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Journal of Research in Music

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DOI: 10.2307/3345659

2003 51: 330Journal of Research in Music Education

Veronica O. SichivitsaTinto Model

College Choir Members' Motivation to Persist in Music: Application of the

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330 JRME,VOLUME51, NUMBER 4, 2003, 330-341

Thepurposeof this study was to assess the influencesof parental musicianshipand

supportin music, students'previous musical experience, elf-concept f musical abil-

ity, value of music, academicintegration,and social integrationin collegechoirstu-

dents' intentions to continue musicparticipationin thefuture, both in and aftercol-lege.Tinto 'smodelof institutional departure 1975, 1982, 1987, 1993) was used inthepresentstudy. The ChoirParticipationSurveyII, developedbythepresentauthor,was administeredto 154 choirstudents in a largepublic universityin thesouthernUnited States. Thepath analytical modelfit data well and explained50% (p < .05)

of variance in musical intention. The bestpredictorsof musical intentions weresocial

integration in the choir (beta = .34; p < .05) and the value of music (beta = .57,

p < .05). The author concludeswith implicationsof thefindings and suggestionsorfuture research.

Veronica 0. Sichivitsa

Randolph School, Huntsville, Alabama

Col lege C h o i r Members'

Motivation t o

P e r s i s t i n M u s ic :

Application o f t h e

T i n t o M o d e l

Many music educators are concerned with the issues of student

motivation, recruitment, and retention in music. Researchers have

examined influences of various factors on students' retention in

instrumental (Corenblum & Marshall, 1998; Klinedinst, 1991; Werpy,1995) and choral (Mizener, 1993; Neill, 1998) music programs.There was a need to both describe the influences of selected vari-

ables on students' persistence and draw a larger picture by explain-

ing interplay among those variables in the process of developing stu-

dents' motivation in music. However, few studies in music education

developed theoretical frameworks for the reported results (Gates,

This article is based on the author's doctoral dissertation by the same title, accept-ed in August 2001 by Auburn University, Auburn, Alabama. Veronica O. Sichivitsa isthe choral director at Randolph School, 1005 Drake Avenue Southeast, Huntsville, AL

35802; E-mail: [email protected]. Copyright ? 2003 by MENC: TheNational Association for Music Education.







JRME 331

1991). In social sciences, Tinto (1975) introduced a theory of insti-tutional departure to examine ways in which students with different

background characteristics interacted in academic and social systemsof colleges and to look at how those experiences influenced their

persistence. Tinto's theory, closely related to the present author's

ideas, provided an organizational framework for the present study.Researchers studied a variety of factors that directly and indirectly

influenced student persistence in music. Davidson, Sloboda, andHowe (1995-96) found that students continued to study music

longer if they received extrinsic motivation, such as support from

parents. Eccles (1983) stated that strong intrinsic motivation couldlead to an increase in students' persistence, commitment, and

involvement in the activity. Eccles (1983) also found that childrenspent more time on a task if they valued it more and perceived theoutcome as worthy of their effort and time. Neill (1998) discoveredthat positive previous choral experiences led to high school students'continuation in choir. Kukla (1978) also reported that positive previ-ous educational experiences improved students' attitudes toward an

activity and encouraged them to participate in the same activity inthe future.

According to Kukla (1978), students who expected to be success-ful in a task were more likely to put forth more effort and, conse-

quently, to succeed, to be satisfied with the performance, and toundertake similar tasks in the future. Chandler, Chiarella, and Auria

(1988) reported that ninth-grade students who liked their instru-ments practiced more often, attained higher levels of performance,and felt successful. However, other research showed that students'attitudes toward a musical activity might be unrepresentative of stu-dents' actual playing practice (Nierman & Veak, 1997) and future

participation (Corenblum & Marshall, 1998; Mizener, 1993). In a

study of third- through sixth-grade students, Mizener found no rela-

tionship between attitudes toward singing and participants' decisions

to stay in choir.Self-concept of musical ability seemed to be an important factor

influencing students' ability to adapt to a learning environment and

persist in their studies (Klinedinst, 1991). Research showed that bothacademic and social aspects of a class affected students' performanceand attitudes toward the class. Significant academic factors included

cooperation between a teacher and a student (Brandstrom, 1995-96;Moore, 1976), presence of directions and immediate feedback

(Moore, 1976; Price, 1983), teacher's support, clear presentation ofthe material, and allowance for creativity (LeBlanc, 1992). Amongsignificant social factors were teacher's approval (Greenberg, 1970;Madsen & Duke, 1985; Werpy, 1995), understanding, and organizingfor individual differences (Kvet & Watkins, 1993).

Basing his work on previous research, Gates (1991) attempted to

develop a theory of music participation. In the theory, he identifiedsix types of participants and categorized them depending on the waysthey viewed music and the ways by which they were motivated to par-







332 SICHMVITSA

ticipate in music. Professionals and apprentices perceived music as

work, amateurs and hobbyists as leisure, and recreationists and dab-

blers as play. Gates suggested that studyingin

depth each typeof a

participant and different ways to encourage them could provide a

solution to improving music retention.The present author's ideas about students' persistence in music

were most closely related to Tinto's Theory of Individual Departurefrom Institutions of Higher Education (1975). Tinto created a model

that explained the process of students' transition from high school to

college and their integration and persistence in college. He suggest-ed that students' decisions to stay in college depended on individual

background characteristics, initial goals and commitments, academ-

ic and social integration in college, various internal and externalinfluences, and later goals and commitments. According to Tinto,social and academic integration influenced one another, formingstudents' perceptions of college life. Students might withdraw from

college due to inability or unwillingness to adjust to new situations,lack of social interaction, dissatisfaction with the level of academic

demands, or influence of external commitments. Tinto suggestedthat lowered later goal commitments caused students to withdraw,whereas enhanced later goal commitments motivated students to

persist in their education. Tinto placed a learning community and

students' current experiences in the center of the research, statingthat colleges might improve retention if they addressed academic

and social needs of students and minimized the distracting power of

external commitments.Tinto's model has been applied in various educational situations.

Guarino (1996) found that previous academic achievement, a back-

ground characteristic, was positively correlated with college students'retention. Stage (1989) found that initial goals and commitments

were the best predictors of student retention regardless of academic

performance. However, Halpin (1990) reported that academic inte-

gration predicted students' intentions to persist in a community col-lege, supporting previous research by Pascarella and Chapman(1983). In a meta-analysis of six studies, Napoli and Wortman (1996)found that both social and academic integration had a significant

impact on community college student persistence.The present author was unable to locate any application of Tinto's

(1993) model in music education. Sichivitsa (2002) examined per-sistence in music using Tinto's theory as an organizational frame-work. Choral students at a large university were administered a sur-

vey, and the data were analyzed through a path analytical model sim-

ilar to Tinto's. The results showed that students whose parents wereinvolved in music and supported their children's decisions to studymusic had greater belief in their ability to do well in music, which ledto higher satisfaction with formal and informal aspects of choir andresulted in higher intentions for future music participation. Themain predictors of students' musical intentions were (a) parentalmusicianship and support in music and (b) students' satisfaction







JRME 333

Figure1. Initial path-analyticalmodel: Influence of parental musicianship

and support in music, previous musical experience, self-concept of musicalability,value of music, academic integration, and social integration onmusical intentions.

with their learning experiences in choir. Sichivitsa concluded thatboth the experiences and the meanings that students derived fromthese events affected their

participationdecisions. In the

presentstudy, the researcher revisited the theory, examined new ways of

influencing student intentions, and included a new variable, value of

music, in the model.Path analysis (see Figure 1) was used for assessing the hierarchical

order and magnitude of the causal relationships among exogenousand endogenous variables in the proposed model. Exogenous vari-ables appear to the left in the model and are not affected by other

variables, whereas endogenous variables are influenced by other vari-ables. Path analysis allowed the researcher to look at a number of

experiences and events in students' lives, and their influence on one

another over time. This statistical procedure also provided an oppor-tunity to perform a series of complex tests with the least amount ofstatistical error.

The purpose of this study was to assess the direct and indirectinfluences of two exogenous variables (parental musicianship and

support in music, and previous musical experience) and four







334 SICHIVITSA

endogenous variables (self-concept of musical ability, value of music,academic integration, and social integration) on college choral stu-dents' intentions to continue

participatingin music.

The following six hypotheses were examined:

1. Students who are better integrated in choir academically and

socially, have more previous musical experience, and value musicmore will have higher musical intentions.

2. Students who indicate higher levels of parental musicianshipand support in music and have better self-concepts of musical abilitywill be better integrated in choir academically.

3. Students who have better self-concepts of musical ability and arebetter integrated in class academically will be better integrated in

choir socially.4. Students who have more previous musical experience and indi-

cate higher levels of parental musicianship and support in music willhave better self-concepts of musical ability.

5. Students who indicate higher levels of parental musicianshipand support in music, have better self-concepts of musical ability, andhave more previous musical experience will value music more.

6. Students who indicate higher levels of parental musicianshipand support in music will also have more previous musical experi-

ence.Variables (in italics below) in this study are defined as follows:

Parental musicianship and support in music measured (a) parentalmusicianship (parents go to concerts with their children, play an

instrument, enjoy singing, like classical music, etc.); (b) parentalinvolvement (parents go to their children's performances when pos-sible, talk about music with children); and (c) parental support (par-ents approve of their children's decision to study music).

Previous musical experiencewas operationalized as the total amount

of students' (a) choral (church, school, community ensembles); (b)instrumental (marching band, symphonic band, solo instrumental);and (c) solo vocal experience in years.

Self-conceptof musical ability assessed (a) students' perceptions oftheir own musical talent, (b) perceptions of others' opinions of the

students' musical performance, and (c) self-efficacy in music.

Valueof music assessed the importance of music to students.

Academic integrationwas defined as students' satisfaction with the

(a) performance demands of the choral class, (b) musical repertoire,(c)

opportunities

for musical

growth,

and (d) conductor's

profes-sionalism.Social integrationwas operationalized as students' satisfaction with

informal interactions with the peers and conductor.Musical intentions scale measured students' determination to par-

ticipate in formal (performance and academic music classes) andinformal (community choirs, vocal and instrumental ensembles,other informal instruction) musical activities in the future.







JRME 335

METHOD

Participantsin the

studywere 154 students

(53men and

101women; mean age of 21.6 years) who were enrolled in three tradi-tional choirs at a large southeastern university. Students in the choirshad different conductors, but similar choral traditions and rehearsal

practices. The assumption of this study was that students in the choirswould most likely represent various age-groups, college majors,socioeconomic backgrounds, and levels of previous music participa-tion and commitment to music.

The researcher developed the initial version of the Choir

Participation Survey, used in the pilot project (Sichivitsa, 2002). For

this study each scale of the questionnaire was expanded and modi-fied. The new version of the Choir Participation Survey II (availablefrom the author)1 was presented to a panel of four independentjudges, who evaluated each statement of the scales on its pertinenceto the phenomenon being measured. The judges were experts inchoral music, music education, and educational psychology, andwere qualified to determine the theoretical consistency of each scalein the questionnaire. The judges approved the survey unanimouslyupon the necessary revisions.

The researcher distributed copies of the anonymous Choir

Participation Survey II to 158 students at the end of regular choirclass periods. Students who were willing to participate in the studyfilled out the survey and returned it to the researcher.

RESULTS

Questionnaires were returned by 154 students. Of these, 150 ques-tionnaires had complete information and were considered appropri-ate for the analysis. Means, standard deviations, and internal consis-

tency coefficients for each scale of the survey are reported in Table 1.

The zero-order correlations among variables in the model are pre-sented in Table 2.

In this study, 14.7% of students majored in music education/per-formance; 26.7%, in liberal arts; 13.3%, in education; 11.3%, in engi-neering; 6.7%, in natural sciences; 15.3%, in business; 6.7%, inhuman sciences; 2.7%, in architecture, design, or construction; and

0.7%, in nursing. Additionally some students were able to reporttheir intended majors: this group included 39.3% of freshmen and26.7% of the sophomores in the study. It was impossible to determinewhether freshmen and sophomores would stay with the reported

major. Therefore, no attempt was made to separate participants intogroups based on major or any other characteristic.

Path analysis (see Figure 2) indicated a good fit between theoryand data, ComparativeFit Index (CFI)= .98. Even though the chi-squaretest of the model was significant, X2 (7, N = 150) = 65.2, p < .05, itshould not be used as a sole indicator of the model fit because of

high sensitivity of the chi-square analysis to the sample size (Bentler,







336 SICHIITSA

Table 1

Means,StandardDeviations,and ReliabilityAlphlasor theContinuousMeasurementsofthe ChoirParticipation urvey I (N = 150)

Statement M SD alpha

Parental Musicianshipand Support in Music* 4.41 .49 .78

Self-concept of MusicalAbility* 4.10 .54 .84

Value of Music* 4.44 .39 .81

Academic Integration* 4.11 .36 .77

Social Integration* 3.98 .43 .84

Musical Intentions* 4.16 .60 .86

Previous Musical Experience (in years)* 5.35 2.55

Note. * Likert-typescales, where 1 = Strongly Disagree, 2 = Disagree, 3 = Undecided, 4 =

Agree,5 =StronglyAgree.An internal onsistencyf alpha> .75 wasconsidered cceptable.

1990). The analysis predicted a significant amount of variance in

each endogenous variable, p < .05.The first hypothesis was partially supported by data, explaining

50% of variance in musical intentions, p < .05. Students who indicat-

ed higher levels of social integration (beta = .34, p < .05) and valued

music more (beta = .57, p < .05) showed higher intentions to contin-ue participation in music activities in the future. Contradicting the

hypothesis, students who reported better academic integration inclass indicated lower levels of musical intentions (alpha = -.14, p <

.05), and the amount of previous musical experience did not have a

significant influence on musical intentions (beta = .02, p > .05).

Table 2

CorrelationMatrixfor PathAnalysis N = 150)

1 2 3 4 5 6 7

1. Parental Musicianshipand

Support in Music

2. PreviousMusicalExperience .42**

3. Self-concept of MusicalAbility .54** .42**

4. Value of Music .44** .32** .56**

5. Academic Integration .31** .20* .37** .62**

6. Social Integration .49** .38* .54** .56** .66**

7. Musical Intentions .40** .29** .53** .68** .43** .53**

*p< .05. ** p< .01.







JRME 337

Figure2. Results of the

path-analyticalmodel: Influence of

parentalmusi-

cianship and support in music, previous musical experience, self-conceptof musical ability,value of music, academic integration, and social integra-tion on musical intentions.

The second hypothesis was supported by data, explaining 15% of

variance in academic integration in the choral class, p < .05. Students

who indicated higher levels of parental musicianship and support in

music (beta = .15, p < .05) and had better self-concepts of musical

ability (beta = .29, p < .05) reported better academic integration inclass.The third hypothesis was supported by data, explaining 56% of

variance in social integration, p < .05. Students who had better self-

concepts of musical ability (beta = .38, p < .05) and who were more

satisfied with the academic aspects of the class (beta = .52, p < .05)also reported better social integration.

The fourth hypothesis was supported by data, explaining 35% of

variance in self-concept of musical ability, p < .05. Students who hadmore previous musical experience (beta = .23, p < .05) and indicat-

ed higher levels of parental musicianship and support in music (beta= .45, p < .05) had better self-concepts of musical ability.The fifth hypothesis was partially supported by data, explaining

34% of variance in value of music, p < .05. Students who indicated

higher levels of parental musicianship and support in music (beta =

.17, p < .05) and had better self-concepts of musical ability (beta =

.45, p < .05) valued music more. In apparent contradiction to the

I ~~~~~ ~ ~ ~ ~







338 SICHIVITSA

hypothesis, previous musical experience was not significantly corre-lated with the value of music (beta = .06, p > .05).

The sixthhypothesis

wassupported by

thefindings of

this re-

search. Students who reported higher levels of parental musicianshipand support in music also had more previous musical experience(r =.42, p < .05).

DISCUSSION

The results of this study suggest that the tested model was valid,

although there might be ways to improve it. In previously publishedstudies, both Tinto (1993) and Sichivitsa (2002) were able to explain

12% of variance in students' intentions, and they considered theseresults significant. In the present study, the researcher was able to

explain 50% of the variance in musical intentions.

The value of music was the strongest direct predictor of musical

intentions, which seems to be the most significant finding of this

research project. From the results of the path analysis, one mightconclude that students who have more previous musical experienceand whose parents are more involved in music and supportive oftheir children's musical interests tend to develop better self-conceptsof musical ability, to value music more, and, as a result, to be more

motivated to continue music participation in the future.The questionnaire included both multiple-choice and open-ended

questions, which provided additional information and gave more

insight into the problem. In the open-ended questions, 47% of stu-

dents reported their love of singing, and 46% mentioned that theyderived enjoyment from participating in the choir. These two vari-

ables were most closely related in meaning to the value of music vari-

able, which was a primary reason for future re-enrollment in the

same choral class. Intentions to re-enroll in the same class the fol-

lowing semester were reported by 108 students. For students who

were unsure about their re-enrollment in the choral class or studentswho were not going to re-enroll, the decision was mainly influenced

by nonmusical factors such as scheduling problems or graduation.Students' decisions to re-enroll in the same class were not includedin the musical intentions scale during the analysis.

Musical experience by itself did not have a significant direct

impact on musical intentions. However, children who were raised in

an atmosphere of appreciating music had more positive musical

experiences, and received reassurance of their musical talent weremore likely to feel better about their own musical ability and to

appreciate the musical experiences they encountered. Hurley (1992)obtained similar results in his research, stating that self-concept of

ability was the only variable that directly influenced the value stu-dents placed on music. Parental support in music was significantlycorrelated with the amount of students' previous musical experience.A relationship between those variables may be reciprocal. On one

hand, parents who are involved in music themselves are more likely







JRME 339

to give their children musical training. On the other hand, childrenwho show interest in music independently can motivate their parents

to participate in musical activities with them. Music instructors maywish to plan musical projects so that parents can participate in them

along with their children, stressing the importance of music in the

parents' lives and reinforcing their children's participation in musi-cal activities.

Students who were satisfied with the conductor's professionalism,the level of musical material, and their own performance were more

likely to enjoy socializing with the members of the choir and the con-ductor. In the present study, students who reported better academic

integration in choir had lower musical intentions. Corenblum and

Marshall (1998) also found that high school students' attitudestoward band were negatively correlated with their intentions to takeband next year. After additional analysis the researchers concludedthat this relationship could have been suppressed by other variablesin the model.

The analysis of students' responses to the open-ended questionssuggested a relationship between academic integration and musicalintentions in the model. Only 4% of students reported fellowshipwith singers as a reason for re-enrollment in the choir in the future,whereas the model suggested a significant influence of the social

aspects of choir on students' musical intentions. In future research,the importance of the academic and social components of choirsmust be studied in more detail.

A limitation of this study was generalizability of the results due toa small homogeneous sample. Because the model tested in this studywas new, the first step was to determine its internal validity.Homogeneity of the sample excluded a large number of confound-

ing variables, and might have distorted the results of the analysis. Infuture studies, it would be valuable to expand the sample and includestudents from various educational establishments and geographicalregions.

More research is needed in the field of music motivation and per-sistence to better determine the best ways to recruit and retain stu-dents in music programs. The results of the present study suggestedthat overall participants were highly motivated in music. In this study,95% of students were taking a choral class as an elective. It would be

interesting to compare responses of students who join choirs as elec-tives to students who choose not to enroll in choirs unless required.Researchers might try to discover at which point in life students aremost likely to drop out and how teachers and parents can help them

stay in music.In the present study, musical intentions were measured as a com-

bination of students' intentions to participate in both formal andinformal musical activities. In future research, however, this variablecould be separated into formal and informal musical intentions.Most likely, academic integration will be more strongly related to for-mal intentions, whereas social integration will predict students' infor-







340 SICHIVITSA

mal musical intentions. A direct effect of self-concept of musical abil-

ity on musical intentions should also be included in path analytical

diagrams.

NOTE

1. For a copy of the Choir Participation Survey II, please contact Veronica

Sichivitsa at Randolph School, 1005 Drake Avenue Southeast, Huntsville,AL 35802 or by e-mail at [email protected].

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Submitted January 22, 2003; accepted October 20, 2003.





college choir members' motivation to persist in music

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