Editorial: Motivation in Learning and Performance in the Arts and Sports Topic Editors

Adina Mornell ^1* Margaret S. Osborne ² Noa Kageyama ³ Frank Heuser ⁴

• ¹ University of Music and Performing Arts Munich, München, Bavaria, Germany
• ² The University of Melbourne, Parkville, Victoria, Australia
• ³ Juilliard School, New York City, New York, United States
• ⁴ University of California, Los Angeles, Los Angeles, California, United States

Motivation is a crucial factor in achieving success in any field, but especially in the performing arts and sports, where consistent practice, discipline, and creativity are required to maintain a high level of performance. The science of motivation is relevant today more than ever for several reasons. First, motivation is a fundamental aspect of human behavior, and understanding what drives individuals to perform at their best is essential in many contexts, including education, athletics, and the workplace. Second, motivation is critical for achieving goals, and an understanding of what motivates individuals can help them to set and achieve realistic and meaningful aims. Third, motivation is essential for maintaining mental and physical health and wellbeing, and an exploration of contributory factors can help individuals manage stress and anxiety. This Research Topic collected articles that provide insights into motivation and drive over the short and long term, even in the face of challenges that may arise. The collection provides interdisciplinary perspectives on motivation and explores factors that motivate learners and professionals to optimize their training methods in order to sustain effort over time. The editors hope that this Research Topic will aid in the development of strategies that promote and maintain motivation. university students in Freiburg, Germany. They found that both groups demonstrated similarly high levels of intrinsic motivation to pursue their respective field of studies, although there were differences between those enrolled in bachelor in music performance programs versus those studying school teacher education in programs leading to state certification. Specifically, German teacher education students in both music and sport reported higher levels of extrinsic motivation compared to bachelor students. The authors suggest that this difference might stem from the more defined career paths and structured income associated with teaching compared to the less clearly defined career prospects for those pursuing non-teaching roles in music and sport. In a review of several decades of research on Gumm's models of music teaching and conducting, Gumm explores teacher and conductor behaviors, or approaches, that motivate specific learning outcomes in music education.The study contrasts two overarching priorities -"control" (e.g., where instructors provide clear task directions and corrective feedback to the student) and "release" (e.g., where students are encouraged to self-diagnose problems or rehearse with and perform for each other). While control is more prevalent, overemphasis on control can lead to teacher burnout and student dropout. Experienced educators tend to shift toward release-oriented teaching, prioritizing deeper learning and student autonomy. The author suggests that professional development could help music educators develop a balanced approach that incorporates both control and release strategies to motivate effective learning. In a multi-case study by López-Íñiguez and McPherson the authors identify and highlight a potential deficit in the traditional master-apprentice model suggest that this form of teaching does not necessarily promote selfresponsibility in the learner. Indeed, developing one's self-regulatory skills is one of the most important challenges of our times (faced not only by musicians). The authors employed the "Optimal Music Practice Protocol" (OMPP) to study the learning process. This microanalysis tool offers a structure of engagement to the learner, a technique for practice that supports autonomy. In a multiple-case study, the authors followed four highly proficient cellists during the preparation of completely new repertoire for a public recital.The use of the OMPP allowed the researchers to evaluate the learners' use of the three parts of the self-regulation model (Zimmerman's SRL -see dos Santos Silva et al. above) which was informed by the self-determination theories of Deci and Ryan. These are the 1) Forethought phase, 2) Performance phase, and 3) Self-reflection phase. The study ran over a period of many months and culminated in a concert performance. In evaluating the results, the authors concluded that the OMPP is a useful framework most effective for those musicians who have a developed "learner identity." In other words, those who adopt a mindset of life-long learning are most motivated to take the steps necessary for the learning process. They invest patience into their work, and remain humble in the face of challenges. Music teachers' commitment and academic optimism with respect to selfefficacy were the focus of Du's questionnaire that was developed following a literature review and subsequently conducted at four universities in China. Implications of these papers on motivation in learning and performance include recommendations for taking these results into practice. First, create supportive learning environments. For example, by providing learners with choices, opportunities for skill development, and a of belonging.Second, encourage adaptive emotion regulation strategies, such as cognitive reappraisal, to better manage emotions in challenging learning situations.Teach learners how to reframe their thoughts and perceptions of difficult tasks, and provide them with opportunities to practice these strategies. Third, create a mastery-oriented training climate to foster intrinsic motivation, enjoyment, and a willingness to embrace challenges rather than a singular focus on outcomes and comparisons with others. Finally, promote positive emotions and adaptive emotion regulation, to enhance both performance and well-being.