The occurence of performance anxiety among musicians

Wesner, Robert B.; Noyes, Russell

doi:10.1016/0165-0327(90)90034-6

Cited by 149 publications

(133 citation statements)

References 13 publications

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“…A significant difference was found [t(45) = 2.89, p = .006] indicating The therapy groups receive two one-hour therapy sessions of their allotted therapy Performance 2 (postintervention phase) Performance 1 measures repeated (except allocation to groups) Blind evaluation of performance quality conducted by assessors for both performances that females were significantly more anxious than males at the first performance. These findings support Osborne and Franklin (2002) and Wesner et al (1990).…”

Section: Gender Differencessupporting

confidence: 79%

“…Music performance anxiety (MPA) is widespread, affecting musicians of any age, instrument, amateur and professional musicians alike (Kenny, 2011) and over 60% of performing musicians experience this sometime during their lifetime (Wesner, Noyes, & Davis, 1990). Females generally exhibit higher degrees of MPA than males (Osborne & Franklin, 2002;Wesner et al, 1990) and solo performance generates higher levels of MPA than ensemble (Brugués, 2011). Music performance anxiety has been widely investigated; however, the problem still persists (Chan, 2011;Huang, 2011;Plaut, 1998;Shoup, 1995;Sloboda & Juslin, 2001;Williamon, Aufegger, & Eiholzer, 2014;Xu, 2010).…”

mentioning

confidence: 99%

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Music performance anxiety: A clinical outcome study into the effects of cognitive hypnotherapy and eye movement desensitisation and reprocessing in advanced pianists

Brooker

2017

Psychology of Music

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Numerous investigations into music performance anxiety have focused on the conscious mind. However, little research has focused on implicit processes for alleviation of this condition. Cognitive hypnotherapy (CH) and eye movement desensitisation and reprocessing (EMDR), therapies which target implicit processes, were investigated in an intervention study with advanced pianists (n = 46). Participants were of mixed gender aged 18-26 years (three over 30) and were randomly assigned to a therapy or control group. The therapy groups received two interventions of either CH or EMDR during a two-week period between two concerts. Quantitative data were collected through performance assessment, the Spielberger State-Trait Anxiety Inventory and a self-report questionnaire (SRQ). The SRQ and a log of performance experience also allowed for qualitative assessment. Results showed that both therapy groups (but not the control) experienced a significant reduction in state anxiety post therapy and a significant improvement in performance. Trait anxiety decreased significantly below baseline levels post intervention in the EMDR group. This is an important area for future research in music psychology and has broader implications in other fields. Keywords cognition, implicit processes, intervention, state anxiety, trait anxietyCognitive anxiety is a psychological problem, the causes of which can be deeply embedded in the unconscious mind (Alladin, 2010). It exerts a negative effect on human behaviour, including music performance; the research literature validates this extensively (Kenny, 2011 Kenny, & Cooksey, 2007). Music performance anxiety (MPA) is widespread, affecting musicians of any age, instrument, amateur and professional musicians alike (Kenny, 2011) and over 60% of performing musicians experience this sometime during their lifetime (Wesner, Noyes, & Davis, 1990). Females generally exhibit higher degrees of MPA than males (Osborne & Franklin, 2002;Wesner et al., 1990) and solo performance generates higher levels of MPA than ensemble (Brugués, 2011). Music performance anxiety has been widely investigated; however, the problem still persists (Chan, 2011;Huang, 2011;Plaut, 1998;Shoup, 1995;Sloboda & Juslin, 2001;Williamon, Aufegger, & Eiholzer, 2014;Xu, 2010). The components of anxietyPerformance anxiety lies within the broad domain of social anxiety, occurring when psychological discomfort in situation-dependent states leads to anxiety (Crozier & Alden, 2005). A model of anxiety proposed by Lang, Miller, and Levin (1988) demonstrated that the combination and interplay of three factors -cognitive, physiological and behavioural -appear to be responsible for anxiety. Lang et al. (1988) maintained that anxiety is the interaction of fearful thoughts, arousal of the autonomic nervous system, and overt behavioural responses to perceived threat. Cognitive anxiety was first categorised into a two-factor structure having both trait and state components (Cattell, 1956). Traits are developed in early life and reflect residues o...

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Section: Gender Differencessupporting

confidence: 79%

mentioning

confidence: 99%

Music performance anxiety: A clinical outcome study into the effects of cognitive hypnotherapy and eye movement desensitisation and reprocessing in advanced pianists

Brooker

2017

Psychology of Music

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“…Performance anxiety is a widely spread phenomenon among performing artists (Marchant-Haycox & Wilson, 1992), actors (Wilson, 2001), orchestral musicians (van Kemenade, von Son, & van Heesch, 1995) and music students (Dews & Williams, 1989;Wesner, Noyes, & Davis, 1990). However, most artists learn to tolerate the symptoms.…”

Section: A Psychological View Of Artists and Healthmentioning

confidence: 99%

Becoming and Being an Opera Singer: Health, Personality, and Skills

Sandgren¹

2005

PsycEXTRA Dataset

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The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18 th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of healthpromoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.

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“…Previous research investigating relationships between performancerelated anxiety and alcohol use among musicians has been far from conclusive (Chesky & Hipple, 1997;Fehm, & Schmidt, 2006;Wesner et al, 1990). However these studies 30 were not conducted in Glasgow which participants reported was devoid of alcohol-free performance spaces.…”

Section: Discussionmentioning

confidence: 92%