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

Abstract

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.

The role of retrospectively perceived parenting style and adult attachment behaviour in music performance anxiety

“…The K-MPAI-40 strongly correlated with the K-MPAI-24 (r =0.95, p<0.001). The mean score of the K-MPAI-40 did not differ from Spahn et al [42]; however it was significantly higher than values reported by Kenny [24] (N =373, M =83.7, SD=40.7; two-tailed independent t-test: t(453)=3.2, p<0.05, d =0.39). Descriptive results for MPA, parenting style, attachment behaviour and generalised anxiety are shown in Table 2.…”

Conservatory Musicians’ Temporal Organization and Self-Regulation Processes in Preparing for a Music Exam

“…Therefore, in order to be well prepared for an evaluated performance, emotions should also be self-regulated during the preparation and learning process (Thomson and Jaque, 2017). To date, research in music psychology has been conducted using large-scale surveys (McPherson andMcCormick, 1999, 2000;Nielsen, 2004;Miksza, 2012;Araújo, 2016;Spahn et al, 2016), with context-specific and ecological methods being limited (Chaffin and Imreh, 1994, 2001Nielsen, 2001Nielsen, , 2004Chaffin et al, 2003;Chaffin and Logan, 2006;Leon-Guerrero, 2008;McPherson et al, 2019). More context-based research holds the potential to provide a better understanding of how musicians manage their progress toward their learning goals.…”

Music performance anxiety in classical musicians – what we know about what works

“…According to a survey of more than 2000 professional musicians conducted by the Inter national Conference of Symphony and Opera Musicians (ICSOM), the largest sample to date, 24% suffered from stage fright, 13% reported acute anxiety and 17% reported depression (Fishbein et al, 1988). The highest levels of MPA are generally triggered by solo performances (Spahn et al, 2016), while orchestral players rated auditions as the most likely to produce MPA and practising alone the least. Musicians playing in pit orchestras (e.g.…”

“…More recent research has explored the effectiveness of multimodal interventions. Spahn et al (2016) evaluated the combination of be havioural exposure (via mock orchestral auditions and recorded performances) with group discussion, expert feedback and cognitive strategies; Steyn et al (2016) added mindfulness training to an array of cognitive-behavioural elements. In both cases interventions produced lower scores for both MPA and state anxiety.…”