This dissertation investigates the role of modern music educators in cultivating positive self-efficacy beliefs among students and peers regarding their musical abilities. I will adapt four principal expectations of social learning developed by Albert Bandura: 1) performance accomplishments; 2) vicarious experience; 3) verbal persuasion, and; 4) emotional arousal, expanding his model to include research-creation praxis strategies that utilize specific metacognitive functions of self-efficacy during the act of musical creation: 1) attentive memory; 2) adaptive and spontaneous aptitude; 3) empathetic engagement in the creative process, and; 4) the assetization of external and internal stimuli. By connecting specific learning expectations with each mode of induction, I intend to illustrate how self-efficacious theories operated during the Musicians Auditory Perspective (MAP) project, and how postsecondary mentors can encourage music experimentalism and hands-on mastery experience through participant modeling. The MAP project provides evidence that through musical improvisation and use of binaural technology, we can empower peers by fostering positive responses to emotional arousal during collaborative musical performance. This achievement stems from acknowledging the creative significance of unconscious memory, emotional self-regulation, empathy, educational exposure tactics, timbral perception, and deep listening facilitated by binaural recording devices. By helping to scaffold self-efficacy beliefs via attentiveness towards learner interests and funds of knowledge, we not only enhance commitment and persistence in student and peer tasks, but we create opportunities for effective learning choices in the moment, ultimately contributing to an improved sense of well-being during the act of creation.