Journal articles: 'Music performance anxiety'

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

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

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Ryan, Charlene. "Performance anxiety in young contemporary musicians." Journal of Popular Music Education 5, no. 3 (November 1, 2021): 313–35. http://dx.doi.org/10.1386/jpme_00064_1.

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Most research on music performance anxiety has focused on classical musicians and those being trained in the classical genre. Few studies have considered the performance experiences of contemporary musicians. The purpose of the present study was to extend the literature base by focusing the lens squarely on young contemporary musicians. Students (n=202) at a large, contemporary music college completed a questionnaire pertaining to their performance experiences, anxiety, training and coping strategies, as well as the Kenny Music Performance Anxiety Inventory-revised (2009). Results indicate that performance anxiety is a common experience among young, contemporary musicians. Females reported greater anxiety than males and solo performances elicited more anxiety than group. Coping strategies tended to be holistic in nature. Comparison with a previously examined group of classical musicians indicates similarities in factor structure, with some key differences that may distinguish between performance genres.

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Spahn, Claudia, Matthias Echternach, Mark F. Zander, Edgar Voltmer, and Bernhard Richter. "Music performance anxiety in opera singers." Logopedics Phoniatrics Vocology 35, no. 4 (September 14, 2010): 175–82. http://dx.doi.org/10.3109/14015431003720600.

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

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

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

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

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

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

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Chang, Joanne C., Elizabeth Midlarsky, and Peter Lin. "Effects of Meditation on Music Performance Anxiety." Medical Problems of Performing Artists 18, no. 3 (September 1, 2003): 126–30. http://dx.doi.org/10.21091/mppa.2003.3022.

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This study investigated the effect of meditation on music performance anxiety. Participants were 19 students between the ages of 18 and 41 yrs, who were recruited from the Manhattan School of Music, Mannes College of Music, Yale University School of Music, and State University of New York at Purchase. The experimental group received a series of eight meditation classes, and the control group received no meditation training. After the 8-week training period, all performed in a concert. Pretests and post-tests of music performance anxiety were given and post-tests of state anxiety and of performance concentration. Performance anxiety decreased among participants in the meditation group, in contrast to participants in the control group, whose performance anxiety did not decrease. Differences in regard to post-test state anxiety and performance concentration were not significant. An additional benefit of meditation was a reported increase in relaxation pleasure even in the period immediately before the performance. Results indicate that meditation may be a useful tool for aiding performers to combat performance anxiety.

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Stephenson, Hugh, and Nicholas F. Quarrier. "Anxiety Sensitivity and Performance Anxiety in College Music Students." Medical Problems of Performing Artists 20, no. 3 (September 1, 2005): 119–25. http://dx.doi.org/10.21091/mppa.2005.3024.

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

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Yadigaroğlu, Zeynep. "EXAMINATION OF MUSIC PERFORMANCE ANXIETY OF MUSIC TEACHER CANDIDATES." International Journal of Education Technology and Scientific Researches 6, no. 16 (January 1, 2021): 2064–104. http://dx.doi.org/10.35826/ijetsar.398.

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Cohen, Susanna, and Ehud Bodner. "Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety." Psychology of Music 47, no. 4 (April 23, 2018): 521–38. http://dx.doi.org/10.1177/0305735618765349.

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Doğan, Uğur, and Mehmet Palancı. "Music Performance Anxiety Scale for High School Students: Validity and Reliability Study." International Journal of Psychology and Educational Studies 2, no. 1 (January 1, 2015): 9–17. http://dx.doi.org/10.17220/ijpes.2015.01.002.

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Ryan, Charlene, Hélène Boucher, and Gina Ryan. "Practice, Performance, and Anxiety: A Pilot Study on Student Perception of Parental Involvement and Formal Music Lessons." Music & Science 6 (January 2023): 205920432211450. http://dx.doi.org/10.1177/20592043221145000.

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Parents play a variety of important roles in their children's musical development. However, whether they impact upon children's music performance education and experience has only begun to be considered. The current study sought to examine whether student perception of parent involvement in music and performance education is related to their experience of music performance anxiety. Sixty-two piano students aged 11 to 17 completed a questionnaire regarding their piano studies, their parents’ involvement in them, and their parents’ prior music education. They also completed measures of performance anxiety and self-esteem. Results indicated that parents’ prior music education was significantly associated with performance anxiety in their children. Participant age, self-esteem, and practice time were also significant variables. Measures of parent involvement in music studies and parent response to weak performances were not found to be significantly related to performance anxiety scores. Implications of these findings and directions for furthering this line of research are discussed.

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Yureva, Tatiana V., Yulia S. Davydova, Maria V. Strachkova, and Anna V. Volkova. "Music performance anxiety and it’s correction among students of the children’s music school." Psychological-Pedagogical Journal GAUDEAMUS, no. 2 (2022): 106–13. http://dx.doi.org/10.20310/1810-231x-2022-21-2-106-113.

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The purpose of the research is to study music performance anxiety and characteristics of the functions of the executive system of the brain among students of the children's music school. In our research, we use questionnaire for collecting general information, Lusher’s test for the diagnosis of anxiety and Stroop test for the determination of rigidity/plasticity of thinking. The aim of the research is to study the anxiety of musicians of primary school age and the features of the functions of the executive system of the brain, more precisely, the prefrontal cortex, before and after classes with the help of the “Music Performance Anxiety Correction Notebook”. The subject of the research is anxiety, cognitive rigidity and self-regulation among musicians before and after passing a series of classes with the help of the “Music Performance Anxiety Correction Notebook”. The Notebook made it possible to reduce anxiety indicators in students at a children's music school without impairing the executive abilities of the frontal lobes. In the future, we plan to test the notebook on children of different age categories in children’s music school, as well as to develop a program for music performance anxiety correction among gifted children from different creative directions – music, choreography, acting, poetry. This research allows us to develop further the problem of “music performance anxiety” in Russia.

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Schneider, Erin, and Kris Chesky. "Social Support and Performance Anxiety of College Music Students." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 157–63. http://dx.doi.org/10.21091/mppa.2011.3025.

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This study characterized perceived social support and performance anxiety of college music students, compared characteristics to those of non-music majors, and explored the relationships between social support and performance anxiety. Subjects (n = 609) completed a questionnaire that included demographics, the Multidimensional Scale of Perceived Social Support (MSPSS), and visual analog scale measures of performance anxiety. Results showed that music majors perceived significantly lower levels of social support from significant others when compared to non-music majors. Perceived social support was significantly correlated with measures of performance anxiety. Students with greater perceived social support reported less frequent anxiety and lower levels of impact of anxiety on ability to perform. These findings may have practical implications for schools of music and conservatories.

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Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.

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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles induced greater anxiety than choral ensembles. Participants with college music training reported less frequent, although not less severe, episodes of performance anxiety than those without. The conductor emerged as one of the primary factors in choral singers' experience of performance anxiety.

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Boucher, Hélène, and Charlene A. Ryan. "Performance Stress and the Very Young Musician." Journal of Research in Music Education 58, no. 4 (November 5, 2010): 329–45. http://dx.doi.org/10.1177/0022429410386965.

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Performance anxiety is a common experience among musicians. Recent studies have found it to be an issue not only for adult performers but also for developing musicians as early as third grade. The question as to its developed or innate nature led to the present inquiry pertaining to young children’s responses to performance situations. Sixty-six 3- and 4-year-olds taking group music lessons that culminated in two concerts served as participants. Self-report of anticipatory anxiety, cortisol secretion, and observation of anxious behaviors were the primary measures. Results indicated that young children did experience anxiety with respect to music performances and that responses seemed to have both innate and developed components. Children with prior performing experience reported less anticipatory anxiety, but had higher cortisol levels, than those without prior experience. Additionally, performance location seemed to play a role in children’s anxiety responses. Those who were familiar with their performance environment responded with less anxiety than those who were not. Overall, second performances within a short time frame elicited much lower anxiety responses than initial performances. Findings pertaining to performance location and second performances appear to have direct pedagogical implications, which may help to reduce performance stress in young children.

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Skoogh, Francisca, and Henrik Frisk. "Performance values - an artistic research perspective on music performance anxiety in classical music." Journal for Research in Arts and Sports Education 03, no. 01 (April 24, 2019): 1–15. http://dx.doi.org/10.23865/jased.v3.1506.

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Music performance anxiety (MPA) has been studied mainly within the field of psychology and has been defined as a sub-type of social anxiety. Musicians suffering from MPA are commonly referred to individual psychological treatment, but the condition is not yet researched from an artistic perspective. The hypothesis put forward in this article is that the issues concerning MPA are part of a complex system of interactions between performance values and perfectionism and that musicians in general are not given the necessary tools to tackle the anxiety. One of the challenges is that Western classical music performance has many built-in values that need to be problematized and researched in order to address the problems with MPA. Hence, MPA is not to be considered as solely an individual problem but should rather be seen as the result of a wider structural issue related to the commodification of classical Western music and its focus on perfection and virtuosity. This article gives an example from the field of artistic research on how it is possible for the performer herself to develop methods to understand and emotionally regulate the impact of perfectionism in Western classical music.

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Wiedemann, Anna, Daniel Vogel, Catharina Voss, Manfred Nusseck, and Jana Hoyer. "The role of retrospectively perceived parenting style and adult attachment behaviour in music performance anxiety." Psychology of Music 48, no. 5 (January 9, 2019): 707–23. http://dx.doi.org/10.1177/0305735618817877.

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This study aimed to examine the extent to which music performance anxiety relates to retrospectively perceived parenting style and adult attachment behaviour. Participants were 82 music students ( Mage = 23.5 years, SD = 3.4) with the majority being vocal (30.5%), string (24.4%) or piano (19.5%) students each with about 20 performance opportunities per year. Music performance anxiety was assessed using the German version of the Kenny Music Performance Anxiety Inventory. Parenting style was measured by retrospective self-report using the German version of the Measure of Parenting Style, adult attachment behaviour by the Relationship Questionnaire based on Bartholomew’s four-category model. Furthermore, general anxiety-related symptoms were assessed by the Severity Measure for Generalized Anxiety Disorder. Canonical and partial canonical correlation analyses were used to measure the dependence between multi-dimensional constructs: Both parenting style and adult attachment behaviour were related to music performance anxiety as measured by a performance-related sub-scale of the Kenny Music Performance Anxiety Inventory ( r = 0.45, p = 0.01 and r = 0.37, p = 0.02, respectively). The partial canonical correlation analysis, however, showed no significant relations between music performance anxiety and parenting styles or adult attachment behaviour. A strong link of music performance anxiety and generalised anxiety was found in all analyses. This study expands on more theoretical research in this area and provides first empirical insight into this complex multi-dimensional relationship.

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Pallavi, Khushi, and Dr Deepthi Vijayan. "Mental Health, Job Satisfaction and Music Performance Anxiety among Professional Musicians during Covid-19." International Journal for Research in Applied Science and Engineering Technology 10, no. 5 (May 31, 2022): 3209–14. http://dx.doi.org/10.22214/ijraset.2022.43035.

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Abstract: The purpose of this study was to assess the level of Mental Health, Job Satisfaction and Music Performance Anxiety among Professional Musicians in two groups including Music Teachers and Stage Performers, on online platforms during the pandemic, Covid-19. A sample of 104 Professional Musicians consisting of 52 Music Teachers and 52 Music Performers were chosen. The Warwick- Edinburgh Mental Well-being Scale (WEMWBS), The Minnesota Satisfaction Questionnaire (MSQ – Short Version) and Performance Anxiety Inventory (PAI) were administered on the Professional Musicians from Delhi, Bangalore, Kolkata and Mumbai for this purpose. The data was analysed using IBM SPSS Statistics 28.0. The levels of Mental Health, Job Satisfaction and Music Performance Anxiety were compared using Independent Sample t test to see if there is any significant difference between Music Teachers and Music Performers. This study also used Pearson’s Correlation Coefficient to find out if there is any relationship between the Mental Health, Job Satisfaction and Music Performance Anxiety among Professional Musicians. It was observed that the three variables (Mental Health, Job Satisfaction and Music Performance Anxiety) were correlated with each other and there was no difference between Music Teachers and Performers in their Mental Health, Job Satisfaction and Music Performance Anxiety. Therefore, there was no major impact on the Professional Musicians on shifting to online platforms due to Covid-19 pandemic measures and restrictions. Keywords: Mental Health, Job Satisfaction, Music Performance Anxiety, Professional Musicians, Covid-19, Pandemic, Music Teachers. Performers, Online Platform

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Mumm, Jennifer, Isabel Fernholz, Andreas Ströhle, Jens Plag, and Alexander Schmidt. "Performance Anxiety Among Musicians." Zeitschrift für Neuropsychologie 31, no. 2 (June 1, 2020): 76–80. http://dx.doi.org/10.1024/1016-264x/a000294.

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Abstract. Musicians suffering from music performance anxiety (MPA) fear and/or avoid performing situations. While performing, they often experience physiological (like increased heart rate or sweating), cognitive (for example fear of control loss), behavioral (like making mistakes or avoiding performances) and emotional symptoms (mostly fear) leading to high distress. About a quarter of all professional musicians suffer from MPA. In studies, cognitive behavioral therapy and beta blockers were effective options for treating MPA. Other treatments and preventive methods are presented.

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Atay, Bilge, Tülün Malkoç, and Hakan Bağcı. "Investigation of the correlation of academic motivation and music performance anxiety levels." Cypriot Journal of Educational Sciences 15, no. 6 (December 31, 2020): 1599–613. http://dx.doi.org/10.18844/cjes.v15i6.5320.

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This research was carried out to measure the academic motivation levels of pre-service music teachers as well as the music performance anxiety levels to investigate potential correlations between them. The sample group of this scanning modelled study is comprised of 241 students studying at departments of music education at Niğde Ömer Halis Demir University, Pamukkale University, Konya Necmettin Erbakan University and Karadeniz Technical University. To determine the demographic features of the students taking part in the study, a demographic information form was used. In order to measure students’ music performance anxiety and academic motivation levels, the data collected using the Music Performance Anxiety Scale and Academic Motivation Scale. The data was analyzed using percentage and frequency distributions. The Pearson Product Moments’ Correlation technique, which is commonly used to calculate the correlation between the variables, was used. As the result of the findings obtained from the study, a significant positive correlation was found between music performance anxiety and academic motivation levels of the students. The anxiety and academic motivation levels of pre-service teachers were found to be moderate. Keywords: Music education; music teacher, music performance anxiety, academic motivation.

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Studer, Regina, Brigitta Danuser, Horst Hildebrandt, Marc Arial, and Patrick Gomez. "Hyperventilation complaints in music performance anxiety among classical music students." Journal of Psychosomatic Research 70, no. 6 (June 2011): 557–64. http://dx.doi.org/10.1016/j.jpsychores.2010.11.004.

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Martin-Gagnon, Gabriel, and Andrea Creech. "Cool jazz: music performance anxiety in jazz performance students." Music Education Research 21, no. 4 (April 15, 2019): 414–25. http://dx.doi.org/10.1080/14613808.2019.1605346.

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Bae, Su-Young. "Korean Music Performance Anxiety Scale:Validation and Reliability." Korean Music Education Society 49, no. 3 (August 31, 2020): 29–49. http://dx.doi.org/10.30775/kmes.49.3.29.

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LeBlanc, Albert, Young Chang Jin, Mary Obert, and Carolyn Siivola. "Effect of Audience on Music Performance Anxiety." Journal of Research in Music Education 45, no. 3 (October 1997): 480–96. http://dx.doi.org/10.2307/3345541.

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Stanton, Harry E. "Reduction of Performance Anxiety in Music Students." Australian Psychologist 29, no. 2 (July 1994): 124–27. http://dx.doi.org/10.1080/00050069408257335.

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Robson, Kim E., and Dianna T. Kenny. "Music performance anxiety in ensemble rehearsals and concerts: A comparison of music and non-music major undergraduate musicians." Psychology of Music 45, no. 6 (March 19, 2017): 868–85. http://dx.doi.org/10.1177/0305735617693472.

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This study assessed music performance anxiety (MPA) in ensemble rehearsals and concerts in 278 undergraduate non-music and music majors drawn from 10 Mid-Atlantic institutions in the US to examine the prevalence and experience of MPA in non-music major undergraduates and to determine whether MPA severity differed between non-music majors and music majors. Results for undergraduate non-music majors using the Kenny Music Performance Anxiety Inventory Revised (K-MPAI-r, Kenny, 2009) revealed cognitive, somatic, affective, and behavioral symptoms. Depression, being an instrumentalist, female, and having had a music performance breakdown made significant contributions to K-MPAI-r scores; depression made the strongest unique contribution to prediction of severity of MPA. Greater self-efficacy was correlated with lower MPA for both rehearsals and concert performances. Overall, MPA and depression indicator scores for the sample were higher than other groups that have been previously evaluated with the K-MPAI-r and the same depression screen. Although ensemble rehearsals were confirmed to be less anxiety provoking than performing solo and in ensemble concerts, students reported considerable MPA during both ensemble rehearsing and ensemble performing. The relatively high rates of MPA and indications of depression in the whole sample should merit concern for music educators.

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Nielsen, Carole, Regina K. Studer, Horst Hildebrandt, Urs M. Nater, Pascal Wild, Brigitta Danuser, and Patrick Gomez. "The relationship between music performance anxiety, subjective performance quality and post-event rumination among music students." Psychology of Music 46, no. 1 (May 18, 2017): 136–52. http://dx.doi.org/10.1177/0305735617706539.

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According to cognitive models, the negative perception of one’s performance and the post-event rumination (PER) occurring after stressful social events maintain social anxiety. These aspects have hardly been studied in music performance anxiety (MPA), a specific form of social anxiety. The first aim of this study was to analyze the development of negative and positive PER over two days following a soloist concert, depending on the usual MPA level. The second aim was to investigate if subjective performance quality serves as mediator between MPA and PER. Negative and positive PER were assessed 10 minutes, one day and two days after a concert in 72 music students with different levels of usual MPA. Subjective performance quality was measured 10 minutes after the study concert. An increasing usual MPA level was associated with more negative and less positive PER. Both decreased over time. Negative PER decreased less rapidly in high-anxious than in low-anxious musicians and positive PER decreased more rapidly in low-anxious than in high-anxious musicians. Subjective performance quality mediated the relationship between MPA and PER. These findings extend previous knowledge in social anxiety to the field of MPA and have implications for interventions aiming at reducing MPA.

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Stern, Judith RS, Sat Bir S. Khalsa, and Stephan G. Hofmann. "A Yoga Intervention for Music Performance Anxiety in Conservatory Students." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 123–28. http://dx.doi.org/10.21091/mppa.2012.3023.

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Music performance anxiety can adversely affect musicians. There is a need for additional treatment strategies, especially those that might be more acceptable to musicians than existing therapies. This pilot study examined the effectiveness of a 9-week yoga practice on reducing music performance anxiety in undergraduate and graduate music conservatory students, including both vocalists and instrumentalists. The intervention consisted of fourteen 60-minute yoga classes approximately twice a week and a brief daily home practice. Of the 24 students enrolled in the study, 17 attended the post-intervention assessment. Participants who completed the measures at both pre- and post-intervention assessments showed large decreases in music performance anxiety as well as in trait anxiety. Improvements were sustained at 7- to 14-month follow-up. Participants generally provided positive comments about the program and its benefits. This study suggests that yoga is a promising intervention for music performance anxiety in conservatory students and therefore warrants further research.

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Betania, Nonni. "Kecemasan Penampil Musik (Keyboardist) pada Pengiring Ibadah Gereja." INVENSI 7, no. 2 (December 16, 2022): 105–14. http://dx.doi.org/10.24821/invensi.v7i2.6931.

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Kegiatan ibadah gereja identik dengan musik lagu-lagu pujian yang tidak bisa dilepaskan dari peran pemain musik. Instrumen musik yang paling umum digunakan adalah keyboard (piano elektrik). Karena peran keyboardist adalah mengiringi jemaat bernyanyi, maka terjadilah interaksi antar jemaat dan pengiring ketika lagu dimainkan. Hal ini tentu memicu adanya kecemasan (Music Performance Anxiety). Kecemasan dalam penampilan permainan musik dapat menyebabkan kesalahan permainan musik yang akan mengganggu fokus jemaat dalam beribadah. Penelitian ini dilakukan menggunakan metode kualitatif dengan cara observasi terhadap beberapa keyboardist gereja. Observasi dilakukan selama lima minggu di dalam setiap ibadah minggu pada Gereja Kristen Jawa Curug Sewu Kendal. Tempat ini dipilih karena memiliki tata ibadah liturgis sehingga mudah untuk diamati alur dan urutannya. Setelah dilakukan observasi kemudian dilakukan proses pengodean dua tahap. Tahap pertama adalah untuk menentukan gejala-gejala yang muncul berdasarkan catatan pengamatan, tahap kedua adalah untuk menyusun kategori yang terdiri dari kondusivitas, pra-penampilan, waktu penampilan (reaktif & adaptif), dan pasca penampilan. Penelitian ini mengidentifikasi bentuk-bentuk kecemasan yang muncul dalam mengiringi musik ibadah yang ditinjau dari aspek gejala fisik, gejala perilaku, dan gejala mental. Hasil menunjukkan bahwa pengiring musik gereja tergolong aktivitas yang memiliki tingkat ketegangan mental yang cukup tinggi karena adanya interaksi antar jemaat dan pengiring. Adapun faktor-faktor penyebab naiknya tingkat kecemasan ini di antaranya adalah familiaritas terhadap lagu yang dimainkan, perfeksionisme pengiring karena aktivitas ibadah, dan kondusivitas tempat dan suasana yang mendukung. Music Performance Anxiety (Keyboardist) on Church Worship Accompaniment Abstract Church worship activities are identical to the music of hymns that cannot be taken from the role of the musicians. The most commonly used musical instrument is the keyboard (electric piano). Because the role of the keyboardist is to accompany the congregation in singing, there is an interaction between the congregation and the accompanist when the song is played. This, of course, triggers the emergence of anxiety (Music Performance Anxiety). Anxiety about playing music can cause errors in playing music that will disrupt the congregation's focus in worship. This research was conducted using a qualitative method by observing several church keyboardists. Observations were made for five weeks in every Sunday service at the Gereja Kristen Jawa Curug Sewu Kendal. This place was chosen because it has a liturgical worship system, so it is easy to observe the plot and sequence. After the observations were made, a two-stage coding process was carried out. The first stage is to determine the symptoms that appear based on observation notes; the second stage is to compile categories consisting of conduciveness, pre-performance, perform (reactive & adaptive), and post-perform. This study identifies forms of anxiety in music that accompanies worship that arise from aspects of physical symptoms, behavioral symptoms, and mental symptoms. The results show that church music accompaniment is an activity that has a fairly high mental level because of the interaction between the congregation and the accompaniment. The factors that cause an increase in anxiety levels include familiarity with the song being played, the perfectionism of accompaniment due to worship activities, and conduciveness of place and a supportive atmosphere.

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Rocha, Sérgio F., Moacir Marocolo, Elisangela NV Corrêa, Gledys SG Morato, and Gustavo R. da Mota. "Physical Activity Helps to Control Music Performance Anxiety." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 111–12. http://dx.doi.org/10.21091/mppa.2014.2022.

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We evaluated if regular physical activity could influence musical performance anxiety (MPA) in college music students. Levels of MPA, as measured with the Kenny MPA Inventory, and a survey about the physical activity habits were obtained from 87 students of music. The results showed that physically active musicians had lower MPA scores (p<0.05) than non-active ones, independent of gender. We conclude that there is an association between physical activity and minor MPA, and studies with a longitudinal design should be done to explore this important issue.

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Thurber, Myron R., Eugenia Bodenhamer-Davis, Mark Johnson, Kris Chesky, and Cynthia K. Chandler. "Effects of Heart Rate Variability Coherence Biofeedback Training and Emotional Management Techniques to Decrease Music Performance Anxiety." Biofeedback 38, no. 1 (March 1, 2010): 28–40. http://dx.doi.org/10.5298/1081-5937-38.1.28.

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Abstract Due to the prevalence of music performance anxiety and the emergence of new biofeedback technologies used to decrease anxiety, student musicians were recruited to participate in an experimental repeated-measures study to identify effects of heart rate variability coherence biofeedback training and emotional self-regulation techniques on music performance anxiety and music performance. Fourteen students were assigned randomly to a treatment or control group following a 5-minute unaccompanied baseline performance. Treatment group participants received 4–5 heart rate variability training sessions of 30–50 minutes each. Training included bibliotherapy, computerized heart rate variability biofeedback training, emotional regulation exercises, and use of a portable heart rate variability training device. Measures included the State-Trait Anxiety Inventory, Performance Anxiety Inventory, Flow State Scale, average heart rate, and heart rate variability. Quade's rank-transformed analysis of covariance was used to evaluate treatment and no-treatment group comparisons. Combined music performance anxiety scores showed statistically significant improvement at a p = .05 level with a large effect size of ηp2 = .320. State anxiety measurement showed a large effect size of ηp2 = .291. The Performance Anxiety Inventory showed a large effect size of ηp2 = .149. Heart rate showed a large effect size of ηp2 = .143. Heart rate variability showed statistical significance at p = .001 level and a large effect size of ηp2 = .698. The treatment group average subjective decrease in music performance anxiety was 71%, and the treatment group average subjective improvement in performance was 62%. This study demonstrated statistical and practical/clinical significance of a relatively quick and inexpensive biofeedback training that had a large effect on decreasing mental, emotional, and physiological aspects of music performance anxiety and subjective improvement of performance for university students.

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Miller, Staci Renee, and Kris Chesky. "The Multidimensional Anxiety Theory: An Assessment of and Relationships Between Intensity and Direction of Cognitive Anxiety, Somatic Anxiety, and Self-confidence over Multiple Performance Requirements among College Music Majors." Medical Problems of Performing Artists 19, no. 1 (March 1, 2004): 12–20. http://dx.doi.org/10.21091/mppa.2004.1003.

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This study applied the multidimensional anxiety theory to musicians by examining the intensity and direction of cognitive anxiety, somatic anxiety, and self-confidence over multiple performance requirements among college music majors. This study assessed and compared teacher and student perceptions of the student’s performance anxiety and its subsequent impact on several studio lessons and jury performances. Seventy-one college musicians (39 females, 32 males) from the University of North Texas College of Music volunteered to participate in this study. Four different assessment tools were employed in this study: a demographic questionnaire, a modified version of the Competitive Trait Anxiety Inventory-2 (CTAI-2), a modified version of the Competitive State Anxiety Inventory-2 (CSAI-2), and a subjective self-assessment of performance. The results showed that of the 71 subjects initially assessed, 59 subjects (83.1%) reported experiencing performance anxiety. This study supports the application of the multidimensional anxiety theory by highlighting the existence of two distinct, yet related dimensions of performance anxiety; how these dimensions change in response to changing stress levels associated with changing demands; and the probable interaction with levels of self-confidence. This study underscores the challenges associated with how teachers may or may not recognize the existence and subsequent impact of performance anxiety among college students. Additional studies are needed to determine what educational variables, including psychosocial values, are associated with the development and fluctuation of self-confidence. Further research designs should implement the CTAI-2 and the CSAI-2 for the assessment of competitive performance anxiety experienced by musicians associated with music performance.

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Nedelcut, Sebastian, Daniel-Corneliu Leucuta, and Dan Lucian Dumitrascu. "Lifestyle and psychosocial factors in musicians." Medicine and Pharmacy Reports 91, no. 3 (July 24, 2018): 312–16. http://dx.doi.org/10.15386/cjmed-959.

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Background and aim. Musicians face professional challenges that may lead them to adopt unhealthy lifestyles. They also may present performance-related anxiety. We investigated anxiety and lifestyle patterns in musicians, both professional and trainees.Methods. A prospective controlled protocol was developed. Musicians (employed or students) and matched controls (also employed and students) were surveyed with several questionnaires on lifestyle and some psychological factors: anxiety and music performance anxiety.Results. General anxiety and music performance anxiety are higher in music students compared with trained musicians. Musicians have also higher anxiety scores than their matched controls. Soloists have higher scores of anxiety, also percussion and keyboard students. Musicians smoke less than controls, but sleep also less, a factor perceived as an index for stress. BMI was also higher in musicians.Conclusions. Performing music is associated with anxiety levels that are higher than in control population. Trainees have higher scores than the employed musicians.

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Barbeau, Audrey-Kristel, and Roger Mantie. "Music Performance Anxiety and Perceived Benefits of Musical Participation Among Older Adults in Community Bands." Journal of Research in Music Education 66, no. 4 (September 28, 2018): 408–27. http://dx.doi.org/10.1177/0022429418799362.

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The purpose of the current study was to examine music performance anxiety and self-reported reasons for participation among members of older adult community bands. We asked 35 New Horizons Band members aged 65+ questions about their musical experience in face-to-face interviews, after which we administered two questionnaires: the Performance Anxiety Inventory for Musicians and the State-Trait Anxiety Inventory. We found a statistically significant difference in performance anxiety between participants suffering from trait anxiety (also called general anxiety) and those who did not. Utilizing the Novelty, Unpredictability, Threat to the Ego, and Sense of low control recipe (NUTS) for stress as a framework, we performed interview and questionnaire analyses that revealed that participants were concerned with issues associated with novelty, unpredictability, and lack of control in contexts of public performances (e.g., new pieces, lack of preparation, or challenging repertoire selected by the conductor). Participants perceived threats to their ego (such as feeling exposed, judged) as a major contributing factor of music performance anxiety. Participants reported the perceived benefits of musical involvement outweighed their negative (i.e., stressful) aspects.

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Kirchner, Joann Marie, Arvid J. Bloom, and Paula Skutnick-Henley. "The Relationship Between Performance Anxiety and Flow." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 59–65. http://dx.doi.org/10.21091/mppa.2008.2012.

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This study examined the relationship between performance anxiety and flow proneness. Ninety undergraduate music majors (52 females, 38 males) recruited from a major research university volunteered to participate. The data collection instrument consisted of two previously established inventories: the Performance Anxiety Inventory and the Music in Flow Inventory. As predicted, the data showed flow proneness to be significantly and negatively correlated with performance anxiety (r = −0.20, p = 0.034, one-tailed test). The data also supported a prediction that the ability to play/sing without destructive self-criticism would be negatively related to performance anxiety (r = −0.39, p < 0.001, one-tailed). The results suggest that both musical performance anxiety and a flow state of consciousness can exist simultaneously. It appears that creating performance conditions that foster flow may be a useful strategy for helping to alleviate the intensity of musical performance anxiety.

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Guven, Elif. "Levels of music performance anxiety and test anxiety of Turkish prospective music teachers in piano exams." International Journal of Music Education 35, no. 2 (December 31, 2015): 154–64. http://dx.doi.org/10.1177/0255761415620530.

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Brugués, Ariadna O. "Music Performance Anxiety—Part 1: A Review of its Epidemiology." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 102–5. http://dx.doi.org/10.21091/mppa.2011.2015.

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Music performance anxiety (MPA) affects many individuals regardless of age, gender, experience, and hours of practice. In order to better understand the epidemiology of MPA, a review of the literature was done. Sixteen articles, meeting EBM criteria, were identified and analyzed. Children rarely suffer from MPA, while adolescents show symptoms similar to adults. Females are generally more affected than males. There is no relation between professional experience and performance anxiety. Great musicians such as Pau Casals and Enrico Caruso suffered from MPA. Nevertheless, students affected by MPA may decide not to become professional musicians because of their inability to cope with the devastating effects of performance anxiety. Solo performances showed higher MPA scores than ensemble performances. Despite these conclusions, long-term cohort studies with larger, homogeneous groups of subjects would be desirable, according to the evidence-based medicine criteria.

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Kenny, Dianna T., and Margaret S. Osborne. "Music performance anxiety: New insights from young musicians." Advances in Cognitive Psychology 2, no. 2 (January 1, 2006): 103–12. http://dx.doi.org/10.2478/v10053-008-0049-5.

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Facchini, Fiammetta, Giuseppina Facchini, and Nancy Lee Harper. "Music performance anxiety in instrumental duos: six interviews." Orfeu 3, no. 1 (October 23, 2018): 85–115. http://dx.doi.org/10.5965/2525530403012018085.

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Rae, Gordon, and Karen McCambridge. "Correlates of performance anxiety in practical music exams." Psychology of Music 32, no. 4 (October 2004): 432–39. http://dx.doi.org/10.1177/0305735604046100.

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Osório, F. L., A. B. Burin, I. S. Nirenberg, and A. E. M. Barbar. "Music Performance Anxiety: Perceived Causes and Coping Strategies." European Psychiatry 41, S1 (April 2017): S110. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1883.

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IntroductionThe understanding of the causes of music performance anxiety (MPA) and of strategies to cope with it is important for the comprehension/management of this common condition in musicians.ObjectiveTo investigate the causes of MPA reported by Brazilian musicians and the efficacy of the most commonly used strategies to cope with it.MethodsTwo hundred and fourteen Brazilian musicians (53% professional/musicians from orchestras, 67% male, mean age: 34.02 years, 65% with over 11 years of education, 42% of which played string instruments) completed different self-rating scales to assess the presence/absence of MPA.ResultsThirty-nine per cent of the musicians had indicators of MPA. The most commonly reported causes were repertoire difficulty (57%), concerns about audience response (52%), and self-pressure (51%). The most common coping techniques included breathing/relaxing techniques (66%) and increased practice (53%), regarded as efficient by at least 49% of the musicians. Strategies like seeing a doctor/psychiatrist/psychologist and taking antidepressant/anxiolytic medication were among the least frequently used in the sample. Also, 18% of musicians with MPA used beta-blockers and 6% used non-prescribed medications. Comparatively, musicians with MPA believed that it was associated with a higher number of conditions and regarded coping techniques as less efficient.ConclusionMusicians consider internal situations to be the most frequent causes of MPA and use different coping strategies with average effectiveness. Results highlight the poor use of well-established therapeutic resources and the occurrence of self-medication in the sample, which together point to the need for attention on the part of mental health professionals to this specific group.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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Binti Umar Rauf, Rita Mardhatillah, and Faezah Hamdan. "Performance Anxiety in Western Classical Music: A Malaysian Study." Randwick International of Social Science Journal 1, no. 2 (August 1, 2020): 227–30. http://dx.doi.org/10.47175/rissj.v1i2.63.

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Although performance anxiety is a common problem in life, there are only a few studies on this subject in Malaysia. This article presents the expansion to the body of literature on this important relationship between performance anxiety in Western Classical Music. Millions of people suffer and may experience from performance anxiety, which commonly called as ‘stage fright’. Worst of all, it may prevent a musician from doing what they enjoy or quit from performing which can effect the career. The knowledge affecting to symptoms and signs anxiety during adolescence among students could help if possible areas can be highlighted for the mediating and prevention on the subjects which may assist Malaysian youths in the university setting so they can control the emotions and reduce the anxiety

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Yao, Zijin. "Anxiety and Optimal Piano Performance: A Pilot Study on the Application of the Individual Zone of Optimal Functioning (IZOF) Model." International Journal of Psychological Studies 8, no. 4 (October 25, 2016): 60. http://dx.doi.org/10.5539/ijps.v8n4p60.

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<p>Music Performance Anxiety (MPA) is a common problem for musicians. Many musicians struggle with performance anxiety and rely on traditional de-arousal interventions to reduce performance anxiety before public performance. However, research in sports psychology suggests that anxiety reduction may not be the most appropriate strategy for intervention (Chamberlain & Hale, 2007). According to the Individual Zone of Optimal Functioning (IZOF) model proposed by Hanin, an athlete’s performance is successful when his or her pre-competition anxiety is within or near the individual’s optimal zone (Hanin, 2000). Based on the application of the IZOF theory in the context of piano performance, anxiety plays an important role in optimizing performance in music as well. This pilot study identified participants’ IZOFs with the Competitive State Anxiety Inventory (CSAI-2). Support was found for Hanin’s IZOF theory with respect to the SA (somatic anxiety) and SC (self-confidence) dimensions for both of the participating pianists, as well as the CA (cognitive anxiety) dimension of pianist A but not for the CA dimension of pianist B. Piano performances associated with anxiety of an intensity that fell within the IZOF were observed to be significantly better than piano performances associated with anxiety intensity outside the IZOF. All the peak performances were presented within the IZOFs. The study verified that the IZOF model can be applied in MPA management and may help pianists be more aware of in-zone/out-zone states and rethink their attitudes toward performance anxiety. With this pilot study as a foundation, larger scale research can be conducted to clarify the correlation between anxiety and optimal piano performance.</p>

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Roland, David. "How Professional Performers Manage Performance Anxiety." Research Studies in Music Education 2, no. 1 (June 1994): 25–35. http://dx.doi.org/10.1177/1321103x9400200105.

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Özdemir, Gökhan, and Esra Dalkıran. "Identification of the Predictive Power of Five Factor Personality Traits for Individual Instrument Performance Anxiety." Journal of Education and Training Studies 5, no. 9 (August 8, 2017): 109. http://dx.doi.org/10.11114/jets.v5i9.2522.

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This study, with the aim of identifying the predictive power of the five-factor personality traits of music teacher candidates on individual instrument performance anxiety, was designed according to the relational screening model. The study population was students attending the Music Education branch of Fine Arts Education Departments in Educational Faculties in Turkey with the sample comprising 256 students attending the Music Education branch of Mehmet Akif Ersoy University, Pamukkale University and Muğla Sıtkı Koçman University during the 2016-2017 academic year. For data collection in the study, the Individual Instrument Performance Test Anxiety Scale developed by Dalkıran et al. (2014) and the Adjective-based Personality Test developed by Bacanlı et al. (2009) according to the five factor concept were used. Correlation analysis was performed to test whether there was a significant correlation between the individual instrument performance anxiety of students and the five factor personality traits. Additionally, to determine the predictive power of the five factor personality traits on individual instrument test performance anxiety of Music Education branch students, standard multiple regression analysis was performed. Data were tested at the significance level of 0.05. According to the obtained data, it can be said there is a significant correlation between the individual instrument performance anxiety levels and the five factor personality traits of Music Education branch students. A positive and high level relationship was identified between performance anxiety levels and the five factor personality trait of emotional balance/neuroticism, while there was no correlation with agreeableness and performance anxiety level. Extraversion and openness to experience had a negative correlation with performance anxiety level, while there was a positive correlation observed between conscientiousness and performance anxiety. The five factor personality traits of emotional balance/neuroticism and conscientiousness positively and significantly predicted performance anxiety, while extraversion negatively and significantly predicted performance anxiety level. Contrarily, openness to experience and agreeableness were not identified to significantly predict performance anxiety level.

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Fathiawati, Ade Syarifa, and Dian Ratna Sawitri. "HUBUNGAN ANTARA PERFEKSIONISME DAN MUSIC PERFORMANCE ANXIETY PADA MAHASISWA PEMAIN ORKESTRA." Jurnal EMPATI 10, no. 2 (June 7, 2020): 94–100. http://dx.doi.org/10.14710/empati.2020.27695.

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Music performance anxiety(MPA) merupakan kecemasan yang dirasakan individu secara terus-menerus yang disebabkan oleh performa musikal, dan timbul melalui suatu pengalaman pengkondisian yang spesifik dan dimanifestasikan melalui kombinasi gejala afektif, kognitif, somatik dan perilaku.Sifat kepribadian yang penting dalam MPA adalah perfeksionisme yang dapat terjadi bersamaan dengan performance anxiety.Perfeksionisme didefinisikan sebagai trait kepribadian yang dicirikan dengan usaha keras individu dalam menetapkan standar kinerja yang sangat tinggi disertai evaluasi diri yang terlalu kritis. Penelitian ini bertujuan untuk mengetahui hubungan antara perfeksionisme dan MPA pada mahasiswa pemain orkestra. Populasi dalam penelitian ini adalah mahasiswa jurusan nonmusik yang tergabung dalam orkestra di OSUI Mahawaditra, UKM Bersama Dalam Musik (BDM) Binus University, dan The Sound of Phoenix Universitas Prasetiya Mulya dengan jumlah 200 orang. Sampel penelitian berjumlah 70 mahasiswa anggota orkestra yang diperoleh dengan menggunakan teknik convenience sampling.Data diperoleh dengan menggunakan Skala Perfeksionisme dan Skala Music Performance Anxiety.Hasil analisis Rank Spearman menunjukkan hasil koefisien korelasi rxy = -0,128 dengan p = 0,289 (p>0,05) yang artinya terdapat hubungan negatif meski tidak signifikan antara perfeksionisme dan MPA. Mayoritas subjek penelitian berada pada kategori MPA sedang. Uji beda menggunakan analisis independent T-test menunjukkan bahwa tidak ada perbedaan tingkat MPA yang signifikan antara laki-laki dan perempuan.

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Zhukov, Katie. "Current Approaches for Management of Music Performance Anxiety: An Introductory Overview." Medical Problems of Performing Artists 34, no. 1 (March 1, 2019): 53–60. http://dx.doi.org/10.21091/mppa.2019.1008.

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Music performance anxiety (MPA) is a complex area with many individual factors contributing to the level of anxiety experienced by musicians during live performances. This paper provides an overview of research literature on performance anxiety, intended for music teachers, students, and professional musicians, to highlight strategies that have been suggested to manage the accompanying physical and cognitive symptoms. Treatment of MPA includes mindfulness-based approaches, physiological/physically-based therapies, cognitive/behavioural therapies, prescribed medication, music therapy, and psychotherapy. The most popular approaches for managing the physical symptoms are relaxation techniques, in particular, deep breathing exercises, yoga, and meditation. Other strategies include Alexander technique, bio- and neuro-feedback, healthy lifestyle, and prescription drugs. Self-handicapping and perfectionism are some of the examples of negative behaviours in musicians. Management of cognitive symptoms of MPA includes cognitive restructuring, realistic goal-setting, systematic desensitisation, music therapy, and/or psychotherapy. Combining behavioural techniques with cognitive therapy strategies appears to be the most promising approach among interventions aimed at reducing MPA and improving the quality of music performance. Cautious interpretation of the efficacy of interventions is needed due to methodological weaknesses of some research, and this overview of current approaches is intended to facilitate understanding for those less familiar with this topic.

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Journal articles on the topic 'Music performance anxiety'

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