Detta självständiga arbete undersöker hur stress och prestationsångest påverkar kropp och sinne vid sångövning. Syftet med arbetet är att undersöka upplevelsen av hur stress och prestationsångest kan påverka motivationen vid övning, samt att hitta tillvägagångssätt för att motverka dessa. Under 11 veckor gjordes 8 övningspass som dokumenterades med hjälp av loggboksanteckningar och videodokumentationer samt analyserades med en tematiska analysmetod. Det fenomenologiska perspektivet finns med som stöd till studien och har resulterat i följande formuleringar av frågeställningar till studien: Hur upplever jag att kroppen som instrument påverkas av mina känslor och tankar, när jag känner stress och prestationsångest under övningspassen? På vilka sätt kan meditation innan övningspassen påverka upplevelsen av stress och pre-stationsångest? Resultatet har delats in i två delar med Kroppslig påverkan av stress, prestationsångest, känslor och tankar och Meditationens påverkan på kroppen och sinnet. Det framkommer i resultatet att kroppens påverkan av stress och prestationsångest visar sig i muskelspänningar och rörelsemönster som inte främjar hälsosamt användande av kropp och sångröst. Det visar sig också att det dåliga måendet kan, men måste inte avspeglas i meditationen och övningen. Meditationen påverkar kroppen och sinnet olika för varje övningspass. Avslutningsvis så förs en diskussion kring resultatet och tidigare forskning kring arbetsområdet. / This self-study investigates how stress and performance anxiety affect body and mind when singing. The purpose of the work is to investigate the experience of how stress and performance anxiety can affect the motivation during singing exercise, and to find approaches to counteract these. During 11 weeks, 8 practice sessions were performed, which were documented with the help of logbook notes and video documentation and analyzed with a thematic analysis method. The phenomenological perspective is included as support for the study and has resulted in the following formulations of questions for the study: How do I experience that the body as an instrument is affected by my feelings and thoughts, when I feel stress and performance anxiety during the training sessions? In which ways can meditation before the training sessions affect the experience of stress and pre-station anxiety? The result has been divided into two parts with Physical impact of stress, performance anxiety, emotions and thoughts and The impact of Meditation on the body and mind. It appears from the results that the body's impact of stress and performance anxiety is manifested in muscle tension and movement patterns that do not promote healthy use of the body and singing voice. It also turns out that the bad moon can, but must not be reflected in the meditation and exercise. Meditation affects the body and mind differently for each exercise session. Finally, there is a discussion about the results and previous research on the work area.

The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition). Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group. All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.

The art of balancing spiritual, physical and emotional attributes is a daunting task for any organist. The techniques with which an organist consolidates these attributes have a direct effect on the accomplishment of a definitive goal – a successful music performance. However, this portrays the ideal situation. There is a myriad of internal and external factors that obstruct the organist from attaining this ultimate goal and – in the process – create excessive stress and anxiety. Over and above the habitual performance nervousness, an organist’s anxiety level is exacerbated when performing on an unfamiliar organ, as every organ has unique characteristics that differ from all other. Moreover, the modern pipe organ – particularly the church organ – is a complex and intricate instrument that claims the highest skills and flexibility from an organist. Performing music is inherently a stressful accomplishment that is intensified by continuous challenges, inter alia incessant preparation and the threat of criticism. Some music performers seem to thrive on stress while others choke under pressure. The music performer, however, is not intrinsically born with the innate knowledge and wisdom to manage the diverse anxiety-causing factors that are associated with organ performing. A particular kind of pedagogical training, namely coaching, is proposed as a technique to equip a scholar – particularly an organist – with tactics to manage performance anxiety. Parallels are drawn between the training of sports athletes and organists as coaching has valuable applications for both sports- and music performers. The aim with the current study was to explore how and why organists experience such strenuous anxiety when performing a repertoire. These strains can often become too overwhelming for an organist to endure. For the purpose with the study, six experienced and qualified organists were selected by means of a convenience sample design. Their stress- and anxiety levels during music performances were identified by means of 12 open-ended questions. Being an experienced organist and teacher herself, the author was able to probe deeper into the topics introduced by the research questions. Particular consideration was given to the fabric of performance anxiety from three different approaches: behavioural, cognitive and psychoanalytical. In addition, pedagogical coaching was explored as a viable alternative to teaching an organist. Moreover, the organist’s unique characteristics were emphasised from behavioural, cognitive (gestalt), socio-cultural, and psychoanalytical approaches. From the results of the empirical study is evident that all the organists participating in the study revelled in their organ performing. However, many situational and related aspects caused them habitually to experience feelings of stress, anxiety, loneliness and apprehension. Of particular concern to the organists was the inclusion of worship bands in the church. They experienced it as a threat to the church – resulting in a lowering of musical standards. All of the stressful situations resulted in tiredness, frustration and sometimes exploitation in the organists. One main finding was that an organist imperatively needs to be coached and supported in coping with such adverse feelings. Coaching improves energy levels, self-help skills, better time management and further development of emotional intelligence. It can also increase the organist’s physiological state – improve a sense of awareness, enhance learning capabilities and increase self-confidence. The all-encompassing conclusion reached was that – through effective coaching – the organist has a much better chance of overcoming inner- and outer adversities on the way to a successful and rewarding career. / Dissertation (MMus)--University of Pretoria, 2014. / tm2015 / Music / MMus / Unrestricted

Music performance anxiety (MPA) is primarily described as stage fright concerning musicians and performers and affects orchestral and professional musicians severely (Brugués, 2009; Plummer, 2007). As a result, literature on MPA focuses extensively on how it affects professional and adolescent musicians, but limited resources emphasise how it affects brass instrumentalists. The aim of the study is to investigate the occurrence and experience of MPA in brass players. Further, it aims to explore prominent symptoms in this population and what coping strategies are most effective against MPA. Ten brass (five French horn, three trumpet and two trombone) players, of whom eight are professional and two semi-professional musicians, with varying performance experience, participated in this study. The study uses a qualitative research approach and falls into the interpretive paradigm. A multiple case study design was followed. The data were collected through semi-structured interviews, probing each participant’s reported experiences and coping strategies. MPA inhibits a brass player’s musical performance in areas such as musical expression, technical proficiency, physical endurance, tone quality and enjoyment. The results suggest that most of the participants experienced MPA since childhood, regardless of the starting age, and experiences of this condition varied over time throughout adulthood. The symptoms of MPA manifests physiologically (shaking, dry mouth, increased heart rate, sweating), behaviourally (muscle tension, shaking, dry lips), and cognitively (negative thought processes). First-time experiences of a musically demanding task such exams and Eisteddfods, with intimidating audiences, impacted early signs of severe MPA symptoms such as shaking and had a blunting effect on performance quality. Increased task difficulty, limited performance opportunities, auditions, recitals, and orchestral environments, which exposed the player’s performing ability under pressure, had a profound influence on recent experiences of MPA. These situations evoked multiple symptoms such as dry mouth, accelerated heartbeat, shortness of breath, negative thoughts/feelings and self-doubt. Symptoms such as a dry mouth, accelerated heartbeat, shortness of breath, and shaking affects a brass player’s musical performance severely, since it inhibits tone quality and influences musical spontaneity. Therefore, these symptoms affect technical proficiency among brass players negatively since performing these instruments are physically demanding. The results also showed that teachers gave useful advice concerning performing a brass instrument under pressure. The advice was useful among the participants’ lived experiences of MPA, particularly regarding early-experienced symptoms. The experiences of MPA in high demanding performance settings resulted in a better understanding of the situation over time, and led to the reported coping strategies against MPA, which enhanced optimal performance and reduced symptoms. The study concludes that MPA adversely affects brass instrumentalists, particularly the physiological manifestation of the condition. More research is needed to identify symptoms unique to this instrument group and the most effective coping strategies. / Mini Dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

The purpose of this study was to evaluate the relationship between anxiety reducing teaching methods and computer anxiety levels and learning gain of students in a college level introductory computer course. Areas examined were the computer anxiety levels of students categorized by selected demographic variables, the learning gain of students categorized by selected demographic variables, and anxiety levels and learning gain of students after completion of the course. Data for the investigation were collected via the Standardized Test of Computer Literacy (STCL) and the Computer Opinion Survey (CAIN), developed by Michael Simonson et al. at Iowa State University. The nonequivalent pretest/posttest control group design was used. The statistical procedure was the t test for independent groups, with the level of significance set at the .05 level. The data analysis was accomplished using the StatPac Gold statistical analysis package for the microcomputer. Based upon the analysis of the data, both hypotheses of the study were rejected. Research hypothesis number one was that students in a class using computer anxiety reducing teaching methods would show a greater reduction in computer anxiety levels than students in a traditional class. Hypothesis number two was that students in a class using computer anxiety reducing methods would show a greater learning gain than students in a traditional class. This research revealed that there was no statistically significant difference in the computer anxiety levels or the learning gain of students between the control group and the experimental group.

Performance anxiety and stress are forefront problems for performers in the music industry. Within music training programs, these problems are particularly debilitating. These students are concerned both about performance situations and also their personal lives. The following study compared two treatments, heart rate variability (HRV) biofeedback and Compassion Focused Therapy (CFT) on the effects of cortisol and self-reported stress and mood before and after a required end of semester performance. Thirty students enrolled in a college music program participated in the five-visit intervention (14 in the HRV biofeedback group and 16 in the CFT group). Stress levels, measured by self-report, salivary cortisol, and salivary alpha amylase, showed no group differences between the CFT and HRV groups. Both groups had statistically significant improvement following the intervention on pre-performance DASS scores and alpha-amylase scores, showing lower sympathetic activation and lower report of mood symptoms despite the stress of the required performance. Cortisol and negative affect did not appear to be impacted by the intervention, however, cortisol returned to baseline levels 15 minutes after the intervention, showing relatively quick recovery for both groups. Further research with a larger, more diverse sample and control group is warranted.

Public performance is often a central component of music education for young musicians, and the demands of performing in festivals, exams, auditions, and recitals can cause young performers to experience music performance anxiety (MPA: Boucher & Ryan, 2011; Thomas & Nettelbeck, 2014). The current dissertation explored MPA in young musicians from a variety of perspectives, using four main research purposes. The first article examined the relationship between MPA and self-efficacy in young musicians and investigated the extent to which gender moderates the relationships between MPA, age, and self-efficacy in young musicians (aged 7-17 years). The results of statistical analyses indicated that while gender did not moderate the relationship between age and MPA, age had a significant main effect on MPA. There was no significant difference between males’ and females’ levels of self-reported MPA. Additionally, there were no significant main effects of age or gender on self-efficacy, or an effect of gender on the relationship between age and self-efficacy. A strong negative relationship between self-efficacy and MPA indicates that students with low levels of self-efficacy are more likely to have high levels of MPA. Next, the MPA/self-efficacy and MPA/age-related findings from article one led to the second and third articles of this dissertation which investigated a self-modeling intervention designed to target MPA and self-efficacy in adolescent musicians. Article two examined the relational changes between MPA, self-efficacy, performance quality, and behavioural anxiety in five adolescent piano students over a six-week intervention. The study also explored the effects of a positive self-review self-modeling intervention on adolescent musicians using quantitative methods. Results indicated that the relational changes between MPA, self-efficacy, and performance quality are complex. There were no observed relationships between MPA and self-efficacy or performance, suggesting that MPA can have both debilitative and facilitate effects on these variables. Additionally, there was no relationship between MPA and behavioural anxiety, suggesting that students may appear less anxious than they feel. Finally, the results suggest that self-modeling has individual effects on musicians, meaning that self-modeling can provide teachers with a versatile strategy for reducing MPA, improving performance quality, and/or increasing performance confidence. Article three expanded on the self-efficacy results of article two and investigated how Bandura’s (1977) four sources of efficacy influenced self-efficacy beliefs in adolescent musicians within a six-week self-modeling intervention. The study also explored the effects of a positive self-review self-modeling intervention on musician self-efficacy using qualitative methods. Results indicated that mastery experience was most influential on self-efficacy beliefs in participants. Observing similarly skilled models, receiving positive feedback, and feeling calm or focused prior to performance increased self-efficacy in participants, while observing advanced models, making negative comparisons, and feeling anxious, distracted, or fatigued decreased self-efficacy. These results provide music teachers with several practical strategies that may facilitate stronger self-efficacy beliefs in students. Additionally, the self-modeling video increased self-efficacy when participants liked and related to their video or used the video to facilitate performance improvements, suggesting that both the performance and strategic functions of modeling may be beneficial to musicians. Finally, the fourth and final article of the dissertation explored MPA from music teachers’ perspectives by identifying and describing common coping strategies teachers use to support students with MPA. A quantitative content analysis of scientific and non-scientific MPA literature identified preparation, open communication, realistic expectations, exposure therapy, and deep breathing as the five most common coping strategies mentioned in the literature. Qualitative thematic analyses of literature and semi-structured interview transcripts with piano teachers provided descriptions of the five commonly identified strategies. A comparison of literature and interview results suggests a gap between research knowledge of MPA and practical teaching application. While music teachers employ a variety of strategies to help students cope with MPA, they may also benefit from formal MPA training opportunities grounded in research to provide additional resources for effectively managing students with MPA. The four articles of the dissertation combine to give an overview of MPA in young musicians from several different perspectives. Findings from article one help identify students who may be more at risk to suffer from MPA, while self-modeling findings from articles two and three provide musicians and teachers with a viable strategy to help reduce MPA and increase self-efficacy. Finally, given that teachers can act as a front-line defense against MPA (Liu, 2016), findings from article four help identify areas where researchers can provide teachers with further MPA training, which will in turn help fortify young musicians against MPA.

Scenskräck - En studie om musikers upplevelser av nervositet och stress kopplat till  scenframträdande samt vilka lärdomar som kan föras vidare till musikstuderande på gymnasiet.Marcus Olsson & Björn Rosenqvist antal sidor 39  En studie i hur musiker uppfattar och handskas med olika former av scenskräck. Syftet är att bidra med kunskap kring hur lärare kan utveckla sin undervisning i kurser med scenframställ- anden. Detta genom att undersöka hur verksamma musiker beskriver att de hanterar situationer som framkallar nervositet och stress. Studiens frågeställningar lyder:  Hur beskriver musiker sina erfarenheter av nervositet och stress i samband med scen- framträdanden? Vilka metoder använder sig musiker av för att hantera situationer som framkallar ner- vositet och stress kopplat till framträdanden?  För att få svar på forskningsfrågorna användes i studien kvalitativa intervjuer av sex yrkesverk- samma musiker. Studien visar på att samtliga respondenter återkommande upplever någon form av nervositet och/eller stress i samband med sceniska framträdanden, där mötet med publiken framstår som den enskilt största faktorn till att driva upp mängden upplevd nervositet och stress. Flera metoder att handskas med scenskräck framkom i studien, där förberedelser lyfts fram som särskilt viktig. Genom olika former av stöttning kan läraren förbereda eleverna på att själva tackla dessa tillspetsade situationer. Resultatet i studien påvisar stora likheter med tidigare forskning i ämnet.

Prestationsångest är en känsla som existerar bland majoriteten av alla människor, men kanske framför allt bland unga som kombinerar de redan svåra gymnasiestudierna med en idrottssatsning på elitnivå? Syftet med denna uppsats är att undersöka relationen mellan prestationsångest och elitsatsande idrottselever på gymnasieskolor i mellansverige samt vad som bidrar till att dessa känslor uppkommer. Genom en kvantitativ enkät kunde forskningsfrågor gällande respondenternas självkänsla, skolmiljö, idrottsmiljö och prestationsångest besvaras. Resultat från 26 idrottselever har sammanställts och analyserats genom programmet SPSS och de huvudsakliga resultaten visade en betydlig skillnad mellan män och kvinnor. Där kvinnor i majoritet påverkas negativt i frågor om skolans hänsyn till deras idrottssatsning, om tiden räcker till för både skola och idrott och känslan av prestationsångest över lag. Av dessa resultat kan slutsatser gällande könsnormer och högre förväntningar på kvinnor göras och anses som avgörande faktorer i detta sammanhang. / Performance anxiety is a feeling that exists among the majority of all people, but perhaps especially among young people who combine the already difficult high school studies with a sportsinvestment at an elite level? The purpose of this essay is to investigate the relationship between performance anxiety and sports students at highschools in central Sweden and what contributes to these feelings arising. Through a quantitative survey, questions regarding the respondents' self-esteem, school environment, sports environment and performance anxiety could be answered. Results from 26 sports students have been compiled and analyzed through the SPSS program and the main results showed a significant difference between men and women. Where women in the majority are negatively affected in questions about the school's regard for their sportsinvestment, whether there is enough time for both school and sports and the feeling of performance anxiety overall. From these results, conclusions regarding gender norms and higher expectations in women can be made and considered as decisive factors in this context.

This master project addresses the problem of stage fright in a musical performance context. To meet my personal, uncomfortable feelings of stage fright, I decided to “prepare” my body for such situations by doing breathing exercises developed by Ilse Middendorf (The Perceptible Breath). With help and support of the Berliner Centrum für Musikermedizin at the Charité the project became a pilot study about how Ilse Middendorf's breathing exercises could minimize bodily stress of a non-wind instrument player in a stress situation. Following method was applied. I did breathing exercises over a period of six weeks. I made three recordings of the same cello piece that I know well (Josef Haydn’s Cello Concerto in D-major, 1. movement, exposition): before the six-week period, in the middle of it and at the end. The recordings represent the stress situations. The impact of breathing exercises on my cello practice and recordings were evaluated in three ways. I documented my subjective perceptions of my personal development with a questionnaire and a report. The objective results were then documented in two ways. The three recordings were sent out to professional audience members who did not know in which order recordings were done. They listened and rated them in order of their quality. Finally, I measured a series of body parameters which indicate the level of stage fright (e.g. heart rate, finger temperature, blood pressure) before and after the recordings. The results of my project are quite encouraging. On the subjective level, I felt less stress, more musicality and a new body awareness. The recordings were rated by audience members in exactly the order in which I recorded them which indicates a musical quality improvement. The body measurements showed that breathing exercises lead to a decrease in bodily stress symptoms (blood pressure and heart rate).