English

Gursen Otacioglu Sena

doi:10.5897/err2016.2820

Abstract

The study was conducted to establish which variables cause the interrelations between musical self-esteem and performance-anxiety levels of students receiving professional music education at different institutions to vary. In relation to this framework, “musical self-esteem” and “performance anxiety” scores of students registered at the departments of music education, conservatories and music departments in Turkish faculties of fine arts were examined with respect to a set of variables. The population of the research consisted of 306 students from the first, second, third and fourth grades in the departments of Music Education affiliated to Mimar Sinan University, Istanbul University, DoAŸu Akdeniz University, Marmara University, Kocaeli University, Karadeniz Technical University, Dokuz Eylul University, On Sekiz Mart University and UludaAŸ University during the fall term of the 2014 to 2015 academic year. In the study, we utilized the Turkish version of the “Kenny Music Performance Anxiety” inventory originated in 1979 by Schmitt to measure Musical Self-esteem levels and subsequently developed by Kenny (2004). One-way variance analysis, independent group t-test, Mann Witney U and Kruskal-Wallis tests were harnessed to analyze the variables of research data in terms of frequency (f), percentage (%), musical self-esteem and music performance anxiety inventory scores that varied with respect to variables such as ( ) and (sd) values, gender, age, university and individual instrument at school. In all these processes “significance level 0.05” was the agreed figure. Key words: Music education, musical self-esteem, music performance anxiety.

Highlights

The phrase “music education” bears dissimilar definitions and associations in different disciplines and countries
In the light of all the findings obtained from the present study it can feasibly be argued that no differentiation was detected between students' musical self-esteem levels and the gender variable
It was manifested that depending on students' gender, levels of music performance anxiety differed significantly

Summary

Introduction

The phrase “music education” bears dissimilar definitions and associations in different disciplines and countries. At this point arguments about the applicability of a specific theoretical opinion on a universal scale are still in progress. Hargreaves (2001) agreed with the English and American originated views regarding the contents of music education and advocated that music practices are universal rather than local. Throughout ages acclaimed intellectuals, scholars and educators have laid emphasis on the significant position of music in the lives of humans and rationalized the practice of music as an educational tool (Bilen, 1995). Ordinary rules cannot apply to music teaching and learning since common laws fail to be practical in the field of music. We are endowed with a conscious memory capable of presenting the acquired knowledge and experience and a near-automatic memory that is presented during any given performance and all relevant musical skills (Clarke, 2001)

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Conclusion