scholarly journals The phantoms of the opera—Stress offstage and stress onstage

2021 ◽  
pp. 030573562110135
Author(s):  
Anja-Xiaoxing Cui ◽  
Negin Motamed Yeganeh ◽  
Olga Sviatchenko ◽  
Thea Leavitt ◽  
Taylor McKee ◽  
...  
Keyword(s):  
Physiological Stress ◽  
Music Performance ◽  
Musical Work ◽  
Self Assessment ◽  
Physiological Measurement ◽  
Music Performance Anxiety ◽  
Different Types ◽  
Stressful Experience ◽  
Opera Singers ◽  
Stress Patterns

During opera performance singers deliver vocally demanding roles, follow a conductor, portray emotions of a musical work, act, dance, and engage with costumes, sets and props before an audience. Hence, opera performance is a stressful experience. This study examined different types of stress experiences by measuring the trajectories of 10 opera trainees’ heart rate variability (HRV) during two performances, covering onstage and offstage periods. We explored connections between HRV, self-reported stress measures, and expert-rated difficulty of the performed roles. We discovered that opera trainees had lower HRV and thus experienced greater physiological stress, while onstage compared to offstage periods. In contrast, when asked about performance specific stress, opera trainees self-reported that they felt more nervous when they were offstage. This disconnect between physiological measurement and psychological self-assessment suggests that there are two relevant types of stress for opera performance: psychological stress, which is felt more keenly offstage, and physiological stress, which is greater onstage. Patterns of association between HRV and self-reported measures suggest that HRV is linked to general (not performance-specific) stress. Patterns between self-reported measures suggest that music performance anxiety relates to trait anxiety. Our results indicate specific targets for possible interventions for stress management in opera singers.

Music performance anxiety in opera singers

2010 ◽  
Vol 35 (4) ◽  
pp. 175-182 ◽  
Author(s):  
Claudia Spahn ◽  
Matthias Echternach ◽  
Mark F. Zander ◽  
Edgar Voltmer ◽  
Bernhard Richter
Keyword(s):  
Music Performance ◽  
Performance Anxiety ◽  
Music Performance Anxiety ◽  
Opera Singers

scholarly journals Classifying Different Types of Music Performance Anxiety

2021 ◽  
Vol 12 ◽  
Author(s):  
Claudia Spahn ◽  
Franziska Krampe ◽  
Manfred Nusseck
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Total Sample ◽  
Music Performance Anxiety ◽  
Different Types ◽  
Type 3 ◽  
A Performance

Music performance anxiety (MPA) is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was performed with 532 musicians; 27% of them being professional orchestra musicians, 45% non-professional orchestra musicians, and 28% non-professional choir singers. The musicians were asked to fill in the Performance-specific Questionnaire for Musicians (PQM) immediately after a performance. The questionnaire contains three scales regarding symptoms of MPA, functional coping with MPA and performance-related self-efficacy. A cluster analysis was performed on the PQM scales to identify systematic variations. Findings indicate that there are three different types of MPA in the sample studied. Type 1 describes musicians who have few symptoms of MPA throughout the performance, show functional coping with MPA, and have a stable and well-developed self-efficacy. Type 2 describes musicians who begin their performance with rather high symptoms of MPA but can positively reduce these by the end of the performance and show high values in self-efficacy and in functional coping. Type 3 contains musicians who begin their performance with some symptoms of MPA, which increase to the end of the performance. The values of self-efficacy and functional coping in this type are rather low. Of the total sample, half of the musicians were assigned to Type 1 and approximately a quarter each to Type 2 (27%) and Type 3 (23%). In accordance with the literature, the results confirm the importance of self-efficacy and functional coping for a positive performance experience.

Hostile and Hardened? An Experimental Study on (De-)Sensitization to Violence and Suffering Through Playing Video Games

2008 ◽  
Vol 67 (1) ◽  
pp. 41-50 ◽  
Author(s):  
Frithjof Staude-Müller ◽  
Thomas Bliesener ◽  
Stefanie Luthman
Keyword(s):  
Video Games ◽  
Emotional Responses ◽  
Physiological Measurement ◽  
Different Types ◽  
Downward Spiral ◽  
Spiral Model ◽  
Post Hoc ◽  
Game Violence ◽  
First Person Shooter ◽  
Physiological Reactions

This study tests whether playing violent video games leads to desensitization and increased cardiovascular responding. In a laboratory experiment, 42 men spent 20 min playing either a high- or low-violence version of a “first-person shooter” game. Arousal (heart rate, respiration rate) was measured continuously. After playing the game, emotional responses to aversive and aggressive stimuli - pictures from Lang, Bradley, and Cuthbert’s (1999) International Affective Picture System - were assessed with self-ratings and physiological measurement (skin conductance). Results showed no differences in the judgments of emotional responses to the stimuli. However, different effects of game violence emerged in the physiological reactions to the different types of stimulus material. Participants in the high-violence condition showed significantly weaker reactions (desensitization) to aversive stimuli and reacted significantly more strongly (sensitization) to aggressive cues. No support was found for the arousal hypothesis. Post-hoc analyses are used to discuss possible moderating influences of gaming experience and player’s trait aggressiveness in terms of the General Aggression Model ( Anderson & Bushman, 2001 ) and the Downward Spiral Model ( Slater, Henry, Swaim, & Anderson, 2003 ).

Attachment and physiological stress patterns in newly married couples

2011 ◽  
Author(s):  
Paula R. Pietromonaco ◽  
Casey J. DeBuse ◽  
Sally I. Powers
Keyword(s):  
Physiological Stress ◽  
Married Couples ◽  
Newly Married ◽  
Stress Patterns

scholarly journals Performers of the night: Examining the mental health of electronic music artists

2021 ◽  
pp. 030573562097698
Author(s):  
Jolan Kegelaers ◽  
Lewie Jessen ◽  
Eline Van Audenaerde ◽  
Raôul RD Oudejans
Keyword(s):  
Mental Health ◽  
Social Support ◽  
Sleep Disturbance ◽  
Electronic Music ◽  
Music Performance ◽  
Well Being ◽  
Cross Sectional ◽  
Music Performance Anxiety ◽  
Symptoms Of Depression ◽  
Levels Of Functioning

Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.

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.

Sign in / Sign up

Export Citation Format

Share Document