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Motivational theories

Examining different motivational theories and applying them to the section can give some more insight on the best way to benefit each member so they can achieve success. Two concepts that can be applied to an ensemble are Approach-Avoidance Theory and the importance of forming emotional connections with others.

Temperaments

Approach and avoidant temperaments will perceive the challenges of the ensemble in different ways. "Approach motivation may be defined as the energization of behavior by, or the direction of behavior toward, positive stimuli,... whereas avoidance motivation may be defined as the energization of behavior by, or the direction of behavior away from, negative stimuli." (p. 2)2  "...avoidance motivation is experienced as stressful, and even when effective, can take a toll on enjoyment and, eventually, well-being...This may be contrasted with approach motivation, which uses a positive object as the hub of regulatory activity and, therefore, can lead to the presence of a positive outcome (when effective) or the absence of a positive outcome (when ineffective)" (5)2.

Because of the overwhelming amount of material that needs to be learned in this ensemble, it's important to be aware of who may have an approach and avoidant temperament.

Approach temperaments will probably not need to be worried about too much. Although they might not have all of the skills for a task that they think they do, they won't have any fear approaching a new task and trying it out again after failure. The performance level of a person with this temperament is much more evident and problems are much easier to identify and combat before a performance in front of an audience. 

The avoidant temperaments will pose more of a concern in relation to how they perform. With all the new material being learned, timely immersion within a task is crucial for these people to become comfortable with a skill so they are ready to perform once the time comes. If the skill isn't approached in an appropriate time frame, the individual will most likely fail at the task no matter how much effort they put in at the last minute. Deliberate intervention for this group of people within the section will need to take place. This may involve focusing on them more within sectionals and practices or creating specific additional practice times for them so they can get some extra practices to achieve their musical goals.

​1 Reeve, J. (2018). Understanding motivation and emotion.  

2 Elliot, Andrew J. “The Hierarchical Model of Approach-Avoidance Motivation.” Motivation and Emotion,                   vol. 30, no. 2, 2006, pp. 111–116. 10.1007/s11031-006-9028-7

3 Brenda E. Morrison & Dorothy Vaandering (2012) Restorative Justice:Pedagogy, Praxis, and Discipline,                                Journal of School Violence, 11:2, 138-155, DOI:10.1080/15388220.2011.653322

4Hewitt, Michael P. “Self-Efficacy, Self-Evaluation, and Music Performance of Secondary-Level Band

                 Students.” Journal of Research in Music Education, vol. 63, no. 3, Oct. 2015, pp. 298–313.,                         doi:10.1177/0022429415595611.

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5Moore, Derek G., et al. “The Social Context of Musical Success: A Developmental Account.” British

                Journal of Psychology, vol. 94, no. 4, 2003, pp. 529–549., doi:10.1348/000712603322503088.

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6Reichter, Alison Phillips, and Maureen R. Weiss. “Conceptions of Adolescent Friendship Quality in Sport

                and Music Domains.” Research Quarterly for Exercise and Sport, vol. 90, no. 4, Sept. 2019, pp.                  534–546., doi:10.1080/02701367.2019.1632412.

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7Ritchie, Laura, and Aaron Williamon. “Measuring Distinct Types of Musical Self-Efficacy.” Psychology                    of Music, vol. 39, no. 3, 2010, pp. 328–344., doi:10.1177/0305735610374895.

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8Schnare, Ben, et al. “Possible Selves as a Source of Motivation for Musicians.” Psychology of Music,                      vol. 40, no. 1, 2011, pp. 94–111., doi:10.1177/0305735610391348.

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9Zelenak, Michael S. “Measuring the Sources of Self-Efficacy Among Secondary School Music                                  Students.” Journal of Research in Music Education, vol. 62, no. 4, 2014, pp. 389–404.,                                doi:10.1177/0022429414555018.

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