Ina Damla Tahirbegi

• Tahirbegi, Damla & Järvenoja, Hanna (2025). Collaboration Scripts as Scaffolds: Enhancing Regulatory Processes and Socio-emotional Dynamics in Ensemble Rehearsals. Music & Science. 8. doi: 10.1177/20592043251342674. Full text in Research Archive
• Tahirbegi, Damla (2023). Exploring emotion regulation in small ensemble contexts; three cases from higher music education. Learning, Culture and Social Interaction. ISSN 2210-6561. 42, p. 1–16. doi: 10.1016/j.lcsi.2023.100741. Full text in Research Archive
• Tahirbegi, Damla (2023). “If We Don’t Have a Good Relationship, We Won’t Deliver Anything Good”: Emotion Regulation in Small Music Ensembles, Insights from Higher Music Education. Music & Science. 6. doi: 10.1177/20592043231202009. Full text in Research Archive
• Tahirbegi, Damla (2021). Higher music education students’ experiences and management of performance anxiety: A qualitative study. Psychology of Music. ISSN 0305-7356. doi: 10.1177/03057356211034573. Full text in Research Archive

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• Tahirbegi, Ina Damla (2024). If We Don’t Have a Good Relationship, We Won’t Deliver Anything Good”: Emotion Regulation in Small Music Ensembles, Insights from Higher Music Education. Full text in Research Archive Show summary

  Velkommen til NNRME 2024 i Bodø. Konferansen arrangeres 19–21. mars 2024.

• Tahirbegi, Ina Damla (2023). NMH | Musikkstudenters opplevelse og håndtering av prestasjonsangst. [Internet]. NMH. Full text in Research Archive Show summary

  Å utøve musikk på et profesjonelt nivå er en krevende øvelse. Det å oppnå fullstendig mestring krever mange timer målrettet øving på både psykologiske og fysiske sider ved spillingen. Tidligere forskning har pekt på prestasjonsangst som en av de vanligste utfordringene for musikere og musikkstudenter. Damla Tahirbegi utforsket dette viktige temaet i sin masteroppgave, der fokuset nettopp var på musikkstudenters opplevelse og håndtering av prestasjonsangst. Dette har siden blitt fulgt opp i ph.d-graden hennes, med spørsmål om hvilke sosiokulturelle utfordringer kammermusikkstudenter møter i øvelse og fremføring.

• Tahirbegi, Ina Damla (2022). Small music ensembles and socioemotional interaction: Exploring student perceptions and impact on joint musical participation. Full text in Research Archive
• Tahirbegi, Ina Damla (2022). Small music ensembles and socioemotional interaction: Exploring student perceptions and impact on joint musical participation. (abstract). Full text in Research Archive Show summary

  Ensemble work is a key component of any performance degree in Higher Music Education. Empirical research on students’ experiences of these collaborative engagements, however, is scarce. This multiple-case study explores the interplay between social interaction and joint musical participation among students during rehearsal time. The specific aims are to investigate socioemotional challenges in collaboration, and students’ regulatory processes to overcome them. The study relates group-level video observations of three ensembles (classical (2); jazz/folk/rock) with students’ self-reported experiences (n=11). The data were qualitatively analysed using theory-informed thematic and interactional analyses. The results showed differences between the ensembles with respect to the quantity and the quality of challenges experienced. Cross-case analysis suggested that the quality of interaction (i.e., positive vs. negative) had a direct impact on the wellbeing of the groups’ socioemotional climate and shared regulation. Positive interaction not only increased music students’ likelihood of enjoying ensemble work, but also had an influence in shaping their collective-oriented strategy use and creative output. In contrast, prolonged negative interaction was linked to lower motivation and a decreased collaborative effort among group members.

• Tahirbegi, Ina Damla (2021). NMH | Musikeren & Psyken del 1. Full text in Research Archive Show summary

  Adressing the Elephant in the Room — Discussing Performance Anxiety in Higher Music Education

• Tahirbegi, Ina Damla (2025). Revisiting small ensemble rehearsals as sites of collaborative learning. A multifaceted exploration of socio-emotional dynamics and emotion regulation in higher music education. Norges musikkhøgskole. ISSN 9788278533529. Full text in Research Archive Show summary

  Abstract - This dissertation explores the salient yet under-examined domain of socio-emotional dynamics and emotion regulation within student-led ensemble rehearsals in higher music education. It pursues two primary objectives: (1) to comprehensively explore the role of socio-emotional factors and regulatory processes in these collaborative learning environments, and (2) to design and assess a pedagogical intervention to improve awareness and emotion regulation during rehearsals. The dissertation includes two empirical studies, reported in three articles, which collectively address the overarching research objectives. The data collection methods employed herein include video observations, individual interviews, macroscript entries, and focus group discussions. The first article presents a multiple case study of three student ensembles: two Western classical trios and one band. It examines the challenges encountered during rehearsals and the role of socio-emotional interaction and relevant regulation in overcoming these challenges. The second article highlights reflective accounts of student musicians engaged in ensemble work, emphasizing the affective and relational dimensions of their experiences. It specifically explores their perceptions of an ideal ensemble environment for learning and performance, the challenges faced during rehearsals, and their self-reported emotion regulation strategies. The third article provides a comparative analysis of the impact of a macro-level collaboration script on ensembles’ regulatory processes and socio-emotional awareness during rehearsals. Across all data collected, small ensemble work is identified as a fertile ground for both learning and collaboration, with socio-emotional interactions playing a pivotal role. Participants acknowledged the significant value of these settings, primarily through their facilitation of peer dialogue, consensus building, and active participation in the learning process. The findings also underscored the important role of socially shared regulation of emotions during rehearsals, with regulatory interactions such as shared humour, domain-bound discussions, and improvisation being used to optimize the collaborative conditions. Each ensemble brought their own internal socio-emotional conditions into the rehearsals which significantly influenced their approach to collaboration. Positively charged affective contexts notably enhanced cognitive and motivational outcomes, with shared regulation playing a central role. Respectful, supportive, and inclusive socio-emotional dynamics emerged as catalysts for regulated learning, enhanced engagement, and positive affective perceptions among group members. In contrast, prolonged, unregulated interactions, such as disrespect or judgement, compromised collaboration, and undermined shared goals. Building on an understanding of how positive socio-emotional dynamics foster collaborative engagement, the dissertation further explores various strategies to regulate emotions and establish an ideal emotional ground for collaboration. The findings suggest that emotions can be regulated through diverse means, targeting, for example, cognitive or interpersonal processes at different levels (i.e., self or others). Moreover, implementing a macro-level script proved effective in regulating collaboration and increasing socio-emotional awareness. It helped ensembles negotiate initial task perceptions, set shared rehearsal goals, and allowed for turn-taking and moments of reflection among peers. The macroscript successfully scaffolded interactions that were conducive to establishing an environment for intentional, metacognitive, and goal-oriented rehearsals. Overall, the three articles presented in this dissertation advance our understanding of socio-emotional dynamics and emotion regulation within small ensemble contexts. By employing a thorough qualitative design that integrates interaction analyses, student perspectives, and the exploration of macroscript intervention, the dissertation expands the methodological scope of these constructs within the domain. The insights gained hold the potential to inform pedagogical practices within HME, fostering environments that consider the affective dimensions of learning and performing music. Keywords: small ensemble rehearsals, collaborative learning, socially shared regulation of learning, emotion regulation, macroscript

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