The doctoral dissertation Musical self-concept of music school pupils and the role of a teacher in shaping it examines the aspect of cultivating musical identity in music education processes. The theoretical foundations of the research are based on the psychological construct of musical self-concept (hereafter MSC), which represents the fundamental mechanism of constructing musical identity, with a developmental peak in adolescence. Our aim was to examine the formation of MSC in pupils of music schools in their final years. In the context of factors influencing this, we also explored the musical identity of teachers. We conducted a quantitative study of the MSC of pupils in while examining the musical identity of teachers with the support of grounded theory. The final research phase involved action research, aiming to shape learning of instruments, based on Hargreaves' model of potential learning outcomes in music education. The results of the research showed that pupils' MSC is typically shaped by the components of mood, abilities/ambitions, and communication. Differences in MSC according to gender, musical preferences, and academic achievement were not reflected in all components among pupils. We found a positive correlation of MSC with the inclusion of (non)(in)informal teaching methods and a negative correlation with the pupils's performance anxiety level. The instrument/vocal teacher was confirmed in the research as a key social actor in shaping the MSC. Through the reflection of the construction of his own identity, he himself – most identified with the roles of performer and pedagogue – experiences himself as an important co-shaper of his pupil's MSC. The dissertation contributes insights into the MSC of pupils and its connection with the musical identity of teachers within the Slovenian music education environment. The demonstrated effects of teaching in Hargreaves' model of potential learning outcomes in music education can aid in educating a new generation of instrument/vocal students who move away from the traditional master/apprentice model, decentralizing the role of the virtuoso based on improvisation, singing, dancing, composing, orchestrating, and connecting with other branches of art. The global perspective of the research speaks in favor of the generative teacher, who already practices both differentially and convergent music pedagogy for teaching and educating both music professionals and amateurs.
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