despite this difference, however, the findings of both studies would appear to suggest that, even though the range of role models could be very different, adolescents' reasons for admiring them are similar.</p> <hd id="AN0088070817-20">Specialist adolescents' beliefs and values for music</hd> <p>In the previous research that has looked at adolescents' competence beliefs and values, two factors have been generated – beliefs and values (see, further, Ivaldi and O'Neill [<reflink idref="bib8" id="ref66">8</reflink>]; O'Neill [<reflink idref="bib16" id="ref67">16</reflink>]). However, in this study, three-factor loadings emerged, with the original 'values' factor generating loadings on extrinsic value and intrinsic value, thus separating out interesting, liking and enjoyment with the perceived usefulness of playing an instrument. One possible explanation for this difference is that, with such a high level of commitment to music, the adolescents are much more likely to continue with music in a professional capacity. Many young musicians who attend junior conservatoires, for example, go on to senior conservatoires, thus fulfilling a potential career path in music. The 'usefulness' of music has, therefore, much significance for these adolescents compared to those who were not involved in music in the original study.</p> <p>Conservatoire students were found to have higher extrinsic and intrinsic beliefs, and competence beliefs, implying similar support to previous research findings where those who played an instrument had higher competence beliefs and values for music than those who did not play an instrument (e.g. see, further, Ivaldi and O'Neill [<reflink idref="bib8" id="ref68">8</reflink>], O'Neill [<reflink idref="bib16" id="ref69">16</reflink>]). As the current study is the first in its kind to employ a sample of all musicians, it may be argued that a similar pattern may always be found whereby those in the higher music attainment group (i.e. conservatoire) continue to have higher beliefs and values for music than those in the lower attainment group (i.e. county level students).</p> <p>A significant effect was found between the two age groups where those in the higher age group (17–19) had higher intrinsic values than those in the lower (13–15) age group. This finding is likely given that the higher age group had been engaged in music making for longer, and that the reason for this commitment might be driven by a high interest and liking for music.</p> <hd id="AN0088070817-21">Attainability and aspiration beliefs for becoming like their role model</hd> <p>The original items that measured respondents' beliefs about how much they thought they could become the musician they identified (the factor 'attainability') and how important it was to become the musician that they identified (the factor 'aspirations') generated, in contrast, two factors for each – that of <emph>attainability-achievement</emph> and <emph>attainability-image</emph>, and <emph>aspiration-achievement</emph> and <emph>aspiration-image.</emph> Unlike the previous sample that placed a lot of emphasis on the famous figure's appearance as a reason for admiring them, the difference here might be due to respondents differentiating between the importance of image from achievement. Indeed, when administrating the questionnaire, one respondent seemed to take offense at the suggestion that they were admiring their role model because of their looks. The shift towards teachers and instrumentalists as role models also suggests a different focus on why they are admiring their role model, which does not align itself with fame and popular status.</p> <p>Overall, it was found that the conservatoire students had higher <emph>attainability-achievement</emph> and <emph>aspiration-achievement</emph> beliefs than the county level students, which follows similar patterns with their competence beliefs and values for music. However, when examining the difference by age, students in the 13- to 15-year-old age group had higher <emph>attainability-achievement</emph> beliefs and higher <emph>attainability-image</emph> beliefs than those in the 17- to 19-year-old age group. This finding is difficult to interpret without more data. However, one possible explanation might be that those in the higher age group have a more realistic perception of what is attainable, based on a greater awareness of their current and potential achievements. Lockwood and Kunda ([<reflink idref="bib13" id="ref70">13</reflink>]) argue that an awareness of one's highest accomplishments would make it more realistic for individuals, and thus impose limits on the kind of self (musician) that they could see themselves becoming. For the current sample, it might be that the younger group were more aspirational, whilst the older group had more realistic expectations of what they could achieve.</p> <hd id="AN0088070817-22">Methodological considerations</hd> <p>In order to be able to make meaningful comparisons between the two studies, the questionnaire used did not change. As a consequence, a few limitations should be noted. Firstly, when asked to note down someone they admired it was not explicitly stated that this should be taken to mean a role model. Therefore, it is possible that the respondents identified someone that they admired, but who they would not consider to be their role model. Secondly, in Ivaldi and O'Neill ([<reflink idref="bib8" id="ref71">8</reflink>]), it was argued that the request to identify a musician might not be interpreted as providing the possibility of identifying a friend, family member or teacher, and that the respondents would not consider their friend, family member or teacher as an admired figure first. Furthermore, it was argued that adolescents are less likely to idolise someone that they live with or see on a daily basis. However, given the much higher exposure to music and musical figures by those in this study, and the fact that non-famous figures were selected suggests that there was less ambiguity for the adolescents as to what this meant in this particular sample.</p> <p>Finally, there were a couple of items that had to be removed from the analysis due to ambiguity of what was meant by music lessons/classrooms, given that the respondents experienced these in their daily school context, and as part of the extra-curricular conservatoire and county level environment. In future, wording of such items will need to make these differences explicitly clear. Overall, though, it may be concluded that the questionnaire, that has already demonstrated good reliability and validity, is adaptable in a number of musical contexts.</p> <p>This study, along with the earlier research, has combined both quantitative and qualitative methods in looking at adolescents' musical role models. This mixed methods approach has addressed a number of questions regarding who adolescents admire and why. How they talk about their role model has also been used to illustrate how young people construct notions of privilege when it comes to discussing musical figures. For example, using discursive psychology, Ivaldi and O'Neill ([<reflink idref="bib9" id="ref72">9</reflink>]) looked at the identities of wealth and opportunity that the adolescents constructed in their talk of role models. The role model research can continue to draw on these methodologies and look at other aspects of identity construction, particularly around their aspirations to be like their chosen role model. Here, it could be argued that the extent in which young people wish to emulate their chosen figure has important implications for their identity development. The questionnaire studies have begun to look at this in general, but further interview work, that adopts a social constructionist framework, can add to the growing research on musical identities through the topic of role models.</p> <hd id="AN0088070817-23">The current picture of adolescents' musical role models</hd> <p>In conclusion, the original and current study provides a contrasting picture of adolescents' musical role models. It may be concluded that the first study presented rather bleak findings in terms of adolescents identifying musical role models for their fame, rather than for their ability. Here, a more reassuring story is illustrated, to an extent. Although the reasons for admiring the figures, and the attainability and aspiration beliefs to become like them tend to be similar, who they are actually admiring illustrates a divide between those they admire because of their celebrity status, and those they admire because of their perceived talent; both of which appear to be determined by the adolescent's own engagement with music, and the subsequent resource of relevant models to choose from. Whilst this contrast might have been anticipated at the start of the paper, it is important to confirm and illustrate this difference so that parents and educators can respond accordingly. Building on Lockwood and Kunda's notion of relevance, the fact that exposure to relevant role models is critical in helping adolescents to identify more with the musical qualities of the figure, rather than the fame, suggests that this needs to be achieved much earlier in a child's music education. Given that many adolescents have given up playing an instrument once they have reached secondary school (see, for instance, North, Hargreaves, and O'Neill [<reflink idref="bib14" id="ref73">14</reflink>]; O'Neill [<reflink idref="bib15" id="ref74">15</reflink>]), it is not surprising that a typical sample of adolescents does not identify role models for their musical ability. In addition, these achievements would also no longer appear attainable to them, as argued by Lockwood and Kunda. Furthermore, Ivaldi and O'Neill ([<reflink idref="bib9" id="ref75">9</reflink>]) document adolescents' perceptions that it is too late for them to become talented musicians, if they have not already committed to playing.</p> <p>The adolescents in the current sample share similar musical contexts whereby they are able to identify the same values for music. The fact that their peers might also admire the same role model fosters an environment of understanding and acceptance, rather than going against the norm – which was the case for the few in the original study that identified Pavarotti, Charlotte Church and Beethoven. Parents and educators need to create similar environments where values for music can be shared, and potential role models identified. This might be achieved through attendance at musical events, performing with others, backstage visits in concert halls and theatres, and discussions with musicians who can make music accessible to others, for example. In terms of research, further work should now look at children's musical role models in order to explore any potential differences in who they are admiring, and, more importantly, identify when changes in attainability and aspiration beliefs to become like their role model might occur.</p> <p>A specialised environment promotes the acquisition of expertise, which is accompanied by its own source of potential role models. The challenge is to provide these environments inclusively, in order to encourage all young people to participate and develop in music.</p> <hd id="AN0088070817-24">Notes on contributor</hd> <p>Antonia Ivaldi completed her PhD in social music psychology at the Unit for the Study of Musical Skill and Development at the University of Keele. Her PhD examined why adolescents admire famous musical role models and the implications for adolescents' aspirations, expectations and identity. After working at Loughborough University, Antonia worked as Research Fellow in the Centre for Music Performance Research at the Royal Northern College of Music, Manchester. She moved to the Department of Psychology at Aberystwyth University in September 2010. Her current research interests are identity and social interaction in a musical context.</p> <hd id="AN0088070817-25">Acknowledgements</hd> <p>With thanks to Geoffrey Reed, Karen Humphreys and students at the Centre for Young Musicians, Royal Northern College of Music, Manchester, and to staff and students at Bolton and Lancashire music services.</p> <ref id="AN0088070817-26"> <title> References </title> <blist> <bibl id="bib1" idref="ref1" type="bt">1</bibl> <bibtext> Bromnick, R.D. and Swallow, B.L.1999. I like being who I am: A study of young people's ideals. Educational Studies, 25: 117–29. doi:10.1080/03055699997855</bibtext> </blist> <blist> <bibl id="bib2" idref="ref27" type="bt">2</bibl> <bibtext> Costello, A.B., and J.W.Osborne. 2005. Best practices in exploratory factor analysis: Four recommendations for getting the most from your analysis. Practical Assessment, Research and Evaluation10, no. 7. <ulink href="http://pareonline.net/getvn.asp?v=10&n=7">http://pareonline.net/getvn.asp?v=10&n=7</ulink>. (accessed August 10, 2012).</bibtext> </blist> <blist> <bibl id="bib3" idref="ref2" type="bt">3</bibl> <bibtext> Duck, J.M.1990. Children's ideals: The role of real-life versus media figures. Australian Journal of Psychology, 42: 19–29. doi:10.1080/00049539008260102</bibtext> </blist> <blist> <bibl id="bib4" idref="ref21" type="bt">4</bibl> <bibtext> Eccles, J.S., Adler, T.F., Futterman, R., Goff, S.B., Kaczala, C.M., Meece, J.L. and Midgley, C.1983. "Expectancies, values and academic behaviors". In Achievement and achievement motives, Edited by: Spence, J.T.75–146. San Francisco: W.H. Freeman.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref19" type="bt">5</bibl> <bibtext> Eccles, J.S., O'Neill, S.A. and Wigfield, A.2005. "Ability self-perceptions and subject task values in adolescents and children". In What do children need to flourish? Conceptualizing and measuring indicators of positive development, Edited by: Moore, K.A. and Lippman, L.H.237–49. New York: Springer.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref20" type="bt">6</bibl> <bibtext> Eccles, J.S., A.Wigfield, U.Schiefele, and N.Eisenberg. 1998. Motivation to succeed. InHandbook of child development: Social, emotional, and personality development, 5th ed, vol. 3, W.Damon, 1017–95. New York: Wiley.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref30" type="bt">7</bibl> <bibtext> Ivaldi, A.2011. "Routes to adolescent musical expertise". In Music and the mind: Investigating the functions and processes of music (a book in honour of John Sloboda), Edited by: Deliège, I. and Davidson, J.205–224. Oxford: Oxford University Press.</bibtext> </blist> <blist> <bibl id="bib8" idref="ref3" type="bt">8</bibl> <bibtext> Ivaldi, A. and O'Neill, S.A.2008. Adolescents' musical role models: Whom do they admire and why?. Psychology of Music, 36(4): 395–415. doi:10.1177/0305735607086045</bibtext> </blist> <blist> <bibl id="bib9" idref="ref72" type="bt">9</bibl> <bibtext> Ivaldi, A. and O'Neill, S.A.2009. Talking 'privilege': Barriers to musical attainment in adolescents' talk of musical role models. British Journal of Music Education, 26(1): 43–56. doi:10.1017/S0265051708008267</bibtext> </blist> <blist> <bibtext> Ivaldi, A. and O'Neill, S.A.2010. Adolescents' attainability and aspiration beliefs for famous musician role models. 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Young people and music participation project: Practitioner report and summary of findings. Keele: Unit for the Study of Musical Skill and Development, Keele University. <ulink href="http://www.rymeyouth.com/young-music-participation-keele-university">http://www.rymeyouth.com/young-music-participation-keele-university</ulink> (accessed August 10, 2012).</bibtext> </blist> <blist> <bibtext> O'Neill, S.A.2002. Motivation and children's in-school and out-school engagement in instrumental music: A longitudinal analysis. Paper presented at the 7th International Conference on Music Perception and Cognition, July 17–21, Sydney, Australia.</bibtext> </blist> <blist> <bibtext> Pleiss, M. and Feldhussen, J.1995. Mentors, role models and heroes in the lives of gifted children. Educational Psychologist, 30: 159–69. doi:10.1207/s15326985ep3003_6</bibtext> </blist> <blist> <bibtext> Raviv, A., Bar-Tal, D., Raviv, A. and Ben-Horin, A.1996. Adolescent idolisation of pop singers: Causes, expression and reliance. Journal of Youth and Adolescence, 25: 631–50. doi:10.1007/BF01537358</bibtext> </blist> </ref> <aug> <p>By Antonia Ivaldi</p> <p>Reported by Author</p> </aug> <nolink nlid="nl1" bibid="bib10" firstref="ref4"></nolink> <nolink nlid="nl2" bibid="bib17" firstref="ref6"></nolink> <nolink nlid="nl3" bibid="bib11" firstref="ref7"></nolink> <nolink nlid="nl4" bibid="bib18" firstref="ref13"></nolink> <nolink nlid="nl5" bibid="bib12" firstref="ref17"></nolink> <nolink nlid="nl6" bibid="bib13" firstref="ref18"></nolink> <nolink nlid="nl7" bibid="bib15" firstref="ref37"></nolink> <nolink nlid="nl8" bibid="bib116" firstref="ref46"></nolink> <nolink nlid="nl9" bibid="bib111" firstref="ref55"></nolink> <nolink nlid="nl10" bibid="bib113" firstref="ref61"></nolink> <nolink nlid="nl11" bibid="bib16" firstref="ref67"></nolink> <nolink nlid="nl12" bibid="bib14" firstref="ref73"></nolink>
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  Data: Specialist Young Musicians' Role Models: Whom Do They Admire and Why?
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  Data: <searchLink fieldCode="DE" term="%22Musicians%22">Musicians</searchLink><br /><searchLink fieldCode="DE" term="%22Role+Models%22">Role Models</searchLink><br /><searchLink fieldCode="DE" term="%22Adolescents%22">Adolescents</searchLink><br /><searchLink fieldCode="DE" term="%22Questionnaires%22">Questionnaires</searchLink><br /><searchLink fieldCode="DE" term="%22Values%22">Values</searchLink><br /><searchLink fieldCode="DE" term="%22Occupational+Aspiration%22">Occupational Aspiration</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink><br /><searchLink fieldCode="DE" term="%22Ability%22">Ability</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink><br /><searchLink fieldCode="DE" term="%22Special+Schools%22">Special Schools</searchLink><br /><searchLink fieldCode="DE" term="%22Beliefs%22">Beliefs</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Attitudes%22">Student Attitudes</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink>
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  Data: 10.1080/14613808.2012.742049
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  Data: Previous research into adolescents' musical role models has shown that young people are more likely to identify a celebrity figure due to their image and perceived fame, than because of their musical ability. The current research is a development of Ivaldi and O'Neill's (Adolescents' musical role models: Whom do they admire and why?) study by exploring the role models of young dedicated musicians to see who they admire and why. One hundred and seventeen adolescents, aged 13-19, took part in a questionnaire study, drawn from both conservatoire ("n"=60) and county service ("n"=57) environments. Both famous and non-famous figures were identified, with the reasons relating to image, higher achievement and dedication. Adolescents' beliefs and values for music were also explored in relation to their attainability and aspiration beliefs for becoming like their role model. The differences between the two studies are discussed in general, and the current picture of adolescents' musical role models is presented. (Contains 10 tables.)
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