Cognitive processes in music performance anxiety

Abstract

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).

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

“…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).…”

“…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).…”

Managing performance anxiety and improving mental skills in conservatoire students through performance psychology training: a pilot study

“…Similarly, MPA typically manifests as a constellation of three interactive yet partially independent factors: cognitions, autonomic arousal, and overt behavioral responses (Craske and Craig 1984;Lang 1993). Typical cognitions or worries experienced in response to being asked to perform include worry about not being able to perform perfectly, fears of making a mistake, fear of being negatively evaluated by others, overestimations of the likelihood and consequences of a negative evaluation of the music performance, and negative self-evaluation in relation to one's own high standards for performance quality (Kenny 2011;Kenny and Osborne 2006;Osborne and Franklin 2002). On detecting danger, the elevations in autonomic arousal and tension of the sympathetic nervous system (which can occur during excitement as well as anxiety) occur in an almost reflexive urge to escape or stand and engage with the threat (Barlow 2002).…”

The Correlation Between Music Performance Anxieties and Piano Performance Self Efficacy Levels of Pre Service Music Teachers

“…Müzik performans kaygısı ile cinsiyet arasında anlamlı bir ilişki kuran araştırmalara göre kadın müzisyenler erkek müzisyenlere göre daha yüksek müzik performans kaygısı sergilemektedir. (Ryan, 2004;Rae & McCambridge, 2004;Yöndem, 2007;Iusca ve Dafinoiu, 2012;Ginsberg, 2004;Osborne & Franklin, 2002;Sinden 1999;Wesner et al, 1990;Grodd, 2012). Nacakcı ve Dalkıran (2011: 46-56) müzik öğretmeni adayları üzerinde yaptıkları çalışmada, müzik öğretmen adaylarının bireysel çalgı eğitimi sınav kaygısı düzeylerini kızlarda erkeklere göre daha yüksek olarak tespit etmişlerdir.…”