Page 50 - How to Shine on Stage

and maintain the inclination to learn (Ryan & Deci, 2000). Self- motiva-
tion for learning is considered to be driven by three needs: autonomy, com-
petence, and relatedness (Ryan & Deci, 2000). In order to participate in
challenging musical activities, students need to feel sufficiently musically
competent, they need to feel that they can choose and regulate their musi-
cal activity, and, at the same time, musical activity needs to enable them to
satisfy their need for belonging and connection in an accepting, supportive
social environment (Woody & McPherson, 2010).
48 Other influences on motivation levels include socio-economic status

(McPherson et al., 2015), class curriculum (Winter, 2004), and academic
achievements (Johnson & Memmott, 2006). Contemporary researchers
of motivation in music have found that self-determination theory (Ryan
How to Shine on Stage 2015). MacIntyre et al. (2012) confirmed that internal motivation is cru-
& Deci, 2000) is still the best theoretical framework to explore it (Evans,

cial in maintaining a musician’s motivational system, while external mo-
tivational factors have a minor impact. Internal motivation leads to the
development of perceived competence, which is reflected in an increased
desire to learn.
Smith and Murphy (1984) found in their research that it is intrinsic
and not extrinsic rewards that encourage a musician to persist with the
music profession. Moreover, Dews and Martha S. Williams (1989) have
observed that the students’ strongest reason for choosing a music profes-
sion is high internal motivation.
External motivation includes the use of external incentives, usu-
ally from parents and teachers, who encourage the student to engage
and practice (Kohut, 1992). Here, teachers who are themselves highly
motivated are of vital importance. Their motivation is comprised of a
fundamental love, interest, and enthusiasm regarding music, music per-
formance, and their students. Such a teacher is trusted and respected by
the students. The basic method of external motivation is reward. Since
competition is so deeply rooted in our culture, students need to be taught
how to put it to constructive use. Concurrently, caution must be exer-
cised so as not to abuse the spirit of competition, as this can cause se-
rious psychological damage to the students. Victory in competitions is
not, and should not be, the primary driving force of performance. Stu-
dents can be guided to achieve a more thorough understanding and as-
sessment of good music and quality performance, which ought to be the
primary goal of competing. The question is how. Kohut (1992) suggests
that the key to this is playing in small instrumental ensembles, where
members learn to collaborate, seek agreement, assume responsibility,