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1
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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Note: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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Charry, Qvarforth Antonio. "Prestationsångest i fokus : Studenters och elevers relation till Music Performance Anxiety." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2939.
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Ämnet prestationsångest attackeras från många vinklar och är något som de allra flesta kan känna igen sig i. I denna studie fördjupar jag mig i förhållandet mellan prestationsångest och individens upplevelse av hur det är att musicera med andra. Studien inriktar sig mot musikstudenters relation till prestationsångest i undervisning och ensemblespel, med syftet att belysa begreppet Music Performance Anxiety (MPA). Genom fokusgruppsintervju och deltagarobservation har jag tagit fram underlag samt kartlagt hur deras upplevelse av MPA ter sig i musikämnet och i ensemblesammanhang. Hur skiljer sig upplevelsen av detta i ensemblesammanhang från individuella sammanhang och hur skiljer sig känslan av MPA i undervisning i jämförelse med andra musikutövande sammanhang? Genom kvalitativ data och analys av deltagarnas egna erfarenheter och upplevelser har studien lett fram till en djupare inblick i hur dessa individer upplever prestationsångest i musiksammanhang, samt hur den sociala aspekten av att musicera får en betydande roll när ämnet ska belysas. Generellt uppnådde samtliga deltagare kriterierna för en mer eller mindre utvecklad form av MPA och den generella uppfattningen var att de inte fått några verktyg eller arbetat med ämnet prestationsångest kontinuerligt i sina pågående eller föregående studier. Min uppfattning är därför att vidare forskning kring detta ämne behövs för att konkretisera, och på ett ett bättre sätt, kartlägga känslor och sociala strukturer som hämmar studenters musikaliska utveckling såväl som det konstnärliga uttrycket.
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Chan, Mei-Yuk. "The relationship between music performance anxiety, age, self-esteem, and performance outcomes in Hong Kong music students." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/637/.
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Existing studies suggest that music performance anxiety can undermine the quality of performances regardless of performers’ ages. However, most of the studies have focused on professional musicians. It is crucial to know when music performance anxiety occurs in order to minimize its effects on young musicians including the ongoing psychological damage done to them. The present study is intended to investigate: 1) whether there was support for the claim that music performance anxiety has an early onset in young children; 2) to what extent music performance anxiety is associated with self-esteem; 3) whether there is support for the claim that performance outcomes are affected by one’s anxiety levels. The State-Trait Anxiety Inventory for Children (STAIC) by Spielberger (1973)and the Self-Esteem Scale (SES) by Rosenburg (1965) were the major psychometric measures. A researcher-designed questionnaire was also used to collect participants’ demographic data and their experiences as well as the ways they coped with music performance anxiety. They were asked to identify their feelings based on the items adapted from the Music Performance Anxiety Inventory for Adolescents or MPAI-A (Osborne and Kenny, 2005). One hundred and seventy-four participants aged from 7 to 18 participated in the present study. Findings of the present study suggest that age is significantly related to participants’ pre-SAS and the number of symptoms. In addition, MPA was found to be more prevalent in older age ranges but no significant differences were found between different age groups. In addition, evidence from the current study supported the claim that self-esteem is negatively correlated with MPA. It was also revealed that no relation was found between one’s music performance anxiety and the quality of music one played. However, participants’ anticipated outcomes of their quality of performance may be related to music performance anxiety. Findings from the study are discussed in terms of their relevance to the Hong Kong context and their implications for practice.
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Goren, Laurie. "A meta-analysis of nonpharmacologic psychotherapies for music performance anxiety." Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621049.
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Music performance anxiety (MPA) is a common problem in musicians of all ages, genders, socio-economic backgrounds, and levels of performance experience. The intensity of symptoms associated with the condition range from mild to debilitating. Even at lower levels, chronic MPA is associated with stress-related illnesses and maladaptive coping behaviors, such as self-medication with licit (cigarettes and alcohol) and illicit or off-label drugs. Acute MPA is known to destroy musical careers.
Faced with the pervasiveness and potential gravity of MPA, clinicians have developed a number of nonpharmacologic treatment protocols, some of which have been studied for efficacy. Most of the outcome studies have reported pairwise comparisons (experimental versus control) of measures taken of small samples of performing musicians. The robustness of the treatment was determined by tests of statistical significance of observed differences on outcome measures or by the calculation of effect size.
Previous narrative reviews of outcome studies have provided summary descriptions of their characteristics and findings. However, these analyses do not provide quantitative evidence of the efficacy of different treatments for ameliorating MPA.
Since it was first employed in psychological research by Smith and Glass in 1977, meta-analysis has become the gold standard for synthesizing quantitative research findings across studies. The method involves integration of standardized treatment effect estimates from different studies. It can provide comparisons of the effectiveness of subgroups of therapies (approaches), characterize a therapeutic approach in terms of an outcome profile, and determine whether a particular psychotherapeutic intervention is effective. The present review is the first to use meta-analysis to integrate the findings of research studies in the literature on nonpharmacologic psychotherapies for MPA and to compare their effectiveness.
An exhaustive search of the literature identified 46 efficacy studies. Of these, 29 met the criteria for inclusion in the meta-analysis. The accumulated data represents autonomic, self-report, and observational measures of MPA for 852 advanced music students and professional musicians. Each measure was coded for type (autonomic, self-report or observational) and for therapeutic approach (cognitive, behavioral, complementary and alternative, and combined). Analysis of the synthesized data indicated statistically significant therapeutic effects of each therapeutic approach. Additionally, when the approaches were compared, the class of psychotherapies that was made of combinations of two or more types of interventions (combined) showed the strongest treatment effect.
Among the implications of these findings is the plurality of good choices for an individual suffering with MPA. The development of programs to raise awareness of the prevalence of music performance anxiety and available treatments is recommended. For researchers, greater standardization in methodology and periodic meta-analysis is encouraged.
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Zampieri, Elin. "Hjälp! Det pirrar i hela kroppen! : En diskursanalytisk studie om musiklärares syn på och arbete med nervositet och scenskräck i undervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78889.
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Syftet med studien är att undersöka hur musiklärare inom musikskola, gymnasiet och högskola ser på och arbetar med nervositet och scenskräck i undervisning. Studiens teoretiska grund utgörs av diskurspsykologi. Fokusgrupper har tillämpats som datainsamlingsmetod vilket inneburit två olika gruppsamtal där lärare diskuterat om ämnet scenskräck och nervositet. Samtalen spelades in, transkriberades och analyserades utifrån en diskurspsykologisk synvinkel i ett sökande efter tolkningsrepertoarer. Resultatet presenteras utifrån tolkningsrepertoarer om hur lärarna formulerade sin syn på nervositet. Två motstridiga repertoarer framkom i resultatet: nervositet som plötsligt angripande och nervositet som kan bemästras där nervositet konstruerades som både ett störningsmoment och som något önskvärt. Ålder, mognad och musikalisk utveckling formulerades påverka nervositet genom tolkningsrepertoaren nervositet ur ett mognadsperspektiv. Vidare formulerade respondenterna sitt arbete med nervositet och scenskräck i undervisning vilket synliggjorde tolkningsrepertoaren genre och arbete med nervositet. I denna tolkningsrepertoar lyftes genre som påverkande för arbetet med nervositet. I repertoaren läraren som terapeut konstruerade lärarna sig som inkännande utifrån samtal som metod. Repertoaren mental träning som fenomen formulerade ett förebyggande arbete som något värdefullt men tidskrävande, vilket kan ställas emot repertoaren nervositet som tidskrävande arbete där lärarna formulerade en tidsbrist och en känsla av otillräcklighet i arbetet med nervositet. Diskussionen lyfter resultatet i förhållande till tidigare forskning och litteratur där fyra områden diskuteras: Lärares syn på nervositet och elevpåverkan, hantera nervositet genom samtal, arbetet med nervositet i förhållande till tidsamt syn på nervositet och genrers påverkan.The purpose of this study is to investigate how music teachers in music school, upper secondary school and music college view and work with nervousness and stage fright in teaching. The theoretical framework of the study is discourse psychology. Focus groups have been used as a data collection method, which has involved two different group discussions where teachers discussed the topic of stage fright and nervousness. The conversations were recorded, transcribed and analyzed from a discourse psychological point of view, in search of interpretative repertoires or small discourses. The result is presented through different interpretive repertoires on how teachers formulated their views on nervousness and stage fright. There, two contradictory repertoires emerged: nervousness as suddenly attacking and nervousness that can be mastered, where nervousness was constructed as both a disturbing moment and as something desirable. Age, maturity and musical development were formulated to influence nervousness through the interpretative repertoire nervousness from a maturity perspective. Furthermore, the respondents formulated their work with nervousness and stage fright in teaching, which made visible the interpretation repertoire genre and work with nervousness. There, the genre was emphasized as influencing the work on nervousness. In the repertoire teacher as a therapist, teachers constructed themselves as empathetic through conversation as a method. The repertoire mental training as a phenomenon formulated a preventive work as something valuable but time-consuming, which can be put opposite the repertoire nervousness as time-consuming work, where the teachers formulated a lack of time and a feeling of insufficiency. The discussion lifts the result in relation to previous research and literature where four areas are discussed: Teacher’s view on nervousness and student influence, dealing with nervousness through conversations, work with nervousness in relation to time and views on nervousness and the influence of genres.
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Van, Staden Jacobus M. C. "Exploring performance related anxiety in brass players." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/58984.
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Music performance anxiety (MPA) is primarily described as stage fright concerning musicians and performers and affects orchestral and professional musicians severely (Brugués, 2009; Plummer, 2007). As a result, literature on MPA focuses extensively on how it affects professional and adolescent musicians, but limited resources emphasise how it affects brass instrumentalists.
The aim of the study is to investigate the occurrence and experience of MPA in brass players. Further, it aims to explore prominent symptoms in this population and what coping strategies are most effective against MPA. Ten brass (five French horn, three trumpet and two trombone) players, of whom eight are professional and two semi-professional musicians, with varying performance experience, participated in this study.
The study uses a qualitative research approach and falls into the interpretive paradigm. A multiple case study design was followed. The data were collected through semi-structured interviews, probing each participant’s reported experiences and coping strategies. MPA inhibits a brass player’s musical performance in areas such as musical expression, technical proficiency, physical endurance, tone quality and enjoyment. The results suggest that most of the participants experienced MPA since childhood, regardless of the starting age, and experiences of this condition varied over time throughout adulthood.
The symptoms of MPA manifests physiologically (shaking, dry mouth, increased heart rate, sweating), behaviourally (muscle tension, shaking, dry lips), and cognitively (negative thought processes). First-time experiences of a musically demanding task such exams and Eisteddfods, with intimidating audiences, impacted early signs of severe MPA symptoms such as shaking and had a blunting effect on performance quality. Increased task difficulty, limited performance opportunities, auditions, recitals, and orchestral environments, which exposed the player’s performing ability under pressure, had a profound influence on recent experiences of MPA. These situations evoked multiple symptoms such as dry mouth, accelerated heartbeat, shortness of breath, negative thoughts/feelings and self-doubt. Symptoms such as a dry mouth, accelerated heartbeat, shortness of breath, and shaking affects a brass player’s musical performance severely, since it inhibits tone quality and influences musical spontaneity. Therefore, these symptoms affect technical proficiency among brass players negatively since performing these instruments are physically demanding.
The results also showed that teachers gave useful advice concerning performing a brass instrument under pressure. The advice was useful among the participants’ lived experiences of MPA, particularly regarding early-experienced symptoms. The experiences of MPA in high demanding performance settings resulted in a better understanding of the situation over time, and led to the reported coping strategies against MPA, which enhanced optimal performance and reduced symptoms. The study concludes that MPA adversely affects brass instrumentalists, particularly the physiological manifestation of the condition. More research is needed to identify symptoms unique to this instrument group and the most effective coping strategies.Mini Dissertation (MMus)--University of Pretoria, 2016.
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Huang, Wei-Lin. "An investigation into Taiwanese music college students' self-management of musical performance anxiety." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/383/.
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Taiwan has many high-level music colleges that prepare students for performance and teaching careers. These music colleges are competitive environments in which students are potentially learning to cope with musical performance anxiety (MPA). MPA has been widely researched in recent years. Studies have found that college musicians use their own unique coping strategies or rely on past experiences of coping with MPA to manage it. Nevertheless, literature that focuses on MPA self-management is still limited. The aim of this thesis is to fill this gap by investigating the ways in which MPA is self-managed by Taiwanese college musicians (TCMs). The research questions are: 1) How do TCMs define and perceive MPA? 2) How do TCMs self-manage MPA? 3) What strategies for managing MPA do the TCMs believe they will use with their students when they carry out teaching as part of their future portfolio careers? Fifty-three undergraduates were recruited from a music college in Taiwan. Each participant was interviewed before all of their performances taking place in one semester: formal concert, exam, and graduate recital. The data was analysed through a qualitative approach by using thematic analysis in order to examine the strategies used and the process of managing MPA. The findings are presented as four themes: 1) Strategies used in preparation for different types of performance, during different time periods of preparation and performance. 2) Strategies in context: people and places. 3) Understanding the strategies: metacognition in musical learning and managing MPA. 4) MPA self-management and the teaching-learning cycle. Results revealed that it is possible for TCMs to self-manage their MPA through developing metacognitive processes with support networks in the conservatoire environment and with various external resources. However, information on MPA-coping strategies are like pieces of a puzzle that are scattered rather than being coherently fitted together. Therefore, recommendations for further research and applications to practice are made.
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Mejía, Carlos Mario Gómez. "Estratégias para o controle da ansiedade na performance musical." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8668.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The objective of this research is to understand how a group of musicians of the Universidade Federal da Paraíba (UFPB) are using strategies to control musical performance anxiety (MPA). A group of undergraduate and graduate music students was asked to respond the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire to assess their MPA level along with semi-structured interview, which was recorded for later analysis. In this dialogue, the subjects explained in detail how they are affected by the MPA and the strategies they use for its control. Reported strategies were: spirituality (prayer), use of beta-blockers, meditation routines to focus upon performance, consultation of self-help literature, self-talk, breath control, physical activity, positive perception of arousal, relaxation techniques, acceptance of small errors, switch instruments, simulation of performance and mental practice. The results confirm the existence of the MPA within the group studied and showed how it adversely affects the performance in some of the subjects. It also showed the lack of a systematic use of the different strategies to deal with the MPA.
O objetivo desta pesquisa é entender quais são as diferentes estratégias para o controle da Ansiedade na Performance Musical (APM) utilizadas por músicos da Universidade Federal da Paraíba (UFPB). Para isto, foi selecionado um grupo de estudantes de música dos cursos de Licenciatura em Música, Bacharelado em Música e Pós-graduação em Práticas Interpretativas. Eles então responderam ao questionário Kenny Music Performance Anxiety Inventory (K-MPAI) para avaliar seu nível de APM e a uma entrevista semiestruturada, que foi gravada para posterior análise, na qual os sujeitos explicaram detalhadamente como são afetados pela APM e as estratégias utilizadas para seu controle. As estratégias reportadas foram: espiritualidade (oração), uso de betabloqueadores, autoconvencimento (self-talk), rotinas para se concentrar no momento da performance, consulta de textos de autoajuda, prática mental, simulação da performance, atividade física, aceitação de pequenos erros, percepção positiva da excitação, controle da respiração, técnicas de relaxamento e até mesmo “trocar para outro instrumento”. Os resultados desta pesquisa confirmam a existência da APM dentro do grupo estudado e mostram como ela afeta negativamente a performance de alguns dos sujeitos. Também mostra a falta de um uso sistemático das diferentes estratégias para o controle da APM.
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Tempera, André Rafael Correia. "Music performance anxiety among classical musicians: strategies for improving performance and applications for classical guitarists." Doctoral thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23812.
Full textAbstract:
Music performance anxiety (MPA) is experienced in varying degrees of intensity by most, if
not all, musicians. It is particularly heightened in a classical music environment and if not
addressed properly, it may cause significant harm to the careers and even wellbeing of
individuals. Performers and teachers usually develop their own valid coping strategies
through years of practical experience, but often lack a theoretical understanding of MPA and
its mechanisms, considering it to be an insurmountable and career ending affliction. There
are several articles and books addressing different aspects of this subject, and this
knowledge can be utilized to develop practice and coping strategies, that incorporate
practical and scientific information. This integration should be of special interest to the
classical musician community in several aspects of performance and pedagogy, and
particularly, for the future generations of musicians who often feel are not being adequately
prepared for the reality of a performing career. Differentiating factors such as personality,
age and gender are related to the way individuals perceive and experience performance
anxiety. Another, somewhat understudied relation, is how the specificities of each
instrumentalist affect, and are affected by MPA. By characterizing classical guitarists and
their particularities, it is possible to ascertain if this sub-group of musicians has specific
needs, and which are the best approaches for them to address music performance anxiety
issues. This dissertation attempts to improve classical musicians’ understanding of MPA and
will hopefully contribute to a more effective approach to this issue within the community; Resumo:
Ansiedade na performance musical dos músicos eruditos: Estratégias para
melhorar a performance e aplicações para guitarristas clássicos -
A ansiedade na performance musical (APM) é sentida em vários graus de intensidade pela
maioria, senão a totalidade, dos músicos. É particularmente elevada no ambiente da música
erudita e, quando não é abordada de forma adequada, pode causar danos significativos nas
carreiras e até na saúde das pessoas. Intérpretes e professores normalmente desenvolvem
as suas próprias estratégias de coping através de anos de experiência prática, mas
frequentemente carecem de uma compreensão da APM e dos seus mecanismos,
considerando-a como uma condição insuperável que pode ditar o fim de uma carreira.
Existem diversos artigos e livros dedicados a uma grande quantidade de aspectos
associados a este tema, e este conhecimento facilita o desenvolvimento de estratégias para
o estudo da música e para coping, incorporando informação prática e científica. Esta
integração deve ser de particular interesse para a comunidade dos músicos eruditos em
diversos aspectos da performance e da pedagogia, e particularmente, para as futuras
gerações de músicos que frequentemente sentem não estar a ser adequadamente
preparados para a realidade de uma carreira como intérpretes. Factores diferenciadores tais
como personalidade, idade e sexo estão relacionados com a forma como os indivíduos
interpretam e experienciam a ansiedade. Outra relação, algo negligenciada, é a de como as
especificidades de cada instrumento afectam e são afectadas pela APM. Ao caracterizar os
guitarristas clássicos e as suas particularidades, torna-se possível aferir se este sub-grupo
de músicos possui necessidades específicas e quais são as melhores abordagens para
resolver problemas relacionados com a ansiedade na performance musical. Esta
dissertação tenciona melhorar a compreensão da APM por parte dos músicos eruditos e
contribuir para que este assunto seja abordado de uma forma mais eficaz pela comunidade.
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Havenstein, Christina. "Addressing performance anxiety in organists through pedagogical guidance." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46021.
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The art of balancing spiritual, physical and emotional attributes is a daunting task for any organist. The techniques with which an organist consolidates these attributes have a direct effect on the accomplishment of a definitive goal – a successful music performance. However, this portrays the ideal situation. There is a myriad of internal and external factors that obstruct the organist from attaining this ultimate goal and – in the process – create excessive stress and anxiety. Over and above the habitual performance nervousness, an organist’s anxiety level is exacerbated when performing on an unfamiliar organ, as every organ has unique characteristics that differ from all other. Moreover, the modern pipe organ – particularly the church organ – is a complex and intricate instrument that claims the highest skills and flexibility from an organist.
Performing music is inherently a stressful accomplishment that is intensified by continuous challenges, inter alia incessant preparation and the threat of criticism. Some music performers seem to thrive on stress while others choke under pressure. The music performer, however, is not intrinsically born with the innate knowledge and wisdom to manage the diverse anxiety-causing factors that are associated with organ performing. A particular kind of pedagogical training, namely coaching, is proposed as a technique to equip a scholar – particularly an organist – with tactics to manage performance anxiety. Parallels are drawn between the training of sports athletes and organists as coaching has valuable applications for both sports- and music performers.
The aim with the current study was to explore how and why organists experience such strenuous anxiety when performing a repertoire. These strains can often become too overwhelming for an organist to endure. For the purpose with the study, six experienced and qualified organists were selected by means of a convenience sample design. Their stress- and anxiety levels during music performances were identified by means of 12 open-ended questions. Being an experienced organist and teacher herself, the author was able to probe deeper into the topics introduced by the research questions. Particular consideration was given to the fabric of performance anxiety from three different approaches: behavioural, cognitive and psychoanalytical. In addition, pedagogical coaching was explored as a viable alternative to teaching an organist. Moreover, the organist’s unique characteristics were emphasised from behavioural, cognitive (gestalt), socio-cultural, and psychoanalytical approaches.
From the results of the empirical study is evident that all the organists participating in the study revelled in their organ performing. However, many situational and related aspects caused them habitually to experience feelings of stress, anxiety, loneliness and apprehension. Of particular concern to the organists was the inclusion of worship bands in the church. They experienced it as a threat to the church – resulting in a lowering of musical standards.
All of the stressful situations resulted in tiredness, frustration and sometimes exploitation in the organists. One main finding was that an organist imperatively needs to be coached and supported in coping with such adverse feelings. Coaching improves energy levels, self-help skills, better time management and further development of emotional intelligence. It can also increase the organist’s physiological state – improve a sense of awareness, enhance learning capabilities and increase self-confidence.
The all-encompassing conclusion reached was that – through effective coaching – the organist has a much better chance of overcoming inner- and outer adversities on the way to a successful and rewarding career.Dissertation (MMus)--University of Pretoria, 2014.
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Bastos, Elaine Tainá de Azevedo. "Ansiedade em perfomance musical: investigação e análise da realidade dos alunos de música da Universidade Federal da Paraíba." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6596.
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Previous issue date: 2012-09-24Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study investigated and analyzed the existence of music performance anxiety among music students of the Universidade Federal da Paraiba (UFPB), in the context of instrument music classes. In this survey 28 students coming from pre-college, undergraduate and graduate music program from UFPB took part, in a total of four classes coordinated by faculty members of the UFPB Music Department. As a research procedure psychological tests that assessed levels of state-trait anxiety, music performance anxiety and participant observation were applied. They were undertaken during the semester final recitals of each class. From the analysis, comparison and correlation of the results of psychological tests and participant observation, we found levels of state-trait anxiety above what was predicted by normative samples and consistent with those of studies conducted in other parts of the world, with orchestra musicians and professional choirs. We also found levels of anxiety in music performance similar to existing research, and clear physical signs and behavioral of musical performance anxiety. The analysis of research variables: gender, education, age, occupation and level of demand confirmed some of the assumptions in the literature and brought new findings, which opened space for further discussion and research. These results confirm the hypothesis that anxiety in music performance is a widespread phenomenon that can affect musicians of any age, level or technical training, from students to professionals. Therefore, our data are indicative of the existence of actual music performance anxiety among music students of the UFPB, alerting us to the occurrence of a factor detrimental not only to performance, but also to the health and psychological well-being of musicians.
O presente trabalho investigou e analisou a existência da ansiedade em performance musical entre os alunos de música da Universidade Federal da Paraíba (UFPB), no contexto das classes coletivas de instrumento. Fizeram parte desta pesquisa 28 alunos vindos dos cursos de Extensão, Bacharelado, Licenciatura, e Pós-Graduação em Música da UFPB, participantes de quatro turmas coletivas, coordenadas por professores do Departamento de Música. Como procedimento de pesquisa foram aplicados testes psicológicos que avaliaram os níveis de ansiedade de estado-traço e ansiedade em performance musical e empreendida observação participante durante os recitais de final de semestre de cada uma das turmas. A partir da análise, comparação e correlação dos resultados dos testes psicológicos e da observação participante, encontramos níveis de ansiedade de estado-traço acima do que era previsto pelas amostras normativas e compatíveis com os de estudos realizados em outras partes do mundo, com músicos de orquestras e de corais profissionais. Também encontramos níveis de ansiedade em performance musical semelhantes aos de pesquisas existentes, além de sinais físicos e comportamentais visíveis. A análise das variáveis de pesquisa: gênero, escolaridade, idade, profissão e grau de exigência confirmou algumas das hipóteses presentes na literatura e trouxe novos achados, os quais abrem espaço para outras discussões e pesquisas. Estes resultados confirmam a hipótese de que ansiedade em performance musical é um fenômeno generalizado, que pode acometer músicos de qualquer idade, nível técnico ou formação, desde estudantes à profissionais. Ainda, os dados aqui obtidos são indicativos reais da existência de ansiedade em performance musical entre os alunos de música da UFPB, alertando-nos para a ocorrência de um fator prejudicial não só à performance, mas também a saúde e ao bem-estar psicológico do músico.
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Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.
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The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition).
Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group.
All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.
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Thurber, Myron Ross. "Effects of Heart-Rate Variability Biofeedback Training and Emotional Regulation on Music Performance Anxiety in University Students." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5428/.
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Student musicians were recruited to participate in an experimental repeated measures research design study to identify effects of heart rate variability (HRV) biofeedback training and emotional self-regulation techniques, as recommended by HeartMath® Institute, on music performance anxiety (MPA) and music performance. Fourteen students were randomly assigned to a treatment or control group following a 5 minute unaccompanied baseline performance. Treatment group participants received 4-5 HRV training sessions of 30-50 minutes each. Training included bibliotherapy, using the computerized Freeze-Framer® 2.0 interactive training software, instruction in the Freeze-Frame® and Quick Coherence® techniques of emotional regulation, and also use of an emWave® portable heart rate variability training device for home training. Measures included the State-Trait Anxiety Inventory (STAI), Performance Anxiety Inventory (PAI), Flow State Scale (FSS), average heart rate (HR), and heart rate variability (HRV). Quade's rank transformed ANCOVA was used to evaluate treatment and no-treatment group comparisons. Combined MPA scores showed statistical significance at p=.05 level with large effect size of eta2=.320. Individual measurements of trait anxiety showed a small effect size of eta2=.001. State anxiety measurement showed statistical significance at the p=.10 level with a large effect size eta2=.291. FSS showed no statistical or effect size difference. PAI showed no statistical significance and a large effect size eta2=.149. HR showed no statistical significance and a large effect size eta2=.143. HRV showed statistical significance at p=.000 level and a large effect size eta2=.698. This study demonstrated practical/clinical significance of a relatively quick and inexpensive biofeedback training that had large effect at decreasing mental, emotional, and physiological symptoms of MPA for university students.
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Stanson, Nicole. "The Effectiveness of Mindfulness Training on Young Adult Musicians Experiencing Music Performance Anxiety." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39878.
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Background: Research has shown that music performance anxiety (MPA) is experienced by individuals in all age groups and skill levels. Due to the need for effective treatment of performance anxiety in musicians, researchers have begun to investigate the viability of mindfulness, which has been proven as an effective treatment in populations with generalized anxiety. Although preliminary studies have been undertaken in examining the effects of mindfulness training on the experience of MPA, these efforts have been by a small group of researchers, and further replication and statistical significance is needed. Objective: This study aims to monitor the effects of a two-week mindfulness intervention on musicians using questionnaires and heart rate data. Methods: This experiment used a control group design, in which the first 13 participants collected were allocated to the experimental group, and the next 13 collected were allocated to the control group. All participants underwent the same baseline data collection involving completing the state side of the State-Trait Anxiety Inventory (STAI) directly before and after performing in front of a mock jury panel while wearing a hear rate monitor watch. After this session, only the experimental group partook in two weeks of mindfulness training consisting of 6-9 sessions, each an hour in duration. Once the two-week intervention was concluded, both experimental and control groups participated in a post-intervention data collection identical to the baseline session. Results: The experimental group experienced a decrease in anxiety between pre- and post-intervention while the control group experienced an increase of anxiety. A two-way mixed ANOVA analysis revealed that there was a significant relationship between the changes in anxiety when comparing the control and experimental groups. However, statistical analysis also revealed that the two groups exhibited statistically different levels of anxiety at baseline. Heart rate data revealed no significant differences between groups. Conclusion: Data from the STAI suggests that mindfulness has a significantly positive effect on the cognitive experience of music performance anxiety. Through this study no correlation was found between the physiological experience of music performance anxiety and mindfulness training.
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Boqvist, Conrad. "MPA i improvisation : En kvalitativ studie om Music Performance Anxiety kopplat till improvisation och improvisationsundervisning inom ensemblespel i jazz och populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3887.
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Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning med fokus på improvisation. Vilka metoder och material använder pedagogerna? I studien valdes en kvalitativ metod, baserat på forskningsintervjuer med tre olika musiker och pedagoger inom improvisation. Det kompletterades genom att utforska befintlig litteratur inom improvisation och MPA. Studiens resultat påvisar att samtliga informanter hade stora erfarenheter och personliga upplevelser av både improvisation och MPA samt kopplingar däremellan och att MPA är ett förekommande fenomen inte bara inom konstmusik utan även bland jazzmusiker. Resultaten påvisar även att MPA framställs som något mindre vanligt bland jazzmusiker än hos klassiska musiker. Det finns inom jazzkulturen en reservation mot att visa tecken på svagheter som nervositet och prestationsångest. Förhoppningvis kan studien bidra till att lyfta ämnet MPA inom jazz och populärmusik, då det tidigare inte varit så beforskat inom dessa genrer. En vidare aspiration är att uppmärksamma musikpedagoger på hur de kan hjälpa elever som upplever svårigheter i improvisationsundervisning.The subject of the study was improvisation and improvisational teaching in relation to the concept of Music Performance Anxiety (MPA) and possible connections between them. MPA is most easily described as feelings of anxiety in connection with playing music. The purpose of the study was to explore Music Performance Anxiety from a jazz musician's perspective. Is it possible to feel performance anxiety in a context where it is not really possible to "play wrong"? Comparisons with classical music therefore become relevant. A further purpose was to find tools to be able to draw attention to and help students with MPA in ensemble teaching with a focus on improvisation. What methods and materials do the educators use? In the study, a qualitative method was chosen, based on research interviews with three different musicians and educators in improvisation. It was supplemented by exploring existing literature in improvisation and MPA. The results of the study show that all informants had great experiences and personal experiences of both improvisation and MPA as well as connections between them and that MPA is a common phenomenon not only in art music but also among jazz musicians. The results also show that MPA is presented as somewhat less common among jazz musicians than among classical musicians. There is a reservation in jazz culture against showing signs of weaknesses such as nervousness and performance anxiety. Hopefully, the study can help to raise the topic of MPA in jazz and popular music, as it has not previously been so researched in these genres. A further aspiration is to draw the attention of music educators to how they can help students who experience difficulties in improvisational teaching.
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Kageyama, Noa J. "Attentional focus as a mediator in the anxiety-performance relationship the enhancement of music performance quality under stress /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3297078.
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Thesis (Ph.D.)--Indiana University, Dept. of Counseling and Educational Psychology, 2007.Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: B, page: 1329. Adviser: Thomas L. Sexton.
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Owen, Thomas. "University music students' experiences of performance anxiety and how they cope with it." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12467.
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The purpose of the present study was to investigate the lived experience of post secondary music students who experience music performance anxiety (MPA). Also, this study investigated how these students cope with MPA. Ten university-level music students participated in a series of interviews. Content analysis of the data was used to identify a number of important themes. Upon examination of the data, it appears that the experience of MPA and how music students cope with MPA is varied and complex. Possible implications of this study include gaining insight into the needs of music students who seek counselling for performance anxiety as well as informing counselling interventions in general. Limitations of the present study and suggestions for future research will also be discussed.
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PLUMMER, CHARLES D. "PERFORMANCE ENHANCEMENT FOR BRASS MUSICIANS USING EYE MOVEMENT DESENSITIZATION AND REPROCESSING." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178855934.
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Dempsey, Erin. "Music Performance Anxiety in Children and Teenagers: Effects of Perfectionism, Self-Efficacy, and Gender." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32798.
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Music Performance Anxiety is something that has affected a number of musicians and numerous studies have been conducted on performance anxiety in adult musicians. However, research on performance anxiety in children and adolescence is still lacking when compared to literature on adult and music performance anxiety. This study examined the signs and symptoms that children (ages 8-12) and teenagers (ages 13-17) feel and the levels of performance anxiety they perceive. In addition, this study also examined levels of perfectionism, self-efficacy and gender as predictors of anxiety and compared these with levels of anxiety. Sixty-five participants completed three questionnaires and a demographic survey. Results suggest a tentative increasing relationship between music performance anxiety and age while no relationship between gender and anxiety was found. Strong relationships between perfectionism and self-efficacy with anxiety indicate that students with high levels of perfectionism and low levels of self-efficacy are more likely to have high levels of performance anxiety. Just as previous studies with adults have found, our findings in children and adolescents suggest that perfectionism may render people vulnerable to performance anxiety while self-efficacy may be an important buffer against this anxiety.
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MacAfee, Erin. "Music Performance Anxiety, Self-Efficacy, and the Effects of Self-Modeling on Young Musicians." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41875.
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Public performance is often a central component of music education for young musicians, and the demands of performing in festivals, exams, auditions, and recitals can cause young performers to experience music performance anxiety (MPA: Boucher & Ryan, 2011; Thomas & Nettelbeck, 2014). The current dissertation explored MPA in young musicians from a variety of perspectives, using four main research purposes. The first article examined the relationship between MPA and self-efficacy in young musicians and investigated the extent to which gender moderates the relationships between MPA, age, and self-efficacy in young musicians (aged 7-17 years). The results of statistical analyses indicated that while gender did not moderate the relationship between age and MPA, age had a significant main effect on MPA. There was no significant difference between males’ and females’ levels of self-reported MPA. Additionally, there were no significant main effects of age or gender on self-efficacy, or an effect of gender on the relationship between age and self-efficacy. A strong negative relationship between self-efficacy and MPA indicates that students with low levels of self-efficacy are more likely to have high levels of MPA. Next, the MPA/self-efficacy and MPA/age-related findings from article one led to the second and third articles of this dissertation which investigated a self-modeling intervention designed to target MPA and self-efficacy in adolescent musicians. Article two examined the relational changes between MPA, self-efficacy, performance quality, and behavioural anxiety in five adolescent piano students over a six-week intervention. The study also explored the effects of a positive self-review self-modeling intervention on adolescent musicians using quantitative methods. Results indicated that the relational changes between MPA, self-efficacy, and performance quality are complex. There were no observed relationships between MPA and self-efficacy or performance, suggesting that MPA can have both debilitative and facilitate effects on these variables. Additionally, there was no relationship between MPA and behavioural anxiety, suggesting that students may appear less anxious than they feel. Finally, the results suggest that self-modeling has individual effects on musicians, meaning that self-modeling can provide teachers with a versatile strategy for reducing MPA, improving performance quality, and/or increasing performance confidence. Article three expanded on the self-efficacy results of article two and investigated how Bandura’s (1977) four sources of efficacy influenced self-efficacy beliefs in adolescent musicians within a six-week self-modeling intervention. The study also explored the effects of a positive self-review self-modeling intervention on musician self-efficacy using qualitative methods. Results indicated that mastery experience was most influential on self-efficacy beliefs in participants. Observing similarly skilled models, receiving positive feedback, and feeling calm or focused prior to performance increased self-efficacy in participants, while observing advanced models, making negative comparisons, and feeling anxious, distracted, or fatigued decreased self-efficacy. These results provide music teachers with several practical strategies that may facilitate stronger self-efficacy beliefs in students. Additionally, the self-modeling video increased self-efficacy when participants liked and related to their video or used the video to facilitate performance improvements, suggesting that both the performance and strategic functions of modeling may be beneficial to musicians. Finally, the fourth and final article of the dissertation explored MPA from music teachers’ perspectives by identifying and describing common coping strategies teachers use to support students with MPA. A quantitative content analysis of scientific and non-scientific MPA literature identified preparation, open communication, realistic expectations, exposure therapy, and deep breathing as the five most common coping strategies mentioned in the literature. Qualitative thematic analyses of literature and semi-structured interview transcripts with piano teachers provided descriptions of the five commonly identified strategies. A comparison of literature and interview results suggests a gap between research knowledge of MPA and practical teaching application. While music teachers employ a variety of strategies to help students cope with MPA, they may also benefit from formal MPA training opportunities grounded in research to provide additional resources for effectively managing students with MPA. The four articles of the dissertation combine to give an overview of MPA in young musicians from several different perspectives. Findings from article one help identify students who may be more at risk to suffer from MPA, while self-modeling findings from articles two and three provide musicians and teachers with a viable strategy to help reduce MPA and increase self-efficacy. Finally, given that teachers can act as a front-line defense against MPA (Liu, 2016), findings from article four help identify areas where researchers can provide teachers with further MPA training, which will in turn help fortify young musicians against MPA.
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Redmond, Christiana Michelle, and Christiana Michelle Redmond. "How Music Can Moderate Stress and Anxiety Levels in Order to Improve Athletic Performance." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625130.
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Many studies have shown music's ability to influence the body through changes in things like heart rate or blood pressure. Music with a slow tempo has the capability of decreasing sympathetic activity, while fast paced tempos are capable of increasing sympathetic activity. Because of this strong influence on the sympathetic nervous system, music can be used as a tool to lower stress and anxiety levels. While the incorporation of music into overwhelming situations can be beneficial for the general public, it is especially beneficial for athletes. Competitive athletes often face performance anxiety, and risk losing titles or careers if they are unable to cope with it during an event. When anxiety and stress levels are so elevated that it is detrimental to the athlete, slow music can help bring those levels down so that they are in the range of optimal performance. On the other hand, a certain amount of stress does help performance, so faster songs can also be used to stimulate athletes when they are overly relaxed. With the understanding of how different music affects the body, athletes can help elicit their desired physiological response depending on the situation at hand.
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Errico, Alexandra Sandy. "The effects of a researcher-designed intervention on elementary students' music performance anxiety levels." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12363.
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Thesis (D.M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.The purpose of this study was to examine the effects of an instructional strategy on performance anxiety in elementary music students and how the effects varied according to participant characteristics. The primary research question addressed in this study was: Do elementary students who received a performance anxiety intervention experience significantly less anxiety prior to a performance than a control group? Auxiliary questions included: Was there a significant difference between the anxiety scores of boys and girls? Was there a significant difference between the anxiety scores of students in varying grade levels? The participants were fourth and fifth grade chorus students in an urban public school in the Northeastern United States. For the instructional portion of the study, students were randomly placed in control and experimental groups. Both groups completed the state portion of the State-Trait Anxiety Index for Children (STAIC) before performing in a choral concert. Following this performance, participants in the experimental and control groups received six consecutive chorus classes in which 15 minutes were devoted to practicing song material for their second performance. In addition, the experimental group received six 30-minute sessions consisting of a researcher-designed instructional approach during class. The control group did not receive the training but worked on other musical activities. After the training was completed, both groups completed the state anxiety portion of the STAIC again before performing in a concert. Analysis through ANCOVA indicated that there was no significant difference between the mean pre-test and post-test scores of the state portion of the STAIC of the control and experimental groups and no significant difference between boys and girls. There was, however, a significant difference between grades four and five. Suggestions for further research include studies on elementary students, music perfonnance anxiety, and applicable interventions that significantly reduce this anxiety.
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Stern, Judith. "Evaluation of a yoga intervention for music performance anxiety in conservatory students: a pilot study." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31607.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
Objective: This study examined the potential benefits of a 9-week yoga practice on music performance anxiety (MPA) and mood in undergraduate and graduate music conservatory students, including vocalists and instrumentalists. Previous studies using elite musicians showed improvements in both variables. The current study used a less intensive yoga program more likely to be within the reach of the average music student. Methods: The program consisted of fourteen 60-minute classes approximately twice a week, plus shorter home practice. Assessments were administered at baseline, posttreatment, and long-term follow-up 7-14 months later. Measures included two self-report questionnaires assessing MPA (Performance Anxiety Questionnaire, PAQ, and Kenny Music Performance Anxiety Inventory, K-MPAI), and questionnaires assessing trait anxiety and mood. Heart rate and respiratory sinus arrhythmia (RSA) were measured at baseline and posttreatment. Of the 24 students enrolled in the study, 17 participants attended both the baseline and posttreatment assessments. Nine of these participants returned follow up questionnaires. Results: Completer analyses, including only participants who completed the measure at both baseline and posttreatment, and intent-to-treat last observation carried forward analyses were performed. Participants showed significant decreases in MPA from baseline to posttreatment as measured by the K-MPAI and the PAQ solo performance subscale with large effect sizes for completers, and medium-to-large effect sizes using the ITT analysis. PAQ scores for group performance situations showed a significant decrease before, but not after, correcting for multiple comparisons. PAQ scores for music practice situations did not decrease significantly. Exploratory analysis revealed that participants' trait anxiety scores decreased significantly from baseline to posttreatment, with a large effect size for completers. Improvements were sustained at long-term follow-up. No significant treatment effects were detected for mood states, heart rate, or RSA. Participants reported finding the intervention both enjoyable and beneficial. Conclusions: Yoga, a holistic mind-body practice with cognitive and somatic elements, is a promising intervention for MPA in conservatory students. The results of this uncontrolled study warrant larger, randomized controlled studies on the impact of yoga on MPA.
2031-01-01
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Ryan, Charlene Anne. "A study of the differential responses of male and female children to musical performance anxiety /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36788.
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The purpose of this study was to examine the responses of male and female children to musical performance anxiety. Twenty-six sixth-grade piano students (11 male, 15 female) performing in a piano recital served as subjects. Boys' and girls' heart rates, behaviour, performance quality, and anxiety levels were examined for possible differences between the genders. It was found that girls had substantially higher heart rates than boys immediately prior to performing, but that this difference was minimal while performing. Significantly more anxious behaviours were noted for both genders prior to performing than during performing, but boys had significantly more anxious behaviours than girls in both cases. Very little difference was noted in boys' anxiety scores (State-trait Anxiety Inventory for Children) between low, medium and high performance quality levels, however girls with moderate performance quality had much higher anxiety than did those with low and high quality performances. As well, girls were found to give significantly higher quality performances than boys. Correlation and regression analyses suggest that the genders respond differently to musical performance anxiety. These analyses were run on the data in three ways: All Children, Boys Only, and Girls Only. It was found that several relationships that emerged in the All Children analysis were driven by a strong relationship in a single gender, but were nearly absent, or in fact opposite, in the other.
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Lindskog, Johanna. "Och bara... let go, liksom : En kvalitativ intervjustudie i hur klarinettpedagoger förbereder sina elever för ett framträdande." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36809.
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Studien syftar till att få djupare insikt i hur några klarinettpedagoger förbereder sina elever inför musikaliska framträdanden. I bakgrundskapitlet presenteras tidigare forskning om nervositet och prestationsångest, samt olika strategier för att hantera det. Vidare presenteras studiens teoretiska utgångspunkt som utgörs av ett didaktiskt perspektiv. Den forskningsmetod som används i studien är kvalitativ forskningsintervju och det är fyra klarinettpedagoger som har intervjuats. Intervjuerna transkriberades, bearbetades och analyserades och de svar som framkommit utgör studiens resultat. I resultatet beskrivs hur lärarna förbereder sina elever genom att arbeta med koncentrationsförmåga, konsertvana och speltekniska färdigheter som till exempel andningsteknik. Lärarna har gemensamma uppfattningar om att hög kvalitet i deras undervisning ger eleverna en god spelteknisk grund, vilket kan göra det lättare för eleverna att hantera nervositet vid ett musikaliskt framträdande. Dock framkommer det också i resultatet att två av lärarna upplever en tids- och kompetensbrist i hur de kan bemöta elevers nervositet.This study aims to gain a deeper insight into how some clarinet teachers prepare their students for musical performances. In the background chapter previous research on performance anxiety is presented, as well as various strategies for dealing with it. Furthermore, the study's theoretical perspective is presented constituted by a didactic perspective. The research method used in this study is qualitative research interview and there are four clarinet teachers who have been interviewed. The interviews were transcribed, processed and analyzed, and the answers from the teachers represent the study's results. The results show that the teachers prepare their students by working with concentration, concert habit, and technical instrumental skills such as breathing techniques. The teachers share a common perception that the quality of their teaching gives students a good instrumental technical basis, which can make it easier for the students to cope with the anxiety related to a musical performance. However, the results also show that two of the teachers experience a shortage of both time and skills, when it comes to helping students with their anxiousness.
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Trigo, Pedro Gabriel Reis. "Contributos para a validação do Music Performance Anxiety Inventory for Adolescents (MPAI-A) na língua portuguesa." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15880.
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Mestrado em Ensino de MúsicaA ansiedade na performance musical (MPA-music performance anxiety) surge como um fenómeno fisiológico, psicológico, cognitivo e emocional que abrange todos os músicos independentemente da sua idade, experiência, dedicação ou tipo de instrumento. Pelo seu carácter crónico, e pela dificuldade que provoca na progressão na carreira, a MPA é uma patologia nefasta que, quando toma proporções exageradas, consegue afastar os músicos do seu ideal e objetivo de vida, pois o prazer de tocar é substituído pelo medo de ser julgado e observado por uma plateia ou júri. Pela necessidade de conhecer e saber reagir perante esta situação é imperativo aprofundar os conhecimentos acerca desta, para uma identificação precoce dos alunos em quem a ansiedade atinge níveis preocupantes nas atuações, quer a solo ou em orquestra. A correta abordagem deste problema por parte dos professores pode ser benéfica, levando os alunos a confiarem mais nas suas capacidades e a obterem resultados positivos. Este trabalho surge da necessidade de conseguir quantificar a ansiedade nos adolescentes e para tal o uso de uma escala previamente existente em inglês. O objetivo é explorar a ansiedade na performance musical através da tradução e aplicação do Music Performance Anxiety Inventory- Adolescents (MPAI-A) para a língua portuguesa, contribuindo para a sua posterior validação.
Music performance anxiety (MPA) is a physiological, psychological, cognitive and affective experience that affects musicians independently of their age, experience, dedication or instrument. Like any other chronic ailment, MPA leads to difficulties in career progression, causing distress because the pleasure in playing is accompanied by the fear of being observed by an audience or a jury. It is important to know how to react in situations of this kind, identifying the students with high anxiety levels not only in solo presentations but in orchestral contexts as well. An adequate approach to this problem by the teacher could be beneficial, leading the students to be more confident about their abilities, and getting positive results. This research aims to quantify anxiety in adolescents, using a scale originally elaborated in English. The goal is thus to translate and validate a Portuguese version of the Music Performance Anxiety Inventory- Adolescents (MPAI-A).
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Metsvahi, Liisi. "Overcoming stage fright starting in the practice room." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3257.
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The purpose of this research is to overcome stage fright through different techniques of thorough preparation in the practice room. The main methods discussed are mindfulness and mental training. Five selected orchestral excerpts have been prepared and performed using these methods, then presented as recordings in three different situations and analysed according to the performance quality that is then measured by percentage. From my research I deduct that mental training is an essential part of practising that leads to less stage fright and will increase performance results dramatically.Eduard Oja Piano Quintet
Medverkande: Anna-Lena Ohlwein, Doris Mägi, Viktoria Hillerud, Joline Granath
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Wetås, Jara Andreas. "Fra innsikt til uttrykk : En studie av musikalsk prestasjonsangst og bruken av rutiner." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85464.
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Dette prosjektet utforsker hvordan bruken av ulike rutiner kan påvirke og dempe forekomsten av musikalsk prestasjonsangst (MPA). Målet er å finne en måte å håndtere prestasjonsangsten på, slik at den ikke påvirker spillegleden og uttrykket. Studien jeg har utført viser at bruken av enkle rutiner som god søvn, yoga og mosjon medførte at prestasjonsangsten sank drastisk. Dette har jeg dokumentert ved hjelp av pulsmålinger, tilpassede målinger og kartleggingsskjemaet Kenny Musical Performance Anxiety Inventory (K-MPAI). Tiltakene førte etter min opplevelse til forbedret spilleglede og uttrykk. Forhåpentligvis kan denne studien være til hjelp for musikere og musikkstudenter som opplever prestasjonsangst som en utfordring i arbeidet.This study explores how the usage of routines can affect and lower the occurrence of Musical Performance Anxiety (MPA). The main aim is to find a way to handle the performance anxiety, so that it doesn't affect the musical expression and the performer's way of playing. The study shows a correlation between the usage of simple routines such as; good sleep, yoga and light exercise, and descending levels of Musical Performance Anxiety (MPA). Documentation is done by heart rate measurement, customized measuring and Kenny Musical Performance Anxiety Inventory (K-MPAI). The usage of routines, in my opinion, led to improved musical expression in the performances. I hope this study may help other musicians and music students struggling with the challenge of performance anxiety.
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Gunnars, Hanna, and Fanny Coldenberg. "Prestationsångest i sångundervisning : Åtta sångpedagogers arbete med mentala blockeringar hos sina elever." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3883.
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I denna studie undersöktes hur sångpedagoger ser på prestationsångest och mentala blockeringar hos sina elever. Prestationsångest hos sångare är ett relativt outforskat område, men det är en känsla som drabbar de flesta som utövar musik. Syftet med studien var att undersöka hur sångpedagoger både resonerar kring och hur de hanterar sina elevers prestationsångest och andra mentala blockeringar. Arbetet genomfördes i första hand genom en enkät som sedan låg till grund för intervjuer med åtta verksamma sångpedagoger. Studien vilar på en sociokognitiv teori. Resultatet visar att alla sångpedagoger frekvent möter elever med prestationsångest och att de alla har liknande verktyg för att hantera det. En upptäckt som gjordes var att det sällan talas om prestationsångest i musikundervisning, där många paralleller gjordes till idrottspsykologi som är ett mer utforskat ämne. Sångpedagogerna använde många verktyg som tangerade mental träning men ingen av dem ansåg sig använda någon särskild metod. Det är i nuläget ovanligt att lyfta mental träning i musikundervisning men ett konstaterande som görs är att sångpedagogen måste lära sig att hantera elevers prestationsångest för att kunna hjälpa dem vidare i utvecklingen. Resultatet visar att ett gemensamt ordförråd och gemensamma verktyg att ta till vore gynnsamt.This study examined vocal coaches’ view on performance anxiety and mental blockages in their students. Performance anxiety is a relatively unexplored area, but it’s a feeling that affects most people who practice music. The purpose of the study was to investigate how vocal coaches both reason about and how they handle their students’ performance anxiety and other mental blockages. The work was carried out through a pilot study that formed the basis for interviews with eight practicing vocal coaches. The study is based on a social cognitive theory. Results show that all vocal coaches meet students with performance anxiety on a daily basis and that they all have similar tools to work with it. A discovery that was made was that the subject of performance anxiety was rarely talked about in music education and many parallels were made to sports psychology, which is a more explored area. The vocal coaches used many tools that are used in mental training, but they all made it clear that they did not use any particular method. It is currently unusual to highlight mental training in music education, but it’s clear that the vocal coach must learn to handle the students’ performance anxiety in order to help them further in development. The result show that a common vocabulary and common tools to use would be beneficial.
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Corby, Megan. "Music performance anxiety in adolescent student singers : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music [in Performance]." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1112.
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This project seeks to sidestep the debilitating effects of music performance anxiety by cross-referencing knowledge from the areas of adolescent psychology with literature on MPA in singers in general in order to target adolescent singers early in their training. As well as considering the causes, symptoms and treatment of music performance anxiety, the project examines the role of the natural anxieties of adolescence in triggering music performance anxiety and seeks to chart a way through. Its intended readership is the classical singing teacher.
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Kaminski, Leonardo Casarin [UNESP]. "Preparação, realização e avaliação da performance musical: enfrentamento do estresse e da ansiedade entre músicos cameristas." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150760.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho trata da preparação, realização e avaliação da performance em música de câmara, mais precisamente, sobre os níveis e presença do estresse da ansiedade envolvidos nessa prática. Partiu-se da premissa de que seja possível desenvolver estratégias para otimizar o controle dos níveis de ansiedade e do estresse na performance de músicos cameristas, visando a excelência na performance nesse processo. A ocorrência e sintomas psicopatológicos diferem- se em atividades individuais e coletivas, motivando o autor a realizar a pesquisa com grupos de câmara. A metodologia empregada mesclou pesquisa bibliográfica (onde foi realizada uma revisão da literatura concentrada em publicações dos principais congressos brasileiros ocorridos nos últimos anos e em publicações de autores de referência na área de cognição musical) e pesquisa de campo (na qual foram aplicados dois inventários, o K-MPAI e o ISSL, respectivamente, sobre ansiedade na performance musical e estresse, além de um Questionário adicional sobre hábitos cotidianos do músico). O trabalho está organizado em quatro capítulos: 1) Revisão da literatura; 2) Metodologia e estratégia de ação, 3). Discussão dos resultados da consulta e revisão e 4) Sugestões de estratégias para o enfrentamento do estresse e da ansiedade na performance camerística. As discussões cruzando revisão de literatura e pesquisa de campo permitiram identificar possíveis geradores de estresse e ansiedade na performance musical bem como elaborar algumas sugestões de procedimentos que podem ser adotados na preparação e realização da performance musical de grupos de câmara.
The present work deals with the preparation for performance, the performance itself and its evaluation in chamber music, more precisely what concerns to control of levels and presence of anxiety stress involved in this practice. The argument was based on strategies that would be developed to optimize levels of anxiety and stress of musicians to achieve the excellence in performance in these processes. The occurrence and psychopathological symptoms could be distinct in individual and collective activities, motivating the author to carry out the current research with chamber music groups. The methodology used merged bibliographical research (review of the literature with publications from main Brazilian congresses, occurred in the last years and assigned publications in area of musical cognition) and field research (in which two inventories were applied, K-MPAI and ISSL, respectively, on anxiety in musical performance and stress, as well as an additional questionnaire on daily habits of the musician). The work is divided in four chapters: 1) Literature review; 2) Methodology and strategy of action, 3). Discussion of the results with consultation and review; and 4) Suggestions of procedures in the preparation and realization of the musical performance in chamber groups. Discussions across literature review and field research have identified feasible generators of stress and anxiety in musical performance as well as suggest of procedures that can be adopted in the preparation and realization of the musical performance of chamber groups.
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Assis, Carlos Alberto. "Proposição de modelo conceitual de performance musical prejudicada por ansiedade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140168.
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O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão.This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.
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Coelho, Ianes Gil. "Estratégias de enfrentamento da ansiedade na performance musical durante a preparação e realização de recital de mestrado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/148948.
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A presente pesquisa tem como objetivo investigar as estratégias de enfrentamento da ansiedade na performance musical utilizadas por mestrandos do curso de Pós-Graduação em Práticas Interpretativas da Universidade Federal do Rio Grande do Sul (UFRGS) na preparação e realização de recital avaliativo de Mestrado. A metodologia adotada foi o estudo multicasos, com abordagem fenomenológica, qualitativa e descritiva, abarcando três estudantes de instrumentos distintos – flauta transversal, piano e violão. Os procedimentos de coleta de dados se deram através de entrevista semiestruturada e observação dos momentos de preparação do repertório e realização do recital, registrado em áudio e vídeo. Os dados analisados foram abordados individualmente e também transversalizados, mostrando semelhanças e diferenças entre os casos. Os resultados apontam para ampla variedade de estratégias utilizadas pelos mestrandos, bem como a existência de inter-relações entre elas. Ocorreram momentos marcantes e distintos de ansiedade na performance musical durante a preparação e realização do recital, associados a diferentes causas e geradores de variados tipos de sintomas.This research aims to investigate strategies for coping with music performance anxiety used by graduate students of the Federal University of Rio Grande do Sul (UFRGS) in a judged recital. The methodology used was the multi-cases study, with phenomenological, qualitative and descriptive approaches, including three students of different instruments - flute, piano and guitar. The data, collected through semi-structured interviews, observation and recordings during the study sessions and performances, were individually investigated and compared, showing similarities and differences in the strategies used by the students. The results pointed to a wide variety of interrelated strategies used by the students, as well as different anxiety situations associated to different causes and symptoms.
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Sousa, Cláudia Maria Gomes de. ""Effects of Qigong on Performance Related Anxiety and Physiological Stress Functions in Transverse Flute Music Schoolchildren - A feasibility study"." Master's thesis, Instituto de Ciências Biomédicas Abel Salazar, 2011. http://hdl.handle.net/10216/57118.
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Sousa, Cláudia Maria Gomes de. ""Effects of Qigong on Performance Related Anxiety and Physiological Stress Functions in Transverse Flute Music Schoolchildren - A feasibility study"." Dissertação, Instituto de Ciências Biomédicas Abel Salazar, 2011. http://hdl.handle.net/10216/57118.
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Urbanski, Kristen Marie. "Overcoming Performance Anxiety: A Systematic Review of the Benefits of Yoga, Alexander Technique, and the Feldenkrais Method." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1343316242.
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Cunha, Andre Sinico da. "Ansiedade na performance musical : causas, sintomas e estratégias de estudantes de flauta." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/70226.
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A presente pesquisa tem como objetivo investigar causas, sintomas e estratégias utilizadas por estudantes de flauta do curso de Bacharelado em Música de Instituições de Ensino Superior para lidar com a ansiedade na performance musical de uma obra para flauta solo em recital de caráter avaliativo. Os procedimentos de coleta e análise de dados ocorreram à semelhança do estudo de Siw Nielsen (1999), isto é, através da observação do comportamento dos participantes em recital e de seus relatos verbais por meio da entrevista semiestruturada, cujas situações foram registradas em áudio e vídeo. Os dados obtidos foram analisados em quatro etapas, sendo a primeira e a quarta quantitativamente e as demais qualitativamente. Os dados coletados na pesquisa foram analisados quantitativamente no que se refere ao perfil dos participantes e ao final do cruzamento dos dados; e qualitativamente no que se refere à observação e aos relatos verbais. Por fim, foi realizado o cruzamento dos dados para fins de comparação entre as duas análises, bem como extrair conclusões sobre causas, sintomas e estratégias utilizadas por estudantes de flauta para lidar com a ansiedade na performance musical e comparação entre causas e sintomas de ansiedade de clarinetistas.This research focuses on investigating causes, symptoms, and coping strategies for music performance anxiety of flute students from music colleges in the performance of an unaccompanied flute work in recital of evaluative character. The procedures of collection and analyses of data occurred as in the study by Siw Nielsen (1999), that is, through the behavioral observation of the participants, and verbal reports by semi-structured interview. Both situations were recorded in audio and video. The data were analyzed in four steps, the first and fourth quantitatively, and the others qualitatively. The first step aimed to determine the profile of the participants of this research, and at the ending of data crossing the total number of causes, symptoms, and coping strategies. The other steps sought to identify causes, symptoms, and coping strategies through the behavioral observation, and verbal reports analyses. Finally, we performed data crossing for comparison between the two data analyses, and arrived at conclusions about causes, symptoms, and strategies of flute students to cope with music performance anxiety, and comparison between causes and symptoms of anxiety in clarinet players.
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Sousa, Aurélio Nogueira de. "Ansiedade na preparação da performance no ensino de instrumentos de banda." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5022.
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The present text approaches the performance preparation process of the students in the music bands from Goiânia, particularly the impact that anxiety can cause in this process. Since the mid-twentieth century the studies about the preparation for a musical performance with support in other fields such as psychology and neuroscience have intensified. In the reality of the bands, some studies observe that students and teachers need to deal with problems of a psychological nature that interfere in many ways in the teaching-learning process. With the intent of contributing to the advance of these studies, this work aims mainly at detecting what is the impact caused by anxiety in the performance preparation process of the students in the music bands from Goiânia. The methodology has been divided in two main stages. The first was a literature revision about the collective teaching of band instruments and about the musicalization process in the music bands in Brazil. The second was a field research in which the K-MPAI inventory was applied and a specific consultation about performance practice in the music bands from Goiânia has taken place. As the main result of this stage of the research, it was possible to conclude that t level of anxiety in the process of preparation for performance in the students in the 3 music bands investigated from the city of Goiânia is moderate. However, it was detected that some individuals present high levels of anxiety associated with pain, with the lack of information about music psychology as well as unawareness about body maintenance in the musical practice, what indicates that younger musicians are in the need for prevention actions.
O presente trabalho aborda o processo de preparação da performance dos alunos das bandas de música de Goiânia, particularmente o impacto que a ansiedade pode causar nesse processo. Desde meados do século XX, os estudos sobre a preparação para a performance musical com apoio em outras áreas do conhecimento como a psicologia e a neurociência intensificaram-se. Na realidade das bandas, alguns estudos observam que alunos e professores precisam lidar com problemas de ordem psicológica que interferem de várias formas no processo de ensino-aprendizado. No sentido de contribuir para o avanço desses estudos, este trabalho tem por objetivo principal identificar qual o impacto causado pela ansiedade no processo de preparação da performance dos alunos das bandas de música de Goiânia. A metodologia foi dividida em duas etapas principais. A primeira foi uma revisão da literatura sobre ensino coletivo de instrumentos de banda e sobre o processo de musicalização nas bandas de música no Brasil. A segunda etapa foi a aplicação do K-MPAI – Kenny Music Performance Anxiety Inventory, e da consulta específica sobre prática da performance dos músicos das bandas de música de Goiânia. Como resultado parcial da etapa de aplicação do inventário desta pesquisa, pode-se concluir que o nível da ansiedade no processo de preparação para a performance dos alunos nas vinte bandas goianienses investigadas é moderado. Contudo, detectou-se que alguns indivíduos mais experientes apresentam níveis de ansiedade altos associados a dores, à falta de informação sobre psicologia da música, bem como desconhecimento sobre cuidados do corpo na prática musical indicando que os músicos mais novos carecem de medidas de prevenção.
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Rife, Nora Anne. "The relationship between psychological differentiation in field dependence-independence, cognitive flexibility-constriction, and performance anxiety in professional musicians /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11975969.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Includes tables. Typescript; issued also on microfilm. Sponsor: Leah Blumberg Lapidus. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 98-113).
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Brooker, Mary Elizabeth. "Music performance anxiety : an investigation into the efficacy of cognitive hypnotherapy and eye movement desensitisation and reprocessing when applied to grade 8 pianists." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12130/.
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Music performance anxiety (MPA) is widespread and has a detrimental effect on performance affecting amateur and professional musicians alike (Kenny, 2011; Wilson, 2002). Previous approaches for alleviation have focused on the conscious mind; however this research targets both the conscious and unconscious mind through two psychotherapies - cognitive hypnotherapy (CH) and eye movement desensitisation and reprocessing (EMDR). The efficacy of the therapies was investigated with 52 Grade 8 pianists at the Universities of Leeds and Sheffield and at Leeds College of Music, initially a pilot study of 6 followed by 46 in a further study. A multimodal design was adopted using four different measurements: the State-Trait Anxiety Inventory (Spielberger, 1983); a self-report questionnaire (SRQ) testing subjective anxiety; assessments of performance; and subjective perceptions of therapies pre- and post-treatment. To further support the quantitative data, qualitative investigations were conducted through the SRQ and an evaluative log of performance experiences post-research. During the research period participants were randomly assigned to a therapy or control group; the therapy groups received two interventions during a two-week period between two concerts. A significant improvement in performance was found in the therapy groups post-intervention, but not in the control; subjective levels of MPA also decreased significantly in the CH and EMDR groups. Both therapy groups demonstrated a significant reduction in state anxiety which was not evident in the control group, and trait anxiety decreased significantly below baseline levels in the therapy groups. Longitudinal testing of trait levels of anxiety at four months, one year and two years post-intervention demonstrated that significant decreases from baseline were still maintained. This finding, using a large sample, has not been previously reported and has important implications for educators, performers and future research.
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Bäckman, Helena. "Att tvingas prestera med prestationsångest : En studie om instrumentalpedagogers förhållningssätt till fenomenet prestationsångest i musikundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-46934.
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Syftet med föreliggande studie är att undersöka instrumentalpedagogers förhållningssätt till fenomenet prestationsångest i musikundervisning. Tre instrumentalpedagoger, som är eller har varit aktiva som musiker, har intervjuats utifrån forskningsmetoden kvalitativa, halvstrukturerade intervjuer. Det teoretiska perspektiv som studien baseras på är prestationspsykologi. I resultatet presenteras instrumentalpedagogernas uppfattningar om fenomenet prestationsångest, där de intervjuade lyfter fram olika aspekter och faktorer som kan ligga till grund för prestationsångest samt hur ångesten påverkar den utövande. Det andra temat aktivt engagemang och bemötande gentemot elever belyser olika undervisningsstrategier som informanterna använder sig av för att bemöta elever i hänsyn till fenomenet prestationsångest. I sista temat metoder för att förebygga prestationsångest, förklarar informanterna vilka metoder som kan användas för att motverka ångesten eller påverka dess faktorer i rätt riktning. I diskussionsavsnittet diskuteras instrumentalpedagogernas förhållningssätt till prestationsångest i musikundervisning utifrån bakgrundslitteratur, tidigare forskning och det teoretiska perspektivet prestationspsykologi. Avsnittet fokuserar på följande aspekter; prestationsbaserad självkänsla, instrumentalpedagogens och miljöns betydelse, att medvetandegöra och acceptera sin ångest samt förberedelser och mental träning. Avslutningsvis reflekterar jag över arbetets betydelse och fortsatt forskning inom ämnet.The purpose of this study is to investigate instrumental teacher’s approach to the phenomenon of performance anxiety in music education. Three instrumental teachers, who are or who has been active as musicians, have been interviewed by the method of science qualitative, semi-structured interviews. The theoretical perspective, which the study is based on, is performance psychology. The result presents instrumental teachers views to the phenomenon of performance anxiety, whereof the interviewed emphasizes different aspects and factors, which form the basis of performance anxiety and how anxiety affect performers. The second theme active interest and treatment towards the students highlights a variety of teaching strategies, which the informants use to treat the students regarding to the phenomenon of performance anxiety. In the last theme methods to prevent performance anxiety, the informants illustrate the methods which could be used to discourage anxiety and work on the factors in a correct manner. The discussion focuses on following aspects; performance based self-esteem, the importance of teacher and environment, to raise awareness and accept any anxiety and also preparations and mental training. At last I analyze the importance of this study and further research in this topic.