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The aim of this study was to analyse the validity and reliability of the Self-Regulated Practice Behaviour Scale (SRPB) developed by Miksza (2012) for music students in Portugal. Tasks involved in this study included: (1) translating the original scale and creating a viable Portuguese adaptation for Portuguese musical performance students; (2) analysing the psychometric properties of the Portuguese version of the scale. The translation and adaptation of the original scale resulted in a 52-item Portuguese Self-Regulated Practice Behaviour measure (Portuguese SRPB). Students enrolled in music education programmes from eight conservatoires answered the Portuguese SRPB (n = 1,200). The results of confirmatory factor analysis show that a five-factor model presenting the five correspondent theoretical dimensions of self-regulation (motive, method, behaviour, time management, and social influence) achieved the best fit to the data collected. All Portuguese SRPB dimensions were predictive of students' reports of average practice efficiency, grades, and practice time, highlighting preliminary evidence of predictive validity. The internal consistency reliability coefficients ranged from good to excellent (α = .71 to .84). The findings suggest that the Portuguese SRPB produced a valid and reliable measure of the self-regulatory practice behaviour of Portuguese conservatoire students.

Music performance anxiety (MPA) is described as a persistent apprehension that compromises performative skills both in solo and group performances. The aim of this systematic review was to discuss an overview of research articles addressing the characteristics of MPA as experienced by undergraduate music students. The search was undertaken in the databases Web of Science, PubMed, Scopus and Eric; of 1526 articles identified by the search keywords, 43 were selected for review through the PRISMA protocol. The study types included cross-sectional, experimental, longitudinal, descriptive, questionnaire survey, qualitative study, exploratory and retrospective follow-up designs. This review evidences the diversity of the contexts and topics addressed by current research, namely issues of prevalence, predictors of anxiety/risk factors, relationship between flow experience (FE) and MPA, and coping with MPA, adopting psychological, cognitive, physiological and behavioral perspectives. Notwithstanding, the review has also identified a lack of qualitative and longitudinal studies, studies on institutional teaching contexts, and of larger and more representative participant samples, which could promote a better understanding of the etiology of MPA among students attending higher education.

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A ansiedade na performance musical (APM) é descrita como uma apreensão persistente que compromete as competências performativas, tanto em performances a solo como em grupo. Para além dos sintomas fisiológicos, como aumento do batimento cardíaco, hiperventilação, transpiração ou náusea, está associada a sintomas de natureza psicológica e cognitiva de impacto negativo na performance. Este trabalho pretende estudar a eficácia do treino de biofeedback em contexto de performance de música de câmara. Com um desenho do tipo quasi – experimental, foram selecionados 2 quartetos de trombonistas, sendo o quarteto (1) o grupo experimental e o quarteto (2) o grupo de controlo. Ambos realizaram apresentações públicas, antes e depois da intervenção. O quarteto (1) foi submetido a um programa de 8 sessões bissemanais de treino de biofeedback, no intuito de verificar a sua contribuição para diminuir os efeitos da APM. Na avaliação da eficácia da intervenção foram aplicados pré e pós intervenção os questionários State Trait Anxiety Inventory (STAI), Kenny Music Performance Anxiety Inventory (K-MPAI) e Kessler Psychological Distress Scale (K10). Os resultados sugerem que este tipo de intervenção se revela favorável no que diz respeito à diminuição dos níveis de APM em contexto de música de câmara. São referidas algumas implicações deste estudo para a redução da ansiedade de performance quer em contextos de formação e ensino da música quer em contextos de prática profissional.