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Journal ArticleDOI

Perceived performance anxiety in advanced musicians specializing in different musical genres

01 Jan 2013-Psychology of Music (SAGE Publications)-Vol. 41, Iss: 1, pp 18-41
TL;DR: In this article, the authors explored the perceived intensity of performance anxiety, the perceived contributing factors, changes in perceived anxiety levels as performances approached, and the perceived impact of performance on the quality of performance.
Abstract: Most research on musical performance anxiety has focused on musicians coming from a classical background, and performance anxiety experiences of musicians outside the western classical genre remain under-researched. The aim of this study was to investigate perceived performance anxiety experiences in undergraduate and professional musicians and to explore whether musical genre specialization (Western classical, jazz, popular, Scottish traditional) affected musicians' performance anxiety experiences. The study addressed questions exploring the perceived intensity of performance anxiety, the perceived contributing factors, changes in perceived anxiety levels as performances approached (one hour before, immediately before and during performance) and the perceived impact of performance on the quality of performance. Participants were 244 musicians, 170 undergraduates and 74 portfolio career musicians. Data were collected through a questionnaire survey. Findings suggested that performance anxiety was of concern for a significant majority of undergraduate and professional musicians. Musicians from all participating musical genres shared similar perceptions and concerns. Anxiety appeared to have negative connotations, although it was also reported as beneficial. Solo performance generated more anxiety compared to group performance. Overall, the impact of anxiety on performance was related to its perceived severity during performance, and was mediated by musicians' performance experience and their general susceptibility to anxiety. The musical genre in which participants specialized affected their perceived anxiety levels. Western classical musicians were generally found to report higher levels of performance anxiety. This study has provided indications that musicians specializing in different musical genres may experience performance anxiety in quantitatively and qualitatively different ways. Further research would benefit from investigating factors contributing to these variations.

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Citations
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Journal ArticleDOI
TL;DR: Improvements were observed in participants' cognitive defusion, acceptance of MPA symptoms, and psychological flexibility at post-treatment and follow-ups, which add to existing research suggesting ACT is a promising intervention for MPA, while also highlighting how vocal students may be less impaired by physical MPA Symptoms.
Abstract: This study investigated the use of Acceptance and Commitment Therapy (ACT) as a treatment for music performance anxiety (MPA) in an uncontrolled pilot design. ACT is a newer, "third-wave" therapy that differs from previous MPA treatments, because its goal is not to reduce symptoms of MPA. Rather, ACT aims to enhance psychological flexibility in the presence of unwanted symptoms through the promotion of six core processes collectively known as the ACT "Hexaflex." A small group of student vocalists (N = 7) from an elite choral college were recruited using objective criteria for evaluating MPA. Participants received 12 ACT sessions, and their baseline functioning served as a pre-treatment control. Treatment consisted of an orientation to ACT, identifying experientially avoidant behaviors, facilitation of Hexaflex processes, group performances in which valued behaviors were practiced in front of one another, meditations, homework, and completion of self-report measures before, during, and after treatment (at a 1- and 3-month follow-up). Improvements were observed in participants' cognitive defusion, acceptance of MPA symptoms, and psychological flexibility at post-treatment and follow-ups. Students also appeared to improve their performance quality and reduce their shame over having MPA. These results add to existing research suggesting ACT is a promising intervention for MPA, while also highlighting how vocal students may be less impaired by physical MPA symptoms.

32 citations


Cites background from "Perceived performance anxiety in ad..."

  • ...Newer research suggests this could be due to undergraduate musicians’ having less experience than professionals in performing music at a high-level (Papageorgi et al., 2011; Biasutti and Concina, 2014)....

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Journal ArticleDOI
TL;DR: The data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians, and it is argued that musical training largely accounted for this effect.
Abstract: Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive accuracy comparable to other perceptual modalities. Thirteen professional singers, twelve string players, and thirteen matched non-musicians were examined using a well-established heartbeat discrimination paradigm complemented by self-reported dispositional traits. Results revealed that both groups of musicians displayed higher interoceptive accuracy than non-musicians, whereas no differences were found between singers and string-players. Regression analyses showed that accumulated musical practice explained about 49% variation in heartbeat perception accuracy in singers but not in string-players. Psychometric data yielded a number of psychologically plausible inter-correlations in musicians related to performance anxiety. However, dispositional traits were not a confounding factor on heartbeat discrimination accuracy. Together, these data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians. We argue that musical training largely accounted for this effect.

31 citations

Journal ArticleDOI
TL;DR: In this paper, the authors carried out a critical literature review on clinical and etiological aspects, perceived causes, coping strategies and treatment of music performance anxiety (MPA) and found that MPA is highly prevalent among musicians.
Abstract: Background Music performance anxiety (MPA) is understood as a sub-type of social anxiety and is characterised by fears of a musical presentation. Objective To carry out a critical literature review on clinical and etiological aspects, perceived causes, coping strategies and treatment of MPA. Methods Electronic databases PubMed, PsycINFO and Lilacs as well as specific periodicals were used based on the key-words symptoms, diagnosis, aetiology, perceived causes, coping strategies and treatment. Results MPA is highly prevalent among musicians (> 16%), regardless of culture and formation. Cognitive, behavioural and physiological factors are associated with the aetiology of MPA, including biological and psychological predispositions. In addition, one should highlight factors related to the individual, aspects related to tasks and musical situation as perceived causes and/or predictor variables of MPA. As for the coping strategies, one can also highlight the use of breathing/relaxing techniques, increased musical practice, use of homeopathy and substances without medical prescription. Discussion MPA is impacting in the musician’s life. Despite the increasing interest in its study, it is necessary to better understand this complex phenomenon, mainly in the therapeutic context, in addition to the publicising and offering of services for prevention and treatment of MPA.

31 citations

Journal ArticleDOI
TL;DR: In this paper, performance self-efficacy was analyzed as a predictor of music performance anxiety and performance boost and self-rated performance as their outcomes in a sampland study.
Abstract: The first aim of this study was to analyse performance self-efficacy as a predictor of music performance anxiety (MPA), and performance boost and self-rated performance as their outcomes in a sampl...

28 citations


Cites background or result from "Perceived performance anxiety in ad..."

  • ...Previous research repeatedly found that females obtained higher values in MPA (Kenny & Ackermann, 2015; Kenny et al., 2004; Kenny et al., 2014; Osborne, 2016; Osborne & Kenny, 2005; Papageorgi et al., 2013; Sârbescu & Dorgo, 2014)....

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  • ...On the contrary, self-efficacy was not a significant predictor of solo and group MPA (Papageorgi et  al., 2013); similarly, anxiety did not significantly predict self-efficacy and performance (McCormick & McPherson, 2003); finally, perceived competence negatively correlated with MPA (MacIntyre,…...

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  • ...The normative standard has dominated self-evaluation literature (see Denton & Chaplin, 2016; Papageorgi et al., 2013; Simoens et al., 2015); furthermore, Kenny et al....

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  • ...MPA is a complex construct closely linked to other concepts such as social anxiety, test anxiety, and social phobia (Kenny, Driscoll, & Ackermann, 2014; Nicholson et al., 2015; Papageorgi et al., 2013)....

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  • ..., 2015) and between MPA and performance (MacIntyre et al., 2012; Papageorgi et al., 2013; Simoens et al., 2015)....

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Journal ArticleDOI
TL;DR: In this article, the authors present the results of a study carried out on a sample of music performance anxiety patients who make public appearances and report that they are often encountered among professionals and students.
Abstract: Music performance anxiety (MPA) is a phenomenon often encountered among professionals and students who make public appearances. This article presents the results of a study carried out on a sample ...

28 citations


Cites background from "Perceived performance anxiety in ad..."

  • ...Several studies find different degrees of MPA in music students and active professional musicians (Papageorgi et al., 2013)....

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  • ...Including such a distinction in our analysis is justified by differences in performance anxiety previously found for males and females (Osborne & Kenny, 2005, 2008; Papageorgi et al., 2013; Rae & McCambridge, 2004; Ryan, 2004), as well as the possible differential role in men and women attributed to development of these problems, according to Barlow (2000)....

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  • ...In the case of musicians with a high level of mastery, however, it is possible that the activation of such states might not necessarily be associated with a decrease in performance capacity but in its improvement; such anxiety could be designated as adaptive instead of maladaptive (Papageorgi et al., 2013)....

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  • ...As a specific coping strategy, self-efficacy has also been associated with musical performance (McPherson & McCormick, 2006; Papageorgi et al., 2013; Ritchie & Williamon, 2010)....

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  • ...…intend to pursue a professional musical career, as well as variance according to type of musical instrument, and the different types of expectation to which these future professionals are often subjected (Fehm & Schmidt, 2006; Kenny et  al., 2004; Osborne & Kenny, 2008; Papageorgi et  al., 2013)....

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References
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Book
01 Jan 1997
TL;DR: SelfSelf-Efficacy (SE) as discussed by the authors is a well-known concept in human behavior, which is defined as "belief in one's capabilities to organize and execute the courses of action required to produce given attainments".
Abstract: Albert Bandura and the Exercise of Self-Efficacy Self-Efficacy: The Exercise of Control Albert Bandura. New York: W. H. Freeman (www.whfreeman.com). 1997, 604 pp., $46.00 (hardcover). Enter the term "self-efficacy" in the on-line PSYCLIT database and you will find over 2500 articles, all of which stem from the seminal contributions of Albert Bandura. It is difficult to do justice to the immense importance of this research for our theories, our practice, and indeed for human welfare. Self-efficacy (SE) has proven to be a fruitful construct in spheres ranging from phobias (Bandura, Jeffery, & Gajdos, 1975) and depression (Holahan & Holahan, 1987) to career choice behavior (Betz & Hackett, 1986) and managerial functioning (Jenkins, 1994). Bandura's Self-Efficacy: The Exercise of Control is the best attempt so far at organizing, summarizing, and distilling meaning from this vast and diverse literature. Self-Efficacy may prove to be Bandura's magnum opus. Dr. Bandura has done an impressive job of summarizing over 1800 studies and papers, integrating these results into a coherent framework, and detailing implications for theory and practice. While incorporating prior works such as Social Learning Theory (Bandura, 1977) and "Self-efficacy mechanism in human agency" (Bandura, 1982), Self-Efficacy extends these works by describing results of diverse new research, clarifying and extending social cognitive theory, and fleshing out implications of the theory for groups, organizations, political bodies, and societies. Along the way, Dr. Bandura masterfully contrasts social cognitive theory with many other theories of human behavior and helps chart a course for future research. Throughout, B andura' s clear, firm, and self-confident writing serves as the perfect vehicle for the theory he espouses. Self-Efficacy begins with the most detailed and clear explication of social cognitive theory that I have yet seen, and proceeds to delineate the nature and sources of SE, the well-known processes via which SE mediates human behavior, and the development of SE over the life span. After laying this theoretical groundwork, subsequent chapters delineate the relevance of SE to human endeavor in a variety of specific content areas including cognitive and intellectual functioning; health; clinical problems including anxiety, phobias, depression, eating disorders, alcohol problems, and drug abuse; athletics and exercise activity; organizations; politics; and societal change. In Bandura's words, "Perceived self-efficacy refers to beliefs in one's capabilities to organize and execute the courses of action required to produce given attainments" (p. 3). People's SE beliefs have a greater effect on their motivation, emotions, and actions than what is objectively true (e.g., actual skill level). Therefore, SE beliefs are immensely important in choice of behaviors (including occupations, social relationships, and a host of day-to-day behaviors), effort expenditure, perseverance in pursuit of goals, resilience to setbacks and problems, stress level and affect, and indeed in our ways of thinking about ourselves and others. Bandura affirms many times that humans are proactive and free as well as determined: They are "at least partial architects of their own destinies" (p. 8). Because SE beliefs powerfully affect human behaviors, they are a key factor in human purposive activity or agency; that is, in human freedom. Because humans shape their environment even as they are shaped by it, SE beliefs are also pivotal in the construction of our social and physical environments. Bandura details over two decades of research confirming that SE is modifiable via mastery experiences, vicarious learning, verbal persuasion, and interpretation of physiological states, and that modified SE strongly and consistently predicts outcomes. SE beliefs, then, are central to human self-determination. STRENGTHS One major strength of Self-Efficacy is Bandura's ability to deftly dance from forest to trees and back again to forest, using specific, human examples and concrete situations to highlight his major theoretical premises, to which he then returns. …

46,839 citations


"Perceived performance anxiety in ad..." refers methods in this paper

  • ...Three published standardized scales measuring the following: 1. musical self-efficacy (Hargreaves et al., 2003 – based on Bandura, 1997; Sherer et al., 1982); two existing versions of this scale were used, one focusing on performance preparation and the second focusing on actual performance; 2.…...

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01 Jan 1970
TL;DR: The STAI as mentioned in this paper is an indicator of two types of anxiety, the state and trait anxiety, and measure the severity of the overall anxiety level, which is appropriate for those who have at least a sixth grade reading level.
Abstract: The STAI serves as an indicator of two types of anxiety, the state and trait anxiety, and measure the severity of the overall anxiety level.The STAI, which is appropriate for those who have at least a sixth grade reading level, contains four-point Likert items. The instrument is divided into two sections, each having twenty questions. Approximately 15 minutes are required for adults to complete the both STAI. The number on the scale is positively correlated to the anxiety related to in the question.

24,997 citations

Book
21 Apr 1965

21,050 citations

Journal ArticleDOI
TL;DR: In connection with a study of various aspects of the modifiability of behavior in the dancing mouse a need for definite knowledge concerning the relation of strength of stimulus to rate of learning arose, the experiments which are now to be described arose.
Abstract: In connection with a study of various aspects of the modifiability of behavior in the dancing mouse a need for definite knowledge concerning the relation of strength of stimulus to rate of learning arose. It was for the purpose of obtaining this knowledge that we planned and executed the experiments which are now to be described. Our work was greatly facilitated by the advice and assistance of Doctor E. G. MARTIN, Professor G. W. PIERCE, and Professor A. E. KENNELLY, and we desire to express here both our indebtedness and our thanks for their generous services.

5,868 citations

Journal ArticleDOI
TL;DR: In this article, the authors analyzed the ways 100 community-residing men and women aged 45 to 64 coped with the stressful events of daily living during one year and found that coping conceptualized in either defensive or problem-solving terms is incomplete.
Abstract: This study analyzes the ways 100 community-residing men and women aged 45 to 64 coped with the stressful events of daily living during one year. Lazarus's cognitive-phenomenological analysis of psychological stress provides the theoreticalframework. Information about recently experienced stressful encounters was elicited through monthly interviews and self-report questionnaires completed between interviews. At the end of each interview and questionnaire, the participant indicated on a 68-item Ways of Coping checklist those coping thoughts and actions used in the specific encounter. A mean of 13.3 episodes was reported by each participant. Two functions of coping, problem-focused and emotion-focused, are analyzed with separate measures. Both problemand emotion-focused coping were used in 98% of the 1,332 episodes, emphasizing that coping conceptualized in either defensive or problem-solving terms is incomplete-both functions are usually involved. Intraindividual analyses show that people are more variable than consistent in their coping patterns. The context of an event, who is involved, how it is appraised, age, and gender are examined as potential influences on coping. Context and how the event is appraised are the most potent factors. Work contexts favor problem-focused coping, and health contexts favor emotionfocused coping. Situations in which the person thinks something constructive can be done or that are appraised as requiring more information favor problem-focused coping, whereas those having to be acceptedfavor emotion-focused coping. There are no effects associated with age, and gender differences emerge only in problem-focused coping: Men use more problem-focused coping than women at work and in situations having to be accepted and requiring more information. Contrary to the cultural stereotype, there are no gender differences in emotionfocused coping.

5,616 citations