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Journal articles on the topic 'Performance anxiety. Guitar Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.

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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.

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2

Kovalenko, A. S. "Historical background to establishment of the national instrumental guitar education in the context of music education development." Musical art in the educological discourse, no. 2 (2017): 86–91. http://dx.doi.org/10.28925/2518-766x.20172.8691.

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The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, guitar education is not systemic. Guitar playing is popular among Lviv seminarians and as home performance. The second period is characterized by the fact that guitar art emerges from the global crisis, which has been reflected in national performance and pedagogy. Playing the guitar attracts the attention of professional musicians; it is examined performance abilities of the instrument, its structure and repertoire. During this period, guitar education acquires systemic features. The performance of the guitar players improves significantly, and the repertoire is replenished with the best examples of world classical music. The third period is characterized by intensification of competitive activity in the field of guitar performance. A guitar class appears in the Kyiv Conservatory. In postwar times, the development of guitar performances is influenced by the political situation and sensorship. Besides, the third period is characterized by the flowering of national performers’ schools, the intensification of international relations with foreign guitar performers and educators, which is the basis for the establishment and development of national instrumental guitar education.

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Dawe, Kevin. "Guitar Ethnographies: Performance, Technology and Material Culture." Ethnomusicology Forum 22, no. 1 (April 2013): 1–25. http://dx.doi.org/10.1080/17411912.2013.774158.

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4

Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (November 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

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5

Silverman, Michael J. "Developing and testing the guitar songleading performance scale (GSPS)." International Journal of Music Education 29, no. 3 (August 2011): 283–93. http://dx.doi.org/10.1177/0255761411409123.

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6

Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.

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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.

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7

Castro-Magas, Diego. "GESTURE, MIMESIS AND IMAGE: ADORNO, BENJAMIN AND THE GUITAR MUSIC OF BRIAN FERNEYHOUGH." Tempo 70, no. 278 (September 28, 2016): 16–28. http://dx.doi.org/10.1017/s0040298216000310.

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AbstractOne important stimulus in attempting to apply Adorno's constellation of concepts on performance to Brian Ferneyhough's guitar music is that both display the influence of Walter Benjamin's thought. Benjamin's concept of mimesis influenced Adorno's theory of musical reproduction, however much Adorno may have reformulated it, and various Benjaminian topics are traceable in Ferneyhough's guitar music, especially Kurze Schatten II (1983–89) for solo guitar. Adorno claims that true reproduction is the X-ray image of the work of music, a rendition of all the aspects that lie hidden beneath the surface. By exploring the conceptual traces of Benjamin's thought in Kurze Schatten II, this article examines how performer's interpretative choices are likely to render the X-ray image of this music in performance, as seen through a gesture-based approach.

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8

MILLER, KIRI. "Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity." Journal of the Society for American Music 3, no. 4 (October 15, 2009): 395–429. http://dx.doi.org/10.1017/s1752196309990666.

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AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.

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9

Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (July 2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.

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10

Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (November 3, 2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.

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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.

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11

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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12

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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13

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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15

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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16

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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Heiderscheit, Annie, Stephanie J. Breckenridge, Linda L. Chlan, and Kay Savik. "Music Preferences of Mechanically Ventilated Patients Participating in a Randomized Controlled Trial." Music and Medicine 6, no. 2 (October 25, 2014): 29. http://dx.doi.org/10.47513/mmd.v6i2.177.

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Mechanical ventilation (MV) is a life-saving measure and supportive modality utilized to treat patients experiencing respiratory failure. Patients experience pain, discomfort, and anxiety as a result of being mechanically ventilated. Music listening is a nonpharmacological intervention used to manage these psychophysiological symptoms associated with mechanical ventilation. The purpose of this analysis is to examine music preferences of 107 MV patients enrolled in a randomized clinical trial that implemented a patient-directed music listening protocol to help manage the psychophysiological symptom of anxiety. 1 Music data presented heretofore includes the music genres and instrumentation patients identified as their preferred music. Genres preferred include: classical, jazz, rock, country, and oldies. Instrumentation preferred include: piano, voice, guitar, music with nature sounds, and orchestral music. The analysis of three patients’ preferred music received throughout the course of the study is illustrated to demonstrate the details and complexity involved in assessing MV patients, which substantiates the need for an ongoing assessment process.

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18

Estrada Yarce, Emanuel. "ARTICULANDO CON TRASTES. ACERCA DE LA ARTICULACIÓN COMO ELEMENTO ESTRUCTURADOR DE LA EJECUCIÓN MUSICAL EN LA GUITARRA." Ricercare 2018, no. 10 (March 5, 2019): 6–36. http://dx.doi.org/10.17230/ricercare.2018.10.1.

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This article approaches the articulation in music as a structuring element to perform the universal repertoire for solo guitar. For that purpose, we start from the conception of music as a language and musical pieces as discourses for which technique has to be at service. The goal is then structuring the fingering process for the performance of the pieces, both those that were conceived for the guitar as well as those that are adaptations of pieces written for other instruments.

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19

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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20

Suroso, Panji, Adina Sastra Sembiring, Uyuni Widiastuti, Muklis Hasbulah, and Bakhrul Khair Amal. "Performance Model of Kulcapi (Karo Musical Instrument) as a Teaching Material in Guitar Learning." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, no. 4 (December 22, 2018): 136–43. http://dx.doi.org/10.33258/birci.v1i4.102.

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This study examines performance model of Kulcapi Karo as a teaching material in guitar learning classes at Music Art Study Program in Unimed. To obtain maximum learning outcomes in the learning process, creative strategies and methods are created in utilizing local music culture as a capital in improving music playing skills. Efforts are made in various ways to maximize learning by reviewing and analyzing matters related to the learning process such as; analyze learning objectives, teaching material, strategies or learning methods, including local cultural material as a learning resource that can be adapted to the development and needs of the community in the world of education that continues to grow. Based on this, it is very important if Kulcapi's musical instrument culture as local culture can be packaged and used as teaching material in learning guitar music instruments. This is intended to further enrich students' understanding of theoretical concepts and the practice of playing stringed musical instruments is not only limited to popular knowledge, but also on things that are more specifically including traditional ones. With the effort to study and understand the Kulcapi instrument as teaching material, students must absolutely understand the organology structure and the technique of playing Kulcapi to be able to be developed to the level of being able to play better musical instruments. The technique of playing Kulcapi instrument as a capital in developing students' abilities in guitar courses seems to be more able to improve the achievement of better quality learning outcomes

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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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22

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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23

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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24

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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25

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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26

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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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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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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Elliker, Calvin, and Victor Anand Coelho. "Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation." Notes 55, no. 3 (March 1999): 636. http://dx.doi.org/10.2307/900415.

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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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Jin, Cong, Tao Wang, Shouxun Liu, Yun Tie, Jianguang Li, Xiaobing Li, and Simon Lui. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (July 2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.

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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.

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32

Gooding, L. F. "The Effect of Behavioral Contracting on the Acquisition of Guitar Performance Skills in a College-level Beginning Guitar Class." Journal of Music Therapy 46, no. 4 (December 1, 2009): 323–38. http://dx.doi.org/10.1093/jmt/46.4.323.

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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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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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Juslin, Patrik N., and Petri Laukka. "Improving Emotional Communication in Music Performance through Cognitive Feedback." Musicae Scientiae 4, no. 2 (September 2000): 151–83. http://dx.doi.org/10.1177/102986490000400202.

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This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by fifty listeners. Multiple regression was used to model the cue utilization of both performers and listeners, and the two systems were related by means of the Lens Model Equation (Tucker, 1964). Then, the performers were given CFB and were asked to change their cue utilization on the basis of this feedback. The results indicated that (a) CFB yielded a fifty percent increase in communication accuracy after a single feedback session, (b) the performers reacted positively to the CFB, and (c) the performers showed limited insight with regard to their cue utilization prior to the CFB.

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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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Costalonga, Leandro L., Marcelo S. Pimenta, and Eduardo R. Miranda. "Understanding biomechanical constraints for modelling expressive performance: A guitar case study." Journal of New Music Research 48, no. 4 (July 23, 2019): 331–51. http://dx.doi.org/10.1080/09298215.2019.1643892.

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Amundsen, Michael. "Out in the cold: Busking Copenhagen’s Nørreport Station and the urban affects of music." Journal of Urban Cultural Studies 6, no. 1 (March 1, 2019): 113–22. http://dx.doi.org/10.1386/jucs_00006_1.

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This article is drawn for my experience busking at Nørreport Station, a busy transit hub in the centre of Copenhagen, for one afternoon in the spring of 2016. I use narrative and descriptive writing to express the relationship between myself and the environment as a performative milieu. The article looks at theories of affect, atmospheres, and the influence of sound in the busking pitch. It considers the discourse surrounding busking and how my performance experience contributed to appreciations of its meanings. It has been said that street music performance can create emotions, atmospheres and encounters in unlikely and forbidding urban settings. My experience at Nørreport Station challenged these notions. This article avers that new ways of assessing the success of musical interventions in the city should be considered alongside with appreciating how music can be a subtle and meaningful atmospheric and affective influence on urban space. A link to samples of my guitar playing can be found here: https://soundcloud.com/michael-amundsen-guitar.

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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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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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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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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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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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Vets, Tim, Jonas Degrave, Luc Nijs, Federica Bressan, and Marc Leman. "PLXTRM: Prediction-Led eXtended-guitar Tool for Real-time Music applications and live performance." Journal of New Music Research 46, no. 2 (February 13, 2017): 187–200. http://dx.doi.org/10.1080/09298215.2017.1288747.

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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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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.

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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

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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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Osborne, Margaret S., Dianna T. Kenny, and Richard Holsomback. "Assessment of music performance anxiety in late childhood: A validation study of the Music Performance Anxiety Inventory for Adolescents (MPAI-A)." International Journal of Stress Management 12, no. 4 (2005): 312–30. http://dx.doi.org/10.1037/1072-5245.12.4.312.

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Kaleńska-Rodzaj, Julia. "Pre-performance emotions and music performance anxiety beliefs in young musicians." Research Studies in Music Education 42, no. 1 (March 27, 2019): 77–93. http://dx.doi.org/10.1177/1321103x19830098.

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The aim of this study is to investigate the structure and complexity of emotional states experienced by young musicians before entering the stage and to explain the influence of emotional beliefs on their pre-performance emotions. Emotions were elicited with a guided imagery induction, where 222 students aged 9- to 12-years-old recalled their most recent concert memory. They described their emotions on the list of 18 emotions (nine pairs of contrary emotions) and answered three questions measuring music performance anxiety (MPA) beliefs: MPA utility beliefs, MPA regulation beliefs, and audience attitude beliefs. The cluster analysis results show the complexity and multiplicity of emotional states reported by young musicians. Five emotional profiles vary from negative emotions of fear and sadness (High MPA) through a mixture of positive and negative emotions (Moderate MPA, Hesitation, Ambivalence) to positive emotions of confidence, courage and happiness (Composure-Confidence). Beliefs that MPA has negative impact on performance, beliefs of inefficacy in managing MPA and perceived audience pressure rather than support were related to High and Moderate MPA profiles. Practical implications for music education are discussed.

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