Stage fright: its experience as a problem and coping with it

Studer, Regina; Gomez, Patrick; Hildebrandt, Horst; Arial, Marc; Danuser, Brigitta

doi:10.1007/s00420-010-0608-1

Cited by 58 publications

(56 citation statements)

References 21 publications

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“…The CG showed values of 44.00 (SD = 10.85) in the pretest and 44.25 (SD = 14.40) in the posttest. The values showed no significant differences to the norm value of music students (Studer et al, 2011) whereas the participants in the IG indicated a slight tendency of a lower STAI-S value in the posttest compared to the norm sample (t(12) = 1.92; p = 0.07). The analysis between the two measuring points showed a significant interaction effect of time and group (F(1,19) = 5.93, p = 0.02).…”

Section: Resultscontrasting

confidence: 52%

“…The mean values of a representative sample of university students are for the STAI-T 41.14 (SD = 8.68, n = 393) and for the STAI-S 41.42 (SD = 10.13, n = 393, Laux et al, 1981). In a sample with music students, Studer et al (2011) found the average value of the STAI-S to be 47.00 (SD = 11.00, n = 190). In our sample, the STAI-T values did not differ significantly from the norm sample (t(20) < 1.0).…”

Section: Measuring Instrumentsmentioning

confidence: 97%

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The effectiveness of a multimodal concept of audition training for music students in coping with music performance anxiety

Spahn

Walther

Nusseck

2015

Psychology of Music

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Music performance anxiety (MPA) occurs regularly before and during a musical stage performance. Coping with MPA optimizes the performance outcome and plays an important role for musicians, especially when auditioning for work in an orchestra. In this study the effectiveness of a seminar to train students to cope with MPA was evaluated. Thirteen music students participated in the intervention program of 14 weekly sessions. Eight students were in the control group. The intervention contained video feedback, exercises in methods of body awareness, and insights into cognitive strategies. All students were required to perform two simulated auditions, at the beginning and at the end of the semester. They filled in self-assessment questionnaires related to MPA at both auditions. Additionally, two judges rated the performances in both auditions. Audio recordings of the performances were also sent to 12 orchestral musicians for appraisal as well. The results revealed significant improvements in coping with MPA, shown in the participants' self-assessment ratings as well as in the ratings of the judges during the auditions in the trained group compared with the control group. Additionally, the orchestral musicians rated the audio presentations of the intervention group in the second audition significantly better than the control group.

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Section: Resultscontrasting

confidence: 52%

Section: Measuring Instrumentsmentioning

confidence: 97%

The effectiveness of a multimodal concept of audition training for music students in coping with music performance anxiety

Spahn

Walther

Nusseck

2015

Psychology of Music

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“…We were able to show that there is only a moderate association between the degree of anxiety experienced and the degree to which stage fright is perceived as a problem (22). Furthermore, no study has yet investigated the association between hyperventilation complaints and the experience of stage fright as a problem.…”

Section: Introductionmentioning

confidence: 72%

Hyperventilation complaints in music performance anxiety among classical music students

Studer

Danuser

Hildebrandt

et al. 2011

Journal of Psychosomatic Research

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Objective: Despite the importance of respiration and hyperventilation in anxiety disorders, research on breathing disturbances associated with hyperventilation is rare in the field of music performance anxiety (MPA, also known as stage fright). The only comparable study in this area reported a positive correlation between negative feelings of MPA and hyperventilation complaints during performance. The goals of this study were a) to extend these previous findings to the period before performance, b) to test whether a positive correlation also exists between hyperventilation complaints and the experience of stage fright as a problem, c) to investigate instrument-specific symptom reporting, and d) to confirm gender differences in negative feelings of MPA and hyperventilation complaints reported in other studies. Methods:We assessed 169 university students of classical music with a questionnaire comprising: the State-Trait Anxiety Inventory for negative feelings of MPA; the Nijmegen Questionnaire for hyperventilation complaints; and a single-item for the experience of stage fright as a problem. Results:We found a significant positive correlation between hyperventilation complaints and negative feelings of MPA before performance, and a significant positive correlation between hyperventilation complaints and the experience of stage fright as a problem. Wind musicians/singers reported a significantly higher frequency of respiratory symptoms than other musicians. Furthermore, women scored significantly higher on hyperventilation complaints and negative feelings of MPA. Conclusion:These results further the findings of previous reports by suggesting that breathing disturbances associated with hyperventilation may play a role in MPA prior to going on stage. Experimental studies are needed to confirm whether hyperventilation complaints associated with negative feelings of MPA manifest themselves at the physiological level.

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“…3,5,8 In a literature review, Brugué s 9 found rates ranging from 16 to 70% in survey-type studies carried out with orchestra musicians in the 1980s and 1990s in the United States and European countries. Other studies, such as those of Steptoe, 10 Ryan & Andrews, 5 and Studer et al, 11 confirm this panorama, with variable but mostly high rates of MPA.…”

Section: Introductionmentioning

confidence: 76%

Parameters for screening music performance anxiety

Barbar

Crippa

Osório

2014

Rev. Bras. Psiquiatr.

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Objective: To assess the discriminative capacity of the Kenny Music Performance Anxiety Inventory (K-MPAI), in its version adapted for Brazil, in a sample of 230 Brazilian adult musicians. Method: The Social Phobia Inventory (SPIN) was used to assess the presence of social anxiety indicators, adopting it as the gold standard. The Mann-Whitney U test and the receiver operating characteristic (ROC) curve were used for statistical analysis, with p f 0.05 set as the significance level. Results: Subjects with social anxiety indicators exhibited higher mean total K-MPAI scores, as well as higher individual scores on 62% of its items. The area under the ROC curve was 0.734 (p = 0.001), and considered appropriate. Within the possible cutoff scores presented, the score -15 had the best balance of sensitivity and specificity values. However, the score -7 had greater specificity and accuracy. Conclusion: The K-MPAI showed appropriate discriminant validity, with a marked association between music performance anxiety and social anxiety. The cutoff scores presented in the study have both clinical and research value, allowing screening for music performance anxiety and identification of possible cases.

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Stage fright: its experience as a problem and coping with it

Cited by 58 publications

References 21 publications

The effectiveness of a multimodal concept of audition training for music students in coping with music performance anxiety

The effectiveness of a multimodal concept of audition training for music students in coping with music performance anxiety

Hyperventilation complaints in music performance anxiety among classical music students

Parameters for screening music performance anxiety

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