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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In any form, musical participation is an intimately social activity. Yet, as musicians unflinchingly commit their fullest selves to shared musical collaborations, the natural human penchant for self-interest inevitably comes along for the journey, threatening to compromise collectivistic desires with more egocentric comportments. Undeniahly, the ego plays an inextricable-and at hes antagonistic-rule in the negotiation of musicians performed identities. But as pervasive as the ego may he throughout various spheres af musical practice, it has yet to become a topic of empirical music research. In response to this gap in the literature, the purpose of the current study was to contribute an initial understanding of humility's role in musical participation
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In any form, musical participation is an intimately social activity. Yet, as musicians unflinchingly commit their fullest selves to shared musical collaborations, the natural human penchant for self-interest inevitably comes along for the journey, threatening to compromise collectivistic desires with more egocentric comportments. Undeniahly, the ego plays an inextricable-and at hes antagonistic-rule in the negotiation of musicians performed identities. But as pervasive as the ego may he throughout various spheres af musical practice, it has yet to become a topic of empirical music research. In response to this gap in the literature, the purpose of the current study was to contribute an initial understanding of humility's role in musical participation