Music sel -concep measu emen ools a e essen ial a all music
educa ional le els in all con ex s. Un il now, he lack o a alida ed music
sel -concep ques ionnai e in Spanish-speaking coun ies has been
no iceable. The aim o his s udy is o alida e he Musical Sel -Concep
Ques ionnai e (CAMU) (Zubeldia, 2015), which is an abb e ia ed and
cul u ally adap ed Spanish language e sion o he Music Sel -Pe cep ion
In en o y (MUSPI), de eloped by Vispoel (1993a, 1993b). Pa icipan s
comp ised 407 s uden s om mid-le el music s udies om conse a o ies
loca ed in di e en au onomous egions o Spain. The con i ma o y ac o
analysis suppo s he hie a chical iew o he music sel -concep .
Fu he mo e, he s udy also es s he scala in a iance ac oss gende -
di e en ia ed subg oups, which is a p e equisi e o compa e ac o mean
di e ences be ween g oups. This is he inal s ep in he alida ion o he
CAMU, which enables c oss-cul u al esea ch in o his cons uc . The
educa ional implica ions o music s uden s a e discussed.
Keywo ds: music sel -concep , Spanish ques ionnai e, in e nal s uc u e,
music ac i e people.
In oduc ion
Sel -concep is he image ha each indi idual o m o him o he sel based on hei
expe iences and ela ions wi h hei en i onmen , and is made up o a se o
hie a chically-o ganized sel -pe cep ions; he mos ep esen a i e model o he
hie a chical and mul idimensional concep ion o sel -concep , p oposed by Sha elson,
Hubne and S an on (1976), has gi en ise o a weal h o esea ch aimed a iden i ying
Can we measu e musical ac i e people’s music sel -concep ? S uc u e
and in a iance o CAMU, a Spanish ques ionnai e
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Goñi, E., Zubeldia, M., Díaz-Gómez, M., & Fe nández-Lasa e, O. (2020). Can we measu e musically ac i e people’s music skills
and achie emen sel -concep ? S uc u e and in a iance o CAMU, a Spanish ques ionnai e. Music Educa ion Resea ch, 22(4),
478–490. This is an Accep ed Manusc ip o an a icle published by Taylo & F ancis in Music Educa ion Resea ch on 06 Jun
2020, a ailable a : h ps://doi.o g/10.1080/14613808.2020.1775186. I is deposi ed unde he e ms o he C ea i e
Commons A ibu ion-NonComme cial-NoDe i a i es License (h p://c ea i ecommons.o g/licenses/by-nc-nd/4.0/), which
pe mi s non-comme cial e-use, dis ibu ion, and ep oduc ion in any medium, p o ided he o iginal wo k is p ope ly ci ed,
and is no al e ed, ans o med, o buil upon in any way.
2016; Ruismäki & Te eska, 2006; Vispoel, 2003), as well as on gene al popula ion's
sel -concep (Spychige , 2017; Spychige , G ube , & Olbe z, 2009).
The music sel -concep , which in eg a es pe cep ions, belie s and sel -schema
abou a pe son’s musical abili ies and i s po en ial (Schna e, MacIn y e, y Douce e,
2011), is, he e o e, a pa o a sel -concep hie a chy in ol ing a hie a chically-
supe o dina e a is ic domain, and hie a chically subo dina e componen s: composing,
playing, eading, lis ening, dancing, singing and musical skills in gene al (Vispoel,
1995). Di e en models we e es ed (Vispoel, 2003) and esul s highligh ed ha skills
ela ed o singing and dancing we e no so closely ela ed o o e all skills in music, as
Page 2 o 33
Music Educa ion Resea ch
he dimensions ha make up and explain each o i s domains, as he academic one
(Ma sh, 1990, 1993), he social one (By ne & Sha elson, 1996) o he physical one
(Fox & Co bin, 1989), and de eloping measu emen ins umen s o each o hem
(Ha e , 1982, 1988; Ma sh, Richa ds, Johnson, Roche, & T emayne, 1994). In his
s udy, we ocus on music sel -concep , one o he dimensions o his s uc u e.
Fac o s uc u e o he music sel -concep
Some decades a e he ini ial p oposal, a is ic sel -concep was pu o wa d as a
domain pa allel o he academic and non-academic sel -concep , ye di e en om hem
(Vispoel, 1995). Acco ding o his p oposal, a is ic sel -concep is made up o ou
dimensions: sel -pe cep ions ega ding music, isual a s, dance and d ama. A ha
ime, ques ionnai es we e c ea ed o measu e bo h a is ic and music sel -concep
(Vispoel, 1992a, 1992b, 1993a, 1993b), which allowed he de elopmen o esea ch
ocused on seconda y school and uni e si y s uden s’ music sel -concep (Aus in &
Vispoel, 2000; Fiedle & Spychige , 2017; Mo in, Scalas, Vispoel, Ma sh, & Wen,
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Music Educa ion Resea ch
hey we e he skills associa ed wi h ins umen al pe o mance (ins umen al playing and
eading music) and music audi o y cogni ion (lis ening and composing).
Ha ing said ha , no all he app oaches o music sel -concep concu wi h he
hie a chic iew, since in some cases, mul idimensionali y has been de ended as a be e
way o concep ualize i (Müllensie en, Ging as, Musil, & S ewa 2014; Spychige ,
2017).
On he o he hand, al hough di e ences in he dimensions o he music sel -
concep a o able o women ha e been p o en (Aus in & Vispoel, 2000; Eccles,
Wig ield, Ha old, & Blumen eld, 1993; Fo e & Vispoel, 1995; Vispoel, 1993a; Vispoel
& Fo e, 2000), i has no been demons a ed ha his measu e emains in a iable
be ween women and men, which is a p e equisi e in all g oup-based compa isons
(Millsap, 2011).
Measu emen o music sel -concep
Nowadays, he Music Sel -Pe cep ion In en o y (MUSPI), in bo h he expanded 84-
i em e sion (Vispoel, 2003) and he abb e ia ed 28-i em e sion (Mo in, e al., 2016),
is one o he mos highly alued and widely accep ed music sel -concep measu emen
ins umen . In addi ion o MUSPI, in he las wo decades o he ela ed ques ionnai es
ha e been c ea ed: he P e-Se ice Elemen a y Teache s’ sel -Concep in Music
(Ruismäki & Te eska, 2006); he Music Possible Sel es Ques ionnai e III, MPSQ III
(Campbell, 2009); o he Musical Sel -Concep Inqui y MUSCI (Spychige , 2017).
In sum, hese measu emen ins umen s ha e been speci ically aimed a di e en
popula ions o ha e add essed music sel -concep om di e en pe spec i es. The
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i s Spanish-language ques ionnai e o music sel -concep “Cues iona io de
Au oconcep o Musical” (CAMU) (Zubeldia, 2015) has been c ea ed; CAMU is alued
as an adequa e sho ques ionnai e wi h good s a is ical p ope ies (Zubeldia, Goñi,
Díaz, & Goñi, 2017) and is seen as a use ul Spanish-language ool o measu e music
ac i e people’s music sel -concep .
Due o he leng h and he ei e a i e na u e o he ques ionnai e, a decision was
made o sho en he adap ed e sion. I ems o he sho o m (CAMU-28) we e selec ed
a e analyzing he in e -judge ag eemen and he psychome ical p ope ies o he
MUSPI-84 ( ansla ed long o m) i ems. These we e he c i e ia ollowed in he p ocess
Music Educa ion Resea ch
ques ionnai e c ea ed by Vispoel (MUSPI) is based on a mul idimensional and
hie a chic concep ion o he music sel -concep , whe eas o he p oposals such as he
Spychige ’s (MUSCI) choose o explain mul idimensionali y in keeping wi h he iew
ha “a non-hie a chical iew seems o be mo e success ul in accommoda ing he
di e se oles ha music plays in people’s li es” (p. 271, Spychige , 2017). In any case,
he musical abili y dimension, ela ed o “wha I can do” (Spychige , 2017), is he one
which eme ges mos in ensely, music s uden s can be mo e sensi i e o i , and he e o e
i becomes undamen al o unde s and how i is de ined and wha i is made up o .
The e o e, gi en he ac ha he ques ionnai e c ea ed by Vispoel, MUSPI (1994,
2003), has bo h app op ia e psychome ical p ope ies and a solid heo e ical basis, i
can be conside ed he mos sui able ins umen o assess he music sel -concep o
adolescen s and adul s in compulso y and specialized educa ional ins i u ions.
Valida ion o he CAMU, a cul u al adap a ion Spanish –language ques ionnai e
To his end, and as a esul o a cul u al adap a ion and alida ion o he MUSPI, he
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Schmid , 2005). Some s udies ha e ound ha he ela ionship be ween music sel -
concep and musical aining is s onge han he ela ionship be ween gene al sel -
concep and musical aining (Ba el, 1996; Degé, Weh um, S a k, & Schwa ze , 2009;
Hedden, 1982; Ruismäki & Te eska 2006; Zimme man, 2005).
A his s age, one o he pu poses o his p esen ins umen al s udy is o
es ablish whe he he se en-dimension s uc u e o he Cues iona io de Au oconcep o
Musical (CAMU) ques ionnai e can be e i ied, as well as o de e mine whe he he
cu en e sion o he CAMU can be accep ed as bo h inal and ep esen a i e o he
music sel -concep second-o de ac o de ined by 7 i s -o de ac o s model (Vispoel,
Music Educa ion Resea ch
(Cos es-Onishi & Caleon, 2018; Ma sh, Ellis, Pa ada, Richa ds, & Heubeck, 2005;):
i ems wi h high ac o loadings and low uniqueness we e selec ed; i ems p esen ing low
co ela ed uniqueness and c oss loadings we e selec ed; inally, i ems wi h low le el o
in e -judge ag eemen we e elimina ed (Zubeldia, 2015). In he end, a back- ansla ion
o English-language was made.
The p esen s udy
I is ex emely impo an o ha e a alida ed ins umen such as CAMU o music
educa ion esea ch in Spain, since i would p o ide a be e unde s anding o he
pe cep ion ha music s uden s ha e o hei own abili ies; a psychological aspec ha is
wide han me e sel -pe cep ion. Sel -concep in musical con ex s has been associa ed
wi h pa icipa ion in music ela ed ac i i ies (Reynolds, 1992), mo i a ion (Ka sochi,
2008; Wes , 2013) and musical achie emen (Aus in, 1988; Aus in & Vispoel, 1998).
Mo e speci ically, se e al s udies show ha s uden s wi h highe music sel -concep a e
mo e engaged in musical ac i i ies and ob ain be e achie emen s (Klinedins , 1991;
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o music sel -concep (second o de ac o ); he second s a egy is o ind e idence o
he ques ionnai e's alidi y o measu ing music sel -concep in bo h sex g oups
(Vispoel, 2003; Mo in, e al., 2016).
Ma e ials and me hod
Pa icipan s
Ini ially, he s udy sample comp ised 814 subjec s engaged in mid-le el music s udies.
Anyway, he one hal o he o al sample (407 s uden s) was andomly selec ed o his
con i ma o y pu pose, all o hem musical ac i e people. Pa icipan s we e aged
Music Educa ion Resea ch
2003). A sui able me hod o achie e his goal is o e ed by he con i ma o y ac o
analysis (By ne, 2001; S einme z, Schmid , Tina-Booh, Wieczo ek, & Schwa z, 2009;
Vispoel, 1995).
To es ablish i he e a e ac ual di e ences ela ed o social-pe sonal ai s, i is
essen ial o de e mine whe he o no CAMU measu es his ac o s uc u e in he same
way wi hin di e en popula ions. Only an in a iabili y analysis can es ablish he
psychome ic base equi ed o jus i y he in e -g oup compa ison (Elosua, 2005;
S einme z, Schmid , & Schwa z, 2009).
In summa y, his s udy aims o conclude he c oss-cul u al adap a ion p ocess o
he CAMU. Two s a egies a e ollowed o es whe he o no i can be used o e alua e
he sel - epo ed music sel -concep o musically ac i e Spanish s uden s: he i s is o
e i y a ac o s uc u e o he ques ionnai e ha i s he model p oposed p e iously by
Vispoel (2003), and o his eason, we p opose ha sel -concep s in singing, playing,
eading, composing, lis ening, dancing and gene al abili ies ( i s o de ac o s) a e pa
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abili y o c ea e dance mo emen s o music, and gene al musical abili y.
Analyses
A e he ques ionnai es had been collec ed, hose subjec s deemed no o ha e gi en
eliable, alid answe s we e elimina ed ollowing wo c i e ia (Ba ne & Lewis, 1994;
McKnigh , McKnigh , Sidanius, & Figuei edo, 2007): lack o cohe ence in esponses
gi en o simila i ems (lack o since i y), and he o al numbe o i ems answe ed
(subjec s who ailed o espond o a leas 80% o he i ems we e elimina ed). In he case
o missing alues (1%), using he expec a ion maximiza ion (EM) algo i hm and he
Music Educa ion Resea ch
be ween 11 and 60 (x = 17.72; σ = 5.66). Rega ding gende , 180 (45.2 %) we e men and
212, women (54.8 %).
Da a collec ion, a iables and measu emen ins umen s
The adminis a ion p ocess was o e seen in he di e en pa icipa ing cen e s
(Conse a o ies) by people ully e sed in he ins uc ions and p ocedu e; he Music
Sel -Concep Ques ionnai e (CAMU; Zubeldia, 20015) was adminis e ed o he whole
g oup in class ime. Pa icipa ion was s ic ly olun a y and he anonymi y o he
esponses was gua an eed.
The CAMU con ains 28 i ems d a ed e enly in bo h posi i e and nega i e e ms
(appendix 1). Pa icipan s esponded o he i ems on a six-poin Like - ype scale and
he esponse op ions anged om o ally alse o o ally ue. The ins umen is di ided
in o se en scales ha measu e he ollowing musical sel -pe cep ions: abili y o sing,
abili y o play a musical ins umen , abili y o ead music, abili y o compose music,
abili y o lis en o music (and iden i y he cha ac e is ics o he piece in ques ion),
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inc ease in he CFI index (ΔCFI), which should be abo e .10 and whe he he
di e en ials be ween χ2 and he models’ deg ees o eedom (ΔS-B χ2 (d )) we e
signi ican ; Sa o a and Ben le (2001) de eloped a p ocedu e o scaled di e ence chi-
squa e es ing ha is easily implemen ed using he scaled and unscaled chi-squa e
alues and he deg ees o eedom o he wo models con as ed (Sa o a & Ben le ,
2010).
Tes s o measu emen in a iance o he CAMU ac oss samples we e conduc ed
wi h he mul ig oup con i ma o y ac o analysis p ocedu e (CFAMG) (Buil e al.,
Music Educa ion Resea ch
Ma ko chain Mon e Ca lo (MCMC), an app oxima e sco e was ex ac ed o each
missing i em, based on he o al esponses gi en by each pa icipan (Allison, 2002).
In o de o ca y ou he con i ma o y ac o analysis, he co a iance ma ix and
he MTMM p ocedu e we e used o impu ing cases wi h incomple e answe s, using he
EQS 6.3 s a is ical p og am o Windows. To es he CAMU’s s uc u e we u ned o
he con i ma o y ac o analysis (CFA); he Maximum Likelihood (ML) me hod was
applied, bu since he equi ed no mali y condi ion (Ma dia coe icien = 271.61) was
no ully complied wi h, model i was es ima ed based on obus s a is ics. The
accep ance h eshold o he alues o almos all he indexes is .90, and he alues mus
exceed his igu e, excep in he case o he RMSEA, whose maximum alues should be
.60 (ideal) and .90 (accep able) (Ba is a & Coende s, 2000).
O he indexes we e e i ied in o de o de e mine whe he o no he da a
suppo ing a model indica ed ha i s i was signi ican ly di e en om he i o he
al e na i es, being nes ed models (Chen, 2007; Cheung & Res old, 2002), like he
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se en hypo hesized ac o s a e di e en and unco ela ed ( he analysis o he i o hese
wo models simply aims o p o e he “simple s uc u e”, i.e., he ac ha he se en
dimensions a e di e en ia ed); a hi d model (M2) includes a i s -o de ac o (music
sel -concep ) de ined by he 28 i ems (unidimensional model). Finally, he ou h model
(M3) comp ises se en ac o s and a second-o de (la en ) one, suppo ing he heo y ha
he se en scales o he CAMU measu e independen dimensions espec i ely, and ha
oge he , hey o m a second-o de ac o iden i ied as he musical domain o sel -
concep .
Figu e 1. Fou di e en and compa ed models
Music Educa ion Resea ch
2010; S eenkamp & Baumga ne , 1998). The pa ame e s ha emain in a ian ac oss
he analyzed g oups (men and women) in his model es ing a e he cons uc , ac o
loading, i em in e cep s and e o a iances, compa ed o hose ha a e es ed in he
‘s uc u al in a iance’ (in a iance o he a iances, co a iances and means o he la en
a iables) (e.g., By ne, Sha elson, & Mu hén, 1989; Me edi h, 1993; Millsap, 2011;
Vandenbe g & Lance, 2000). Speci ically, o es he in a iance o a second-o de ac o
model he p ocedu e sugges ed by Widaman & Reise (1997) is used. The i o he
nes ed model is es ed using he same indexes as in he con i ma o y ac o analysis
(Ma sh e al., 2005).
Resul s
Di e en models a e compa ed in o de o analyze he dimensionali y and he ac o
s uc u e o he CAMU ( igu e 1): he i s one (M1A) assumes ha he se en
hypo hesized ac o s a e di e en ye co ela ed; he second one (M1B) assumes ha he
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Re e ences
Allison, P. D. (2002). Missing alues. New Yo k: Sage.
Ascenso, S., Williamon, A., & Pe kins, R. (2016). Unde s anding he wellbeing o
p o essional musicians h ough he lens o Posi i e Psychology. Psychology o
Music, 1-17. doi: 10.1177/0305735616646864.
Aus in, J. R. (1988). The e ec o music con es o ma on sel -concep , mo i a ion,
achie emen , and a i ude o elemen a y band s uden s. Jou nal o Resea ch in
Music Educa ion, 36, 95-107.
Aus in, J. R., & Vispoel, W. (1998). How Ame ican adolescen s in e p e success and
ailu e in class oom music: Rela ionships among a ibu ional belie s, sel -
concep and achie emen . Psychology o Music, 26, 26-45.
Aus in, J. R., & Vispoel, W. (2000). Child en’s abili y sel -pe cep ions and in e es s:
G ade le el, gende and ace di e ences o music, eading and ma h. In R.G.
C a en & H.W. Ma sh (Eds.), Sel -concep heo y, esea ch and p ac ice:
Ad ances om he new millennium con e ence p oceedings (pp. 100-107).
Sydney: SELF Resea ch Cen e, Uni e si y o Wes e n Sydney.
Ba ne , V., & Lewis, T. (1994). Ou lie s in s a is ical da a. Chiches e : John Wiley &
Sons.
Ba el, L. R. (1996). Fac o s in high school s uden s’ sel -assessmen o musical abili y.
Canadian Jou nal o Resea ch Music Educa ion, 37(4) 11-21.
Ba is a, J. M., & Coende s, G. (2000). Modelos de ecuaciones es uc u ales [Models o
s uc u al equa ions]. Mad id: La Mu alla.
Ben le , P. M. (1989). EQS s uc u al equa ions p og am manual. Los Angeles: BMDP
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Fo Pee Re iew Only
Appendix 1. I ems o he Musical Sel -Concep Ques ionnai e (CAMU).
English ansla ion
Spanish o iginal e sión
1. I am good a singing (SING)
Soy bueno/a can ando (CAN)
2. I ind i ha d o play a musical ins umen
(PLAY)
Toca un ins umen o musical me esul a di ícil
(TOC)
3. I am good a eading music (RE)
Tengo habilidad pa a lee música (LE)
4. I ind i ha d o c ea e/compose music (COM)
Me es di ícil c ea /compone música (COM)
5. I am good a iden i ying cha ac e is ics o music
by hea (LIST)
Iden i ica ca ac e ís icas de la música de oído es
algo que se me da bien (ESC)
6. I ha e ne e been e y good a c ea ing dance
mo emen s o music (MOV)
Nunca he sido muy bueno/a c eando
mo imien os de danza pa a la música (DAN)
7. I am con iden in my abili y o pe o m mos
music- ela ed ac i i ies (GEN)
Tengo con ianza en mi habilidad pa a la mayo
pa e de ac i idades elacionadas con la música
(GEN)
8. I ha e ne e been e y good a singing (SING)
Nunca he sido muy bueno/a can ando (CAN)
9. I ind i easy o play a musical ins umen
(PLAY)
Toca un ins umen o musical me esul a ácil
(TOC)
10. I ha e ne e been good a eading music (RE)
Nunca he sido muy bueno/a leyendo música (LE)
11. I am good a composing/c ea ing music (COM)
Soy bueno/a componiendo/c eando música
(COM)
12. I ind i ha d o iden i y cha ac e is ics o music
by hea (LIST)
Me esul a di ícil iden i ica ca ac e ís icas de la
música de oído (ESC)
13. I am good a c ea ing dance mo emen s o music
(MOV)
C ea mo imien os de danza pa a la música es
algo que se me da bien (DAN)
14. I ind mos music- ela ed ac i i ies ha d (GEN)
Tengo di icul ades pa a ealiza la mayo pa e de
las ac i idades elacionadas con la música (GEN)
15. Singing is some hing I do well (SING)
Can a es algo que se me da bien (CAN)
16. I ha e ouble playing a musical ins umen
(PLAY)
Tengo di icul ades a la ho a de oca un
ins umen o musical (TOC)
17. Reading music is some hing I ind easy (RE)
Soy bueno/a leyendo música (LE)
18. I ha e ne e been good a composing/c ea ing
music (COM)
Nunca he sido muy bueno componiendo/c eando
música (COM)
19. I am skilled a iden i ying cha ac e is ics o
music by hea (LIST)
Soy habilidoso/a a la ho a de iden i ica
ca ac e ís icas musicales de oído (ESC)
20. I is ha d o me o c ea e dance mo emen s o
music (MOV)
Me esul a di ícil c ea mo imien os de danza
pa a la música (DAN)
21. I ind mos music- ela ed ac i i ies easy (GEN)
Se me dan bien la mayo pa e de las ac i idades
elacionadas con la música (GEN)
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22. I ind i ha d o sing (SING)
Me esul a di ícil can a (CAN)
23. I am good a playing a musical ins umen
(PLAY)
Soy bueno/a ocando un ins umen o musical
(TOC)
24. I is ha d o me o ead music (RE)
Me esul a di ícil lee música (LE)
25. I c ea e/compose music well (COM)
Tengo habilidad pa a c ea /compone música
(COM)
26. I ha e ne e been e y good a iden i ying
cha ac e is ics o music by hea (LIST)
Nunca he sido muy bueno/a a la ho a de
iden i ica ca ac e ís icas de la música de oído
(ESC)
27. C ea ing dance mo emen s o music is
some hing I'm good a (MOV)
Tengo habilidad pa a c ea mo imien os de
danza pa a la música (DAN)
28. I ha e ne e been e y good a mos music-
ela ed ac i i ies (GEN)
Nunca he sido muy bueno/a en la mayo pa e de
las ac i idades elacionadas con la música (GEN)
*GEN= Gene al musical sel -concep ; SING= Singing; COM= Composing; LIST= Lis ening; RE=
Reading; PLAY= Playing; MOV= Mo ing; CAN= Can a ; COM= Compone ; ESC= Escucha ; LE=
Lee ; TOC= Toca ; DAN= Baila
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