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.

scholarly journals Live Music Performance: The Relationship Between Flow and Music Performance Anxiety

2021 ◽  
Vol 12 ◽  
Author(s):  
Claudia Spahn ◽  
Franziska Krampe ◽  
Manfred Nusseck
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Flow Experience ◽  
Global Flow ◽  
Music Performance Anxiety ◽  
Live Music ◽  
Orchestral Musicians ◽  
The Relationship ◽  
Live Music Performance

Most studies exploring the relation between flow and Music Performance Anxiety (MPA) have focused on the disposition of generally experiencing flow and the occurrence of MPA. Little is known about the connection between experiencing flow and MPA as it relates to a specific performance. In this study, flow and MPA have been investigated in 363 orchestral musicians in relation to a particular live music performance. The musicians were asked to fill out a questionnaire immediately after a concert. Flow experience during the performance was measured using the Flow Short Scale. The Performance-specific Questionnaire on MPA (PQM) was used for MPA. The PQM addresses particular aspects of MPA and refers retrospectively to the time before and during the performance as well as to the moment of filling out the questionnaire after the performance. Using three scales, the functional coping, the perceived symptoms of MPA and self-efficacy were determined for each time point of the performance. The results showed that experiencing flow was on average higher among orchestral musicians compared to a sample of the general population. However, there were differences between the professional and non-professional musicians. All PQM scales showed significant correlations with the global flow scale. Regression analysis on the global flow score found that regarding the time before the performance the PQM scale symptoms of MPA were diametrically connected with the flow experience. The PQM scale functional coping was shown to be positively related to the flow during the performance. Moreover, high self-efficacy was found to be closely related with stronger flow experience. Furthermore, flow seems to have positive effects on functionally coping with MPA and the self-efficacy after the performance. These findings confirm the negative relationship between flow and symptoms of MPA, offering further approaches in understanding the relationship especially for live music performances.

scholarly journals The relationship between music performance anxiety and self-efficacy in sixth- to eighth-grade instrumental students

2021 ◽  
pp. 030573562110506
Author(s):  
Brian Bersh
Keyword(s):  
Instrumental Music ◽  
Self Efficacy ◽  
Cognitive Theory ◽  
Music Performance ◽  
Performance Anxiety ◽  
The United States ◽  
Music Performance Anxiety ◽  
Mastery Experience ◽  
The Relationship ◽  
Social Persuasion

The purpose of this nonexperimental, quantitative study was to test social cognitive theory as it relates self-efficacy to anxiety. Music performance anxiety (MPA) and music performance self-efficacy (MPSE) were tested within a stratified random sample of Grades 6–8 instrumental music students ( N = 228) enrolled in middle schools located within the Mid-Atlantic region of the United States. To determine levels of MPA and MPSE, participants completed the Music Performance Anxiety Inventory for Adolescents (MPAI-A) and the Music Performance Self-Efficacy Scale (MPSES). A correlational research design was used to test both the strength of the relationship between MPA and MPSE and the extent to which MPA could be predicted by two sources of self-efficacy: mastery experience and verbal/social persuasion. Results revealed a statistically significant, weak negative correlation between MPA and MPSE and a significant predictive relationship between MPA scores and the linear combination of mastery experience and verbal/social persuasion. Recommendations for future research include an investigation into the following: (a) the relationships between verbal/social persuasion and MPA among middle school-aged students, (b) strategies for teaching self-efficacy as a coping mechanism for MPA, and (c) how the relationship between MPA and MPSE is affected by proximity to performance.

Music performance anxiety in ensemble rehearsals and concerts: A comparison of music and non-music major undergraduate musicians

2017 ◽  
Vol 45 (6) ◽  
pp. 868-885 ◽  
Author(s):  
Kim E. Robson ◽  
Dianna T. Kenny
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Music Educators ◽  
Behavioral Symptoms ◽  
Music Majors ◽  
Unique Contribution ◽  
Music Performance Anxiety ◽  
The Us

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.

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 Self representations and music performance anxiety: A study with professional and amateur musicians

2018 ◽  
Vol 14 (4) ◽  
pp. 792-805
Author(s):  
Claudia Castiglione ◽  
Alberto Rampullo ◽  
Silvia Cardullo
Keyword(s):  
Music Performance ◽  
Performance Anxiety ◽  
Situational Factors ◽  
Professional Musicians ◽  
Music Performance Anxiety ◽  
Amateur Musicians ◽  
Anxiety Levels ◽  
Future Self ◽  
And Performance ◽  
The Relationship

Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).

scholarly journals The relationship between music performance anxiety, subjective performance quality and post-event rumination among music students

2017 ◽  
Vol 46 (1) ◽  
pp. 136-152 ◽  
Author(s):  
Carole Nielsen ◽  
Regina K. Studer ◽  
Horst Hildebrandt ◽  
Urs M. Nater ◽  
Pascal Wild ◽  
...  
Keyword(s):  
Social Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Music Students ◽  
Music Performance Anxiety ◽  
Performance Quality ◽  
Social Events ◽  
High Anxious ◽  
The Relationship ◽  
Different Levels

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.

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.

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