Relevant bibliographies by topics / Music performance anxiety

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music performance anxiety'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Music performance anxiety"

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Thomas, Jason P., and Ted Nettelbeck. "Performance anxiety in adolescent musicians." Psychology of Music 42, no. 4 (July 31, 2013): 624–34. http://dx.doi.org/10.1177/0305735613485151.

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Ninety secondary school music students (49 females, 41 males aged 12–18 years) from four Adelaide metropolitan schools with selective music programmes completed the Music Performance Anxiety Inventory for Adolescents (MPAI-A), State-Trait Anxiety Inventory, Junior Eysenck Personality Questionnaire Revised Short Form, and Adolescent Coping Scale Short Form. Females reported significantly more music performance anxiety (MPA) than males. Trait anxiety and neuroticism were significantly positively correlated with MPA and extraversion was significantly negatively correlated with MPA. Unproductive coping strategies were significantly positively correlated with MPA, but no significant association was found between MPA and productive coping strategies. Hierarchical regression analysis found that, after controlling for intercorrelations among variables, trait anxiety was the strongest significant predictor of MPA. Correlations between MPA with neuroticism and with extraversion were significantly accounted for by trait anxiety. The MPAI-A may hold promise as a screening tool for the early identification of potential MPA.
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Ryan, Charlene. "Performance anxiety in young contemporary musicians." Journal of Popular Music Education 5, no. 3 (November 1, 2021): 313–35. http://dx.doi.org/10.1386/jpme_00064_1.

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Most research on music performance anxiety has focused on classical musicians and those being trained in the classical genre. Few studies have considered the performance experiences of contemporary musicians. The purpose of the present study was to extend the literature base by focusing the lens squarely on young contemporary musicians. Students (n=202) at a large, contemporary music college completed a questionnaire pertaining to their performance experiences, anxiety, training and coping strategies, as well as the Kenny Music Performance Anxiety Inventory-revised (2009). Results indicate that performance anxiety is a common experience among young, contemporary musicians. Females reported greater anxiety than males and solo performances elicited more anxiety than group. Coping strategies tended to be holistic in nature. Comparison with a previously examined group of classical musicians indicates similarities in factor structure, with some key differences that may distinguish between performance genres.
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Spahn, Claudia, Matthias Echternach, Mark F. Zander, Edgar Voltmer, and Bernhard Richter. "Music performance anxiety in opera singers." Logopedics Phoniatrics Vocology 35, no. 4 (September 14, 2010): 175–82. http://dx.doi.org/10.3109/14015431003720600.

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Barbar, Ana E., José A. Crippa, and Flávia L. Osório. "Parameters for screening music performance anxiety." Revista Brasileira de Psiquiatria 36, no. 3 (June 10, 2014): 245–47. http://dx.doi.org/10.1590/1516-4446-2013-1335.

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Zakaria, Juwairiyah Binti, Hanizah Binti Musib, and Sariwati Mohd Shariff. "Overcoming Performance Anxiety Among Music Undergraduates." Procedia - Social and Behavioral Sciences 90 (October 2013): 226–34. http://dx.doi.org/10.1016/j.sbspro.2013.07.086.

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Studer, Regina Katharina, Brigitta Danuser, Horst Hildebrandt, Marc Arial, Pascal Wild, and Patrick Gomez. "Hyperventilation in Anticipatory Music Performance Anxiety." Psychosomatic Medicine 74, no. 7 (September 2012): 773–82. http://dx.doi.org/10.1097/psy.0b013e31825e3578.

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Osborne, Margaret S., and John Franklin. "Cognitive processes in music performance anxiety." Australian Journal of Psychology 54, no. 2 (August 2002): 86–93. http://dx.doi.org/10.1080/00049530210001706543.

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Reitman, Alan D. "The Effects of Music-assisted Coping Systematic Desensitization on Music Performance Anxiety." Medical Problems of Performing Artists 16, no. 3 (September 1, 2001): 115–25. http://dx.doi.org/10.21091/mppa.2001.3020.

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The purpose of this pilot study was to examine the effects of music-assisted coping systematic desensitization on music performance anxiety. Eighteen musicians (19–45 years old; mean age = 26.66 years), ranging in experience from student to professional, with self-reported performance anxiety were randomly assigned to three groups: (1) verbal coping systematic desensitization; (2) music-assisted coping systematic desensitization; and (3) a wait-list control group. Subjects in the treatment groups received eight 75-minute group sessions of coping systematic desensitization. The treatment also included at-home relaxation practice, which made use of prerecorded relaxation scripts, with and without preferred music. All subjects participated in 5-minute pre- and post-treatment performances in front of three raters. Dependent measures included continuous monitoring of heart rate and frontalis surface electromyography (sEMG) during pre- and post-tests and during a 5-minute resting condition, the Spielberger State–Trait Anxiety Inventory, the Performance Anxiety Response Questionnaire, and the Music Performance Anxiety Questionnaire, administered pre- and post-treatment, and error count. Results indicated no significant differences between groups on physiological and self-report measures (p > 0.05). Error count was rendered invalid due to low interrater reliability. Self-report measures revealed within-group trends toward reduction in cognitive indices of anxiety for both treatment groups. Anxiety-related muscle tension (frontalis sEMG) also showed a within-group decline for the music-assisted treatment group. It was concluded that further research is warranted into the use of music-assisted cognitive– behavioral treatments for musicians.
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Chang, Joanne C., Elizabeth Midlarsky, and Peter Lin. "Effects of Meditation on Music Performance Anxiety." Medical Problems of Performing Artists 18, no. 3 (September 1, 2003): 126–30. http://dx.doi.org/10.21091/mppa.2003.3022.

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This study investigated the effect of meditation on music performance anxiety. Participants were 19 students between the ages of 18 and 41 yrs, who were recruited from the Manhattan School of Music, Mannes College of Music, Yale University School of Music, and State University of New York at Purchase. The experimental group received a series of eight meditation classes, and the control group received no meditation training. After the 8-week training period, all performed in a concert. Pretests and post-tests of music performance anxiety were given and post-tests of state anxiety and of performance concentration. Performance anxiety decreased among participants in the meditation group, in contrast to participants in the control group, whose performance anxiety did not decrease. Differences in regard to post-test state anxiety and performance concentration were not significant. An additional benefit of meditation was a reported increase in relaxation pleasure even in the period immediately before the performance. Results indicate that meditation may be a useful tool for aiding performers to combat performance anxiety.
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Stephenson, Hugh, and Nicholas F. Quarrier. "Anxiety Sensitivity and Performance Anxiety in College Music Students." Medical Problems of Performing Artists 20, no. 3 (September 1, 2005): 119–25. http://dx.doi.org/10.21091/mppa.2005.3024.

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The role of individual differences in anxiety sensitivity was explored in a sample of 67 college-level music students. Individuals high in anxiety sensitivity report greater fear of bodily sensations. Although developed in research on panic disorder, anxiety sensitivity was hypothesized to predict performance anxiety. Anxiety sensitivity was found to predict performance anxiety and was a better predictor than trait anxiety. Overall, anxiety sensitivity was a better predictor of performance anxiety in women than men, and sensitivity to cognitive symptoms was a better predictor of performance anxiety than sensitivity to physiologic symptoms for both men and women. Gender differences emerged in the patterns of anxiety sensitivity, with men having stronger associations between fears of cognitive dyscontrol and performance anxiety than women, while women alone had associations between fears of cardiovascular and respiratory symptoms and performance anxiety. Those highest in anxiety sensitivity were found also to report less enjoyment while playing and more pain. Suggestions for future research are made, and implications for treatment programs are explored.
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Dissertations / Theses on the topic "Music performance anxiety"

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Ruggiero, Nicole Marie. "Anxiety and Trumpet Performance: An Exploratory Study." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703410/.

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The purpose of this document is to investigate how trumpet students at the University of North Texas experience music performance anxiety and to find out how professors prepare students for controlling music performance anxiety experiences. The interviewees were ten undergraduates and ten graduate students, as well as three trumpet professors who teach at the University of North Texas. The questionnaire responses of the student interviewees were examined, and literature is provided that address the most common performance related psychological and physiological symptoms experienced by the trumpet students. Effective and healthy strategies are discussed that were offered by the trumpet professors, and suggestions are made regarding potential benefits and detriments of trumpet performance anxiety.
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Barbeau, Audrey-Kristel. "Performance anxiety inventory for musicians (PerfAIM): a new questionnaire to assess music performance anxiety in popular musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104539.

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The goal of this research project was to develop and validate a new measure that establishes the extent to which highly stressful performance situations affect self-perceived levels of Music Performance Anxiety (MPA) in popular musicians. The Performance Anxiety Inventory for Musicians (PerfAIM), a self-report measure demonstrating appropriate psychometric properties, was developed. The specific objectives of this research project were to estimate the validity of the questionnaire and to assess its reliability. Content validity and face validity were established using focus groups and interviews with experts. A sample of 69 popular professional musicians and music students completed the inventory, with which we established the internal consistency, the test-retest reliability, the concurrent criterion-related validity and the construct validity (convergent and divergent). Among the sample, 66 participants completed the Performance Anxiety Inventory (PAI, Nagel, Himle, & Papsdorf, 1989), and 61 respondents, the revised Kenny Music Performance Anxiety Inventory (revised K-MPAI, Kenny, 2009a). A test-retest was done at a one-week interval using a sample of 21 musicians. The PerfAIM demonstrated an excellent internal consistency (Cronbach's alpha=0.93), a very good reliability (ICC=0.89 with 95% CI), and a satisfactory concurrent criterion-related validity and convergent validity (Pearson product-moment correlation coefficient). No significant difference was found between men and women's scores on the PerfAIM. In conclusion, the PerfAIM is an adequate measure for assessing self-perceived levels of MPA, enabling musicians to develop self-awareness of the causes, temporal occurrence, direction, and cognitive, somatic, affective and behavioral manifestations of MPA.
Ce projet de recherche visait à développer et à valider un nouveau questionnaire permettant d'évaluer dans quelle mesure les performances hautement stressantes affectent la perception du niveau d'anxiété de performance musicale (APM) des musiciens populaires. À cet effet, nous avons créé le «Performance Anxiety Inventory for Musicians » (PerfAIM), un questionnaire auto-administré démontrant des propriétés psychométriques satisfaisantes. Les objectifs spécifiques de ce projet consistaient à évaluer la validité et la fidélité du questionnaire. La validité de contenu et la validité apparente ont été établies avec des groupes focus et des entrevues auprès d'experts. Un échantillon de 69 musiciens populaires (professionnels et étudiants) ont complété le questionnaire, ce qui a permis d'établir la consistance interne, la fidélité test-retest, la validité de critère concomitante ainsi que la validité de construit (convergente et divergente). Parmi l'échantillon, 66 participants ont complété le « Performance Anxiety Inventory » (PAI, Nagel, Himle, & Papsdorf, 1989), et 61 répondants, le « Kenny Music Performance Anxiety Inventory » révisé (revised K-MPAI, Kenny, 2009a). Le test-retest a été fait à une semaine d'intervalle auprès d'un échantillon de 21 musiciens. Le PerfAIM démontre une excellente consistance interne (alpha de Cronbach=0.93), une très bonne fidélité (CCI=0.89 avec un IC à 95%), et une validité de critère concomitante et de construit convergente satisfaisantes (calculées à l'aide d'une corrélation de Pearson). Aucune différence significative n'a été démontrée entre les résultats des hommes et des femmes dans le PerfAIM. En conclusion, le PerfAIM est un questionnaire approprié pour l'évaluation de la perception du niveau d'APM des musiciens, permettant à ces derniers de prendre conscience des causes, des occurrences temporelles, de la direction, et des manifestations (cognitives, somatiques, affectives et comportementales) de l'anxiété de performance.
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Chapman, Jonathan Patrick. "Music Performance Anxiety| A Collection of Practical Exercises and Strategies that Facilitates Self-Diagnosis and Treatment of Music Performance Anxiety." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10263202.

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Various treatments of Music Performance Anxiety (MPA) have already been researched extensively. However, there are few resources readily available to aid musicians with treating their unique form of MPA in a practical way. The goal of this paper is to examine the work of various psychologists, performers, and educators in order to form a cohesive characterization of MPA, explore its possible causes, resultant mental or physical limitations, and develop practical strategies that aid the performer in coping with this problem. This report will look at some of the possible effects of Music Performance Anxiety and provide practical solutions for the reader.

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Edmonson, Jordan. "Predictors of Music Performance Anxiety in Adolescent Musicians." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011842/.

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Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.
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Cleary, Theresa Mary. "Music performance anxiety in children within the context of practical music examinations." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646844.

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As part of their musical training, young musicians are often entered for practical music examinations. Many are anxious about performing in front of an examiner, sometimes to the extent that they do not perform to the best of their ability, which can result in a lower mark than anticipated. The present research was designed to explore Music Performance Anxiety (MPA) and possible interrelationships among gender, practice, self- esteem, music self-efficacy, perceived criticism (from family), music negative perfectionism, and performance (marks attained). Overall the thesis comprises of three studies. All employed quantitative research methods throughout. Study 1 included 194 participants and was designed to develop a new measure of Musical Performance Anxiety for young musicians. Principal component analyses revealed two components. The first component had 20 items and appeared to measure cognitive/somatic sensations. It was shortened to a 13 item scale (MPAI-C) to ensure that the measure was not too long for the young participants in this study. The new measure showed satisfactory reliability and provided evidence of good convergent and divergent validity with other measures employed in the study. The second component was labelled 'Negative Affect' (NA) and comprised of 9 items. Study 2 was designed to develop a new Music Perfectionism measure. Data from 186 participants were analysed. Principal component analyses identified three components. The first component had 10 items and appeared to measure "negative perfectionism". The second component had 6 items and appeared to measure "teacher pressure". The third component had 6 items and appeared to measure "parental pressure". The negative perfectionism subscale (MPI-C) showed a satisfactory reliability and provided evidence of good convergent and divergent validity. The purpose of study 3 was to test a proposed model of MPA and possible interrelationships between music negative perfectionism, perceived criticism (from family), music self-efficacy, self-esteem, practice, gender and performance. A revised model was established using path analyses with Mplus software. The data from 304 participants indicated that males were more affected by perceived criticism from family and did more practise than females. Practice and music self-efficacy revealed a positive direct association with performance, while MPA showed a negative direct association with performance. A direct positive relationship was found between music negative perfectionism and MPA, while a negative relationship was shown between music negative perfectionism and self-esteem. A positive association was found between self-esteem and music self-efficacy, which in turn had a direct negative association with MP A. The final model provided an insight into the effects of MPA and the associations between other factors in relation to performance in young musicians in practical music exams. The findings from the present study have implications for students, parents, music teacher training, and future policies regarding curriculum development within music education worldwide.
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Boucher, Hélène. "[The] occurrence of music performance anxiety in early childhood." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=109913.

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Performance anxiety is a common experience for many musicians, firmly engrained in them by the age of eight. While it has been suggested throughout the literature that this is a learned condition developed during childhood, its appearances in younger children have not yet been studied. The purpose of this study was to document the performance experiences of very young children with respect to performance anxiety.[...]
L'anxiété de performance est vécue par plusieurs musiciens et serait déjà enracinée chez certains apprentis musiciens des l' âge de huit ans. Bien que plusieurs chercheurs considèrent qu'il s'agit la d'un phénomène acquis, se développant pendant l'enfance, ses premières manifestations n'ont jamais été étudiées. L'objectif de cette recherche est donc de documenter l'existence du stress lie a la performance musicale chez les très jeunes enfants.[...]
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Perdomo-Guevara, Elsa. "Beyond anxiety : inspiration, connection and joy in music performance." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/18462/.

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Research on emotion in performance has mainly investigated anxiety, while little is known about performance-related joy. This research aimed to identify factors associated with enjoyment of performance, and design an intervention that would increase performers’ joy in performing. It included an Exploratory Study (an on-line survey) investigating the performance experiences of a large population of musicians (N = 625), and an Intervention Project comprising an on-line course. The Exploratory Study showed that performers had different, coherent narratives about performance, that were associated with the groups to which they belonged (i.e. classical or non-classical; students, professionals or amateurs), and that predicted the overall quality of their performance experiences. Notably, the ‘people-oriented’ narratives appeared to both promote ‘highly enjoyable’ and prevent ‘stressful’ performances. The intervention sought to enhance performance experiences by enabling performers to cultivate a more self-transcendent approach to performance, and design performance- related narratives that they viewed as personally meaningful and inspiring. The impacts of the intervention were investigated using one pre- and two post-intervention questionnaires in which performers were asked to describe and explain their last ‘highly enjoyable’ performance. Compared to their pre-intervention scores, three months after the intervention, the participants scored significantly higher in performance-related joy, self-confidence and inspiration; they reported reduced anxiety, improved quality of performance, deeper connection with the audience, and an increased appreciation for the value of music and the privilege of being a performer. The findings suggest that performance-related emotions are socio-culturally shaped; that music institutions may be partly responsible for the high prevalence of MPA among musicians, and should therefore be involved in enhancing performance experiences; and that short interventions can succeed in increasing the meaningfulness of the performers’ narratives, reducing their anxiety and rendering their experience more enjoyable.
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Moody, Lisa. "The Effects of Feedforward Self-modeling on Self-efficacy, Music Performance Anxiety, and Music Performance in Anxious Adolescent Musicians." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31635.

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Music performance anxiety (MPA) is a significant concern for musicians of all ages, levels of mastery, and genders (Kenny, 2011). Whereas the anxiety-performance relationship has been well researched in athletes, similar research with musicians is sparse (Nordin-Bates, 2012). In the present research, video feed-forward self-modeling (FF-SM video) was explored as an intervention for use by musicians. FF-SM involves video-editing, typically, to depict a level of master performance higher than that yet attained by the individual. Although video FF-SM has been used successfully with athletes (Ste-Marie, Rymal, Vertes, & Martini, 2011) to increase self-efficacy and improve performance, its use has not yet been explored with musicians. In the present study, Bandura’s Self-efficacy Theory (1977) was used as a framework to explore whether FF-SM videos would increase self-efficacy, lower anxiety, and improve performance in adolescent musicians who self-reported MPA. Twelve string musicians, aged 13 to 18 years, who self-reported MPA took part in a two-week intervention where in one week they practiced with the use of a FF-SM video and in the alternate week they practiced without the video. At the end of each week, participants performed the selected repertoire from their video. Video FF-SM significantly increased musicians’ self-efficacy but only for those musicians who viewed the video in the second week. No changes in anxiety or performance levels were observed. Zimmerman’s triadic self-regulation model is used to explain the cyclical pattern of self-efficacy benefits. It is concluded that the FF-SM video can be an effective tool to increase self-efficacy for musicians who self-report MPA, but that an enactive experience is first needed for those benefits to occur. Research extended over a longer time frame is recommended in order to examine whether influences on anxiety and performance would emerge at a later time.
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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Huston, Kyle Adam. "The Effect of Listening to Music on Musicians' Performance Anxiety." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306855815.

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Books on the topic "Music performance anxiety"

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Kenny, Dianna T. The psychology of music performance anxiety. Oxford: Oxford University Press, 2011.

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illustrator, Papp Lisa, ed. Facing my music. Austin, TX: Steck-Vaughn, 2003.

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Irving, Dorothy. Yrke: Musiker : tankar kring musikkommunikation. Stockholm: Rikskonserter, 1987.

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Anxiety and musical performance: On playing the piano from memory. New York: Da Capo Press, 1985.

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T︠S︡ypin, G. M. St︠s︡enicheskoe volnenie: I drugie aspekty psikhologii ispolnitelʹskoĭ dei︠a︡telʹnosti. Moskva: Muzyka, 2010.

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Persson, Roland S. Psyke, stress och konstnärlig frihet: En ansats till en yrkesmusikalisk psykosomatik. Stockholm: KMH Förlaget, 1996.

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Paul, Salmon. Notes from the green room: Coping with stress and anxiety in musical performance. San Francisco, Calif: Jossey-Bass, 1998.

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G, Meyer Robert, ed. Notes from the green room: Coping with stress and anxiety in musical performance. New York: Lexington Books, 1992.

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Hogan, Claire. Music performance anxiety, social phobia & Eysenck's personality dimensions : extra-introversion and neuroticism-stability. (s.l: The Author), 2000.

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McAllister, Lesley Sisterhen. The balanced musician: Integrating mind and body for peak performance. Lanham, Md: Scarecrow Press, 2013.

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Book chapters on the topic "Music performance anxiety"

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Furby, Victoria J. "Overcoming Performance Anxiety." In The First-Year Music Major, 176–86. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003247487-21.

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Finch, Katherine K., and Jonathan M. Oakman. "Applied Mental Imagery and Music Performance Anxiety." In Music and Mental Imagery, 221–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429330070-24.

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Clearman, Julia A. "Experiences in Music Performance Anxiety: Exploration of Pedagogical Instruction Among Professional Musicians." In Perspectives in Performing Arts Medicine Practice, 241–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_14.

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Yang, Yang, Franziska Schroeder, and Matthew Rodger. "The Role of Perfectionism in Music Performance Anxiety Within University Piano Majors in China." In Springer Series in Design and Innovation, 674–89. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09659-4_48.

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Kesselring, Jürg. "Music performance anxiety." In Music, Motor Control and the Brain, 309–18. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780199298723.003.0020.

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Wilson, Glenn D., and David Roland. "Performance Anxiety." In The Science & Psychology of Music Performance, 47–61. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780195138108.003.0004.

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Kenny, Dianna T. "Defining music performance anxiety." In The Psychology of Music Performance Anxiety, 47–82. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199586141.003.0027.

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Kenny, Dianna T. "Phenomenology of music performance anxiety." In The Psychology of Music Performance Anxiety, 1–14. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199586141.003.0014.

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Kenny, Dianna T. "Epidemiology of music performance anxiety." In The Psychology of Music Performance Anxiety, 83–108. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199586141.003.0030.

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Kenny, Dianna T. "The anxiety disorders." In The Psychology of Music Performance Anxiety, 33–46. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199586141.003.0017.

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Conference papers on the topic "Music performance anxiety"

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Spahn, C., F. Krampe, and M. Nusseck. "Music performance anxiety – course types and coping." In Abstract- und Posterband – 91. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Welche Qualität macht den Unterschied. © Georg Thieme Verlag KG, 2020. http://dx.doi.org/10.1055/s-0040-1710874.

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2

Fanger, Yara, Ken Pfeuffer, Udo Helmbrecht, and Florian Alt. "PIANX – A Platform for Piano Players to Alleviate Music Performance Anxiety Using Mixed Reality." In MUM 2020: 19th International Conference on Mobile and Ubiquitous Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3428361.3428394.

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