The Kenny Music Performance Anxiety Inventory-Revised (K-MPAI-R): Validation of the Italian version

Philippe, Roberta Antonini; Cruder, Cinzia; Biasutti, Michele; Roten, Fabienne Crettaz von

doi:10.1177/03057356221101430

Cited by 4 publications

(3 citation statements)

References 56 publications

(95 reference statements)

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“…It has been correlated with HR reactivity measured in a single session ( Trotman et al, 2019 ). In addition, the certified German translation of the K-MPAI – R could be used ( Kenny, 2017 ) as all translated versions appear to have adequate reliability to measure anxiety levels ( Antonini Philippe et al, 2022 ).…”

Section: Discussionmentioning

confidence: 99%

Repeated stage exposure reduces music performance anxiety

et al. 2023

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BackgroundHigh heart rate (HR) and restlessness are two important features of music performance anxiety (MPA). In a case report of a cellist suffering from this condition, we showed that HR and restlessness decreased after repeated live performances of the same musical excerpt, thereby positively modulating objective performance criteria and subjective components. Here, we largely replicate these results in a group of 18 string players reporting MPA.MethodsObjective measurement devices included a miniaturized electrocardiogram monitor and three 3-axis accelerometer loggers. Subjective measures included the Multidimensional Mental Health Questionnaire (MDBF) and a customized visual analogue scale (VAS) questionnaire for MPA. Non-artistic performance errors were assessed by music experts using a composite score for technical playing errors (i.e., intonation errors, omission of notes, and bowing noise). Data were collected from each study participant during three brief public solo performances of the same musical excerpt, with each performance occurring before a new audience on the same day.ResultsFrom the 1st to the 3rd performance, HR, VAS, and playing error scores decreased significantly. MDBF (RU scale) showed a significant increase in calmness from the 1st to the 3rd performance on stage. HR and RU, VAS, and RU, as well as bow acceleration and overall duration of playing correlated significantly across participants and performances.Discussion and conclusionWe conclude that repeated stage exposure significantly reduces HR as well as restlessness and playing errors linked to MPA. Public performances are still successful when HR is significantly higher than during rest periods. These results underscore the importance of stage training to become accustomed to realistic public self-exposure. Musicians – especially students – should consider this component of stage training as an integral part of their practice routine. Therefore, stage training can reduce MPA, promote better live performances and prevent stress-related mental disorders and physical injuries. These result from excessive self-exercise strategies common in musicians experiencing MPA. HR monitoring should be an integral part of evaluating the effectiveness of interventions for better MPA management and efficient performance training.

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Section: Discussionmentioning

confidence: 99%

Repeated stage exposure reduces music performance anxiety

et al. 2023

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“…The instrument is composed of 40 items scored on a 7-point Likert scale of agreement ranging from 0 “strongly disagree” to 6 “strongly agree.” The questionnaire investigates MPA according to Kenny’s definition (Kenny, 2011) and based on Barlow’s theory of emotions (Barlow, 2000, 2004). The instrument has been extensively validated across different languages: this study used the certified Italian translation of the questionnaire (Antonini Philippe et al, 2023; Kenny, 2017). In this study, K-MPAI showed excellent internal consistency, α = .93.…”

Section: Methodsmentioning

confidence: 99%

Music performance anxiety and the Italian sport psychology S.F.E.R.A. model: An explorative study on 77 professional musicians

Mazzon,

Passarotto,

Altenmüller

et al. 2023

Psychology of Music

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Music performance anxiety (MPA) affects most musicians and is commonly listed among the triggering factors of several pathologies, such as depression, overuse syndrome, choking under pressure and focal dystonia. The study aimed at investigating the relationship between the S.F.E.R.A. model theory (SFERA), a multidimensional model for enhancing sport performances, and MPA in professional musicians. The model allows to analyze performances by monitoring five constructs representing underlying cognitive and metacognitive factors that influence performance, highlighting individual strengths and improvement areas. The results confirmed that severe MPA symptoms are a common issue among musicians (47%), while 36% of the sample experienced musculoskeletal pain related to playing their musical instrument in the 2 months preceding the study. Moreover, musicians who suffered from practice-related pain reported higher levels of MPA. The SFERA factors were strongly and negatively correlated with MPA scores, suggesting that improving the SFERA factors might be helpful in reducing MPA: musicians with high MPA showed significantly lower SFERA scores. Moreover, Energy was the strongest predictor of MPA scores among the five SFERA factors, suggesting that musicians with high anxiety levels present difficulties on emotional regulation during the performance and struggle to focus on their performances while ignoring dysfunctional thoughts. The study indicates that SFERA scores can predict MPA and that sport psychology programs applied to the music field may also be useful protective factors for musicians’ psychophysiological health, especially in music academies and universities.

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“…The K-MPAI has been translated into 22 languages–Brazilian Portuguese ( Rocha et al, 2011 ), Croatian ( Ružak, 2021 ; Eva Stevanovic, 2022, personal communication), Czech (Eva Stevanovic, 2022, personal communication; Pavel Husa Fel, 2022, personal communication), Dutch ( van Fenema et al, 2017 ), French ( Antonini Philippe et al, 2022b ), German ( Peschke and von Georg, 2015 ), Hungarian ( Dobos et al, 2019 ), Indonesian ( Haninditya, 2021 ), Italian ( Antonini Philippe et al, 2022a ), Japanese (Sakie Takagi, Michiko Yoshie, Akihiko Murai, 2023 Korean ( Oh et al, 2020 ), Latvian (Solveiga Sofija Saulīte, 2022, personal communication), Lithuanian ( Paliaukiene and Kairys, 2012 ), Mandarin (Simplified Chinese) (Diana Wu, personal communication, Cancan Cui, personal communication); Persian ( Fakhr, 2020 ; Kbodadadeh et al, 2022 ), Polish ( Kantor-Martynuska and Kenny, 2018 ), Portuguese ( Rocha et al, 2011 ), Slovenian Kaja Pojbič, Ana Gregorec, Urban Stiberc and Zala Brecko (personal communication, 2022), Spanish (also for Peru) ( Chang-Arana, 2015 ; Zarza-Alzugaray et al, 2015 ; Chang-Arana, 2017 ; Chang-Arana et al, 2018 ), Taiwanese ( Lin, 2019 ), Romanian ( Faur et al, 2021 ), Turkish ( Rocha et al, 2011 ; Çiçek and Güdek, 2020 ), and Ukrainian ( Ksondzyk, 2020 ). I am advised that a Finnish translation is currently in preparation.…”

Section: Construction Of the Kenny Music Performance Anxiet...mentioning

confidence: 99%

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

Kenny

2023

Front. Psychol.

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I commenced my academic exploration of music performance anxiety in a study with opera chorus artists from Opera Australia in 2004. I subsequently postulated a new theory of the aetiology of music performance anxiety and began the development of the Kenny Music Performance Anxiety Inventory (K-MPAI) to assess the hypothesized theoretical constructs underpinning its diverse clinical presentations. I proposed a new definition of music performance anxiety in 2009 and revised the item content of the K-MPAI from 26 to 40 in 2011. Over the ensuing years, many researchers have used the K-MPAI in studies on a wide variety of musicians, including vocalists and instrumentalists, popular and classical musicians, tertiary music students, and professional, solo, orchestral, ensemble, band, and community musicians. To date, the K-MPAI has been reported in more than 400 studies and has been translated into 22 languages. It has been the subject of more than 39 dissertations. In this paper, I examine the research that has used the K-MPAI to assess the theory and to ascertain how well the assessment tool, and its cross-cultural validation have provided evidence for its factorial structure, robustness, and utility. The evidence indicates that the factorial structure remains consistent across cultures and different populations of musicians. It has good discriminative ability and utility for diagnostic purposes. I conclude with some reflections on how the K-MPAI can guide therapeutic interventions and with some thoughts on future directions.

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The Kenny Music Performance Anxiety Inventory-Revised (K-MPAI-R): Validation of the Italian version

Cited by 4 publications

References 56 publications

Repeated stage exposure reduces music performance anxiety

Repeated stage exposure reduces music performance anxiety

Music performance anxiety and the Italian sport psychology S.F.E.R.A. model: An explorative study on 77 professional musicians

The Kenny music performance anxiety inventory (K-MPAI): Scale construction, cross-cultural validation, theoretical underpinnings, and diagnostic and therapeutic utility

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