Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure

2017 ◽  
Vol 46 (4) ◽  
pp. 551-567 ◽  
Author(s):  
Álvaro M. Chang-Arana ◽  
Dianna T. Kenny ◽  
Andrés A. Burga-León
Keyword(s):  
Music Performance ◽  
Performance Anxiety ◽  
High Order ◽  
Factorial Structure ◽  
First Order ◽  
Music Performance Anxiety ◽  
Two Samples ◽  
Order Factor ◽  
Orchestral Musicians ◽  
High Order Factor

This research investigated whether music performance anxiety (MPA) can be theoretically understood as a unidimensional construct, and whether the factorial structure is robust across different populations of musicians with different levels of expertise. K-MPAI scores were obtained from 455 Peruvian tertiary music students (mean age = 21.19 years, SD = 3.13, range = 18–40 years) and 368 Australian professional orchestral musicians (mean age = 42.07 years, SD = 10.21, range = 18–68 years). A high order exploratory factor analysis with the Schmid-Leiman solution was performed on the K-MPAI items. Unweighted Least Squares extraction method and optimal implementation of parallel analysis revealed one high order factor and two first order factors for both samples. High Cronbach’s and ordinal alpha levels for items belonging to each first order and high order factor in both samples were also obtained. Structural similarities between the two samples and an invariance analysis signified a comparable structure and conceptual interpretation of K-MPAI scores in both populations. The factorial structure obtained supported a unidimensional interpretation of the construct of MPA. First order level interpretations are also possible and have been demonstrated to be clinically useful.

scholarly journals Live Music Performance: The Relationship Between Flow and Music Performance Anxiety

2021 ◽  
Vol 12 ◽  
Author(s):  
Claudia Spahn ◽  
Franziska Krampe ◽  
Manfred Nusseck
Keyword(s):  
Self Efficacy ◽  
Music Performance ◽  
Performance Anxiety ◽  
Flow Experience ◽  
Global Flow ◽  
Music Performance Anxiety ◽  
Live Music ◽  
Orchestral Musicians ◽  
The Relationship ◽  
Live Music Performance

Most studies exploring the relation between flow and Music Performance Anxiety (MPA) have focused on the disposition of generally experiencing flow and the occurrence of MPA. Little is known about the connection between experiencing flow and MPA as it relates to a specific performance. In this study, flow and MPA have been investigated in 363 orchestral musicians in relation to a particular live music performance. The musicians were asked to fill out a questionnaire immediately after a concert. Flow experience during the performance was measured using the Flow Short Scale. The Performance-specific Questionnaire on MPA (PQM) was used for MPA. The PQM addresses particular aspects of MPA and refers retrospectively to the time before and during the performance as well as to the moment of filling out the questionnaire after the performance. Using three scales, the functional coping, the perceived symptoms of MPA and self-efficacy were determined for each time point of the performance. The results showed that experiencing flow was on average higher among orchestral musicians compared to a sample of the general population. However, there were differences between the professional and non-professional musicians. All PQM scales showed significant correlations with the global flow scale. Regression analysis on the global flow score found that regarding the time before the performance the PQM scale symptoms of MPA were diametrically connected with the flow experience. The PQM scale functional coping was shown to be positively related to the flow during the performance. Moreover, high self-efficacy was found to be closely related with stronger flow experience. Furthermore, flow seems to have positive effects on functionally coping with MPA and the self-efficacy after the performance. These findings confirm the negative relationship between flow and symptoms of MPA, offering further approaches in understanding the relationship especially for live music performances.

Music performance anxiety and perfectionism in Croatian musicians

2021 ◽  
pp. 030573562097869
Author(s):  
Ana Butković ◽  
Nikolina Vukojević ◽  
Sara Carević
Keyword(s):  
Regression Analysis ◽  
Individual Differences ◽  
Music Performance ◽  
Performance Anxiety ◽  
Music Students ◽  
Music Performance Anxiety ◽  
Maladaptive Perfectionism ◽  
Clinically Significant ◽  
Orchestral Musicians

Music performance anxiety (MPA) is part of every musician’s life. Individual differences in MPA have been associated with individual differences in perfectionism, especially maladaptive perfectionism. The aim of this study was to examine MPA and its association with perfectionism in a combined sample of music students studying at the Academy of Music and members of the professional orchestras in Zagreb. Based on the previous studies, we hypothesized that gender, age, and maladaptive perfectionism would predict higher MPA. Data were collected for 239 musicians (152 music students, 87 orchestral musicians, 50.2% female), who filled in Kenny Music Performance Anxiety Inventory–Revised (K-MPAI-R) and Almost Perfect Scale–Revised (APS-R). In our sample, 28% ( n = 67) of musicians had a clinically significant MPA level. In the regression analysis with gender, age, and dimensions of adaptive and maladaptive perfectionism as predictors, 46% of the MPA variance was explained with gender (β = .14, p = .007), age (β = −.22, p < .001), and discrepancy (β = .62, p < .001) as significant predictors. Higher MPA was predicted by being female, a younger musician, and having a higher maladaptive perfectionism. This indicates it would be important to deal with maladaptive perfectionism to effectively manage MPA.

Is Playing in the Pit Really the Pits? Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras

2016 ◽  
Vol 31 (1) ◽  
pp. 1-7 ◽  
Author(s):  
Dianna T Kenny ◽  
Tim Driscoll ◽  
Bronwen J Ackermann
Keyword(s):  
Psychological Health ◽  
Perceived Exertion ◽  
Music Performance ◽  
Performance Anxiety ◽  
Physical Characteristics ◽  
Self Report ◽  
Full Time ◽  
Workplace Satisfaction ◽  
Music Performance Anxiety ◽  
Orchestral Musicians

INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.

scholarly journals Freeing the performer’s mind: A network analysis of mindfulness, music performance anxiety, negative affect, and self-consciousness among music performers

2019 ◽  
Author(s):  
Oscar Lecuona ◽  
Jennifer Moreno-Jiménez ◽  
Luz-Sofía Vilte ◽  
Sara de Rivas ◽  
Raquel Rodríguez-Carvajal
Keyword(s):  
Network Analysis ◽  
Negative Affect ◽  
Music Performance ◽  
Performance Anxiety ◽  
Second Order ◽  
Dispositional Mindfulness ◽  
Negatively Associated ◽  
First Order ◽  
Music Performance Anxiety ◽  
Acting With Awareness

Objectives: Music performance anxiety (MPA) is a common damaging phenomenon for any musician’s career. Mindfulness stands as a promising construct to prevent MPA. However, the relationships between mindfulness and MPA are still not fully explored, alongside other relevant attention-based (e.g., self-consciousness) or emotion-based constructs (e.g., negative affect). This study explores the relationships between mindfulness, MPA, self-consciousness, and negative affect. Methods: A sample of 151 musicians were assessed to explore the relationships between these constructs. Self-reports of mindfulness, MPA, negative affect, and self-consciousness were applied. We implemented network analysis, a novel technique, following a general (second-order) and specific (first-order) framework. Results: The second-order network showed dispositional mindfulness as negatively associated with negative affect and MPA in both general and facet levels, while mindfulness in past performances was only negatively associated with negative affect. MPA was positively associated with negative affect and self-consciousness. Mindfulness displayed light or no associations with self-consciousness. The first-order network showed mindfulness facets with specific roles: Describe and acting with awareness were negatively associated with MPA components and general negative affect, while Non-Judging of Inner Experiences and ecentering in performance situations were negatively associated with negative affect in performance situations. Conclusions: Mindfulness seems to be a relevant construct towards MPA. We propose a preliminary model to improve mindfulness research and interventions applied to music performers. We also outline limitations and future directions.

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians

2018 ◽  
Vol 47 (3) ◽  
pp. 420-435 ◽  
Author(s):  
Susanna Cohen ◽  
Ehud Bodner
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Performance Anxiety ◽  
Negative Relationship ◽  
Hierarchical Regression ◽  
Music Performance Anxiety ◽  
Exploratory Investigation ◽  
Orchestral Musicians ◽  
Flow Experiences ◽  
The Relationship

Research investigating methods of facilitating classical music performance has tended to focus on treating the debilitating effects of Music Performance Anxiety (MPA). It has been suggested that flow and MPA may be antithetical experiences and that fostering techniques for facilitating flow may provide a powerful tool for helping to alleviate MPA. However, there is a scarcity of data exploring professional classical musicians’ experiences of flow, and little empirical evidence supporting a relationship between flow and MPA. The current study examined the flow experiences and the relationship between flow and MPA amongst 202 professional classical orchestral musicians in Israel. Results showed that the majority of participants regularly experience flow. Hierarchical regression analysis provided evidence of a strong, negative relationship between flow and MPA, supporting the suggestion that facilitating flow may provide a helpful approach for alleviating MPA. An additional exploratory investigation was made into performers’ experiences of Musical Emotional Contagion (MEC), the influence of the emotional contents of the music on the performer. Results showed that the majority of participants reported experiences of MEC and there was evidence of significant associations between MEC, flow and MPA. The clinical implications of the findings are discussed.

scholarly journals How does music performance anxiety relate to other anxiety disorders?

2021 ◽  
pp. 030573562098860
Author(s):  
Anna Wiedemann ◽  
Daniel Vogel ◽  
Catharina Voss ◽  
Jana Hoyer
Keyword(s):  
Cluster Analysis ◽  
Anxiety Disorder ◽  
Anxiety Disorders ◽  
Graphical Model ◽  
Music Performance ◽  
Performance Anxiety ◽  
Separation Anxiety Disorder ◽  
Systematic Analysis ◽  
Music Performance Anxiety ◽  
Dsm 5

Music performance anxiety (MPA) is considered a social anxiety disorder (SAD). Recent conceptualizations, however, challenge existing MPA definitions, distinguishing MPA from SAD. In this study, we aim to provide a systematic analysis of MPA interdependencies to other anxiety disorders through graphical modeling and cluster analysis. Participants were 82 music students ( Mage = 23.5 years, SD = 3.4 years; 69.5% women) with the majority being vocal (30.5%), string (24.4%), or piano (19.5%) students. MPA was measured using the German version of the Kenny Music Performance Anxiety Inventory (K-MPAI). All participants were tested for anxiety-related symptoms using the disorder-specific anxiety measures of the Diagnostic and Statistical Manual of Mental Disorders (5th ed., DSM-5), including agoraphobia (AG), generalized anxiety disorder (GAD), panic disorder (PD), separation anxiety disorder (SEP), specific phobia (SP), SAD, and illness anxiety disorder (ILL). We found no evidence of MPA being primarily connected to SAD, finding GAD acted as a full mediator between MPA and any other anxiety type. Our graphical model remained unchanged considering severe cases of MPA only (K-MPAI ⩾ 105). By means of cluster analysis, we identified two participant sub-groups of differing anxiety profiles. Participants with pathological anxiety consistently showed more severe MPA. Our findings suggest that GAD is the strongest predictor for MPA among all major DSM-5 anxiety types.

Sign in / Sign up

Export Citation Format

Share Document