Overview

In any form, musical participation is an intimately social activity. Yet, as musicians unflinchingly commit their fullest selves to shared musical collaborations, the natural human penchant for self-interest inevitably comes along for the journey, threatening to compromise collectivistic desires with more egocentric comportments. Undeniahly, the ego plays an inextricable-and at hes antagonistic-rule in the negotiation of musicians performed identities. But as pervasive as the ego may he throughout various spheres af musical practice, it has yet to become a topic of empirical music research. In response to this gap in the literature, the purpose of the current study was to contribute an initial understanding of humility's role in musical participation

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