• Journal of Gifted/Talented Education
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• v.20 no.3
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• pp.947-966
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• 2010

This study was to examine whether musically talented adolescents' passion and achievement goals influence their deliberate practice. Of the musically talented adolescents surveyed from two arts high schools in Seoul, Korea, 597 completed and returned the questionnaires. Their average age was 17.4 years. Paired t-test on musically talented adolescents' passion(i.e., harmonious passion, and obsessive passion) and achievement goals(i.e., mastery goals, performance-approach goals, and performance-avoidance goals) indicated that harmonious passion were higher than obsessive passion. Mastery goals were higher than performance-approach goals. And performance-approach goals were higher than performance-avoidance goals. Independent t-tests were measured between high and low deliberate practice(DP) groups. High DP group showed higher harmonious and obsessive passion, and mastery and performance goals than low DP group. It was also found that two types of passion(i.e., harmonious and obsessive) positively influenced on deliberate practice via mastery goals.

• Journal of Gifted/Talented Education
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• v.23 no.5
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• pp.731-750
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• 2013

Conceptions toward the artistically gifted were investigated through analyzing newspaper articles from 5 major newspapers for 14 years beginning from 1999 to 2013. There were a total of 1,281 articles having to do with artistically gifted, and showed a steady increase in number of articles as the years went by. Largest number of articles were about musically gifted, and an increase in number of articles were observed following new implementations in law and policy. Implications for education and policy development for the artistically gifted are discussed.

• Journal of Gifted/Talented Education
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• v.21 no.1
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• pp.57-81
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• 2011

The purpose of this study was to explore the quality of life of musically talented students as measured by their external experiences (e.g., activities, companions) and internal experiences (e.g., flow, emotion). The participants in this study were 33 musically talented students (10 males, 23 females) aged 13 to 19. Study data were collected for 7 consecutive days using the Experience Sampling Method (ESM), which employs a cellular-phone as a signaling device. The results were as follows: First, in response to the 1625 random signals, musically talented students reported that 40.9% of their time was spent on productive activities. An additional 33.4% of time was used for maintenance activities and the rest of their time was spent on leisure/social activities. Also, musically talented students reported that 48.5% of their time was spent alone. When they were alone, they spent a lot of time engaging in productive activities (44.3%). Second, in order to measure the flow of their life, two methods were used. One used a 4-channel flow model (i.e. apathy, boredom, flow, anxiety) and the other used 8 dimensions and conditions of the flow experience (i.e. concentration, self-consciousness disappears, action and awareness merge, distorted sense of time, freedom from worry about failure, clear goals, immediate feedback, balance between challenges and skills). According to the former, when engaged in music-related activities, musically talented students usually reported flow (54.0%), while they felt apathy (41.3%) for daily routines activities. According to the latter method, musically talented students experienced flow for most productive activities, while they experienced flow least for maintenance activities. Emotional variables of ESF are comprised of 10 semantic scales (i.e. happy-sad, strong-weak, active-passive, sociablelonely, proud-ashamed, involved-detached, excited-bored, clear-confused, relaxed-worried, cooperative-competitive). Musically talented students reported experiencing the most positive emotion for social activities and experiencing the most negative emotion for maintenance activities. Results of this study assert that musically talented students had to trade off immediate enjoyment for developing their special gifts. They could not afford as much time for socializing with friends, and they had to spend more time alone compared to their peers without such gifts. Consequently, they were found to deprive themselves of the spontaneous good times that teenagers usually thrive on. They were helped in this respect by their autotelic personality traits, especially their strong need for achievement and endurance. The downside, however, is that the moment-to-moment quality of their moods suffered. The argument concerning musically talented students applies for all adolescents. The choices that talented students must make between immediate gratification and long-term development, and between solitude and companionship, are the same choices every young person must make, regardless of her or his level of talent. All of us have gifts that are potentially useful and worthy of being appreciated. But to develop these latent talents we must cultivate them, and this takes time and the investment of mental energy. The lifestyle that musically talented students develop can show us some of the choices all of us must make in order to cultivate our gifts.

• Journal of Gifted/Talented Education
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• v.25 no.6
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• pp.771-797
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• 2015

The purpose of this study was to assess musically gifted students'needs in order to develop the gifted curriculum in music. The survey was carried out with 103 musically gifted students who are being educated in institutes for the gifted. The survey asked the needs about components of the gifted curriculum in music: the educational objectives, contents, teaching strategies, evaluation as well as educational environment influencing on the curriculum. As for the objectives, the result showed the highest needs was the ability to communicate with audience by expressing one's feeling. For the high school students, a large number items had significant differences between the necessary level and the current level. As for the contents, the highest needs were the class piano, second instrument, and the experience of the musical field. High school students needed the second instrument more than middle school students did. As for the teaching strategies, the highest needs were the autonomous choice by learners, the instruction pursuing learners' interests, and the field work. As for the evaluation, the highest needs were the peer evaluation and the evaluation on the collaborative performance or team work. As for the educational environment, the gifted in music strongly needed spaces to practice instruments. Additionally, high school students needed a space to perform like a concert hall. Thus the gifted curriculum in music must be thoroughly developed based on the result above.

• Journal of Gifted/Talented Education
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• v.26 no.4
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• pp.587-609
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• 2016

The purpose of this study is to analysis the cognitive frame of the expert on musically talented in the Pop music audition program. Consequently, this article found that each expert has difference priority. Myself(PA), voice(YA), tune(YO) are used frequently. In comparison with standard frame, all experts refer to creative area in priority. But, they lack in motive area. Also, there are areas which don't treat in standard frame. And to conclude, pop music audition program has creative and personal characteristic. If not, it doesn't give prominence to differentiated messages and last in the global market. Based on the result of this study, this paper suggests the following: Firstly, it needs devices that support areas which fall short of selection. Secondly, it requires new frame which modifies the details of standard frame.

• Journal of Gifted/Talented Education
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• v.22 no.2
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• pp.221-241
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• 2012

The purpose of this study was to explore differences in styles of perfectionism, stress, and career decision-making of gifted musicians by their grade level and examine the effect of perfectionism and stress of gifted musicians on their rational career decision-making. The participants of this study were 88 gifted musicians attending in the middle school of arts. The results indicated that there were significant differences in dimensions of perfectionism by the grade level of gifted musicians. The tendency of self-oriented, other-oriented, and socially prescribed perfectionism was higher with grade level. There were significant differences by grade level in stresses that gifted musicians experienced. The higher a grade level was, the more gifted musicians got stresses in self-development, parent-child relationship, peer relationship, and school life. The effect of grade level on career decision-making was significant in the rational and the transitional career decision-making. The higher a grade level was, the more rational decision-making was but the less transitional decision-making was. Meanwhile, when the effect of perfectionism and stress of gifted musicians on the rational career decision-making was examined, the rational career decision-making was predicted by self oriented perfectionism and self-development stress.

• Journal of Gifted/Talented Education
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• v.27 no.1
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• pp.81-96
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• 2017

This study was to examine the passion profiles and direct, indirect, and total effects of music valuation(MV), passion for music (i.e., harmonious passion, obsessive passion), and satisfaction in music(SM) on music accomplishment(MA) of musically talented high school students in Korea. Of the 599 musically talented high school students surveyed from Gyonggi, Chungnam, and Busan in South Korea, 524 completed and returned the questionnaires yielding a total response rate of 87.48%. Students with high harmonious passion(HP) and high obsessive passion(OP) were classified as high passion students(Nhigh passion=228), where as those with low HP and low OP were classified as low passion students(Nlow passion=5). Students with high passion had higher MV and higher SM than those with high HP or low passion. Moreover, those with high passion had higher music accomplishment than those with high HP, high OP, or low passion. Students with high HP had higher MA and SM than those with low passion. MV affected MA through both HP and OP, and also SA. HP and OP also affected MA and SA. SM directly affected MA. Total effects of HP on MA were higher than those of OP, SM, and MV. The indirect effect of HP on MA were higher than those of OP. Findings indicated that the more students have a HP, the more they showed higher SM and MA when they engaged in music activity with higher MV. Future research is need to replicate these findings with professional musicians at higher levels of expertise.