Studiens syfte är att belysa vilka olika diskursers som kommer till uttryck när musiklärare i gymnasie- och folkhögskolan talar om fenomenet prestationsångest hos elever och hur de arbetar med det i sin undervisning. Diskurspsykologi utgör den teoretiska grunden för studien och tillämpade datainsamlingsmetoden är fokusgrupper. Två fokusgruppsamtal genomfördes där lärare från olika skolor samtalade kring ämnet prestationsångest kopplat till musikundervisning. Samtalen spelades in, transkriberades och analyserades i sökandet efter tolkningsrepertoarer. I resultatet presenteras ett antal olika tolkningsrepertoarer kring lärarnas beskrivning av sin syn på prestationsångest och sitt arbete med att förebygga och hantera prestationsångest hos sina elever. Viss motsättning framkom mellan olika tolkningsrepertoarer, exempelvis synen på prestationsångest som något som kommer inifrån och prestationsångest som något som kommer utifrån. Som metoder för att förebygga och hantera prestationsångest lyfts bland annat ett analyserande och icke-värderande språkbruk, förberedelse och mental träning. I diskussionen lyfts de mest framträdande delarna av resultat och diskuteras i relation till presenterad litteratur och tidigare forskning inom området. En slutsats som dras är att arbete med prestationsångest konstrueras som komplext men mycket angeläget. / The purpose of the study is to illuminate the different discourses that are expressed when music teachers discuss the phenomena of music performance anxiety among students, and how they address the issue in their teaching. Discourse psychology is the theoretical framework of the study and focus group interviews were used as the method for data collection. Two different focus group interviews took place, where teachers from different schools discussed the topic of performance anxiety in music education. The conversations were recorded, transcribed and analyzed in the search for interpretative repertoires. The result presents a number of different interpretative repertoires that shows how the teachers describe their views on performance anxiety and their work to prevent and manage it with their students. Some degree of conflict is shown between different interpretative repertoires such as performance anxiety as something that comes from within and performance anxiety as something that is affected by external factors. An analytical and non-evaluating language, preparation and mental training are some examples of methods to prevent and manage performance anxiety that the teachers described. The most prominent aspects of the results are discussed in relation to literature and previous research within the field. One conclusion that is made is that performance anxiety is being constructed as a complex phenomenon, but one that is really important to address.

Every new nursing graduate is challenged to successfully transition from student to professional nurse. The stress involved in that transition can manifest itself as performance anxiety, a type of anxiety occurring when someone is the focus of attention and is fearful of interactions or of being humiliated or embarrassed. It occurs only in specific situations. The new graduate's performance is the focus of attention and evaluation. Further, the need to interact with other professionals, patients, and families can create anxiety about performance. No studies have examined performance anxiety in graduate nurses. Use of cognitive behavioral therapy, progressive muscle relaxation, and reflective journaling has demonstrated reduction of performance anxiety in musicians and actors. There have been no studies evaluating these interventions in new graduate nurses or in combination to reduce performance anxiety in any population. Peplau's theory of interpersonal relations suggests that relationships play a significant role in mediating anxiety. Because most graduate nurses work with a registered nurse preceptor, it is likely that relationships with preceptors and the level of perceived support from those preceptors could influence the success of transition as well as new graduates' anxiety. Using a quasi-experimental, mixed method design, the sample was drawn from 2 classes of new graduates participating in a 6-month nurse residency program. Participants self-administered instruments measuring performance anxiety, preceptor relationships, and perceptions of preceptor social support, and were asked to journal weekly. Open-ended questions indicated their feelings about the intervention and its usefulness. This study verified the presence and level of performance anxiety in the sample. Results revealed a decrease in performance anxiety in both treatment and control groups but no significant influence of preceptor relationship or perceived preceptor support. Analysis of qualitative data revealed that the majority of participants were not engaged in the intervention and did not value it. Performance anxiety did not appear to negatively impact new graduate transition. No additional insight was gained about the preceptor and newgraduate relationship because the majority of participants' interactions remained at the initial level identified in Peplau's theory.

Online communication is a common component of contemporary life. However, research into its impact on well-being has found conflicting results. Although social media may have a detrimental impact on well-being, particularly in young adults (O’Reilly et al., 2018), some studies have found social media networking to have a beneficial influence on well-being (Ellison et al., 2007; Kim, 2017), which may contribute to improved academic performance among students (Al-Rahmi & Othman, 2013). The potential for such effects to extend to musicians in their experience of music performance anxiety (MPA) was the impetus for the current qualitative study, whose purpose was to explore friend and follower engagement on social media and its connection to self-esteem and MPA, using the PERMA Model (Seligman, 2011) to guide the inquiry. Six novice college-aged piano students completed State-Trait Anxiety (STAI-S) and Coopersmith Self-Esteem (CSEI) inventories, a demographic and social media use questionnaire, and two individual semi-structured interviews. Data were collected (1) at the outset of the study; (2) (a) after posting a short video excerpt of the piano performance on social media platforms and interacting with friends and followers, and (b) 30 minutes before the official performance at a live event; and (3) after the completion of the live performance. The findings suggest potential benefits of social media networking on novice music students’ well-being, Self-Esteem, and MPA. Social media interaction with friends and followers and novice piano students was frequently noted as a positive and significant contributing element to and preparation for participants’ successful performances. The awareness of the PERMA model assisted some participants in experiencing positive emotions, improving their well-being, elevating their self-esteem, and lowering their MPA. The feelings of happiness and well-being included in PERMA were linked to improved relationships between participants and their social media friends and were reported to improve their motivation, mastery, and achievement of goals, as well as feelings of support and encouragement. Negative comments did not affect participants with high self-esteem; however, it was not possible to observe the effects of negative comments on participants with low self-esteem since the one student with low self-esteem did not receive negative feedback. Despite findings from previous studies on the challenges and negative impacts of social media networking on students’ well-being, results of the current study indicate that it has the potential to be used positively. Mindful use of social media platforms may be an effective tool to help music students showcase their interests, talents, and achievements. As such, teachers may consider building strategies into their lessons to help students use social media as a learning tool for performance preparation. More research is needed on larger and more diverse groups of musicians to better understand the role of social media networking in music performance and its impact on musicians’ experience of MPA. Strategies for improving the practice and effectiveness of sharing music performances on social media platforms are discussed as pedagogical and performance-readiness tools. This study provides a starting point for music educators, administrators, and students in developing a more comprehensive understanding of the potentials and/or drawbacks of social media networking with regard to self-esteem and MPA.

Denna forskningsstudie har haft som syfte att utveckla tillämpbara verktyg för att minimera självkritiska tankar och prestationsångest i min låtskrivarprocess. Studien grundade sig i min upplevelse av att den ursprungliga glädje jag kände när jag började skriva musik, med tiden alltmer bytts ut mot prestationsångest och självkritik. Jag ville därför undersöka om jag kunde hitta förhållningssätt som kunde återetablera ett liknande tillstånd; det vill säga ett friare, effektivare och mer lustfyllt skapande. De frågeställningar studien således utformades efter var:  - Hur kan jag utveckla verktyg för att ta mig ur självkritiska tankar som hämmar min kreativitet, mitt självförtroende och min motivation i skapandeprocessen?  - Hur påverkar en förutbestämd ingång till låtskrivandet förutsättningarna för en lustfylld nyfikenhet till att utforska en idé?  - Vilka effekter har en förutbestämd ingång till låtskrivandet på min prestationsångest i skapandets tidiga skede?  Undersökningen resulterade i en fördjupad förståelse för min egen skaparprocess, insikter om hur och varför prestationsångest uppstår samt konkreta strategier och arbetssätt som jag fortsatt kommer att ha användning för. Vidare, resulterade undersökningen även i djupare insikter om hur det tillstånd som i studien refereras till som flow har en avsevärd inverkan på människors livskvalitet, varför det är av stor vikt att aktiviteter som kan uppbringa detta tillstånd görs tillgängliga för alla.  Den här studien avhandlar relationen mellan psykologi, kreativitet och prestationsångest. Jag menar att det finns mycket kvar att utforska på området prestationsångest i relation till låtskrivande och jag vill därför uppmuntra framtida forskare att vidga perspektiven ytterligare genom att söka kopplingar mellan fler forskningsfält.

No description available.

A pretest-posttest experimental study was conducted on 35 music majors at Taylor University, using questionnaires to measure musical performance anxiety and musical performance quality. The study compared the effectiveness of two different treatments: 1) informal practice performance and 2) a coping skills seminar. Though the students attending the seminar averaged less anxiety after treatment, neither treatment was proven statistically to be effective in reducing the level of anxiety or enhancing musical performance quality. / Ed. D.

In this study the technique of role reversal for the treatment of performance anxiety, experienced by learners in the school environment, was investigated. Performance anxiety sometimes presents as part of a larger pattern of social phobia and negatively impacts on an individual’s tasks performance due to the fear of negative evaluation. My qualitative study involved a collective, instrumental case study. Role reversal was implemented as part of a group-therapeutic intervention which continued for approximately three months, and involved participants acting as peer tutors. Data analysis focused on the participant’s personal experiences of the technique as well as therapeutic gains and the usefulness of the technique from a school-based counsellor’s perspective. The research findings revealed that although the helping role held certain challenges for the participants, it seemed to generally impact positively on their social and academic confidence and functioning. Additionally their levels of performance anxiety appeared to decrease. / Psychology of Education / M. Ed. (Guidance and Counselling)

No description available.

Studien syftar till att få djupare insikt i hur några klarinettpedagoger förbereder sina elever inför musikaliska framträdanden. I bakgrundskapitlet presenteras tidigare forskning om nervositet och prestationsångest, samt olika strategier för att hantera det. Vidare presenteras studiens teoretiska utgångspunkt som utgörs av ett didaktiskt perspektiv. Den forskningsmetod som används i studien är kvalitativ forskningsintervju och det är fyra klarinettpedagoger som har intervjuats. Intervjuerna transkriberades, bearbetades och analyserades och de svar som framkommit utgör studiens resultat. I resultatet beskrivs hur lärarna förbereder sina elever genom att arbeta med koncentrationsförmåga, konsertvana och speltekniska färdigheter som till exempel andningsteknik. Lärarna har gemensamma uppfattningar om att hög kvalitet i deras undervisning ger eleverna en god spelteknisk grund, vilket kan göra det lättare för eleverna att hantera nervositet vid ett musikaliskt framträdande. Dock framkommer det också i resultatet att två av lärarna upplever en tids- och kompetensbrist i hur de kan bemöta elevers nervositet. / This study aims to gain a deeper insight into how some clarinet teachers prepare their students for musical performances. In the background chapter previous research on performance anxiety is presented, as well as various strategies for dealing with it. Furthermore, the study's theoretical perspective is presented constituted by a didactic perspective. The research method used in this study is qualitative research interview and there are four clarinet teachers who have been interviewed. The interviews were transcribed, processed and analyzed, and the answers from the teachers represent the study's results. The results show that the teachers prepare their students by working with concentration, concert habit, and technical instrumental skills such as breathing techniques. The teachers share a common perception that the quality of their teaching gives students a good instrumental technical basis, which can make it easier for the students to cope with the anxiety related to a musical performance. However, the results also show that two of the teachers experience a shortage of both time and skills, when it comes to helping students with their anxiousness.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-21T20:44:40Z No. of bitstreams: 2 Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-22T12:15:40Z (GMT) No. of bitstreams: 2 Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-22T12:15:40Z (GMT). No. of bitstreams: 2 Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-30 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This work discusses the problem of performance preparation focusing on the repertoire choice for a voice recital and also analyses how the pieces selection and their sequence affect the interpreter during the recital preparation as well as the possible effects of such selection on performance. This work is divided in two parts (A and B): part A being ARTISTIC PRODUCTION, composed by two recitals with a diverse repertoire which were publicly presented and judged by a jury, the second one with repertoire related with the research; and part B being SCIENTIFIC PRODUCTION, composed by a scientific article publishable in the parameters of research in music. The literature on performance preparation points to a certain tradition of organizing the pieces sequence in a chronological way, usually including pieces which are representative of certain periods of Western music History, often focusing on the 18th and 19th century and the first half of the 20th century also. However, such way of organizing the pieces sequence is not always the most organic one for interpreters. Therefore, it is important to investigate how adopting flexible and general criteria (for the recital program structuring) and how applying study strategies might contribute for an optimized artistic performance. We take into account the possibility that a singer can, when performing, be affected by such things as anxiety triggered by an improper pieces sequence selection considering the singer‟s voice and the occasion. Thus, such factors, too, play a major role in the research. This hypothesis is investigated through a review of the performance preparation literature and performance psychology as well as by a survey interviewing singers and going through recital programs (the singers interviewed were music faculty teachers). Finally, the research is concluded that applying such strategies to pieces sequence and selection in singing program repertoire (as part of a performance preparation) brings more satisfactory results for interpreters. / Este trabalho discute a preparação para a performance com enfoque na escolha de repertório para um recital de canto, e analisa como a seleção das peças e sua disposição impactam o intérprete no momento da preparação para um recital, bem como as possíveis interferências desta seleção na performance. O trabalho é dividido em duas partes, a saber: PARTE A: PRODUÇÃO ARTÍSTICA, composta por dois recitais com repertório variado, apresentados publicamente e apreciados por banca sendo o segundo apresentado na defesa com repertório diretamente relacionado com a pesquisa; e PARTE B: PRODUÇÃO CIENTÍFICA, composta por um artigo publicável seguindo modelos da área de música. O texto mostra que a literatura sobre preparação para performance aponta certa tradição de se manter as obras em ordem cronológica, com inclusão de peças representativas de alguns períodos da história da Música Ocidental – geralmente concentrada nos séculos XVIII, XIX e início do XX. Essa, no entanto, nem sempre é a disposição mais orgânica para os intérpretes. Por isso, é pertinente investigar em que medida a adoção de critérios flexíveis e abrangentes na estruturação do programa de recital e na aplicação de estratégias de estudo podem contribuir para um melhor desempenho artístico. Leva-se em conta, nesta investigação, a possibilidade do cantor ser impactado, no momento da performance, por ansiedade, desencadeados por uma escolha e/ou sequência inadequada de obras, ou ainda inadequação à voz do cantor ou à ocasião da performance. Tais fatores são investigados mediante revisão de literatura sobre preparação para performance e psicologia da performance, bem como com a aplicação e avaliação de duas consultas e de programas de recitais realizados por cantores atuantes como docentes em cursos de nível superior. Ao final do artigo confirma-se que a aplicação de estratégias na escolha/ordenação de repertório num programa de canto, durante a preparação para a performance, resulta em resultados mais satisfatórios para os intérpretes.