Cross-modality matches suggest anticipated stage fright a multiplicative power function of audience size and status

Latané, Bibb; Harkins, Stephen G.

doi:10.3758/bf03208286

Cited by 82 publications

(69 citation statements)

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“…In this respect arousal seems to result from the fear of social evaluation, namely from an 'evaluation apprehension'. This view is confirmed by Latané's theory of social impact which, broadly defined, is any effect produced by the presence or actions of other people on an individual (Latané & Harkins, 1976; Jackson performer may experience worry and emotional distress, which respectively relate to cognitive concerns over evaluation and the consequences of failure, and to perceived changes in physiological functioning (Sarason, 1986, pp. 25-26).…”

Section: Introductionmentioning

confidence: 92%

Investigating Musical Performance Anxiety among Music College Singing Students: A quantitative analysis

Kokotsaki¹,

Davidson²

2003

Music Education Research

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Due to the common and undesirable effects of 'stage fright' among performing musicians, the current study has been undertaken to re-examine the issue of performance anxiety among second-and third-year vocal studies students taking their mid-year examinations at the Guildhall School of Music in London. The results reveal females to be more anxious compared to the norms regarding anxiety both as a personality trait and as a state condition during the anticipation of a jury situation. In addition, the study confirms the suggestion in the literature that a proportional relationship exists between the trait and state aspects of anxiety, where state anxiety levels get higher as trait anxiety increases and vice versa. Regarding the students' achievement as indicated in their final marks, it has been shown that not only will the more advanced musicians, in terms of training and experience, perform better under anxious conditions but they also benefit from their higher levels of pre-performance anxiety.

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Section: Introductionmentioning

confidence: 92%

Investigating Musical Performance Anxiety among Music College Singing Students: A quantitative analysis

Kokotsaki¹,

Davidson²

2003

Music Education Research

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“…Strength includes "the salience, power, importance, or intensity of a given source to the target-usually determined by such things as the source's status, age, socioeconomic status, prior relationship with the target, or future power over the target" (Latane & Harkins, 1976;Latane & Nida, 1980, p. 7). For example, the large figure "Scout" might be the representative of a professional team whose attendance at a junior game has been noticed by the players.…”

Section: Strengthmentioning

confidence: 99%

The Social Psychology of Sport

Russell

1993

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“…Latane and Harkins (1976) asked students to imagine reciting a poem in front of audiences consisting of from 1 to 16 pictures of either teenagers or middle-aged persons. Participants were then asked to adjust the brightness of a light or the loudness of a tone to represent their tension and nervousness, which in this study was taken as a measure of stage fright, performance apprehension, or embarrassment.…”

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confidence: 99%

All alone in front of all those people: Stage fright as a function of number and type of co-performers and audience.

Jackson¹,

Latané²

1981

Journal of Personality and Social Psychology

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112

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Techniques borrowed from sensory psychophysics were used in two studies examining nervousness and tension associated with the anticipation of performing in front of an audience. In Study 1, a laboratory experiment, performance apprehension increased as a multiplicative power function of audience size and status but decreased as a power function of the number of performers. In Study 2, a correlational field study, performers in a university Greek Week talent show who appeared as members of large acts reported less nervousness and tension than performers who appeared in small acts, and again, an inverse power function provided a good fit to the data. The results support the combination of Latane's theory of social impact and Modigliani's theory of embarrassment. Implications for social facilitation and affiliation theories and for performers are discussed.Stage fright is a highly negative and anxiety arousing, if transitory, emotion. Endler, Hunt, and Rosenstein (1962) described 11 traumatic activities to college students and had them rate how anxious they would be in each. "Reading a speech before a large group" was ranked second only to "crawling along a ledge high on a mountainside" but substantially higher than "taking a final exam in an important course" and "being alone in the woods at night." Short of extreme physical danger, stage fright seems to be one of the more tension arousing of the short-term experiences that people encounter.Stage fright or performance apprehension presumably reflects a fear of embarrassment. Modigliani (1968) defines embarrassment as a situation-specific loss of self-esteem when being evaluated by others. That is, the emotional distress of embarrassment is brought about by the fear that others are

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Cross-modality matches suggest anticipated stage fright a multiplicative power function of audience size and status

Cited by 82 publications

References 20 publications

Investigating Musical Performance Anxiety among Music College Singing Students: A quantitative analysis

Investigating Musical Performance Anxiety among Music College Singing Students: A quantitative analysis

The Social Psychology of Sport

All alone in front of all those people: Stage fright as a function of number and type of co-performers and audience.

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