This project seeks to sidestep the debilitating effects of music performance anxiety by cross-referencing knowledge from the areas of adolescent psychology with literature on MPA in singers in general in order to target adolescent singers early in their training. As well as considering the causes, symptoms and treatment of music performance anxiety, the project examines the role of the natural anxieties of adolescence in triggering music performance anxiety and seeks to chart a way through. Its intended readership is the classical singing teacher.

Thesis (Ph. D.)--Miami University, Dept. of Psychology, 2009. / Title from second page of PDF document. Includes bibliographical references (p. 26-31).

Made available in DSpace on 2015-05-14T12:52:27Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 2281149 bytes, checksum: d14380e3a4dd073ce04f00366150d758 (MD5) Previous issue date: 2012-09-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study investigated and analyzed the existence of music performance anxiety among music students of the Universidade Federal da Paraiba (UFPB), in the context of instrument music classes. In this survey 28 students coming from pre-college, undergraduate and graduate music program from UFPB took part, in a total of four classes coordinated by faculty members of the UFPB Music Department. As a research procedure psychological tests that assessed levels of state-trait anxiety, music performance anxiety and participant observation were applied. They were undertaken during the semester final recitals of each class. From the analysis, comparison and correlation of the results of psychological tests and participant observation, we found levels of state-trait anxiety above what was predicted by normative samples and consistent with those of studies conducted in other parts of the world, with orchestra musicians and professional choirs. We also found levels of anxiety in music performance similar to existing research, and clear physical signs and behavioral of musical performance anxiety. The analysis of research variables: gender, education, age, occupation and level of demand confirmed some of the assumptions in the literature and brought new findings, which opened space for further discussion and research. These results confirm the hypothesis that anxiety in music performance is a widespread phenomenon that can affect musicians of any age, level or technical training, from students to professionals. Therefore, our data are indicative of the existence of actual music performance anxiety among music students of the UFPB, alerting us to the occurrence of a factor detrimental not only to performance, but also to the health and psychological well-being of musicians. / O presente trabalho investigou e analisou a existência da ansiedade em performance musical entre os alunos de música da Universidade Federal da Paraíba (UFPB), no contexto das classes coletivas de instrumento. Fizeram parte desta pesquisa 28 alunos vindos dos cursos de Extensão, Bacharelado, Licenciatura, e Pós-Graduação em Música da UFPB, participantes de quatro turmas coletivas, coordenadas por professores do Departamento de Música. Como procedimento de pesquisa foram aplicados testes psicológicos que avaliaram os níveis de ansiedade de estado-traço e ansiedade em performance musical e empreendida observação participante durante os recitais de final de semestre de cada uma das turmas. A partir da análise, comparação e correlação dos resultados dos testes psicológicos e da observação participante, encontramos níveis de ansiedade de estado-traço acima do que era previsto pelas amostras normativas e compatíveis com os de estudos realizados em outras partes do mundo, com músicos de orquestras e de corais profissionais. Também encontramos níveis de ansiedade em performance musical semelhantes aos de pesquisas existentes, além de sinais físicos e comportamentais visíveis. A análise das variáveis de pesquisa: gênero, escolaridade, idade, profissão e grau de exigência confirmou algumas das hipóteses presentes na literatura e trouxe novos achados, os quais abrem espaço para outras discussões e pesquisas. Estes resultados confirmam a hipótese de que ansiedade em performance musical é um fenômeno generalizado, que pode acometer músicos de qualquer idade, nível técnico ou formação, desde estudantes à profissionais. Ainda, os dados aqui obtidos são indicativos reais da existência de ansiedade em performance musical entre os alunos de música da UFPB, alertando-nos para a ocorrência de um fator prejudicial não só à performance, mas também a saúde e ao bem-estar psicológico do músico.

Being able to communicate, interact and speak your mind in our time is considered one of the most essential proficiencies, especially in English which is accepted as a lingua franca. The most frequently used word in the Swedish course syllabuses for English is communication. Although there is an instant occuring communication in a classroom, some students stay silent since they fear to speak, they fear to fail and their way of preventing that from happening is to stay silent. In order to assess students language proficiencies, students must in some way demonstrate and show their knowledge to the teacher, a procedure that in some cases can be very demanding and difficult for students who suffer from speaking anxiety. The present study aimed to investigate how Swedish teachers meet and handle speaking anxiety among Swedish upper secondary students in English language education. The study was conducted through a qualitative method and semi structured interviews among four Swedish teachers. The gathered data was analyzed by thematic content analysis and resulted in three main categories, anxiety, the role of the teacher and teaching strategies. The study showed that the numbers of students suffering from speaking anxiety in Swedish upper secondary schools were in two out of four cases much higher than previous research. The study also showed that speaking anxiety has an impact on both students’ educational progress and in teaching aspects where teachers in some cases have to re-plan their planning and teaching material in order to help all students to reach the teaching goals.

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.

O presente trabalho investiga processos de aprendizagem e memorização simultâneos ao avaliar a eficácia dos Guias de Execução (GEs) segundo o protocolo Chaffin. O protocolo foi utilizado como estratégia de prática deliberada para o aprendizado e memorização simultâneos. Objetiva-se observar o efeito dos GEs para o controle dos sintomas de ansiedade durante a performance, bem como para a recuperação de episódios de falhas de memória do intérprete. O estudo envolve quatro violinistas pós-graduados e apresenta a proposta de aprender e memorizar simultaneamente um repertório não estudado previamente de maneira sistemática. O repertório pôde ser escolhido livremente pelos participantes dentre a obra Sonatas e Partitas de Johann Sebastian Bach (BWV 1001-1006). / This work investigates simultaneous learning and memorization processes by evaluating the effectiveness of Performance Cues (PCs) according to Chaffin’s protocol. The protocol was used as a deliberate practice strategy for learning and memorizing simultaneously. The purpose of this investigation is to observe the effect of PCs on controling symptoms of anxiety during the performance, as well as how it helps recovery from memory failure episodes by the performer. The study involves four postgraduates violinists and presents the proposal of learning and memorizing a repertoire that was not previously studied in a systematic way. The repertoire could be chosen freely by the participants from the work Sonatas and Partitas by Johann Sebastian Bach (BWV 1001-1006).

abstract: The notion that a singer’s voice is an expression of their personality serves as the catalyst for an examination of the relationship between the continuum of introversion and extraversion, and the pathologies of muscle tension dysphonia, vocal nodules, and performance anxiety. This paper begins with a brief introduction defining extraversion and introversion, followed by a review of personality studies identifying opera singers as primarily extraverted. Definitions of vocal nodules and muscle tension dysphonia are then given along with a list of recommended therapies. These elements tie in with two studies in speech pathology that suggest that behaviors of extraversion contribute to the development of vocal nodules, and behaviors of introversion contribute to muscle tension dysphonia and a higher laryngeal placement. Performance anxiety is shown to compound the behaviors that lead to vocal pathologies in singers. Additional therapies are recommended to address anxiety management in vocal lessons. Finally, since personality factors that contribute to vocal pathology are psychological, it is recommended that voice teachers refer their students to a psychotherapist for proper treatment. / Dissertation/Thesis / Doctoral Dissertation Music 2017

O presente trabalho investiga processos de aprendizagem e memorização simultâneos ao avaliar a eficácia dos Guias de Execução (GEs) segundo o protocolo Chaffin. O protocolo foi utilizado como estratégia de prática deliberada para o aprendizado e memorização simultâneos. Objetiva-se observar o efeito dos GEs para o controle dos sintomas de ansiedade durante a performance, bem como para a recuperação de episódios de falhas de memória do intérprete. O estudo envolve quatro violinistas pós-graduados e apresenta a proposta de aprender e memorizar simultaneamente um repertório não estudado previamente de maneira sistemática. O repertório pôde ser escolhido livremente pelos participantes dentre a obra Sonatas e Partitas de Johann Sebastian Bach (BWV 1001-1006). / This work investigates simultaneous learning and memorization processes by evaluating the effectiveness of Performance Cues (PCs) according to Chaffin’s protocol. The protocol was used as a deliberate practice strategy for learning and memorizing simultaneously. The purpose of this investigation is to observe the effect of PCs on controling symptoms of anxiety during the performance, as well as how it helps recovery from memory failure episodes by the performer. The study involves four postgraduates violinists and presents the proposal of learning and memorizing a repertoire that was not previously studied in a systematic way. The repertoire could be chosen freely by the participants from the work Sonatas and Partitas by Johann Sebastian Bach (BWV 1001-1006).

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.

O objetivo deste estudo foi avaliar os efeitos imediatos da administração da ocitocina (OT) na ansiedade de performance musical (APM) em cantores profissionais, tendose como parâmetro o \"Teste de Simulação de Canto em Público\" (TSCP). Realizouse um ensaio clínico randomizado, duplo cego, cross-over controlado por placebo, tendo como sujeitos 50 cantores profissionais homens, sendo 16% eruditos e 84% populares, com idade média de 28,86 anos e tempo de experiência média de 10,96 anos. Todos os cantores realizaram autoadministração de dose única de 24UI de OT ou placebo por meio de um spray nasal, em sessões diferentes, de acordo com o grupo que foram alocados. Após 51 minutos da administração da OT ou placebo, tempo que coincidiu com o pico de concentração da OT, os cantores realizaram o TSCP, que consistiu em uma performance musical, com interpretação à capela de uma música de livre escolha, por quatro minutos em ambiente controlado. Foram analisadas medidas de indicadores de humor, de desempenho da performance, sinas e sintomas vocais, por meio de escalas de autoavaliação, e análise das medidas acústicas vocais utilizando o software Multi-Dimensional Voice Program Advanced, ao longo de seis fases: Medida Inicial (MI), Medida Basal (MB), Medida Antecipatória (MA), Medida de desempenho (MD), Medida Pós-estresse 0 (MPe0), e Medida Pós-estresse 1 (MPe1). Foi realizada análise de variância ANOVA 2x2 para modelos de estudos cross-over com comparação intra e interssujeitos. Os resultados indicaram que houve efeito do tratamento com OT quando comparado com o placebo durante o TSCP, melhorando a autoavaliação do desempenho nas fases MD, MPe0 e MPe1. Não houve mudanças nos indicadores de humor, sinais e sintomas vocais e nas medidas acústicas vocais avaliadas nos cantores ao longo do TSCP. Para as medidas avaliadas não se evidenciou efeito de sequência e de período. As medidas de separabilidade evidenciaram que o 29% para as medidas de autoavaliação e o 23% para as medidas acústicas da voz, corresponde ao efeito do tratamento com OT, sendo estimada independentemente do efeito carry-over. Em conclusão, a OT apresentou efeito ansiolítico, evidenciando melhora na autoavaliação do desempenho, com ausência de reações adversas quanto aos sinais e sintomas vocais e às medidas acústicas da voz. / The aim of this study was to evaluate the immediate effects of administration of Oxytocin (OT) in the musical performance anxiety (MPA) in professional singers, having the \'Test of Public Singing Simulation\' (TPSS) as parameter. We conducted a double-blind cross-over randomized placebo-controlled clinical trial, with 50 professional male singers as subjects, of whom 16% were erudite singers and 84% were popular singers, with an average age of 28.86 and an average period of experience of 10.96 years. All singers self-administered an only dose of 24UI of OT or placebo via a nasal spray, in different sessions, according to the group they were placed with. After 51 minutes of the OT or placebo administration, time that coincident of peak concentration of OT, the TPSS was performed, which consisted of an acapella musical interpretation of a free choice song for 4 minutes in a controlled environment. Measures of mood indicators were analyzed, as well as performance, vocal signs and symptoms, with self-assessment scales and analysis of voice acoustic measures using Multi-Dimensional Voice Program Advanced software during six stages: Initial Measure (MI), Basal Measure (MB), Anticipatory (MA), Performance Measure (MD), Post-stress 0 Measure (MPe0) and Post-stress 1 Measure (MPe1). An analysis of the ANOVA 2x2 variation was performed for crossover study models with intra- and inter- subject comparisons. The results indicated an effect in the OT treatment when compared with placebo during the TPSS, improving the in stages MD, MPe0 and MPe1. There were no changes in mood indicators, vocal signs and symptoms nor in vocal acoustic measures over the TPSS. Sequence and period effect were not evident for the reviewed measures. Separability criterion presented OT treatment correspondence of 29% for self-evaluation measurements and 23% for voice acoustic measures, which was estimated regardless of the carryover effect. In conclusion, OT had an anxiolytic effect, emphasizing an improvement in self-evaluation concerning performance with no adverse reaction in terms of voice signs and symptoms and vocal acoustic measures.