Identity and Role Development Through Music Education: Insights From Symbolic Interactionist Theory

Identity and Role Development Through Music Education: Insights From Symbolic Interactionist Theory | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article Identity and Role Development Through Music Education: Insights From Symbolic Interactionist Theory Sultan Bilget Güçlüer, Hasan Açılmış This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7445754/v1 This work is licensed under a CC BY 4.0 License Status: Under Review Version 1 posted 4 You are reading this latest preprint version Abstract Symbolic interactionism conceptualizes human behavior and interaction through symbols and the meanings attributed to them. This study adopts a symbolic interactionist perspective to explore how music education shapes identity and social roles among a small group of undergraduate students. Using semi-structured interviews with five female music education undergraduates in Turkey, the study investigates how participants interpret their experiences in relation to selfhood, family, and professional roles. Findings indicate that music education supports self-confidence, adaptability, and social belonging, while also enabling students to challenge familial expectations and traditional gender norms. Although the limited sample prevents generalization, the study provides exploratory insights into the role of music education in identity construction and offers a framework for future research. Extended Abstract This qualitative case study examines how music education contributes to identity and role development from the perspective of symbolic interactionist theory. Symbolic interactionism emphasizes that the self is constructed through social interaction and the interpretation of shared symbols. In this study, five female undergraduate students enrolled in music education programs in Turkey participated in semi-structured interviews. The focus on female students reflects an interest in exploring gendered dimensions of identity construction in music education contexts. The findings highlight how music education supports transformations in personal, familial, social, and professional identities. Participants reported increased self-confidence, stronger social adaptability, and a deepened sense of belonging within musical communities. Using concepts such as the “looking-glass self,” “collective action,” and the “generalized other,” the analysis demonstrates how participants’ interactions with peers, instructors, and family members shaped their identity development. While music education fostered social cohesion and provided opportunities for self-expression, participants also described tensions, such as negative judgments from family members or difficulties adapting to group norms. These dynamics illustrate both the empowering and constraining effects of music education on identity formation. Importantly, the study finds that music education enabled participants to challenge traditional gender expectations, thereby positioning it as a site of personal agency and social negotiation. Due to the small, homogeneous sample, the results cannot be generalized. However, the study provides valuable exploratory insights into the ways music education interacts with identity and role development. Future research with larger and more diverse samples is needed to further investigate these dynamics. Humanities/Cultural and media studies Social science/Cultural and media studies Social science/Education Biological sciences/Psychology Social science/Psychology Symbolic interactionism music education identity role development 1. Introduction Symbolic interactionism emerged in the late 19th and early 20th centuries as a distinctive sociological perspective that explains human behavior through symbols and meanings produced in social interaction. Its intellectual foundations were laid by George Herbert Mead, who emphasized that the self develops through social processes and the ability to view oneself from the standpoint of others (Mead, 1934, as cited in Blumer, 1969 , pp. 1–2). Mead’s ideas were later systematized by Herbert Blumer, who coined the term “symbolic interactionism” and defined it as a unique approach to studying human group life and behavior (Blumer, 1969 , p. 1). Blumer ( 1969 , p. 10) stressed that any unity within a group results from individuals acting toward one another, and such interactions are “predominantly and characteristically symbolic.” This emphasis links symbolic interactionism with earlier contributions from Cooley-who developed the concept of the “looking-glass self” (Cooley, 1978 , p. 169)-and Thomas and Znaniecki, who studied how definitions of situations shape social behavior (Koçak Turhanoğlu, 2010 , p. 89). The Chicago School of Sociology also played a crucial role in shaping symbolic interactionism, with contributions from scholars such as William James, Robert Redfield, and Louis Wirth (McCall & Becker, 1990 , p. 3). Later interpretations, including those by Manis and Meltzer ( 1978 , p. 6), broadened the perspective by linking symbolic interactionism to processes of socialization, identity, and role formation. Denzin ( 1992 , p. 26) described the self as multilayered-interactional, linguistic, material, ideological, and rooted in desirearguing that these layers are activated in social contexts and become integral to personal biographies. According to Giddens ( 2012 , pp. 57–58), symbolic interactionism highlights how language enables individuals to recognize their individuality, to see themselves as objects, and to internalize the perspectives of others. Similarly, Scott ( 2006 , p. 146) emphasized that symbolic interactionism is less concerned with what social processes are than with how they occur, particularly through performance and interaction. Recent studies continue to affirm the importance of symbolic interactionism in understanding identity formation in relation to everyday practices, social roles, and collective behavior (Gottschalk & Fuller, 2024 , p. 81). In light of this tradition, the present study employs symbolic interactionism to examine the role of music education in identity and role development. Music, as both a symbolic and interactive practice, provides a valuable lens through which personal, familial, social, and professional identities can be explored. To address this, semi-structured interviews were conducted with five female undergraduate music education students in Turkey. While the sample is limited, the exploratory nature of the study offers meaningful insights into the ways in which music education intersects with identity construction and gendered role expectations. 1.1. Identity and Role Development Within the Framework of Symbolic Interactionism Symbolic interactionist theory emphasizes that individuals construct and negotiate their identities through interactions with others and communities, sharing and interpreting symbols in the process. Blumer ( 1969 , p. 10) highlights the centrality of symbolic interaction in human group life, arguing that social unity arises from individuals acting toward one another and responding to others’ actions. Such interaction is inherently symbolic, as individuals simultaneously construct their own behaviors while considering the behaviors of others. Identity, in this framework, is understood as personal, situational, and social or structural. It is shaped by the roles individuals assume and the meanings they attach to these roles. These meanings are not fixed; rather, they are continuously reshaped and renegotiated through ongoing interaction (Couch et al., as cited in Denzin, 1992 , p. 26). Denzin (1989, as cited in Denzin, 1992 , p. 26) further emphasizes that the self is a multilayered phenomenon that manifests in various forms-interactional, linguistic, material, ideological, and desire-which become activated in social contexts and integrate into an individual’s biography. Manis and Meltzer ( 1978 , p. 6) expand this understanding by suggesting that society is most usefully conceived as a network of interacting individuals. This perspective broadens traditional views of socialization, moving beyond the transmission of culture, statuses, and roles to include processes of humanization, enculturation, and personality formation. Within this scope, symbolic interactionism asserts that individuals construct their sense of self and reality through social encounters (Gottschalk & Fuller, 2024 , p. 81). Scott ( 2024 , p. 146) reinforces this by noting that symbolic interactionism is fundamentally concerned with the how of social processes, where performance plays a central role. Symbolic interactionism has served as the foundation for thousands of field studies across diverse areas such as race, class, work, family, art, and the sociology of science. Its strength lies in the extensive body of empirical research that concretizes and contextualizes its central claims (McCall & Becker, 1990 , p. 4). Ultimately, symbolic interactionist theory underscores the dynamic and evolving nature of identity and roles, which are continually shaped through social, communal, and individual interactions and expectations. 2. Methodology This study employed a qualitative research design to explore how music education shapes identity and role development through the lens of symbolic interactionist theory. The qualitative approach was selected in order to capture the subjective experiences, meanings, and interpretations of participants, which are central to the symbolic interactionist perspective. 2.1. Participants The study was conducted with five female undergraduate students enrolled in music education programs at a public university in Turkey. The participants were selected using purposive sampling, with the criterion of being actively engaged in formal music education. The focus on female students was intentional, aiming to examine how gendered experiences influence identity construction in the context of music education. To protect confidentiality, participants were anonymized and labeled as P1-P5. 2.2. Data Collection and Analysis Data were collected through semi-structured, in-depth interviews conducted online and face-to-face, each lasting between 45–60 minutes. The interview protocol included questions on personal background, musical experiences, social interactions, family perspectives, and perceived changes in identity and social roles. All interviews were audio-recorded and transcribed verbatim. The transcripts were analyzed using thematic content analysis. 2.3. Trustworthiness To ensure the credibility of findings, multiple strategies were employed: member checking, where participants reviewed selected excerpts of their transcripts; triangulation by comparing themes with symbolic interactionist concepts such as the looking-glass self, collective action, and the generalized other; and maintaining an audit trail of coding and analytic decisions. 2.4. Ethical Considerations This study received ethical approval from the Scientific Research and Publication Ethics Committee of Social and Human Sciences at Gaziantep University. The approval was granted at the 11th meeting of the committee on 04 August 2025, under decision number 29 (Document No: E-87841438-302.08.01-695845). All procedures were conducted in accordance with institutional ethical standards and the principles outlined in the Declaration of Helsinki. Participants were informed about the study’s objectives and provided written consent. They were assured that their identities would remain confidential and that their participation was voluntary. 2.5. Limitations The study is limited by its small and homogeneous sample of five female students, which prevents broad generalization. However, as an exploratory case study, it provides in-depth insights into identity formation processes and offers a foundation for further research with larger and more diverse samples. 3. Findings: Contribution of Music Education to Identity and Role Development Music education makes a substantial contribution to individuals’ cognitive, emotional, and social development, particularly in the later stages of life (Dinç, 2019 ). As an interdisciplinary field, it not only supports academic performance but also enhances the overall learning process by fostering creativity, critical thinking, and holistic growth (Uyan, 2021 ). Furthermore, its influence on personality and social development is evident in the strengthening of self-confidence and social adaptability (Özer, 2021 ). Beyond general educational benefits, music training also plays a decisive role in the professional advancement of musicians, facilitating the acquisition of technical skills, the maturation of artistic expression, and the confident execution of stage performance (Lehmann, Sloboda, & Woody, 2007 ). Kotarba ( 2024 , p. 258) emphasizes that music is not only a form of artistic practice but also an integral dimension of social life. He asserts that the study of music illuminates core sociological issues such as culture, community, belonging, and identity. Within this framework, symbolic interactionism provides a valuable lens for analyzing broad social phenomena, including processes of identity formation, role negotiation, and social change (Degloma, Brekhus, & Force, 2024 , p. 18) In this respect, the present study situates music education within symbolic interactionist theory in order to explore how individuals acquire, negotiate, and transform their identities and roles through musical engagement. By examining both the educational and relational dimensions of this process, the analysis demonstrates that music education functions as a critical site of symbolic interaction where meaning is constructed, roles are enacted, and identities are continually reshaped. Interview data provides a deeper understanding of how music education shapes identity and role development. For instance, P1 reflects on the transformative role of music education in reshaping familial and social identity: After receiving music education, my communication with my family has improved. I believe this has also increased my father’s support for me. We’ve begun to talk on the phone every day. When we lived together, our relationship was not this close. Thanks to me, my siblings’ relationships have also improved. After me, even the children of my relatives began pursuing education outside the city. This testimony reveals how music education facilitates not only personal growth but also broader kinship transformations. From a symbolic interactionist perspective, P1’s new identity emerges through changing interactional dynamics, which then reverberate within the family system, producing a collective shift in relational patterns. Similarly, P5 emphasizes the reconfiguration of personal, familial, and social identity through music education: My father was even against me playing the ney. Over time, my family’s prejudices diminished. Now, they speak of me with pride. Other people also see me differently now. It feels like this was my best decision as if my previous choices didn’t truly belong to me. P5’s account highlights how symbolic meanings attached to musical practices-once stigmatized-were gradually reconstructed through sustained engagement. The shift from resistance to pride within the family, and the recognition by broader social circles, demonstrates how identity is renegotiated through symbolic interaction. Here, music education functions as both a vehicle for personal autonomy and a medium through which social legitimacy is acquired. P2, in contrast, underscores the role of music education in cultivating meaning and confidence: This place has significantly increased my self-confidence. At first, I struggled to communicate with the instructors. I think my ability to adapt strengthened my confidence as well. Initially, I was more reserved in music groups, but over time, I realized I needed to stand up for myself. This response shows that social interactions within music education contexts act as sites of symbolic negotiation, where the self is redefined. For P2, interaction with peers and instructors facilitated the emergence of a more confident self-concept, aligning with the symbolic interactionist notion that identity evolves through social encounters. Taken together, these narratives demonstrate how music education functions not only as a technical or artistic process but also as a symbolic arena in which individuals negotiate familial recognition, social legitimacy, and personal confidence. Through this process, new identities are constructed, old stigmas are reinterpreted, and social roles are redefined. Additionally, while P2 reflects on their music education experience by stating, “I learned to be more patient,” P4 notes, “I have become more patient and understanding thanks to music education.” Similarly, P3’s statement, “With my music education, I started to feel like a more mature individual. Being able to critique others musically has boosted my self-confidence,” highlights the role of music education in fostering maturity and self-assurance. From a symbolic interactionist perspective, these responses illustrate how music education shapes both personal and social identities. It contributes to individuals’ development of patience, understanding, and self-confidence, while also facilitating their redefinition as socially competent and mature actors. Thus, music education emerges as a symbolic site in which interaction fosters personal growth and strengthens social roles. In contrast, P2 emphasizes the challenges of encountering negative attitudes and behaviors within their music education environment: For the first time in my life, I found myself in an environment where the system didn’t function well. I’m specifically referring to the students. Being surrounded by a group with low communication skills, empathy, attitudes toward lessons, and self-care abilities felt strange to me. I tried to calm myself. I am a perfectionist, and this laid-back environment has somewhat polished that aspect of me. I gradually began to accept them more, but I still wouldn’t prefer to spend time with them out of school. From a symbolic interactionist standpoint, this account demonstrates how identity, initially grounded in high expectations and perfectionist tendencies, was challenged by a new social environment. Through this process, P2 reinterpreted their identity, learning to negotiate between personal standards and communal realities. Music education thus functions as a microcosm of broader social life, compelling individuals to adapt, redefine themselves, and integrate into diverse communities. Similarly, P4 articulates their struggle in adapting to a younger and more dynamic peer group: It took me some time to get used to being around people younger than me in class. It was challenging for me to adapt to a group that communicated in a very loud manner. I can only connect with a few individuals. From a symbolic interactionist lens, P4’s reflections reveal how individuals position themselves within unfamiliar social contexts. Their process of self-definition-navigating age differences, communication styles, and social preferences-underscores the relational nature of identity. Music education here operates as an environment where adaptation, negotiation, and selective affiliation contribute to personal and social identity construction. Taken together, these accounts highlight the dual function of music education: while it promotes traits such as maturity, patience, and confidence, it also exposes individuals to challenges that necessitate identity renegotiation. Symbolic interactionism thus provides a valuable framework for analyzing how music education simultaneously supports growth and compels adaptation within complex social interactions. In contrast, P3’s response illustrates how music education has contributed to the development of both professional and social identity: The intensity of one-on-one education, especially the more personal nature of teacher-student relationships, had a positive impact on me. It made me genuinely willing to study. Thanks to the music ensembles I participated in during concert preparations, I could develop stage discipline. I believe I’ve also gained a sense of collective singing culture. This statement highlights the dual role of music education: it enhances professional growth by fostering stage discipline and technical competence while simultaneously facilitating social identity development through collaborative and interpersonal experiences. From a symbolic interactionist perspective, these experiences illustrate how individual identity is constructed through meaningful interactions with instructors and peers, and how such interactions contribute to positioning oneself within the broader music community. Similarly, P4 emphasizes the transformative effect of music education on their professional practices and personal dispositions: For instance, the information I learned about calmly vocalizing exercises during class and relaxing my jaw has been very helpful in the school where I work. When I first started learning the kemane, I was very impatient. I would get frustrated when I couldn’t play well. Reading sheet music was challenging. However, when I calmed myself down and focused on my instrument, the results were always much better. From this account, it is evident that P4 developed new symbolic resources through music education-calmness, patience, focus, and adaptability-which not only supported their technical learning but also facilitated the integration of these qualities into professional and social contexts. In symbolic interactionist terms, these new “symbols” operate as shared meanings that guide self-perception and social positioning, reinforcing identity reconstruction on both personal and professional levels. Taken together, the reflections of P3 and P4 demonstrate how music education extends beyond technical training, functioning as a symbolic arena where professional and social identities are simultaneously negotiated and reconstructed. Through teacher-student relationships, ensemble participation, and the internalization of new symbolic meanings, individuals develop competencies that transcend musical practice and shape their broader roles in society. 3.1. Music Education as a Field of Social Role Construction Within this framework, music education can be considered a valuable means of constructing social roles. Individuals who receive such education often redefine themselves through social interactions and reconstruct their roles within society. To clarify this connection between music education and social role formation, Charles Horton Cooley’s theory of the “looking-glass self” becomes particularly relevant. In his works, Cooley highlighted the inseparable relationship between society and the individual, arguing that these two could only be understood in relation to one another: “A person’s personality is shaped by what influences them.” According to Cooley, the realities of social life are fundamentally mental, and the behaviors of individuals, groups, and institutions are shaped by underlying psychological phenomena. On this basis, he introduced the concept of the “looking-glass self,” which underscores the social determination of identity (Quest-Adade, 2019 , pp. 115–116). While Mead rejected some aspects of Cooley’s ideas, he adopted and further developed the notion of the “looking-glass self” (Mead, 1914, cited in Baldwin, 1986 , p. 9). This theoretical framework provides a foundation for examining how music education contributes to the development and redefinition of social roles through symbolic interactionist processes. Cooley’s central premise can be summarized as follows: “I feel about myself the way you think about me.” The theory of the looking-glass self is explained through three interrelated elements: (a) imagining how we appear to others; (b) imagining the judgment of that appearance by others; and (c) experiencing a self-feeling, such as pride or shame (Quest-Adade, 2019 , p. 116). These three elements are consistently reflected in the interview data, particularly in relation to family and social circles. P1 illustrates this process clearly: My family initially thought it would be more appropriate for me to choose a profession related to my previous undergraduate education. However, once they saw the benefits that music education brought to me, they stopped insisting on that decision. Now, I am appreciated by my extended family and friends outside of school for what I have gained through this education. They admire my courage to change fields. Here, the family’s initial opposition reflects (a) P1’s imagined appearance shaped by expectations. The subsequent recognition and support demonstrate (b) an altered judgment of others, which in turn fostered (c) a feeling of pride and a strengthened self-concept. P2’s account follows a similar trajectory: My family strongly opposed my decision to pursue music education. My father didn’t speak to me for two months. My greatest supporters were my mother and my aunts. Especially during my music education, I received considerable attention from my friends. Our conversations increasingly became music-centered. P2 first confronted (a) negative perceptions from their father, then processed (b) differing judgments within the family-opposition from the father, support from mother and aunts, and appreciation from friends. These contrasting evaluations shaped (c) a mixed emotional response: initial hurt followed by growing pride and confidence. P3 also reflects both positive and negative dynamics: My family never supported my conservatory education. They even prevented me from attending a fine arts high school during my secondary education. However, at this point, those arguments have ceased. My participation in choirs has positively influenced how my friends perceive me. As I’ve taken on music-related tasks and responsibilities, I believe the attitudes of those around me have also improved positively. However, some of my relatives still view people who pursue music education as mere ‘performers.’ Here, (a) the imagined perception of disapproval from family shaped P3’s initial self-image. Over time, (b) the positive recognition of friends and peers contrasted with relatives’ dismissive judgments. Consequently, (c) P3 developed both pride and discomfort, navigating a complex self-concept shaped by mixed feedback. P4 describes a similar tension: Since 2013, I have had no communication with my mother and brother. When I told my father about my decision while he was still alive, he suggested prioritizing teaching instead. However, he was not very persistent. Unfortunately, he did not live to see this period. When my uncle heard that I was preparing for the exam, he belittled me, saying, ‘Do you really think you can do it?’ This made me very unhappy. My friends, on the other hand, have always been supportive. They even said they were very excited when they saw me on stage. Within my friend group, my ability to play an instrument is always a topic of discussion. I never get tired of answering questions from friends who are also interested in music. In this case, (a) P4 perceived varying familial reactions, from mild discouragement to outright belittlement. (b) These judgments negatively affected their confidence and sense of worth. Yet, the positive reinforcement from friends served as a counterbalance, leading to (c) mixed emotional outcomes-feelings of inadequacy on one side and pride on the other. Overall, the interviews demonstrate that the looking-glass self operates as a central mechanism through which students of music education form, negotiate, and revise their identities. The interplay of others’ judgments-whether supportive or dismissive-profoundly shapes self-perception, self-esteem, and the evolving sense of social and familial roles. The looking-glass self-theory emphasizes how individuals perceive themselves through the eyes of others and evaluate their identities based on these external perspectives. Music education provides a particularly fruitful context for this process, as it enables individuals to reconstruct their self-concepts through social interactions, performance experiences, and feedback from peers and instructors. P1’s response exemplifies this mechanism: All these activities have created very positive changes in me. I was not punctual at all, but thanks to the repertoire class, I started paying attention to this issue. I also became careful about my clothing. I made sure to dress meticulously, especially when performing on stage. Here, music education prompted behavioral changes-such as punctuality and stage presentation-that reflect identity reconstruction. By imagining how they appear to others, and by aligning themselves with perceived expectations, P1 demonstrates the direct role of music education in shaping self-concept. Similarly, P3 highlights the influence of external evaluations: I have always been careful to follow the rules within the group by considering the suggestions and warnings of the choir conductor. This illustrates how individuals interpret the expectations of authority figures and adjust their actions accordingly, thereby reformulating their self-perception in line with group norms. P2 underscores how differing group cultures shape identity: While participating in school choirs, I noticed the following: folk music students support each other much better. The instructors also focus on meeting all the students’ needs. On the other hand, art-music students are more individualistic. I have never preferred working as a soloist outside because of society’s perspective on this profession. The nurturing approach of folk music groups reinforced P2’s sense of belonging, while the individualism of art-music students and broader societal attitudes shaped their career decisions. In this case, self-perception and identity were constructed through comparison with different cultural contexts. P4 demonstrates how self-perception evolves through group adaptation: At first, I struggled to take part in instrumental ensembles. The wrong notes distracted me. Later, we achieved harmony within the group. Even when the instructor is not present, we can conduct our rehearsals without any disruptions. However, we have not yet achieved the same harmony with new students. I never wanted to take solos because I still do not see myself as competent enough. Here, identity is reconstructed through collaborative practice. While the initial sense of inadequacy reflects negative self-evaluation, the development of harmony within the group and collective competence strengthened P4’s self-concept. P5 emphasizes the importance of supportive social interactions: The Pharmacists’ Choir was wonderful. I was surrounded by people older than me. There was always a warm welcome at every rehearsal. My communication with people improved significantly. During rehearsals, everyone worked diligently to complete the performance in the best possible way. I learned a great deal from the other musicians. Being welcomed and encouraged by peers and older musicians fostered both musical growth and personal development, reinforcing P5’s sense of belonging and identity within the group. Cooley ( 1978 , p. 169) argued that the self emerges through the perception of others’ evaluations. This is echoed in P3’s reflection on stage anxiety: In addition to school choirs, I also participated in a private amateur choir. Initially, I was very timid. When a friend who was supposed to take a solo part withdrew at the last moment, the role was given to me. I couldn’t sleep all night. I felt inadequate. When mishaps occurred on stage, my anxiety increased even more. However, the support from other choir members, who have careers in different professional fields, always reassured me. Here, negative self-perceptions were counterbalanced by collective encouragement, leading to a positive shift in identity construction. Likewise, P4 connects collaborative rehearsal processes with identity formation: As we spent more time in instrumental ensembles, working together or discussing ways to resolve mistakes helped us all improve, I would say. This illustrates how collective interaction enables individuals to internalize others’ perspectives and reconstruct their sense of competence and role within the group. In conclusion, the interviews show that music education is a powerful arena where Cooley’s looking-glass self-theory is enacted. Through feedback, comparison, and social interaction, students continually reconstruct their identities. External evaluations-whether supportive or dismissive-serve as mirrors, shaping both individual self-perception and broader role formation within musical and social contexts. 3.2. Collective Action and Identity Construction in Music Education Blumer ( 1969 , p. 16) emphasizes that collective or joint action constitutes a core area of sociological interest, observable in the behaviors of groups, institutions, organizations, and social classes. Such groups, which display patterned social behavior, consist of individuals who align their courses of action with one another. Importantly, this collective behavior maintains an interpretative nature, as it is constructed through ongoing interpretation in response to situations that call the group into action. Within this framework, music education can be viewed not only as a means of developing artistic and technical competencies but also as a process that strengthens individuals’ capacity for collective action. Thus, music serves as a social tool that unites individuals within a group and fosters the development of collective identity. The interview data illustrate this process clearly. P2, for instance, describes their participation in an amateur choir: I participate in an amateur choir. At first, I focused on improving my repertoire knowledge. I used to sit in the back and avoided interacting with anyone because most participants were older. However, over the years, with the support and communication of instructors who graduated from this group, I experienced changes within myself. I warmed up to the group and opened up. They are all very helpful people. I witnessed how much art benefits people. I think their life experiences had a very positive impact on me. This account demonstrates how collective action within the choir facilitated P2’s personal transformation and integration into the group. The choir provided a social environment where individual development was nurtured through mutual support, fostering both a sense of belonging and collective identity. Similarly, P3 highlights the role of music communities in building social connections: Being part of musical communities allowed me to connect socially with people in the same group. I am happy to have met people from different professional fields. This response underlines how music communities create opportunities for interaction beyond musical practice, expanding social networks and contributing to broader perspectives. P4’s reflection further illustrates collective action through solidarity and cooperation in the classroom: I am older than my classmates. I think they see me as their older sister. When they ask me for help regarding classes and exams, I try to assist them. Here, collective identity is formed as peers acknowledge P4’s supportive role, reinforcing both community spirit and collective consciousness. Symbolic interactionism provides the theoretical lens to interpret these findings. As Manis and Meltzer ( 1978 , p. 7) note, individuals act and interact within broader networks of others, continuously shaping and reshaping meanings. For Blumer ( 1969 , p. 12), symbolic interactionism requires seeing humans not as passive responders but as beings who send signals, interpret them, and act accordingly. This interpretative capacity necessitates the possession of a “self,” which Mead (1934) defined as the ability to view oneself as an object. Mead conceptualized the social self as an internal dialogue between two phases: the “I” and the “me.” The “I” represents spontaneous responses and the incorporation of new experiences, while the “me” reflects the self as perceived from the standpoint of others (Scott, 2006 , pp. 146–147). Taken together, the interview data confirm that music education functions as a symbolic and social space where individuals both construct their personal identities and participate in collective action. Choirs, classrooms, and other musical communities act as arenas in which the self is continuously revised, negotiated, and strengthened through interaction with others. Deegan (2008, p. 20) explains that the self possesses the capacity to “take the role of the other,” and that this ability emerges from collectively shared social groups, conceptualized as the “generalized other.” In line with this, Blumer ( 1969 , p. 13) argues that individuals must place themselves in the position of others and act toward themselves from this perspective. The interview data reflect how participants internalize the expectations of the generalized other. For instance, P3 states: I have always paid close attention to following the rules within the group by considering the suggestions and warnings of the choir conductor. This indicates that P3 has integrated the social norms of the choir, aligning their behavior with the expectations of the group. P5’s response further illustrates this process: We paid great attention to the starting times of rehearsals. The instrumentalists would begin first, and then the choir would sing. The person responsible for sheet music would prepare the notes for new pieces in advance. For the concert, the person assigned would be present to arrange the song order and organize the choir’s lineup. I can say that I easily adapted to the group rules. Here, P5 demonstrates adherence to collective routines and task distribution, reflecting both the internalization of group norms and the adoption of a collective identity. Similarly, P1 describes behavioral changes shaped by group expectations: My punctuality improved as a result of the repertoire class, and I became more careful when wearing stage attire. This adjustment can be interpreted as P1’s alignment with the internalized standards of the group. P2 also highlights a transformation in their approach to group dynamics: At first, I had difficulty adapting, but gradually, I learned to be more patient within this group, which consists of younger members. Through the concept of the generalized other, this process can be seen as P2’s eventual internalization of group attitudes, fostering greater patience and harmony. However, not all experiences demonstrate successful adaptation. P1 also reports: Due to the problems I experienced, I distanced myself from the group identity. I had to prioritize my own needs. This illustrates a weakening of the generalized other’s influence, showing that negative group experiences may prevent the internalization of norms and lead to detachment from collective identity. From this perspective, music education provides a framework for understanding how social roles and identities are negotiated through interaction. By engaging with the generalized other, individuals adopt new roles, redefine their identities, and shape their behaviors according to group expectations. Yet, as P1’s experience indicates, the influence of the generalized other is not absolute; its effectiveness depends on the quality of interaction and the individual’s ability to reconcile group demands with personal needs. Conclusion and Discussion From the perspective of symbolic interactionism, this study demonstrates that music education is not limited to the acquisition of technical and artistic skills, but plays a transformative role in shaping identity, roles, and social interactions. The interview data reveal that participants experienced significant changes in their personal and social identities, which can be interpreted through key concepts of symbolic interactionism such as the looking-glass self (Cooley, 1978 , p. 169), the “I” and the “Me” (Mead, 1934, p. 173), and the “generalized other” (Mead, 1934, p. 154). On the level of personal identity, participants emphasized developments in punctuality, self-discipline, self-confidence, and self-respect. For example, P1’s awareness of stage attire and punctuality reflects Cooley’s argument that the self is shaped by perceiving oneself through the eyes of others. Similarly, P4’s hesitancy to perform solos reveals how individuals may limit their self-concepts based on perceived external judgments. These examples align with Mead’s notion that identity is continuously reconstructed through the interplay of the “I” and the “Me.” In terms of social identity and group belonging, participants highlighted how musical communities fostered solidarity and mutual support. P3’s attention to the choir conductor’s guidance and P5’s seamless adaptation to rehearsal rules illustrate the internalization of group norms through the influence of the “generalized other.” Moreover, P2’s positive experiences with supportive peers demonstrate how music education creates spaces of social inclusion and reinforces the sense of belonging. However, P1’s distancing from group identity due to negative experiences shows that group norms, while generally constructive, may also have alienating effects. Regarding role development and collective action, the findings reveal that participants often adopted new roles within their communities. For instance, P4’s position as an “older sister” figure reflects how social roles are negotiated and shaped in interaction (Manis & Meltzer, 1978 , p. 105). The participants’ descriptions of cooperation in rehearsals and problem-solving processes further exemplify Blumer’s ( 1969 , pp. 16–19) conceptualization of collective action, whereby individuals align their actions with one another to achieve shared goals. Overall, the results suggest that music education functions as a powerful socializing agent, fostering both individual transformation and collective identity. It enables participants to perceive themselves through others, internalize social norms, and reconfigure their self-concepts in ways that enhance their personal and professional development. At the same time, the findings highlight that while group participation strengthens social cohesion, negative experiences may undermine the bonds between the individual and the community. Thus, music education emerges as a dynamic field where identity, role, and interaction are continually reconstructed through symbolic processes. Practical Implications The results highlight that music education institutions should not only emphasize technical proficiency but also foster environments that strengthen interpersonal communication, social adaptation, and identity development. Integrating peer collaboration, reflective practices, and opportunities for self-expression can enhance the holistic impact of music education. Limitations and Future Research This study is based on qualitative data obtained from a limited number of participants, which constrains the generalizability of the findings. Future research could expand on this study by including larger and more diverse participant groups across different regions and educational contexts. Comparative studies between formal and informal music education settings could provide further insights into the varying ways identity is constructed. Additionally, longitudinal research may help trace how the effects of music education on identity and role development evolve over time. In light of these findings, future studies could also explore how different genres of music education-classical, folk, or contemporary-uniquely contribute to identity formation. Further investigations into cross-cultural perspectives may broaden the understanding of how symbolic interactionist processes operate in diverse musical and social contexts. Declarations Author Contribution S.B.G. and H.A. jointly designed the study, conducted the fieldwork, performed the analysis, and wrote the manuscript. Both authors contributed equally to the work and approved the final version of the manuscript. All authors reviewed the manuscript. References Baldwin JD (1986) A Unifying Theory for Sociology. Sage, London Blumer H (1969) Symbolic Interactionism Perspective and Method. University of California Press, London Cooley CH (1978) Looking-Glass. Symbolic Interaction: A Reader in Social Psychology. Ally and Bacon, London, pp 169–170 Deagan MJ (2008) Self, war, and society: George Herbert Mead’s macrosociology. Transaction, New Jersey Degloma T, Brekhus WH, Force WR (2024) Introduction: On the Wonderful Complexities and Varied Directions of Symbolic Interactionism in the Twenty-First Century. The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 1–26 Denzin NK (1992) Symbolic Interactionism and Cultural Studies. Blackwell, Oxford Dinç ŞÖ (2019) 04 21). Okul Öncesi Dönemde Müzik Eğitimi. Balkan Müzik ve Sanat Dergisi , pp. 14–21 Giddens A (2012) Sosyoloji. (H. Özel, Trans.). İstanbul: Kırmızı Yayınları. (Original work published 1989) Gottschalk S, Fuller C (2024) De-realization and Infra-humanization: A Theory of Symbolic Interaction with Digital Technologies. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 81–103 Koçak Turhanoğlu FA (2010) Sembolik Etkileşimcilik. Modern Sosyoloji Tarihi. Anadolu Üniversitesi Açık Öğretim Fakültesi Yayını, Eskişehir Kotarba JA (2024) Symbolic Interaction and Music. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 258–274 Lehmann AC, Sloboda JA, Woody RH (2007) Psychology for Musicians: Understanding and Acquiring the Skills. Oxford University Press, London Manis JG, Meltzer BN (1978) Introduction: Intellectual Symbolic Interactionism. In: Stone G, Farberman H (eds) Symbolic Interaction: A Reader in Social Psychology. Allyn And Bacon, London, pp 1–26 McCall MM, Becker HS (1990) Introduction. In: Denzin NK (ed) Symbolic interaction and cultural studies. University of Chicago Press, London, pp 1–15 Özer Z (2021) Müzik Eğitimi ile İlgili TR Dizin Veri Tabanında Yayınlanan Araştırmaların Eğilimlerinin Belirlenmesi. Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi 21(1):282–304 Quest-Adade C (2019) Symbolic Interactionism The Basics. Vernon, Canada Scott J (2006) Role. In: Scott J (ed) Sociology: The Key Concepts. Taylor & Francis Group, New York, pp 144–146 Scott S (2006) Self And Identity. In: Scott J (ed) Sociology: The Key Concepts. Taylor & Francis Group, New York, pp 146–149 Scott S (2024) Dramaturgical Traditions: Performance and Interaction. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 146–161 Uyan ZD (2021) Özengen Müzik Eğitimi Alma Durumu ile Akademik Başarı Arasındaki İlişkiler. Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi 21(1):282–304 Additional Declarations No competing interests reported. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-7445754","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":505319764,"identity":"8c0527ef-be79-4440-b056-7891d0e4b7e6","order_by":0,"name":"Sultan Bilget Güçlüer","email":"data:image/png;base64,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","orcid":"","institution":"Adıyaman University","correspondingAuthor":true,"prefix":"","firstName":"Sultan","middleName":"Bilget","lastName":"Güçlüer","suffix":""},{"id":505319765,"identity":"cbac9805-4151-4f6f-9d9a-8a56c8dd4353","order_by":1,"name":"Hasan Açılmış","email":"","orcid":"","institution":"Gaziantep University","correspondingAuthor":false,"prefix":"","firstName":"Hasan","middleName":"","lastName":"Açılmış","suffix":""}],"badges":[],"createdAt":"2025-08-24 11:08:15","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-7445754/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-7445754/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":89914598,"identity":"4d6245fb-7a64-41bb-aed9-70821a5b790e","added_by":"auto","created_at":"2025-08-26 11:33:46","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":545516,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-7445754/v1/493ba3e2-83f1-49d2-972f-1a3278742eca.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"\u003cp\u003eIdentity and Role Development Through Music Education: Insights From Symbolic Interactionist Theory\u003c/p\u003e","fulltext":[{"header":"1. Introduction","content":"\u003cp\u003eSymbolic interactionism emerged in the late 19th and early 20th centuries as a distinctive sociological perspective that explains human behavior through symbols and meanings produced in social interaction. Its intellectual foundations were laid by George Herbert Mead, who emphasized that the self develops through social processes and the ability to view oneself from the standpoint of others (Mead, 1934, as cited in Blumer, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, pp. 1\u0026ndash;2). Mead\u0026rsquo;s ideas were later systematized by Herbert Blumer, who coined the term \u0026ldquo;symbolic interactionism\u0026rdquo; and defined it as a unique approach to studying human group life and behavior (Blumer, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 1).\u003c/p\u003e\u003cp\u003eBlumer (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 10) stressed that any unity within a group results from individuals acting toward one another, and such interactions are \u0026ldquo;predominantly and characteristically symbolic.\u0026rdquo; This emphasis links symbolic interactionism with earlier contributions from Cooley-who developed the concept of the \u0026ldquo;looking-glass self\u0026rdquo; (Cooley, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 169)-and Thomas and Znaniecki, who studied how definitions of situations shape social behavior (Ko\u0026ccedil;ak Turhanoğlu, \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2010\u003c/span\u003e, p. 89).\u003c/p\u003e\u003cp\u003eThe Chicago School of Sociology also played a crucial role in shaping symbolic interactionism, with contributions from scholars such as William James, Robert Redfield, and Louis Wirth (McCall \u0026amp; Becker, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e1990\u003c/span\u003e, p. 3). Later interpretations, including those by Manis and Meltzer (\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 6), broadened the perspective by linking symbolic interactionism to processes of socialization, identity, and role formation. Denzin (\u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e1992\u003c/span\u003e, p. 26) described the self as multilayered-interactional, linguistic, material, ideological, and rooted in desirearguing that these layers are activated in social contexts and become integral to personal biographies.\u003c/p\u003e\u003cp\u003eAccording to Giddens (\u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2012\u003c/span\u003e, pp. 57\u0026ndash;58), symbolic interactionism highlights how language enables individuals to recognize their individuality, to see themselves as objects, and to internalize the perspectives of others. Similarly, Scott (\u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2006\u003c/span\u003e, p. 146) emphasized that symbolic interactionism is less concerned with what social processes are than with how they occur, particularly through performance and interaction. Recent studies continue to affirm the importance of symbolic interactionism in understanding identity formation in relation to everyday practices, social roles, and collective behavior (Gottschalk \u0026amp; Fuller, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2024\u003c/span\u003e, p. 81).\u003c/p\u003e\u003cp\u003eIn light of this tradition, the present study employs symbolic interactionism to examine the role of music education in identity and role development. Music, as both a symbolic and interactive practice, provides a valuable lens through which personal, familial, social, and professional identities can be explored. To address this, semi-structured interviews were conducted with five female undergraduate music education students in Turkey. While the sample is limited, the exploratory nature of the study offers meaningful insights into the ways in which music education intersects with identity construction and gendered role expectations.\u003c/p\u003e\u003cdiv id=\"Sec2\" class=\"Section2\"\u003e\u003ch2\u003e1.1. Identity and Role Development Within the Framework of Symbolic Interactionism\u003c/h2\u003e\u003cp\u003eSymbolic interactionist theory emphasizes that individuals construct and negotiate their identities through interactions with others and communities, sharing and interpreting symbols in the process. Blumer (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 10) highlights the centrality of symbolic interaction in human group life, arguing that social unity arises from individuals acting toward one another and responding to others\u0026rsquo; actions. Such interaction is inherently symbolic, as individuals simultaneously construct their own behaviors while considering the behaviors of others.\u003c/p\u003e\u003cp\u003eIdentity, in this framework, is understood as personal, situational, and social or structural. It is shaped by the roles individuals assume and the meanings they attach to these roles. These meanings are not fixed; rather, they are continuously reshaped and renegotiated through ongoing interaction (Couch et al., as cited in Denzin, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e1992\u003c/span\u003e, p. 26). Denzin (1989, as cited in Denzin, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e1992\u003c/span\u003e, p. 26) further emphasizes that the self is a multilayered phenomenon that manifests in various forms-interactional, linguistic, material, ideological, and desire-which become activated in social contexts and integrate into an individual\u0026rsquo;s biography.\u003c/p\u003e\u003cp\u003eManis and Meltzer (\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 6) expand this understanding by suggesting that society is most usefully conceived as a network of interacting individuals. This perspective broadens traditional views of socialization, moving beyond the transmission of culture, statuses, and roles to include processes of humanization, enculturation, and personality formation. Within this scope, symbolic interactionism asserts that individuals construct their sense of self and reality through social encounters (Gottschalk \u0026amp; Fuller, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2024\u003c/span\u003e, p. 81). Scott (\u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2024\u003c/span\u003e, p. 146) reinforces this by noting that symbolic interactionism is fundamentally concerned with the \u003cem\u003ehow\u003c/em\u003e of social processes, where performance plays a central role.\u003c/p\u003e\u003cp\u003eSymbolic interactionism has served as the foundation for thousands of field studies across diverse areas such as race, class, work, family, art, and the sociology of science. Its strength lies in the extensive body of empirical research that concretizes and contextualizes its central claims (McCall \u0026amp; Becker, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e1990\u003c/span\u003e, p. 4). Ultimately, symbolic interactionist theory underscores the dynamic and evolving nature of identity and roles, which are continually shaped through social, communal, and individual interactions and expectations.\u003c/p\u003e\u003c/div\u003e"},{"header":"2. Methodology","content":"\u003cp\u003eThis study employed a qualitative research design to explore how music education shapes identity and role development through the lens of symbolic interactionist theory. The qualitative approach was selected in order to capture the subjective experiences, meanings, and interpretations of participants, which are central to the symbolic interactionist perspective.\u003c/p\u003e\u003cdiv id=\"Sec4\" class=\"Section2\"\u003e\u003ch2\u003e2.1. Participants\u003c/h2\u003e\u003cp\u003eThe study was conducted with five female undergraduate students enrolled in music education programs at a public university in Turkey. The participants were selected using purposive sampling, with the criterion of being actively engaged in formal music education. The focus on female students was intentional, aiming to examine how gendered experiences influence identity construction in the context of music education. To protect confidentiality, participants were anonymized and labeled as P1-P5.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e\u003ch2\u003e2.2. Data Collection and Analysis\u003c/h2\u003e\u003cp\u003eData were collected through semi-structured, in-depth interviews conducted online and face-to-face, each lasting between 45\u0026ndash;60 minutes. The interview protocol included questions on personal background, musical experiences, social interactions, family perspectives, and perceived changes in identity and social roles. All interviews were audio-recorded and transcribed verbatim. The transcripts were analyzed using thematic content analysis.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec6\" class=\"Section2\"\u003e\u003ch2\u003e2.3. Trustworthiness\u003c/h2\u003e\u003cp\u003eTo ensure the credibility of findings, multiple strategies were employed: member checking, where participants reviewed selected excerpts of their transcripts; triangulation by comparing themes with symbolic interactionist concepts such as the looking-glass self, collective action, and the generalized other; and maintaining an audit trail of coding and analytic decisions.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec7\" class=\"Section2\"\u003e\u003ch2\u003e2.4. Ethical Considerations\u003c/h2\u003e\u003cp\u003e This study received ethical approval from the Scientific Research and Publication Ethics Committee of Social and Human Sciences at Gaziantep University. The approval was granted at the 11th meeting of the committee on 04 August 2025, under decision number 29 (Document No: E-87841438-302.08.01-695845). All procedures were conducted in accordance with institutional ethical standards and the principles outlined in the Declaration of Helsinki. Participants were informed about the study\u0026rsquo;s objectives and provided written consent. They were assured that their identities would remain confidential and that their participation was voluntary.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003e2.5. Limitations\u003c/h2\u003e\u003cp\u003eThe study is limited by its small and homogeneous sample of five female students, which prevents broad generalization. However, as an exploratory case study, it provides in-depth insights into identity formation processes and offers a foundation for further research with larger and more diverse samples.\u003c/p\u003e\u003c/div\u003e"},{"header":"3. Findings: Contribution of Music Education to Identity and Role Development","content":"\u003cp\u003eMusic education makes a substantial contribution to individuals’ cognitive, emotional, and social development, particularly in the later stages of life (Dinç, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2019\u003c/span\u003e). As an interdisciplinary field, it not only supports academic performance but also enhances the overall learning process by fostering creativity, critical thinking, and holistic growth (Uyan, \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). Furthermore, its influence on personality and social development is evident in the strengthening of self-confidence and social adaptability (Özer, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). Beyond general educational benefits, music training also plays a decisive role in the professional advancement of musicians, facilitating the acquisition of technical skills, the maturation of artistic expression, and the confident execution of stage performance (Lehmann, Sloboda, \u0026amp; Woody, \u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e2007\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eKotarba (\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2024\u003c/span\u003e, p. 258) emphasizes that music is not only a form of artistic practice but also an integral dimension of social life. He asserts that the study of music illuminates core sociological issues such as culture, community, belonging, and identity. Within this framework, symbolic interactionism provides a valuable lens for analyzing broad social phenomena, including processes of identity formation, role negotiation, and social change (Degloma, Brekhus, \u0026amp; Force, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2024\u003c/span\u003e, p. 18)\u003c/p\u003e\u003cp\u003eIn this respect, the present study situates music education within symbolic interactionist theory in order to explore how individuals acquire, negotiate, and transform their identities and roles through musical engagement. By examining both the educational and relational dimensions of this process, the analysis demonstrates that music education functions as a critical site of symbolic interaction where meaning is constructed, roles are enacted, and identities are continually reshaped.\u003c/p\u003e\u003cp\u003eInterview data provides a deeper understanding of how music education shapes identity and role development. For instance, P1 reflects on the transformative role of music education in reshaping familial and social identity:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAfter receiving music education, my communication with my family has improved. I believe this has also increased my father’s support for me. We’ve begun to talk on the phone every day. When we lived together, our relationship was not this close. Thanks to me, my siblings’ relationships have also improved. After me, even the children of my relatives began pursuing education outside the city.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis testimony reveals how music education facilitates not only personal growth but also broader kinship transformations. From a symbolic interactionist perspective, P1’s new identity emerges through changing interactional dynamics, which then reverberate within the family system, producing a collective shift in relational patterns.\u003c/p\u003e\u003cp\u003eSimilarly, P5 emphasizes the reconfiguration of personal, familial, and social identity through music education:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eMy father was even against me playing the ney. Over time, my family’s prejudices diminished. Now, they speak of me with pride. Other people also see me differently now. It feels like this was my best decision as if my previous choices didn’t truly belong to me.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eP5’s account highlights how symbolic meanings attached to musical practices-once stigmatized-were gradually reconstructed through sustained engagement. The shift from resistance to pride within the family, and the recognition by broader social circles, demonstrates how identity is renegotiated through symbolic interaction. Here, music education functions as both a vehicle for personal autonomy and a medium through which social legitimacy is acquired.\u003c/p\u003e\u003cp\u003eP2, in contrast, underscores the role of music education in cultivating meaning and confidence:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis place has significantly increased my self-confidence. At first, I struggled to communicate with the instructors. I think my ability to adapt strengthened my confidence as well. Initially, I was more reserved in music groups, but over time, I realized I needed to stand up for myself.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis response shows that social interactions within music education contexts act as sites of symbolic negotiation, where the self is redefined. For P2, interaction with peers and instructors facilitated the emergence of a more confident self-concept, aligning with the symbolic interactionist notion that identity evolves through social encounters.\u003c/p\u003e\u003cp\u003eTaken together, these narratives demonstrate how music education functions not only as a technical or artistic process but also as a symbolic arena in which individuals negotiate familial recognition, social legitimacy, and personal confidence. Through this process, new identities are constructed, old stigmas are reinterpreted, and social roles are redefined.\u003c/p\u003e\u003cp\u003eAdditionally, while P2 reflects on their music education experience by stating, “I learned to be more patient,” P4 notes, “I have become more patient and understanding thanks to music education.” Similarly, P3’s statement, “With my music education, I started to feel like a more mature individual. Being able to critique others musically has boosted my self-confidence,” highlights the role of music education in fostering maturity and self-assurance.\u003c/p\u003e\u003cp\u003eFrom a symbolic interactionist perspective, these responses illustrate how music education shapes both personal and social identities. It contributes to individuals’ development of patience, understanding, and self-confidence, while also facilitating their redefinition as socially competent and mature actors. Thus, music education emerges as a symbolic site in which interaction fosters personal growth and strengthens social roles.\u003c/p\u003e\u003cp\u003eIn contrast, P2 emphasizes the challenges of encountering negative attitudes and behaviors within their music education environment:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFor the first time in my life, I found myself in an environment where the system didn’t function well. I’m specifically referring to the students. Being surrounded by a group with low communication skills, empathy, attitudes toward lessons, and self-care abilities felt strange to me. I tried to calm myself. I am a perfectionist, and this laid-back environment has somewhat polished that aspect of me. I gradually began to accept them more, but I still wouldn’t prefer to spend time with them out of school.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFrom a symbolic interactionist standpoint, this account demonstrates how identity, initially grounded in high expectations and perfectionist tendencies, was challenged by a new social environment. Through this process, P2 reinterpreted their identity, learning to negotiate between personal standards and communal realities. Music education thus functions as a microcosm of broader social life, compelling individuals to adapt, redefine themselves, and integrate into diverse communities.\u003c/p\u003e\u003cp\u003eSimilarly, P4 articulates their struggle in adapting to a younger and more dynamic peer group:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eIt took me some time to get used to being around people younger than me in class. It was challenging for me to adapt to a group that communicated in a very loud manner. I can only connect with a few individuals.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFrom a symbolic interactionist lens, P4’s reflections reveal how individuals position themselves within unfamiliar social contexts. Their process of self-definition-navigating age differences, communication styles, and social preferences-underscores the relational nature of identity. Music education here operates as an environment where adaptation, negotiation, and selective affiliation contribute to personal and social identity construction.\u003c/p\u003e\u003cp\u003eTaken together, these accounts highlight the dual function of music education: while it promotes traits such as maturity, patience, and confidence, it also exposes individuals to challenges that necessitate identity renegotiation. Symbolic interactionism thus provides a valuable framework for analyzing how music education simultaneously supports growth and compels adaptation within complex social interactions.\u003c/p\u003e\u003cp\u003eIn contrast, P3’s response illustrates how music education has contributed to the development of both professional and social identity:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThe intensity of one-on-one education, especially the more personal nature of teacher-student relationships, had a positive impact on me. It made me genuinely willing to study. Thanks to the music ensembles I participated in during concert preparations, I could develop stage discipline. I believe I’ve also gained a sense of collective singing culture.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis statement highlights the dual role of music education: it enhances professional growth by fostering stage discipline and technical competence while simultaneously facilitating social identity development through collaborative and interpersonal experiences. From a symbolic interactionist perspective, these experiences illustrate how individual identity is constructed through meaningful interactions with instructors and peers, and how such interactions contribute to positioning oneself within the broader music community.\u003c/p\u003e\u003cp\u003eSimilarly, P4 emphasizes the transformative effect of music education on their professional practices and personal dispositions:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFor instance, the information I learned about calmly vocalizing exercises during class and relaxing my jaw has been very helpful in the school where I work. When I first started learning the kemane, I was very impatient. I would get frustrated when I couldn’t play well. Reading sheet music was challenging. However, when I calmed myself down and focused on my instrument, the results were always much better.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFrom this account, it is evident that P4 developed new symbolic resources through music education-calmness, patience, focus, and adaptability-which not only supported their technical learning but also facilitated the integration of these qualities into professional and social contexts. In symbolic interactionist terms, these new “symbols” operate as shared meanings that guide self-perception and social positioning, reinforcing identity reconstruction on both personal and professional levels.\u003c/p\u003e\u003cp\u003eTaken together, the reflections of P3 and P4 demonstrate how music education extends beyond technical training, functioning as a symbolic arena where professional and social identities are simultaneously negotiated and reconstructed. Through teacher-student relationships, ensemble participation, and the internalization of new symbolic meanings, individuals develop competencies that transcend musical practice and shape their broader roles in society.\u003c/p\u003e\u003cdiv id=\"Sec10\" class=\"Section2\"\u003e\u003ch2\u003e3.1. Music Education as a Field of Social Role Construction\u003c/h2\u003e\u003cp\u003eWithin this framework, music education can be considered a valuable means of constructing social roles. Individuals who receive such education often redefine themselves through social interactions and reconstruct their roles within society. To clarify this connection between music education and social role formation, Charles Horton Cooley’s theory of the “looking-glass self” becomes particularly relevant.\u003c/p\u003e\u003cp\u003eIn his works, Cooley highlighted the inseparable relationship between society and the individual, arguing that these two could only be understood in relation to one another: “A person’s personality is shaped by what influences them.” According to Cooley, the realities of social life are fundamentally mental, and the behaviors of individuals, groups, and institutions are shaped by underlying psychological phenomena. On this basis, he introduced the concept of the “looking-glass self,” which underscores the social determination of identity (Quest-Adade, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2019\u003c/span\u003e, pp. 115–116). While Mead rejected some aspects of Cooley’s ideas, he adopted and further developed the notion of the “looking-glass self” (Mead, 1914, cited in Baldwin, \u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1986\u003c/span\u003e, p. 9). This theoretical framework provides a foundation for examining how music education contributes to the development and redefinition of social roles through symbolic interactionist processes.\u003c/p\u003e\u003cp\u003eCooley’s central premise can be summarized as follows: “I feel about myself the way you think about me.” The theory of the looking-glass self is explained through three interrelated elements: (a) imagining how we appear to others; (b) imagining the judgment of that appearance by others; and (c) experiencing a self-feeling, such as pride or shame (Quest-Adade, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2019\u003c/span\u003e, p. 116). These three elements are consistently reflected in the interview data, particularly in relation to family and social circles.\u003c/p\u003e\u003cp\u003eP1 illustrates this process clearly:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eMy family initially thought it would be more appropriate for me to choose a profession related to my previous undergraduate education. However, once they saw the benefits that music education brought to me, they stopped insisting on that decision. Now, I am appreciated by my extended family and friends outside of school for what I have gained through this education. They admire my courage to change fields.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, the family’s initial opposition reflects (a) P1’s imagined appearance shaped by expectations. The subsequent recognition and support demonstrate (b) an altered judgment of others, which in turn fostered (c) a feeling of pride and a strengthened self-concept.\u003c/p\u003e\u003cp\u003eP2’s account follows a similar trajectory:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eMy family strongly opposed my decision to pursue music education. My father didn’t speak to me for two months. My greatest supporters were my mother and my aunts. Especially during my music education, I received considerable attention from my friends. Our conversations increasingly became music-centered.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eP2 first confronted (a) negative perceptions from their father, then processed (b) differing judgments within the family-opposition from the father, support from mother and aunts, and appreciation from friends. These contrasting evaluations shaped (c) a mixed emotional response: initial hurt followed by growing pride and confidence.\u003c/p\u003e\u003cp\u003eP3 also reflects both positive and negative dynamics:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eMy family never supported my conservatory education. They even prevented me from attending a fine arts high school during my secondary education. However, at this point, those arguments have ceased. My participation in choirs has positively influenced how my friends perceive me. As I’ve taken on music-related tasks and responsibilities, I believe the attitudes of those around me have also improved positively. However, some of my relatives still view people who pursue music education as mere ‘performers.’\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, (a) the imagined perception of disapproval from family shaped P3’s initial self-image. Over time, (b) the positive recognition of friends and peers contrasted with relatives’ dismissive judgments. Consequently, (c) P3 developed both pride and discomfort, navigating a complex self-concept shaped by mixed feedback.\u003c/p\u003e\u003cp\u003eP4 describes a similar tension:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eSince 2013, I have had no communication with my mother and brother. When I told my father about my decision while he was still alive, he suggested prioritizing teaching instead. However, he was not very persistent. Unfortunately, he did not live to see this period. When my uncle heard that I was preparing for the exam, he belittled me, saying, ‘Do you really think you can do it?’ This made me very unhappy. My friends, on the other hand, have always been supportive. They even said they were very excited when they saw me on stage. Within my friend group, my ability to play an instrument is always a topic of discussion. I never get tired of answering questions from friends who are also interested in music.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eIn this case, (a) P4 perceived varying familial reactions, from mild discouragement to outright belittlement. (b) These judgments negatively affected their confidence and sense of worth. Yet, the positive reinforcement from friends served as a counterbalance, leading to (c) mixed emotional outcomes-feelings of inadequacy on one side and pride on the other.\u003c/p\u003e\u003cp\u003eOverall, the interviews demonstrate that the looking-glass self operates as a central mechanism through which students of music education form, negotiate, and revise their identities. The interplay of others’ judgments-whether supportive or dismissive-profoundly shapes self-perception, self-esteem, and the evolving sense of social and familial roles.\u003c/p\u003e\u003cp\u003eThe looking-glass self-theory emphasizes how individuals perceive themselves through the eyes of others and evaluate their identities based on these external perspectives. Music education provides a particularly fruitful context for this process, as it enables individuals to reconstruct their self-concepts through social interactions, performance experiences, and feedback from peers and instructors.\u003c/p\u003e\u003cp\u003eP1’s response exemplifies this mechanism:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAll these activities have created very positive changes in me. I was not punctual at all, but thanks to the repertoire class, I started paying attention to this issue. I also became careful about my clothing. I made sure to dress meticulously, especially when performing on stage.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, music education prompted behavioral changes-such as punctuality and stage presentation-that reflect identity reconstruction. By imagining how they appear to others, and by aligning themselves with perceived expectations, P1 demonstrates the direct role of music education in shaping self-concept.\u003c/p\u003e\u003cp\u003eSimilarly, P3 highlights the influence of external evaluations:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eI have always been careful to follow the rules within the group by considering the suggestions and warnings of the choir conductor.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis illustrates how individuals interpret the expectations of authority figures and adjust their actions accordingly, thereby reformulating their self-perception in line with group norms.\u003c/p\u003e\u003cp\u003eP2 underscores how differing group cultures shape identity:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWhile participating in school choirs, I noticed the following: folk music students support each other much better. The instructors also focus on meeting all the students’ needs. On the other hand, art-music students are more individualistic. I have never preferred working as a soloist outside because of society’s perspective on this profession.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThe nurturing approach of folk music groups reinforced P2’s sense of belonging, while the individualism of art-music students and broader societal attitudes shaped their career decisions. In this case, self-perception and identity were constructed through comparison with different cultural contexts.\u003c/p\u003e\u003cp\u003eP4 demonstrates how self-perception evolves through group adaptation:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAt first, I struggled to take part in instrumental ensembles. The wrong notes distracted me. Later, we achieved harmony within the group. Even when the instructor is not present, we can conduct our rehearsals without any disruptions. However, we have not yet achieved the same harmony with new students. I never wanted to take solos because I still do not see myself as competent enough.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, identity is reconstructed through collaborative practice. While the initial sense of inadequacy reflects negative self-evaluation, the development of harmony within the group and collective competence strengthened P4’s self-concept.\u003c/p\u003e\u003cp\u003eP5 emphasizes the importance of supportive social interactions:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThe Pharmacists’ Choir was wonderful. I was surrounded by people older than me. There was always a warm welcome at every rehearsal. My communication with people improved significantly. During rehearsals, everyone worked diligently to complete the performance in the best possible way. I learned a great deal from the other musicians.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eBeing welcomed and encouraged by peers and older musicians fostered both musical growth and personal development, reinforcing P5’s sense of belonging and identity within the group.\u003c/p\u003e\u003cp\u003eCooley (\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 169) argued that the self emerges through the perception of others’ evaluations. This is echoed in P3’s reflection on stage anxiety:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003e In addition to school choirs, I also participated in a private amateur choir. Initially, I was very timid. When a friend who was supposed to take a solo part withdrew at the last moment, the role was given to me. I couldn’t sleep all night. I felt inadequate. When mishaps occurred on stage, my anxiety increased even more. However, the support from other choir members, who have careers in different professional fields, always reassured me.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, negative self-perceptions were counterbalanced by collective encouragement, leading to a positive shift in identity construction.\u003c/p\u003e\u003cp\u003eLikewise, P4 connects collaborative rehearsal processes with identity formation:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAs we spent more time in instrumental ensembles, working together or discussing ways to resolve mistakes helped us all improve, I would say.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis illustrates how collective interaction enables individuals to internalize others’ perspectives and reconstruct their sense of competence and role within the group.\u003c/p\u003e\u003cp\u003eIn conclusion, the interviews show that music education is a powerful arena where Cooley’s looking-glass self-theory is enacted. Through feedback, comparison, and social interaction, students continually reconstruct their identities. External evaluations-whether supportive or dismissive-serve as mirrors, shaping both individual self-perception and broader role formation within musical and social contexts.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec11\" class=\"Section2\"\u003e\u003ch2\u003e3.2. Collective Action and Identity Construction in Music Education\u003c/h2\u003e\u003cp\u003eBlumer (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 16) emphasizes that collective or joint action constitutes a core area of sociological interest, observable in the behaviors of groups, institutions, organizations, and social classes. Such groups, which display patterned social behavior, consist of individuals who align their courses of action with one another. Importantly, this collective behavior maintains an interpretative nature, as it is constructed through ongoing interpretation in response to situations that call the group into action. Within this framework, music education can be viewed not only as a means of developing artistic and technical competencies but also as a process that strengthens individuals’ capacity for collective action. Thus, music serves as a social tool that unites individuals within a group and fosters the development of collective identity.\u003c/p\u003e\u003cp\u003eThe interview data illustrate this process clearly. P2, for instance, describes their participation in an amateur choir:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eI participate in an amateur choir. At first, I focused on improving my repertoire knowledge. I used to sit in the back and avoided interacting with anyone because most participants were older. However, over the years, with the support and communication of instructors who graduated from this group, I experienced changes within myself. I warmed up to the group and opened up. They are all very helpful people. I witnessed how much art benefits people. I think their life experiences had a very positive impact on me.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis account demonstrates how collective action within the choir facilitated P2’s personal transformation and integration into the group. The choir provided a social environment where individual development was nurtured through mutual support, fostering both a sense of belonging and collective identity.\u003c/p\u003e\u003cp\u003eSimilarly, P3 highlights the role of music communities in building social connections:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eBeing part of musical communities allowed me to connect socially with people in the same group. I am happy to have met people from different professional fields.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis response underlines how music communities create opportunities for interaction beyond musical practice, expanding social networks and contributing to broader perspectives.\u003c/p\u003e\u003cp\u003eP4’s reflection further illustrates collective action through solidarity and cooperation in the classroom:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eI am older than my classmates. I think they see me as their older sister. When they ask me for help regarding classes and exams, I try to assist them.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, collective identity is formed as peers acknowledge P4’s supportive role, reinforcing both community spirit and collective consciousness.\u003c/p\u003e\u003cp\u003eSymbolic interactionism provides the theoretical lens to interpret these findings. As Manis and Meltzer (\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 7) note, individuals act and interact within broader networks of others, continuously shaping and reshaping meanings. For Blumer (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 12), symbolic interactionism requires seeing humans not as passive responders but as beings who send signals, interpret them, and act accordingly. This interpretative capacity necessitates the possession of a “self,” which Mead (1934) defined as the ability to view oneself as an object. Mead conceptualized the social self as an internal dialogue between two phases: the “I” and the “me.” The “I” represents spontaneous responses and the incorporation of new experiences, while the “me” reflects the self as perceived from the standpoint of others (Scott, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2006\u003c/span\u003e, pp. 146–147).\u003c/p\u003e\u003cp\u003eTaken together, the interview data confirm that music education functions as a symbolic and social space where individuals both construct their personal identities and participate in collective action. Choirs, classrooms, and other musical communities act as arenas in which the self is continuously revised, negotiated, and strengthened through interaction with others.\u003c/p\u003e\u003cp\u003eDeegan (2008, p. 20) explains that the self possesses the capacity to “take the role of the other,” and that this ability emerges from collectively shared social groups, conceptualized as the “generalized other.” In line with this, Blumer (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, p. 13) argues that individuals must place themselves in the position of others and act toward themselves from this perspective.\u003c/p\u003e\u003cp\u003eThe interview data reflect how participants internalize the expectations of the generalized other. For instance, P3 states:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eI have always paid close attention to following the rules within the group by considering the suggestions and warnings of the choir conductor.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis indicates that P3 has integrated the social norms of the choir, aligning their behavior with the expectations of the group.\u003c/p\u003e\u003cp\u003eP5’s response further illustrates this process:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWe paid great attention to the starting times of rehearsals. The instrumentalists would begin first, and then the choir would sing. The person responsible for sheet music would prepare the notes for new pieces in advance. For the concert, the person assigned would be present to arrange the song order and organize the choir’s lineup. I can say that I easily adapted to the group rules.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eHere, P5 demonstrates adherence to collective routines and task distribution, reflecting both the internalization of group norms and the adoption of a collective identity.\u003c/p\u003e\u003cp\u003eSimilarly, P1 describes behavioral changes shaped by group expectations:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eMy punctuality improved as a result of the repertoire class, and I became more careful when wearing stage attire.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis adjustment can be interpreted as P1’s alignment with the internalized standards of the group.\u003c/p\u003e\u003cp\u003eP2 also highlights a transformation in their approach to group dynamics:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAt first, I had difficulty adapting, but gradually, I learned to be more patient within this group, which consists of younger members.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThrough the concept of the generalized other, this process can be seen as P2’s eventual internalization of group attitudes, fostering greater patience and harmony.\u003c/p\u003e\u003cp\u003eHowever, not all experiences demonstrate successful adaptation. P1 also reports:\u003c/p\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eDue to the problems I experienced, I distanced myself from the group identity. I had to prioritize my own needs.\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThis illustrates a weakening of the generalized other’s influence, showing that negative group experiences may prevent the internalization of norms and lead to detachment from collective identity.\u003c/p\u003e\u003cp\u003eFrom this perspective, music education provides a framework for understanding how social roles and identities are negotiated through interaction. By engaging with the generalized other, individuals adopt new roles, redefine their identities, and shape their behaviors according to group expectations. Yet, as P1’s experience indicates, the influence of the generalized other is not absolute; its effectiveness depends on the quality of interaction and the individual’s ability to reconcile group demands with personal needs.\u003c/p\u003e\u003c/div\u003e"},{"header":"Conclusion and Discussion","content":"\u003cp\u003eFrom the perspective of symbolic interactionism, this study demonstrates that music education is not limited to the acquisition of technical and artistic skills, but plays a transformative role in shaping identity, roles, and social interactions. The interview data reveal that participants experienced significant changes in their personal and social identities, which can be interpreted through key concepts of symbolic interactionism such as the looking-glass self (Cooley, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 169), the “I” and the “Me” (Mead, 1934, p. 173), and the “generalized other” (Mead, 1934, p. 154).\u003c/p\u003e\u003cp\u003eOn the level of personal identity, participants emphasized developments in punctuality, self-discipline, self-confidence, and self-respect. For example, P1’s awareness of stage attire and punctuality reflects Cooley’s argument that the self is shaped by perceiving oneself through the eyes of others. Similarly, P4’s hesitancy to perform solos reveals how individuals may limit their self-concepts based on perceived external judgments. These examples align with Mead’s notion that identity is continuously reconstructed through the interplay of the “I” and the “Me.”\u003c/p\u003e\u003cp\u003e In terms of social identity and group belonging, participants highlighted how musical communities fostered solidarity and mutual support. P3’s attention to the choir conductor’s guidance and P5’s seamless adaptation to rehearsal rules illustrate the internalization of group norms through the influence of the “generalized other.” Moreover, P2’s positive experiences with supportive peers demonstrate how music education creates spaces of social inclusion and reinforces the sense of belonging. However, P1’s distancing from group identity due to negative experiences shows that group norms, while generally constructive, may also have alienating effects.\u003c/p\u003e\u003cp\u003eRegarding role development and collective action, the findings reveal that participants often adopted new roles within their communities. For instance, P4’s position as an “older sister” figure reflects how social roles are negotiated and shaped in interaction (Manis \u0026amp; Meltzer, \u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e1978\u003c/span\u003e, p. 105). The participants’ descriptions of cooperation in rehearsals and problem-solving processes further exemplify Blumer’s (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1969\u003c/span\u003e, pp. 16–19) conceptualization of collective action, whereby individuals align their actions with one another to achieve shared goals.\u003c/p\u003e\u003cp\u003eOverall, the results suggest that music education functions as a powerful socializing agent, fostering both individual transformation and collective identity. It enables participants to perceive themselves through others, internalize social norms, and reconfigure their self-concepts in ways that enhance their personal and professional development. At the same time, the findings highlight that while group participation strengthens social cohesion, negative experiences may undermine the bonds between the individual and the community. Thus, music education emerges as a dynamic field where identity, role, and interaction are continually reconstructed through symbolic processes.\u003c/p\u003e\u003cp\u003e\u003cb\u003ePractical Implications\u003c/b\u003e\u003c/p\u003e\u003cp\u003eThe results highlight that music education institutions should not only emphasize technical proficiency but also foster environments that strengthen interpersonal communication, social adaptation, and identity development. Integrating peer collaboration, reflective practices, and opportunities for self-expression can enhance the holistic impact of music education.\u003c/p\u003e\u003cp\u003e\u003cb\u003eLimitations and Future Research\u003c/b\u003e\u003c/p\u003e\u003cp\u003eThis study is based on qualitative data obtained from a limited number of participants, which constrains the generalizability of the findings. Future research could expand on this study by including larger and more diverse participant groups across different regions and educational contexts. Comparative studies between formal and informal music education settings could provide further insights into the varying ways identity is constructed. Additionally, longitudinal research may help trace how the effects of music education on identity and role development evolve over time.\u003c/p\u003e\u003cp\u003eIn light of these findings, future studies could also explore how different genres of music education-classical, folk, or contemporary-uniquely contribute to identity formation. Further investigations into cross-cultural perspectives may broaden the understanding of how symbolic interactionist processes operate in diverse musical and social contexts.\u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eS.B.G. and H.A. jointly designed the study, conducted the fieldwork, performed the analysis, and wrote the manuscript. Both authors contributed equally to the work and approved the final version of the manuscript. All authors reviewed the manuscript.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\u003cli\u003e\u003cspan\u003eBaldwin JD (1986) A Unifying Theory for Sociology. Sage, London\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eBlumer H (1969) Symbolic Interactionism Perspective and Method. University of California Press, London\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eCooley CH (1978) Looking-Glass. Symbolic Interaction: A Reader in Social Psychology. Ally and Bacon, London, pp 169\u0026ndash;170\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eDeagan MJ (2008) Self, war, and society: George Herbert Mead\u0026rsquo;s macrosociology. Transaction, New Jersey\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eDegloma T, Brekhus WH, Force WR (2024) Introduction: On the Wonderful Complexities and Varied Directions of Symbolic Interactionism in the Twenty-First Century. The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 1\u0026ndash;26\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eDenzin NK (1992) Symbolic Interactionism and Cultural Studies. Blackwell, Oxford\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eDin\u0026ccedil; Ş\u0026Ouml; (2019) 04 21). Okul \u0026Ouml;ncesi D\u0026ouml;nemde M\u0026uuml;zik Eğitimi. \u003cem\u003eBalkan M\u0026uuml;zik ve Sanat Dergisi\u003c/em\u003e, pp. 14\u0026ndash;21\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eGiddens A (2012) \u003cem\u003eSosyoloji.\u003c/em\u003e (H. \u0026Ouml;zel, Trans.). İstanbul: Kırmızı Yayınları. (Original work published 1989)\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eGottschalk S, Fuller C (2024) De-realization and Infra-humanization: A Theory of Symbolic Interaction with Digital Technologies. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 81\u0026ndash;103\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eKo\u0026ccedil;ak Turhanoğlu FA (2010) Sembolik Etkileşimcilik. Modern Sosyoloji Tarihi. Anadolu \u0026Uuml;niversitesi A\u0026ccedil;ık \u0026Ouml;ğretim Fak\u0026uuml;ltesi Yayını, Eskişehir\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eKotarba JA (2024) Symbolic Interaction and Music. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 258\u0026ndash;274\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eLehmann AC, Sloboda JA, Woody RH (2007) Psychology for Musicians: Understanding and Acquiring the Skills. Oxford University Press, London\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eManis JG, Meltzer BN (1978) Introduction: Intellectual Symbolic Interactionism. In: Stone G, Farberman H (eds) Symbolic Interaction: A Reader in Social Psychology. 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In: Scott J (ed) Sociology: The Key Concepts. Taylor \u0026amp; Francis Group, New York, pp 146\u0026ndash;149\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eScott S (2024) Dramaturgical Traditions: Performance and Interaction. In: Degloma T, Brekhus WH, Force WR (eds) The Oxford Handbook of: Symbolic Interactionism. Oxford University Press, New York, pp 146\u0026ndash;161\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eUyan ZD (2021) \u0026Ouml;zengen M\u0026uuml;zik Eğitimi Alma Durumu ile Akademik Başarı Arasındaki İlişkiler. Abant İzzet Baysal \u0026Uuml;niversitesi Eğitim Fak\u0026uuml;ltesi Dergisi 21(1):282\u0026ndash;304\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":false,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":true,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false},"keywords":"Symbolic interactionism, music education, identity, role development","lastPublishedDoi":"10.21203/rs.3.rs-7445754/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-7445754/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eSymbolic interactionism conceptualizes human behavior and interaction through symbols and the meanings attributed to them. This study adopts a symbolic interactionist perspective to explore how music education shapes identity and social roles among a small group of undergraduate students. Using semi-structured interviews with five female music education undergraduates in Turkey, the study investigates how participants interpret their experiences in relation to selfhood, family, and professional roles. Findings indicate that music education supports self-confidence, adaptability, and social belonging, while also enabling students to challenge familial expectations and traditional gender norms. Although the limited sample prevents generalization, the study provides exploratory insights into the role of music education in identity construction and offers a framework for future research.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eExtended Abstract\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThis qualitative case study examines how music education contributes to identity and role development from the perspective of symbolic interactionist theory. Symbolic interactionism emphasizes that the self is constructed through social interaction and the interpretation of shared symbols. In this study, five female undergraduate students enrolled in music education programs in Turkey participated in semi-structured interviews. The focus on female students reflects an interest in exploring gendered dimensions of identity construction in music education contexts.\u003c/p\u003e\n\u003cp\u003eThe findings highlight how music education supports transformations in personal, familial, social, and professional identities. Participants reported increased self-confidence, stronger social adaptability, and a deepened sense of belonging within musical communities. Using concepts such as the “looking-glass self,” “collective action,” and the “generalized other,” the analysis demonstrates how participants’ interactions with peers, instructors, and family members shaped their identity development.\u003c/p\u003e\n\u003cp\u003eWhile music education fostered social cohesion and provided opportunities for self-expression, participants also described tensions, such as negative judgments from family members or difficulties adapting to group norms. These dynamics illustrate both the empowering and constraining effects of music education on identity formation. Importantly, the study finds that music education enabled participants to challenge traditional gender expectations, thereby positioning it as a site of personal agency and social negotiation.\u003c/p\u003e\n\u003cp\u003eDue to the small, homogeneous sample, the results cannot be generalized. However, the study provides valuable exploratory insights into the ways music education interacts with identity and role development. Future research with larger and more diverse samples is needed to further investigate these dynamics.\u003c/p\u003e","manuscriptTitle":"Identity and Role Development Through Music Education: Insights From Symbolic Interactionist Theory","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-08-26 11:25:42","doi":"10.21203/rs.3.rs-7445754/v1","editorialEvents":[{"type":"communityComments","content":0},{"type":"decision","content":"Revision requested","date":"2025-09-16T14:06:12+00:00","index":"","fulltext":""},{"type":"editorAssigned","content":"","date":"2025-09-16T13:13:11+00:00","index":"","fulltext":""},{"type":"checksComplete","content":"","date":"2025-08-28T06:59:32+00:00","index":"","fulltext":""},{"type":"submitted","content":"Humanities and Social Sciences Communications","date":"2025-08-24T11:02:29+00:00","index":"","fulltext":""}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false}}],"origin":"","ownerIdentity":"a1921fda-e7c8-4cff-8957-d742f56d3661","owner":[],"postedDate":"August 26th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"under-review","subjectAreas":[{"id":53722186,"name":"Humanities/Cultural and media studies"},{"id":53722187,"name":"Social science/Cultural and media studies"},{"id":53722188,"name":"Social science/Education"},{"id":53722189,"name":"Biological sciences/Psychology"},{"id":53722190,"name":"Social science/Psychology"}],"tags":[],"updatedAt":"2026-04-04T02:08:15+00:00","versionOfRecord":[],"versionCreatedAt":"2025-08-26 11:25:42","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-7445754","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-7445754","identity":"rs-7445754","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}