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Journal Article•DOI•

Perceived performance anxiety in advanced musicians specializing in different musical genres

Ioulia Papageorgi1, Andrea Creech1, Graham Welch1•
University of London1
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 Article•
Psychology of anxiety

[...]

Rícan P
01 Nov 1977-Ceskoslovenská pediatrie
TL;DR: Find loads of the the psychology of anxiety book catalogues in this site as the choice of you visiting this page.
Abstract: Find loads of the the psychology of anxiety book catalogues in this site as the choice of you visiting this page. You can also join to the website book library that will show you numerous books from any types. Literature, science, politics, and many more catalogues are presented to offer you the best book to find. The book that really makes you feels satisfied. Or that's the book that will save you from your job deadline.

104 citations

Journal Article•DOI•
Instrumental Teaching: a Practical Guide to Better Teaching and Learning by Susan Hallam. Oxford: Heinemann Educational, 1998. 350 pp. £13.75.

[...]

Gwyn Parry-Jones
01 Jul 1999-British Journal of Music Education

91 citations

Journal Article•DOI•
The role of coping strategy and experience in predicting music performance anxiety

[...]

Michele Biasutti1, Eleonora Concina1•
University of Padua1
18 Feb 2014-Musicae Scientiae
TL;DR: Music performance anxiety (MPA), a condition common among musicians, consists of an anxious state characterized by cognitive, psychological, and physiological arousal as discussed by the authors, which is a condition that is usually associated with music performances.
Abstract: Music performance anxiety (MPA), a condition common among musicians, consists of an anxious state characterized by cognitive, psychological, and physiological arousal. Musicians often establish str...

72 citations

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

  • ...The research to date has focused on factors such as variability in levels of experience, and few studies have compared anxiety in students to anxiety in professional musicians (Papageorgi et al., 2013)....

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  • ...The relevance of experience and effort (hours of practice) were also considered in the research, but contrasting findings emerged (Fehm & Schmidt, 2006; Kobori et al., 2011; Papageorgi et al., 2013; Ryan & Andrews, 2009)....

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  • ...These results are consistent with the findings of other research reporting female musicians experiencing higher levels of MPA (Dews & Williams, 1989; Fishbein et al., 1988; Kenny & Osborne, 2006; Papageorgi et al., 2013; Rae & McCambridge, 2004; and Yondem, 2007)....

    [...]

  • ...In general, research findings report higher levels of MPA for female musicians than for male musicians (Dews & Williams, 1989; Fishbein, Middlestadt, Ottati, Strauss & Ellis, 1988; Kenny & Osborne, 2006; Papageorgi et al., 2013; Rae & McCambridge, 2004; Yondem, 2007)....

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  • ...This result contrasts with the research by Papageorgi et al. (2013), in which experience was not a significant predictor in solo performance anxiety, and research by Kobori et al. (2011), who found that experience was not a significant factor predicting MPA in amateur and professional musicians....

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Journal Article•DOI•
Managing performance anxiety and improving mental skills in conservatoire students through performance psychology training: a pilot study

[...]

Margaret S. Osborne1, Don J Greene, Don Immel1•
University of Melbourne1
18 Dec 2014
TL;DR: In this paper, a performance psychology skills training package was developed from elite occupational and sports performance domains, and translated into the musician's training and performance preparation process to reduce self-reported music performance anxiety.
Abstract: Students with a strong sense of competence in musical skills and control over their physical and psychological well-being enhance their capacity to exceed their average level of performance and achieve an optimal or peak performance. Musicians transferring from the rehearsal studio to a concert performance demonstrate significant increases in heart rate and physical tension, which may or may not have a detrimental effect on their performance depending on whether they interpret those physiological symptoms as facilitating or debilitating to their performance. Negative, catastrophic interpretations feed debilitating performance anxiety, which is a significant occupational health issue for a high proportion of professional musicians as well as those training for a professional career in music performance. In early 2013, music students at the Melbourne Conservatorium of Music participated in two lectures and a master class in performance psychology techniques to achieve performance success, supplemented by a workbook of 11 strategies for audition and performance success for musicians. Topics included channeling performance energy, developing confidence, improving self-talk, learning and memorizing music, mental rehearsal, building courage, recovering from mistakes, dealing with adversity, and becoming mentally tough. Pre-post analyses on data from 31 students demonstrates that students can significantly reduce self-reported music performance anxiety, and significantly improve performance preparation, confidence, courage, focus, concentration, and performance resilience as a result of implementing these techniques. This pilot study is the first empirical evaluation of a performance psychology skills training package developed from elite occupational and sports performance domains, and translated into the musician’s training and performance preparation process. The pedagogical implications of the results support the inclusion of performance psychology skills training in undergraduate music performance programs, which may support the wellbeing of emerging performing artists into their future careers.

70 citations

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

  • ...This is particularly important for musicians, given the broad range of triggers and symptoms of MPA (Kenny 2011; Papageorgi et al. 2013; Roland 1994)....

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  • ...A moderate amount of anxiety enhances performance when an individual’s skill level matches the performance demands of the situation (Jackson and Csikszentmihalyi 1999), and the individual interprets that anxiety positively (Jones et al. 1993; Papageorgi et al. 2013)....

    [...]

Journal Article•DOI•
Creativity and personality in classical, jazz and folk musicians.

[...]

Mathias Benedek1, Barbara Borovnjak2, Aljoscha C. Neubauer1, Silke Kruse-Weber2•
University of Graz1, University of Music and Performing Arts, Graz2
01 Jun 2014-Personality and Individual Differences
TL;DR: Creativity and personality of classical, jazz, and folk musicians was compared and Jazz musicians show higher divergent thinking ability and Folk musicians are more extraverted and publish more musical productions.

66 citations

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

  • ...In contrast, classical musicians report higher levels of performance anxiety than other non-classical musicians (Papageorgi et al., 2013)....

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References
More filters
Journal Article•DOI•
Instrumental Teaching: a Practical Guide to Better Teaching and Learning by Susan Hallam. Oxford: Heinemann Educational, 1998. 350 pp. £13.75.

[...]

Gwyn Parry-Jones
01 Jul 1999-British Journal of Music Education

91 citations

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

  • ...Theories explaining performance anxiety within a music performance context are in line with the multidimensional theory of anxiety and have conceptualized it as a multidimensional construct operating over time (Hallam, 1998; LeBlanc, 1994; Papageorgi, Hallam, & Welch, 2007)....

    [...]

Book•
The Oxford handbook of music education

[...]

Gary E. McPherson, Graham Welch
01 Jan 2012

90 citations

Journal Article•DOI•
Student musicians' personality styles, stresses, and coping patterns.

[...]

C. L. Barney Dews, Martha Williams1•
University of Texas at Austin1
01 Apr 1989-Psychology of Music
TL;DR: In this article, the sources of stress which music students perceive to be most debilitating to them as music students and prospective musicians were surveyed at three very different kinds of music schools in three geographical areas of the United States.
Abstract: This study concerns the sources of stress which music students perceive to be most debilitating to them as music students and prospective musicians Students at three very different kinds of music schools in three geographical areas of the United States were surveyed The questionnaire used in the survey listed 22 sources of stress which were identified through a review of the literature on the subject and a review of similar instruments Fifty per cent of the students at the three institutions were randomly selected to receive mailed questionnaires and the 201 respondents represented 35 per cent of the original sample The 22 identified stressors were rated for severity by the 201 students at the three schools A rank order of stress sources for each school was derived In addition to the general undifferen- tiated items labelled "stress" and "burnout" as major stressors, "music progress impatience" was identified as a particularly important source of stress "Preperformance nervousness" was also ranked

86 citations

"Perceived performance anxiety in ad..." refers background or result in this paper

  • ...Female musicians reported experiencing higher levels of anxiety, corroborating earlier research with classical student and professional musicians (e.g., Dews & Williams, 1989; Fishbein et al., 1988; Rae & McCambridge, 2004; Wesner et al., 1990)....

    [...]

  • ...…anxiety is one of the most frequently reported problems (Williamon & Thompson, 2006), and that it can negatively affect the quality of performance (Dews & Williams, 1989; Fishbein, Middlestadt, Ottati, Strauss, & Ellis, 1988; Gustafson & Rawson, 1983; Marchant-Haycox & Wilson, 1992; Schulz, 1981;…...

    [...]

  • ...Female musicians in particular appear to be more sensitive to performance anxiety (Dews & Williams, 1989; Fishbein et al., 1988; Kenny & Osborne, 2006; Papageorgi, 2006, 2007; Rae & McCambridge, 2004; Ryan, 2004; Wesner et al., 1990)....

    [...]

Journal Article•DOI•
Investigating musical performance: commonality and diversity among classical and non-classical musicians

[...]

Andrea Creech1, Ioulia Papageorgi1, Celia Duffy2, Frances Morton2, Elizabeth Hadden3, John Potter3, Christophe de Bezenac4, Tony Whyton4, Evangelos Himonides1, Graham Welch1 •
Institute of Education1, Royal Conservatoire of Scotland2, University of York3, Leeds College of Music4
06 May 2008-Music Education Research
TL;DR: The research project "Investigating musical performance: Comparative studies in Advanced Musical Learning" as mentioned in this paper investigates how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts.
Abstract: The research project ‘Investigating Musical Performance: Comparative Studies in Advanced Musical Learning’ was devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The aim of this paper is to explore the findings relating to attitudes towards the importance of musical skills, the relevance of musical activities and the nature of musical expertise. Questionnaire data obtained from the first phase of data collection (n=244) produced evidence of differences and similarities between classical and non-classical musicians. While classical musicians emphasised the drive to excel musically and technically and prioritised notation-based skills and analytical skills, non-classical musicians attached greater importance to memorising and improvising. Regardless of genre, the musicians all considered practical activities such as practising, rehearsing, taking lessons ...

86 citations

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

  • ...…musicians generally begin their engagement with music at a later age compared to Western classical performers (Gruber et al., 2004; Creech et al., 2008), the type of music performed (repertoire) and the quality of the performance context (formal or informal) across different…...

    [...]

Journal Article•DOI•
Gender Differences in Children’s Experience of Musical performance Anxiety:

[...]

Charlene Ryan1•
McGill University1
01 Jan 2004-Psychology of Music
TL;DR: In this article, the authors examined musical performance anxiety in children, with a focus on potential gender differences and found that significantly more anxious behaviours were displayed by boys both prior to and while performing.
Abstract: The purpose of this study was to examine musical performance anxiety in children, with a focus on potential gender differences. Twenty-six sixth-grade students performing in a piano recital were monitored continuously on measures of heart rate and behaviour. Participants were interviewed in the months prior to the recital and they completed the State-Trait Anxiety Inventory for Children immediately after performing. It was found that girls’ heart rates rose through each recital stage (before playing and during playing). Boys’ heart rates rose minimally prior to performing but exceeded the girls’ while performing. Significantly more anxious behaviours were displayed by boys both prior to and while performing. Three sets of correlation and regression analyses (all children, girls-only, boys-only) were run on all anxiety measures. Several significant relationships in the ‘all children’ group seemed to be driven by a strong relationship in a single gender that was not apparent in the other gender.

84 citations

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

  • ...Female musicians in particular appear to be more sensitive to performance anxiety (Dews & Williams, 1989; Fishbein et al., 1988; Kenny & Osborne, 2006; Papageorgi, 2006, 2007; Rae & McCambridge, 2004; Ryan, 2004; Wesner et al., 1990)....

    [...]

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