The Effects of Performance Anxiety Management Training on Musicians' Self-efficacy, State Anxiety and Musical Performance Quality PDF Download
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Author: Nancy Barnes Mansberger
Publisher:
ISBN:
Category : Anxiety
Languages : en
Pages : 46
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Author: Nancy Barnes Mansberger
Publisher:
ISBN:
Category : Anxiety
Languages : en
Pages : 46
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Author: Dianna Kenny
Publisher: Oxford University Press
ISBN: 0199586144
Category : Music
Languages : en
Pages : 386
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Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? These are the questions addressed in this book, the first rigorous exposition of this complex phenomenon.
Author: Oscar Casanova
Publisher: Frontiers Media SA
ISBN: 2832541151
Category : Science
Languages : en
Pages : 212
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VIEW BOOK DETAILS We are pleased to introduce the collection Frontiers in Psychology – Highlights in Performance Science: Music Performance Anxiety. Music performance anxiety (MPA) has been defined as “the experience of marked and persistent anxious apprehension related to musical performance”. For musicians performing in public is a demanding activity and the MPA can cause potential debilitating effects on their career and health, regardless of age, gender, experience, practicing time, and music genre. A greater understanding of the predicting factors of MPA has implications not only for theories of MPA but also for its prevention and management and more broadly for teaching and learning. This collection will welcome and showcase a selection of articles about Music Performance Anxiety (MPA), authored by leaders in the field. The work presented here highlights the broad diversity of research performed across the Performance Science field and aims to put a spotlight on the main areas of interest. This collection aims to further support Frontiers’ strong community by shining a spotlight on our authors' highly impactful research.
Author: Erin MacAfee
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Public performance is often a central component of music education for young musicians, and the demands of performing in festivals, exams, auditions, and recitals can cause young performers to experience music performance anxiety (MPA: Boucher & Ryan, 2011; Thomas & Nettelbeck, 2014). The current dissertation explored MPA in young musicians from a variety of perspectives, using four main research purposes. The first article examined the relationship between MPA and self-efficacy in young musicians and investigated the extent to which gender moderates the relationships between MPA, age, and self-efficacy in young musicians (aged 7-17 years). The results of statistical analyses indicated that while gender did not moderate the relationship between age and MPA, age had a significant main effect on MPA. There was no significant difference between males' and females' levels of self-reported MPA. Additionally, there were no significant main effects of age or gender on self-efficacy, or an effect of gender on the relationship between age and self-efficacy. A strong negative relationship between self-efficacy and MPA indicates that students with low levels of self-efficacy are more likely to have high levels of MPA. Next, the MPA/self-efficacy and MPA/age-related findings from article one led to the second and third articles of this dissertation which investigated a self-modeling intervention designed to target MPA and self-efficacy in adolescent musicians. Article two examined the relational changes between MPA, self-efficacy, performance quality, and behavioural anxiety in five adolescent piano students over a six-week intervention. The study also explored the effects of a positive self-review self-modeling intervention on adolescent musicians using quantitative methods. Results indicated that the relational changes between MPA, self-efficacy, and performance quality are complex. There were no observed relationships between MPA and self-efficacy or performance, suggesting that MPA can have both debilitative and facilitate effects on these variables. Additionally, there was no relationship between MPA and behavioural anxiety, suggesting that students may appear less anxious than they feel. Finally, the results suggest that self-modeling has individual effects on musicians, meaning that self-modeling can provide teachers with a versatile strategy for reducing MPA, improving performance quality, and/or increasing performance confidence. Article three expanded on the self-efficacy results of article two and investigated how Bandura's (1977) four sources of efficacy influenced self-efficacy beliefs in adolescent musicians within a six-week self-modeling intervention. The study also explored the effects of a positive self-review self-modeling intervention on musician self-efficacy using qualitative methods. Results indicated that mastery experience was most influential on self-efficacy beliefs in participants. Observing similarly skilled models, receiving positive feedback, and feeling calm or focused prior to performance increased self-efficacy in participants, while observing advanced models, making negative comparisons, and feeling anxious, distracted, or fatigued decreased self-efficacy. These results provide music teachers with several practical strategies that may facilitate stronger self-efficacy beliefs in students. Additionally, the self-modeling video increased self-efficacy when participants liked and related to their video or used the video to facilitate performance improvements, suggesting that both the performance and strategic functions of modeling may be beneficial to musicians. Finally, the fourth and final article of the dissertation explored MPA from music teachers' perspectives by identifying and describing common coping strategies teachers use to support students with MPA. A quantitative content analysis of scientific and non-scientific MPA literature identified preparation, open communication, realistic expectations, exposure therapy, and deep breathing as the five most common coping strategies mentioned in the literature. Qualitative thematic analyses of literature and semi-structured interview transcripts with piano teachers provided descriptions of the five commonly identified strategies. A comparison of literature and interview results suggests a gap between research knowledge of MPA and practical teaching application. While music teachers employ a variety of strategies to help students cope with MPA, they may also benefit from formal MPA training opportunities grounded in research to provide additional resources for effectively managing students with MPA. The four articles of the dissertation combine to give an overview of MPA in young musicians from several different perspectives. Findings from article one help identify students who may be more at risk to suffer from MPA, while self-modeling findings from articles two and three provide musicians and teachers with a viable strategy to help reduce MPA and increase self-efficacy. Finally, given that teachers can act as a front-line defense against MPA (Liu, 2016), findings from article four help identify areas where researchers can provide teachers with further MPA training, which will in turn help fortify young musicians against MPA.
Author:
Publisher:
ISBN:
Category : Dissertations, Academic
Languages : en
Pages : 712
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Author: Dianna Kenny
Publisher: OUP Oxford
ISBN: 0191620998
Category : Psychology
Languages : en
Pages : 400
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Book Description
Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? What are the factors that produce such vastly different performance experiences? Why have consummate artists like Frederic Chopin, Sergei Rachmaninoff, Pablo Cassals, Tatiana Troyanos, and Barbra Streisand experienced such intense music performance anxiety? This is a disorder that can affect musicians across a range of genres and of all standards. Some of the 'cures' musicians resort to can be harmful to their health and detrimental to their playing. This is the first rigorous exposition of music performance anxiety. In this groundbreaking work, Dianna Kenny draws on a range of disciplines including psychology, philosophy, phenomenology, psychoanalysis, and performance theory in order to explain the many facets of music performance anxiety that have emerged in the empirical and clinical literature. She identifies some unifying guiding principles that will enhance our understanding of the condition and guide researchers and clinicians in the development of effective treatments. The book provides a detailed conceptual framework for the study of music performance anxiety and a review of the empirical and clinical research on the anxiety disorders. In addition it presents a thorough analysis of the concepts related to music performance anxiety, its epidemiology, and theories and therapies that may be useful in understanding and treating the condition. The voices of musicians are clearly heard throughout the book and in the final two chapters, we hear directly from musicians about how they experience it and what they do to manage it. This book will lay a firm foundation for theorizing music performance anxiety and be of enormous value interest to those in the fields of music and music education, clinical psychology, and performance studies.
Author: Kyle Adam Huston
Publisher:
ISBN:
Category :
Languages : en
Pages : 46
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Abstract: The purpose of this study was to prove that listening to music prior to a major musical performance could help reduce Musical Performance Anxiety. As a result of this study, musicians at any level, but especially collegiate, would have another coping strategy to help mitigate personal levels of nervousness and apprehension. The following research questions helped guide the process of this study: (1) Does listening to music prior to a jury performance reduce musical performance anxiety? (2) Do those individuals in the music condition perform better than expected on jury performances? (3) Does listening to music prior to an end of the quarter performance examination affect adjudicator's perceptions of performer anxiety levels? Other objectives and secondary research questions are as follows: (4) How do collegiate musicians rank in terms of levels of state and trait anxiety compared to the average person as reported by Charles Spielberger in the State-Trait Anxiety Inventory? (5) What did those participants in the music condition of this study choose to listen to prior to their performance? Students were given the State-Trait Anxiety Inventory (STAID-B) to assess and compare general anxiety levels versus those documented immediately prior to end-of-the-quarter musical performances known as juries. Participants were divided into two groups: (1) Music condition where students listened to music prior to their juries and (2) Control condition where the students prepared for their jury like they normally would. It was found that students that listened to music prior to juries had a lower state anxiety than those that did not listen to music. Given that the hypothesis margin of error was p is less than or equal to 0.05 a statistical significant relationship was indeed found. It can be deduced that listening to music prior to a major musical performance such as a jury can reduce levels of musical performance anxiety.
Author: Irène Deliège
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 166
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Author: Casey McGrath
Publisher: Rowman & Littlefield
ISBN: 1442271531
Category : Music
Languages : en
Pages : 185
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Book Description
Music performance anxiety has long frustrated the artistic community and, while tricks and folk remedies abound, a comprehensive plan to solve this problem has remained elusive. Accomplished violinist Casey McGrath combines her experiences with the research of Karin S. Hendricks and Tawnya D. Smith to provide a resource guide to the most current solutions and therapies, as well as educational applications, for both individual and classroom use. Divided by area of therapeutic interest, Performance Anxiety Strategies presents relevant and noteworthy research and insight into some of the most popular and many lesser-known therapies—including holistic, exposure, cognitive, behavioral, and medicinal treatments. Each chapter also features self-guided activities and exercises, words of wisdom from established performing artists and athletes, and suggestions for music teachers, as well as first-person narratives about the authors’ personal journeys with music performance anxiety both onstage and in the classroom. Including a wealth of offerings and approaches, this book is an invaluable resource for anyone who has ever experienced performance anxiety, from the aspiring classical musician to the garage band guitarist.
Author: Catherine Sweeney-Burton
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 145
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