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age as well as to specific elements of the musical self (Spychiger, 2017).
           Academic musical self-image is the area of musical self-image that re-
           lates to musical abilities, skills, and competences, while non-academ-
           ic musical self-image encompasses physical, mental, emotional, and
           spiritual components. Maria Spychiger et al. (2009) observed that the
           mental component bears the most significant influence on musical iden-
           tity in professional musicians, while the spiritual component is more
           prominent in amateur musicians. A positive musical self-image is an im-
           portant contributor to  motivation for long-term engagement in music   45
           (Cogdill, 2015).
               Parents and teachers have a major role in the formation of a per-
           former’s  self-image,  as  does  the  individual’s   performance experience
           (Habe, 2002).


           2.1.4   Self-Efficacy
           In a way, self-efficacy also relates to self-evaluation, but should be dif-
           ferentiated from other concepts of self, such as self-image, self-esteem,
           and identity due to its specificity and content (Schunk & Pajares, 2001).   Indirect Factors of Musical Performance Success
           Whereas self-image, self-esteem, and identity are rather static concepts
           tied to performer’s personality traits, self-efficacy is a highly dynamic
           concept belonging to the scope of motivation and having a significant im-
           pact on the quality of achievements (McPherson & McCormick, 2006).
           While the previously mentioned concepts of self-evaluation involve per-
           ceptions of one’s personal competences in general or in a specific do-
           main (e.g. motor skills, emotional and social competences), self-efficacy
           refers to personal beliefs about one’s ability to perform a specific task
           (Schunk & Pajares, 2001). When studying musical performance success,
           it is therefore more sensible to explore performers’ self-efficacy. A per-
           former may have a positive self-image as a musician, but the challenge of
           performing can often activate in the performer a sense of low self-effica-
           cy (McPherson & McCormick, 2006).
           The concept of self-efficacy was introduced by Bandura (2002). Self-ef-
           ficacy is supposed to be the source of various expectations and has a
           strong action component. Expectations regarding self-efficacy influence
           the decision on how to tackle a problem, how long to persevere, and how
           much effort to invest. Self-efficacy determines the choice of behavioural
           strategies. Self-efficacy expectations have two main dimensions: degree
           of difficulty and generality. In some people, performance expectations
           are limited to the simplest tasks, while in others they include the most
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