The Effects of Music-assisted Coping Systematic Desensitization on Music Performance Anxiety

2001 ◽  
Vol 16 (3) ◽  
pp. 115-125
Author(s):  
Alan D Reitman
Keyword(s):  
Muscle Tension ◽  
Music Performance ◽  
Performance Anxiety ◽  
Post Treatment ◽  
Self Report ◽  
Control Group ◽  
Systematic Desensitization ◽  
Treatment Groups ◽  
Music Performance Anxiety ◽  
Error Count

The purpose of this pilot study was to examine the effects of music-assisted coping systematic desensitization on music performance anxiety. Eighteen musicians (19–45 years old; mean age = 26.66 years), ranging in experience from student to professional, with self-reported performance anxiety were randomly assigned to three groups: (1) verbal coping systematic desensitization; (2) music-assisted coping systematic desensitization; and (3) a wait-list control group. Subjects in the treatment groups received eight 75-minute group sessions of coping systematic desensitization. The treatment also included at-home relaxation practice, which made use of prerecorded relaxation scripts, with and without preferred music. All subjects participated in 5-minute pre- and post-treatment performances in front of three raters. Dependent measures included continuous monitoring of heart rate and frontalis surface electromyography (sEMG) during pre- and post-tests and during a 5-minute resting condition, the Spielberger State–Trait Anxiety Inventory, the Performance Anxiety Response Questionnaire, and the Music Performance Anxiety Questionnaire, administered pre- and post-treatment, and error count. Results indicated no significant differences between groups on physiological and self-report measures (p > 0.05). Error count was rendered invalid due to low interrater reliability. Self-report measures revealed within-group trends toward reduction in cognitive indices of anxiety for both treatment groups. Anxiety-related muscle tension (frontalis sEMG) also showed a within-group decline for the music-assisted treatment group. It was concluded that further research is warranted into the use of music-assisted cognitive– behavioral treatments for musicians.

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

2017 ◽  
Vol 46 (1) ◽  
pp. 107-124 ◽  
Author(s):  
Elizabeth Brooker
Keyword(s):  
Eye Movement ◽  
Trait Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Self Report ◽  
Qualitative Assessment ◽  
Future Research ◽  
Control Group ◽  
Implicit Processes ◽  
Music Performance Anxiety

Numerous investigations into music performance anxiety have focused on the conscious mind. However, little research has focused on implicit processes for alleviation of this condition. Cognitive hypnotherapy (CH) and eye movement desensitisation and reprocessing (EMDR), therapies which target implicit processes, were investigated in an intervention study with advanced pianists ( n = 46). Participants were of mixed gender aged 18–26 years (three over 30) and were randomly assigned to a therapy or control group. The therapy groups received two interventions of either CH or EMDR during a two-week period between two concerts. Quantitative data were collected through performance assessment, the Spielberger State-Trait Anxiety Inventory and a self-report questionnaire (SRQ). The SRQ and a log of performance experience also allowed for qualitative assessment. Results showed that both therapy groups (but not the control) experienced a significant reduction in state anxiety post therapy and a significant improvement in performance. Trait anxiety decreased significantly below baseline levels post intervention in the EMDR group. This is an important area for future research in music psychology and has broader implications in other fields.

Virtual Reality Exposure Training for Musicians: Its Effect on Performance Anxiety and Quality

2015 ◽  
Vol 30 (3) ◽  
pp. 169-177 ◽  
Author(s):  
Josiane Bissonnette ◽  
Francis Dubé ◽  
Martin D Provencher ◽  
Maria T Moreno Sala
Keyword(s):  
Virtual Reality ◽  
Trait Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Training Group ◽  
Control Group ◽  
Virtual Training ◽  
Music Performance Anxiety ◽  
High Level ◽  
Virtual Reality Exposure

Music performance anxiety affects numerous musicians, with many of them reporting impairment of performance due to this problem. This exploratory study investigated the effects of virtual reality exposure training on students with music performance anxiety. Seventeen music students were randomly assigned to a control group (n=8) or a virtual training group (n=9). Participants were asked to play a musical piece by memory in two separate recitals within a 3-week interval. Anxiety was then measured with the Personal Report of Confidence as a Performer Scale and the S-Anxiety scale from the State-Trait Anxiety Inventory (STAI-Y). Between pre- and post-tests, the virtual training group took part in virtual reality exposure training consisting of six 1-hour long sessions of virtual exposure. The results indicate a significant decrease in performance anxiety for musicians in the treatment group for those with a high level of state anxiety, for those with a high level of trait anxiety, for women, and for musicians with high immersive tendencies. Finally, between the pre- and post-tests, we observed a significant increase in performance quality for the experimental group, but not for the control group.

Effects of Meditation on Music Performance Anxiety

2003 ◽  
Vol 18 (3) ◽  
pp. 126-130
Author(s):  
Joanne C Chang ◽  
Elizabeth Midlarsky ◽  
Peter Lin
Keyword(s):  
New York ◽  
State Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Control Group ◽  
Music Performance Anxiety ◽  
School Of Music ◽  
Meditation Group ◽  
And Performance ◽  
Manhattan School Of Music

This study investigated the effect of meditation on music performance anxiety. Participants were 19 students between the ages of 18 and 41 yrs, who were recruited from the Manhattan School of Music, Mannes College of Music, Yale University School of Music, and State University of New York at Purchase. The experimental group received a series of eight meditation classes, and the control group received no meditation training. After the 8-week training period, all performed in a concert. Pretests and post-tests of music performance anxiety were given and post-tests of state anxiety and of performance concentration. Performance anxiety decreased among participants in the meditation group, in contrast to participants in the control group, whose performance anxiety did not decrease. Differences in regard to post-test state anxiety and performance concentration were not significant. An additional benefit of meditation was a reported increase in relaxation pleasure even in the period immediately before the performance. Results indicate that meditation may be a useful tool for aiding performers to combat performance anxiety.

Impact of a Cognitive-Behavioural Treatment Program on Music Performance Anxiety in Secondary School Music Students: A Pilot Study

2007 ◽  
Vol 11 (2_suppl) ◽  
pp. 53-84 ◽  
Author(s):  
Margaret S. Osborne ◽  
Dianna T. Kenny ◽  
John Cooksey
Keyword(s):  
Intervention Program ◽  
Relaxation Training ◽  
Music Performance ◽  
Performance Anxiety ◽  
Control Group ◽  
Behavioural Treatment ◽  
Music Performance Anxiety ◽  
Cognitive Behavioural Treatment ◽  
Performance Quality ◽  
Cognitive Behavioural

This study assessed the effectiveness of a combined individual and group cognitive-behavioural treatment (CBT) program to reduce music performance anxiety (MPA) in adolescent musicians. Twenty-three adolescents with high MPA from a selective high school were randomly assigned to either a seven-session intervention program or a behaviour-exposure-only control group. The intervention consisted of psychoeducation, goal setting, cognitive restructuring, relaxation training and behavioural exposure in the form of two solo performances with audience. Outcome measures included self-reports of MPA, trait and state anxiety, diagnostic interview for social phobia, heart rate, frontalis EMG, and performance quality. Significant improvements in self-reported MPA were observed at posttest for adherent students only ( i.e., students who were actively engaged in the program and who adopted program techniques). Adherent students also had higher MPA at commencement. Non-adherent and behaviour-exposure-only students both showed reductions in MPA over the study period but not to the same degree as adherent students. There appeared to be no effect of CBT on performance quality.

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 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.

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