EXPLORING THE SELF-CONCEPT AND IDENTITY OF SYDNEY CONSERVATORIUM STUDENTS WITH AND WITHOUT ABSOLUTE PITCH. Julie O’Connor A thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Music (Music Education) (Honours), Sydney Conservatorium of Music, University of Sydney. 2006 ii Abstract Absolute Pitch (AP) is the ability to identify pitches without external references (Parncutt & Levitin, 2001). It is a rare ability that is more prevalent among musicians. This qualitative study explored the perceptions of Sydney Conservatorium of Music students through interviews, focusing on the value of AP possession, and implications for music self-concept. The study involved 12 Conservatorium University and High School students; six participants were self- nominated absolute pitch possessors, and the remaining six were categorised as relative pitch (RP) users. Through discussions of the value, prevalence and practicality of AP, the data suggested that AP is a highly desirable ability among Conservatorium students, and particularly valued by those who possess it. The results also suggested that RP students tend to have less positive self-concepts in aural perception and music theory, while having more positive self-concepts in other musical arenas. The majority of the AP participants had a desire to become a solo performer, and the RP participants’ tended to plan broader musical goals such as combining teaching and ensemble performance. These results suggested that the possession of AP has had a significant effect on the identity of these individuals. iii Acknowledgements First and foremost, I would like to thank my supervisor, James Renwick, whose insightful advice (and subtle pushing) inspired and motivated me throughout the study. I am also particularly grateful for the assistance of Julie Montague, from the Conservatorium High School, in organising the secondary participants, and Kathy Marsh, for her willingness to share her extensive knowledge of qualitative research. Finally, I would like to thank my family, and Daniel, who were so understanding, supportive and encouraging throughout this unusually hectic year. iv Table of Contents Abstract ....................................................................................................................ii Acknowledgements.................................................................................................iii Tables and Figures .................................................................................................vii CHAPTER 1 – INTRODUCTION .............................................................................. 1 Purpose and relevance of the study.......................................................................... 1 Significance of the study.......................................................................................... 2 Research questions................................................................................................... 3 Thesis structure ........................................................................................................ 3 Definitions................................................................................................................ 4 Research context ...................................................................................................... 4 CHAPTER 2 – LITERATURE REVIEW ................................................................... 5 General music perception abilities........................................................................... 5 Long-term memory and pitch labelling................................................................ 6 Absolute pitch .......................................................................................................... 6 Defining and testing absolute pitch and related abilities ..................................... 7 The genesis of absolute pitch ............................................................................... 8 Teaching methods for AP development in schools............................................ 10 Advantages and disadvantages of AP ................................................................ 10 Self-concept............................................................................................................ 11 Historical research into the ‘self’. ...................................................................... 12 Contemporary self-concept research.................................................................. 13 Measuring self-concept in artistic domains........................................................ 13 Social Comparison and Self-concept ................................................................. 15 Identity ................................................................................................................... 16 Foundations of identity research ........................................................................ 16 Identities in Music.............................................................................................. 17 CHAPTER 3 – RESEARCH DESIGN AND METHODOLOGY ............................ 19 Qualitative Research .............................................................................................. 19 Multi-case Study .................................................................................................... 20 Interviews............................................................................................................... 20 Pitch Surveys.......................................................................................................... 22 Participants............................................................................................................. 22 v Data analysis .......................................................................................................... 23 CHAPTER 4 – INDIVIDUAL CASES ..................................................................... 25 Secondary Participants with Absolute Pitch .......................................................... 25 Marina ................................................................................................................ 25 Bradley ............................................................................................................... 25 Ally..................................................................................................................... 26 Secondary Participants using Relative Pitch.......................................................... 27 Rhonda ............................................................................................................... 27 Roxanne ............................................................................................................. 27 Andrew............................................................................................................... 28 Tertiary Participants with Absolute Pitch .............................................................. 28 Melinda .............................................................................................................. 28 Paul..................................................................................................................... 29 Sally ................................................................................................................... 29 Tertiary Participants using Relative Pitch.............................................................. 30 Dana ................................................................................................................... 30 Jasper.................................................................................................................. 30 Charlotte............................................................................................................. 31 CHAPTER 5 – RESULTS ......................................................................................... 32 Introductory discussions......................................................................................... 32 Pitch Survey ....................................................................................................... 33 Reasons for starting music study ....................................................................... 35 Skills required of musicians............................................................................... 35 Absolute Pitch ........................................................................................................ 36 Definitions of AP ............................................................................................... 36 The acquisition of AP ........................................................................................ 37 The perceived value of AP................................................................................. 38 Attitudes on the musicianship of individuals with Absolute Pitch .................... 41 Self-concept............................................................................................................ 41 Self-perceived ability in individual subject areas .............................................. 42 Competition and gossip among students............................................................ 43 Peer comparison and self-concept...................................................................... 44 Identity ..................................................................................................................