Advanced Search

Journal Navigation

Journal Home

Subscriptions

Archive

Contact Us

Table of Contents

CiteULike is a free service for managing and discovering scholarly references - click here to get started.

Sign In to gain access to subscriptions and/or personal tools.
Psychology of Music
This Article
Right arrow Full Text (PDF)
Right arrow All Versions of this Article:
0305735608100373v1
37/4/443    most recent
Right arrow References
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Right arrow Citation Map
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Alert me to new issues of the journal
Right arrow Add to Saved Citations
Right arrow Download to citation manager
Right arrowRequest Permissions
Right arrow Request Reprints
Right arrow Add to My Marked Citations
Citing Articles
Right arrow Citing Articles via Scopus
Google Scholar
Right arrow Articles by Makris, I.
Right arrow Articles by Mullet, E.
Social Bookmarking
Add to CiteULike   Add to Complore   Add to Connotea   Add to Del.icio.us   Add to Digg   Add to Reddit   Add to Technorati   Add to Twitter  
What's this?

A systematic inventory of motives for becoming an orchestra conductor: a preliminary study

Ioannis Makris

SCHOOL OF HIGHER PEDAGOGICAL & TECHNOLOGICAL EDUCATION, GREECE, makrisconductor{at}yahoo.gr

Etienne Mullet

INSTITUTE OF ADVANCED STUDIES, FRANCE, etienne.mullet{at}wanadoo.fr

The study examined the various motives (reasons) that may have led an individual to become an orchestra conductor interpreting classical works, using Apter’s (2001) Metamotivational Theory framework. Questionnaires derived from the theory, consisting of 92 possible motives for becoming an orchestra conductor, were presented to 101 orchestra conductors. Data were analysed through confirmatory factor techniques. An eight-factor motivational structure reflecting eight of the dimensions suggested by Apter’s theory was evidenced. The motives most strongly evoked were the ones linked with emotion and emotional needs: making the audience feel the same strong emotions; feeling in communion with one’s orchestra, on the one hand; and experiencing uncommon events in a permanently challenging way and, as a result, experiencing intense joy, on the other. In addition, clearly endorsed motives included being able to perform one’s own interpretations of the classical works and, more generally, considering oneself as a maestro, a link to the great tradition of senior conductors interpreting classical music.

Key Words: motivation • Metamotivational Theory

This version was published on October 1, 2009

Psychology of Music, Vol. 37, No. 4, 443-458 (2009)
DOI: 10.1177/0305735608100373
Add to CiteULike CiteULike   Add to Complore Complore   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us   Add to Digg Digg   Add to Reddit Reddit   Add to Technorati Technorati   Add to Twitter Twitter    What's this?