This paper investigates theories concerned with why students start and continue with their music learning. In particular, rather than focusing on the conventional nature versus nurture debate which has heavily dominated much of the writing on music learning in recent years, the current paper explores the social constructionist approach to consider the role of the student's sense of self in building a musical identity. Working within this framework, it becomes evident that data which has previously been regarded as only demonstrating the role of others in the development of musical skills has been interpreted too simplistically. Thus, it is believed that the current paper presents an important departure, and lays down a challenge to music educators, psychologists and other researchers to explore how self and personal desire interact in the development of musical skills. Not least does this become apparent in music.
Experience is acquired through interaction with the world.
From it come influences, attitudes and wishes, and it can be said to have an active side which changes in value according to the circumstances under which it is acquired. This means that dialogue and participation in music teaching need to be based not only on what one has experienced externally, but also on what one has experienced internally, what one has felt. Thus both longitudinal and transverse aspects of the concept of experience should be considered in the planning and delivery of music curricula. Interviews were used as the data collection method. Results show that the way children use music and music education depends on both sociocultural and musical background.