This paper was aimed at investigating the construction and validation of the SelfReflection and Insight Scale (SRIS) which is designed to be an advance on the Private SelfConsciousness Scale (PrSCS; Fenigstein, Scheier, & Buss, 1975). Previous work has found the PrSCS to comprise two factors, self-reflection and internal state awareness. In a series of studies two separate factor analyses found the SRIS comprised two separate factors labeled Self-Reflection (SRIS-SR) and Insight (SRIS-IN. The PrSCS correlated positively with the SRIS-SR and negatively with the SRIS-IN. The SRIS-SR correlated positively with anxiety and stress, but not with depression and alexithymia. The SRIS-IN was negatively correlated with depression, anxiety, stress and alexithymia, and positively correlated with cognitive flexibility and self-regulation. Implications of these findings for models of self-regulation and goal attainment are discussed.

Music performance anxiety has been investigated either as a discrete phenomenon, or as a variant of social phobia. This study examined the theoretical adequacy of establishing music performance anxiety as a subtype of social phobia, using Rapee and Heimberg's (1997) model of anxiety in social-evaluative situations to account for the cognitions experienced by anxious individuals in solo musical performances. Similarities between the two phenomena in terms of important cognitive processes were revealed in a sample of 84 musicians. The two cognitive constructs in the model deemed to be critical to social phobia were also the only two constructs predicting music performance anxiety. It is concluded that social phobic models may provide a valid account of the cognitive processes occurring in music performance anxiety. These results are combined with additional epidemiological and etiological information in a cognitive conceptualisation of music performance anxiety. M usic performance anxiety (MPA) is defined as:The experience of persisting, distressful apprehension and/or actual impairment of, performance skills in a public context, to a degree unwarranted given the individual's musical aptitude, training, and level of preparation (Salmon, 1990, p. 3).

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