A Single Dose of Oxytocin on Music Performance Anxiety: Results Involving a Situation of Simulated Performance

2017 ◽  
Vol 41 (S1) ◽  
pp. S110-S110
Author(s):  
F.L. Osório ◽  
A.E. M. Barbar ◽  
M.F. Donadon ◽  
J.A.S. Crippa
Keyword(s):  
Side Effects ◽  
Experimental Situation ◽  
Beta Blockers ◽  
Music Performance ◽  
Performance Anxiety ◽  
Public Performance ◽  
Pharmacological Management ◽  
Music Performance Anxiety ◽  
Simulated Performance ◽  
Physiological Symptoms

IntroductionMusic performance anxiety (MPA) is a persistent and distressing experience that involves apprehension linked with musical performance in public (individual or collective). Anxious individuals concentrate their anxiety in situations that involve social scrutiny, favoring distorted, dysfunctional, and negative interpretations of that situation followed by experiences of physiological symptoms associated with the exposure. The most commonly used substances in the pharmacological management of MPA are beta-blockers and benzodiazepines. However, these options are not fully efficient and cause relevant side effects that interfere mainly with performance. Therefore, investigations on alternative substances to treat MPA are highly opportune.ObjectiveTo assess the acute effects of oxytocin (OT) on physiological and cognitive variables during an experimental model of simulated performance.MethodsWe assessed 12 musicians with MPA pre-treated with intranasal OT (24 UI) or placebo in a crossover trial involving an experimental situation of public performance. Cognitive and physiological measures (heart rate, blood pressure, salivary cortisol) were recorded before/during performance (anticipatory performance anxiety). Statistical analyses were made using Stata Direct.ResultsThe results showed no effects of OT on physiological symptoms (P > 0.190). In respect to anticipatory anxiety, however, we found a tendency for OT to reduce negative cognitions associated with music performance (P = 0.06). No side effects were reported by musicians throughout the trial.ConclusionThese tendencies, if confirmed through the expansion of the sample, have important implications for the practice of amateur and professional musicians who could benefit from interventions as the one described, possibly with a lesser impact of side effects.Disclosure of interestThe authors have not supplied their declaration of competing interest.

Performance Anxiety Among Musicians

2020 ◽  
Vol 31 (2) ◽  
pp. 76-80
Author(s):  
Jennifer Mumm ◽  
Isabel Fernholz ◽  
Andreas Ströhle ◽  
Jens Plag ◽  
Alexander Schmidt
Keyword(s):  
Behavioral Therapy ◽  
Beta Blockers ◽  
Music Performance ◽  
Performance Anxiety ◽  
Emotional Symptoms ◽  
Professional Musicians ◽  
Music Performance Anxiety ◽  
High Distress ◽  
Control Loss ◽  
Preventive Methods

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.

scholarly journals Anxiety and Optimal Piano Performance: A Pilot Study on the Application of the Individual Zone of Optimal Functioning (IZOF) Model

2016 ◽  
Vol 8 (4) ◽  
pp. 60 ◽  
Author(s):  
Zijin Yao
Keyword(s):  
Pilot Study ◽  
Music Performance ◽  
Performance Anxiety ◽  
Anxiety Reduction ◽  
Public Performance ◽  
Piano Performance ◽  
Music Performance Anxiety ◽  
Individual Zone ◽  
Optimal Functioning ◽  
The Individual

<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 &amp; 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>

scholarly journals Autoeficacia Musical Y Ansiedad Escénica: Variables Relacionadas En Músicos En Formación

2017 ◽  
Vol 13 (25) ◽  
pp. 1 ◽  
Author(s):  
Luis Manuel Cuartero Oliveros ◽  
Francisco Javier Zarza Alzugaray ◽  
José Elías Robles Rubio ◽  
Óscar Casanova López
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Academic Failure ◽  
Dropping Out ◽  
Public Performance ◽  
Psychological Constructs ◽  
Music Performance Anxiety ◽  
Musical Achievement ◽  
The Relationship

The explanatory capacity of self-efficacy on achievement has made it one of the main psychological constructs on the field of educational research. Perceptions of self-efficacy become more relevant, if possible, in musical education whose purpose is professional practice and in the end public performance. Music performance anxiety, for its part, has been studied in numerous investigations, finding itself responsible for academic failure and even dropping out the musical career. Both constructs are related and influence the attainment of achievement. This study reveals the relationship between these two constructs, obtaining inversely proportional correlations between the factors musical self-efficacy for performing and vulnerability and stage anxiety cognitions of music performance anxiety; delving into the knowledge of both constructs are also observed differences according to sex. The results obtained provide the necessary evidence to deepen the knowledge of the variables that lead to musical achievement.

Music Performance Anxiety: Perceived Causes and Coping Strategies

2017 ◽  
Vol 41 (S1) ◽  
pp. S110-S110
Author(s):  
F.L. Osório ◽  
A.B. Burin ◽  
I.S. Nirenberg ◽  
A.E.M. Barbar
Keyword(s):  
Coping Strategies ◽  
Mental Health Professionals ◽  
Rating Scales ◽  
Beta Blockers ◽  
Music Performance ◽  
Performance Anxiety ◽  
Audience Response ◽  
Self Medication ◽  
Music Performance Anxiety ◽  
Competing Interest

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.

scholarly journals How does music performance anxiety relate to other anxiety disorders?

2021 ◽  
pp. 030573562098860
Author(s):  
Anna Wiedemann ◽  
Daniel Vogel ◽  
Catharina Voss ◽  
Jana Hoyer
Keyword(s):  
Cluster Analysis ◽  
Anxiety Disorder ◽  
Anxiety Disorders ◽  
Graphical Model ◽  
Music Performance ◽  
Performance Anxiety ◽  
Separation Anxiety Disorder ◽  
Systematic Analysis ◽  
Music Performance Anxiety ◽  
Dsm 5

Music performance anxiety (MPA) is considered a social anxiety disorder (SAD). Recent conceptualizations, however, challenge existing MPA definitions, distinguishing MPA from SAD. In this study, we aim to provide a systematic analysis of MPA interdependencies to other anxiety disorders through graphical modeling and cluster analysis. Participants were 82 music students ( Mage = 23.5 years, SD = 3.4 years; 69.5% women) with the majority being vocal (30.5%), string (24.4%), or piano (19.5%) students. MPA was measured using the German version of the Kenny Music Performance Anxiety Inventory (K-MPAI). All participants were tested for anxiety-related symptoms using the disorder-specific anxiety measures of the Diagnostic and Statistical Manual of Mental Disorders (5th ed., DSM-5), including agoraphobia (AG), generalized anxiety disorder (GAD), panic disorder (PD), separation anxiety disorder (SEP), specific phobia (SP), SAD, and illness anxiety disorder (ILL). We found no evidence of MPA being primarily connected to SAD, finding GAD acted as a full mediator between MPA and any other anxiety type. Our graphical model remained unchanged considering severe cases of MPA only (K-MPAI ⩾ 105). By means of cluster analysis, we identified two participant sub-groups of differing anxiety profiles. Participants with pathological anxiety consistently showed more severe MPA. Our findings suggest that GAD is the strongest predictor for MPA among all major DSM-5 anxiety types.

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