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

Author(s):  
Flávia de Lima Osório
2017 ◽  
Vol 41 (S1) ◽  
pp. S110-S110
Author(s):  
F.L. Osório ◽  
A.E. M. Barbar ◽  
M.F. Donadon ◽  
J.A.S. Crippa

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.


2021 ◽  
pp. 030573562098860
Author(s):  
Anna Wiedemann ◽  
Daniel Vogel ◽  
Catharina Voss ◽  
Jana Hoyer

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.


2019 ◽  
Author(s):  
Anna Wiedemann ◽  
Daniel Vogel ◽  
Catharina Voss ◽  
Jana Hoyer

Music performance anxiety (MPA) is considered a social anxiety disorder (SAD). Recent conceptualisations, 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; 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 DSM-5, including agoraphobia (AG), generalised anxiety disorder (GAD), panic disorder (PD), separation anxiety disorder (SEP), specific phobia (SP), social anxiety disorder (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 amongst all major DSM-5 anxiety types.


2019 ◽  
Vol 42 (1) ◽  
pp. 77-93 ◽  
Author(s):  
Julia Kaleńska-Rodzaj

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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