O presente trabalho trata da Ansiedade de Performance Musical (APM) e do Medo de Palco e possíveis estratégias de enfrentamento, com foco em uma observação dos músicos profissionais de orquestras que atuam no estado de São Paulo. Traz revisão da literatura sobre o assunto, reflexões sobre as diversas áreas relacionadas e uma pesquisa de campo, que apresenta dados e implicações dessas emoções na vida cotidiana desses músicos. Aponta também para a necessidade de se obter maior conhecimento sobre as pesquisas recentes a respeito do assunto, já que uma compreensão mais profunda do tema pode gerar meios práticos para que o músico obtenha um possível abrandamento da APM, no processo de aprendizagem, na performance e em seu dia a dia profissional, diminuindo o estresse inerente à profissão. Foram coletados novos dados sobre os músicos instrumentistas profissionais de orquestras paulistas (sejam mantidas pelo estado, seja pelos municípios), por meio de questionários sobre Ansiedade e Ansiedade de Performance Musical. Com projeto aprovado pelo Comitê de Ética da USP e pelo Plataforma Brasil (Ministério da Saúde), a pesquisa apresenta os dados obtidos, comentando os resultados encontrados e disponibilizando um novo panorama do problema da APM no ambiente de trabalho dos músicos profissionais das orquestras paulistas, dados que podem gerar interesse para novas reflexões e questionamentos sobre o tema. Faz breves paralelos com pesquisas recentes sobre o assunto, realizadas no exterior, apresenta reflexões e seleciona treinamentos e técnicas para o abrandamento deste problema, provenientes de várias áreas relacionadas, como Psicologia, Psicologia da Música, Psicologia Esportiva, Performance Musical e Neurociência, com a finalidade de auxiliar músicos, especialmente os profissionais de orquestras, a obter melhores resultados em sua carreira, melhor qualidade de vida e de saúde física e mental, em seu cotidiano. / This thesis deals with Musical Performance Anxiety (MPA) and Stage Fright as well as possible coping strategies, focusing on the observations of professional musicians from orchestras operating in the state of São Paulo. It reviews literature on the subject, contains reflections on various related areas and a field survey, which presents data and the implications of these emotions in the everyday life of these musicians. It also points to the need to obtain greater insight into recent research on the subject, since a deeper understanding of this theme may generate practical means for musicians to obtain an easing of MPA, during the learning process, performances and in their day-to-day professional life, thus reducing the stress inherent to the profession. New data was collected on professional musicians from São Paulo state orchestras (either orchestras maintained by the state or by municipalities), through questionnaires about Anxiety and Musical Performance Anxiety. With the project approved by the USP Ethics Committee and Platform Brazil (Ministry of Health), the research data obtained is presented, along with related comments, providing a new panorama of MPA in the workplace of professional musicians in São Paulo state orchestras, data that may generate interest for new reflections and questions on the subject. Brief parallels to recent research carried out abroad on the subject are made, together with reflections, selected training and techniques for the easing of this problem, collected from various related fields such as Psychology, Psychology of Music, Sports Psychology, Musical Performance and Neuroscience. The purpose is to assist musicians, especially orchestral professionals, to obtain the best results in his or her career, better quality of life together with physical and mental health in their daily lives.

O presente trabalho trata da Ansiedade de Performance Musical (APM) e do Medo de Palco e possíveis estratégias de enfrentamento, com foco em uma observação dos músicos profissionais de orquestras que atuam no estado de São Paulo. Traz revisão da literatura sobre o assunto, reflexões sobre as diversas áreas relacionadas e uma pesquisa de campo, que apresenta dados e implicações dessas emoções na vida cotidiana desses músicos. Aponta também para a necessidade de se obter maior conhecimento sobre as pesquisas recentes a respeito do assunto, já que uma compreensão mais profunda do tema pode gerar meios práticos para que o músico obtenha um possível abrandamento da APM, no processo de aprendizagem, na performance e em seu dia a dia profissional, diminuindo o estresse inerente à profissão. Foram coletados novos dados sobre os músicos instrumentistas profissionais de orquestras paulistas (sejam mantidas pelo estado, seja pelos municípios), por meio de questionários sobre Ansiedade e Ansiedade de Performance Musical. Com projeto aprovado pelo Comitê de Ética da USP e pelo Plataforma Brasil (Ministério da Saúde), a pesquisa apresenta os dados obtidos, comentando os resultados encontrados e disponibilizando um novo panorama do problema da APM no ambiente de trabalho dos músicos profissionais das orquestras paulistas, dados que podem gerar interesse para novas reflexões e questionamentos sobre o tema. Faz breves paralelos com pesquisas recentes sobre o assunto, realizadas no exterior, apresenta reflexões e seleciona treinamentos e técnicas para o abrandamento deste problema, provenientes de várias áreas relacionadas, como Psicologia, Psicologia da Música, Psicologia Esportiva, Performance Musical e Neurociência, com a finalidade de auxiliar músicos, especialmente os profissionais de orquestras, a obter melhores resultados em sua carreira, melhor qualidade de vida e de saúde física e mental, em seu cotidiano. / This thesis deals with Musical Performance Anxiety (MPA) and Stage Fright as well as possible coping strategies, focusing on the observations of professional musicians from orchestras operating in the state of São Paulo. It reviews literature on the subject, contains reflections on various related areas and a field survey, which presents data and the implications of these emotions in the everyday life of these musicians. It also points to the need to obtain greater insight into recent research on the subject, since a deeper understanding of this theme may generate practical means for musicians to obtain an easing of MPA, during the learning process, performances and in their day-to-day professional life, thus reducing the stress inherent to the profession. New data was collected on professional musicians from São Paulo state orchestras (either orchestras maintained by the state or by municipalities), through questionnaires about Anxiety and Musical Performance Anxiety. With the project approved by the USP Ethics Committee and Platform Brazil (Ministry of Health), the research data obtained is presented, along with related comments, providing a new panorama of MPA in the workplace of professional musicians in São Paulo state orchestras, data that may generate interest for new reflections and questions on the subject. Brief parallels to recent research carried out abroad on the subject are made, together with reflections, selected training and techniques for the easing of this problem, collected from various related fields such as Psychology, Psychology of Music, Sports Psychology, Musical Performance and Neuroscience. The purpose is to assist musicians, especially orchestral professionals, to obtain the best results in his or her career, better quality of life together with physical and mental health in their daily lives.

Made available in DSpace on 2015-05-14T12:52:34Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1656747 bytes, checksum: 04ca3cc454972f09f7fce1fc33f76e69 (MD5) Previous issue date: 2014-04-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The general objective of this research consists to investigate the performance abilities and strategies used by pianists to manage anxiety at presentations. The specific objectives being to realize a comparative study among professionals and students in their activities to prepare and presentation for a recital; investigate the behavioral perception that pianists have of themselves as performers; examine the trajectory of preparation for the recital in the ten weeks preceding the day of the presentation; analyze the factors that influence the performance of the pianist on stage; examine whether participants had anxiety and identify the symptoms present before and during the recital; verify the relationship between the environment in preparation for the public presentation and management of anxiety; verify the factors that influenced the concentration during the recital. The process for construction of theoretical reference consists of five thematic ramifications, these being: anxiety, preparation for recital, concentration, abilities and strategies, which converge to embase knowledge concerning the phenomena of preparing for a performance. The methodology brought to light a case study, of the multicase type, participants of which are students and professionals in Recife, Pernambuco, Brazil, which were classified as Group 1): three piano students at Escola Técnica Estadual de Criatividade Musical (ETECM) (State Technical School of Music Creativity) and, Group 2): three professional pianists, all of them in the stage of preparation for a recital. Field data collected were semistructured interview before and after recitals, questionaire concerning behaviour and anxiety, study sequence routines, and audio register of recitals. This research lies in the area of music education, but is anchored in music psychology, which is the study of how persons perceive, learn, remember something, and reflect on information received, with the objective of comprehending the mental processes concerning a variety of musical behaviour patterns, and analyze the influence social surroundings exert on musical conduct. The analyses and results of data consisted of three parts which followed these steps: 1) discovery and analysis of the abilities and strategies used before and during the presentation to control anxiety, 2) comprehension of the perception of behaviour that pianists had of themselves during the days preceding the presentation and perception of anxiety symptoms before and during performance, 3) qualitative evaluation of results. It is inferred that not only students, but also professionals presented efficient abilities and strategies to reach their objective, with a minimum of anxiety. These aspects, however, exist on different levels of knowledge and cognitive development, and are analyzed according to the three stages to acquire abilities, and by the matrix of cognitive-musical ability. / O objetivo geral desta pesquisa consistiu em Investigar as habilidades e estratégias de performance utilizadas por pianistas para gerir a ansiedade nas apresentações, cujos objetivos específicos foram: realizar um estudo comparativo entre profissionais e estudantes em suas atividades de preparo e apresentação para um recital; investigar a percepção comportamental que os pianistas têm de si próprios como executantes; averiguar a trajetória de preparação para o recital nas dez semanas antecedentes ao dia da apresentação; analisar os fatores que influenciaram o desempenho do pianista no palco; apurar se os participantes apresentaram ansiedade e identificar os sintomas presentes antes e durante o recital; verificar a relação entre o ambiente de preparação para a apresentação pública e a gestão da ansiedade; verificar os fatores que influenciaram a concentração durante o recital. O processo de construção do referencial teórico consistiu em cinco ramificações temáticas, a saber: ansiedade, preparação para o recital, concentração, habilidades e estratégias, as quais convergiram para embasar o conhecimento sobre a fenomenologia da preparação e execução de uma performance. A metodologia expôs um estudo de caso do tipo multicaso, cujos participantes foram estudantes e profissionais de Recife - PE, os quais foram classificados no grupo 1: três estudantes de piano da Escola Técnica Estadual de Criatividade Musical (ETECM) e no grupo 2: três pianistas profissionais, todos em fase de preparação para o recital. Os dados de campo coletados foram entrevista semiestruturada antes e após o recital, questionário de comportamento e de ansiedade, roteiro de estudo e gravação dos recitais. Este trabalho está focado na área da educação musical, mas ancorado na psicologia da música, que é o estudo de como as pessoas percebem e aprendem algo, lembram-se dele e refletem sobre as informações recebidas, objetivando compreender os processos mentais relativos a uma variedade de comportamentos musicais e analisar a influência que o meio social exerce na conduta musical. As análises e os resultados consistiram na triangulação dos dados, os quais seguiram algumas etapas: 1) descoberta e análise das habilidades e estratégias utilizadas antes e durante a performance para o gerenciamento da ansiedade, 2) compreensão da percepção comportamental que os pianistas tiveram de si mesmos nos dias precedentes à apresentação e percepção dos sintomas de ansiedade antes e durante a execução e 3) a avaliação qualitativa dos resultados. Inferiu-se que tanto estudantes como profissionais apresentaram habilidades e estratégias eficientes para alcançar o objetivo, com o mínimo de ansiedade. Porém, estes aspectos mostraram-se em diferentes níveis de conhecimento e desenvolvimento cognitivo, os quais foram analisados de acordo com os três estágios para aquisição de habilidades, proposto por Anderson (1982) e pela matriz de habilidade cognitiva-musical proposta por Davidson e Scripp (1992).

This research aims to offer an original reconstruction of Aristotle’s psychology of music that explains his views on the relation between instrumental music and emotions. I argue that, contrary to the relevant scholarship, for Aristotle instrumental music cannot convey emotions to the listener. What instrumental music does, I claim, is to cause an objectless mood or disposition (διάθεσις) that “prepares the way” (προοδοποιεῖν) for the emotions. Most interpreters of Politics VIII (1340a12-29) argue that for Aristotle a piece of instrumental music would be able to represent emotions and the listener would be moved to the same emotion by a sort of sympathetic contagion. However, this interpretation is inconsistent with Aristotle’s account of emotions. For Aristotle a necessary condition for the emotions is that those experiencing them “judge” (κρίνειν) a situation based on their beliefs. If it is accepted that there is such a thing as an emotional contagion through music, then the cognitive theory of emotion presented by Aristotle is at risk since no such a judgment would be required. The thesis is presented in three chapters. In chapter one the cognitive elements that give rise to emotions are analysed. The nature of the term παθή is explored as well as the difference between its use as a ‘general affection’ and its use as the mental process that we now call ‘emotion.’ In this latter sense the emotions are mental states directed to an object on which a judgment is made and that are accompanied by pain or pleasure. The nature of the emotional judgment is investigated and the possibility of its existence in non-rational animals is explored. It is concluded that, even if we accept emotions in animals, intentionality and predication of an object are necessary conditions for the existence of emotions. In the second chapter, I discuss two instances where it seems Aristotle makes an exception to the judgment as necessary condition for the emotions. First, emotions aroused by the perception of signs of emotions, like the mere voice of the orator (Rhet. 1408a16-26) and the spectacle in the theatre (Poet. 1453b1-10) and second, emotions aroused by bodily changes (De an. 403a25). I argue that in Aristotle’s view in both cases the factors at work (voice, sight, bodily condition) only facilitate the arousal of emotions, but the actual arousal requires an additional narrative context that supplies grounds for the judgment that in turn gives rise to the emotion in question. In the first case the orator’s voice and the theatre’s spectacle work just as a condiment (ἥδυσμα) that helps to intensify (συναπεργάζεσθαι) the object of judgment (Pol. 1340b17; Poet. 1449b25; 1450b16; Rhet. 1386a31). Our emotional response has as its object their story, not the elements that decorate it. In the second case, the bodily changes are the material constituents of emotions; facilitate the generation of emotions: hotness around the heart, for example, makes the subject prone to anger; but the emotion of anger appears only after a particular situation is evaluated by the mind. In the third chapter, I turn to the specific case of music. From an exegesis of Pol. 1340a12-29, I argue that the emotions ostensibly transmitted by music (μουσική) to the listener are due to the lyrics of the songs (μέλη), not to the instrumental music itself. Therefore the question about the nature of the emotional effect of pure instrumental music remains open. My answer to this question is based on the analysis of the causal mechanism by means of which instrumental music affects the listener. Aristotle’s physiology reveals the physical impact of sound on the sense of hearing, and from there to the heart, the first sensorium. Bodily changes in the organ create an objectless disposition (διάθεσις) in the listener by relaxing or agitating his body, without providing any content for the mind besides the perception of the sound. Exciting or relaxing the heart by means of music would leave the listener in the disposition of readiness to react emotionally, but the emotion would appear only once an intentional object, i.e., the content of the emotion, is presented and evaluated by the mind. Finally, I show the relevance of my interpretation of these dispositions to understanding the role of emotions in the education of character in the Politics. Aristotle proposes to use only a certain type of music in his educational curriculum, not one too relaxed or too tense, but a middle between them that puts the students in a stable and noble disposition that would, in turn, lead them to be guided by reason instead of their emotions.

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Thesis (PhD)--Macquarie University, Faculty of Science, Dept. of Computing, 2009. / Bibliography: p. [265]-280.

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I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.

This report chronicles the process of investigating social theories and their relation to music experience in order to create a specific online community. The purpose of this community focuses on an historical perspective of music while facilitating the formation of varied knowledge-networks and relationship levels. Social theories are correlated with web applications and tools to support design choices that will appeal to users by providing opportunities for specific social functions. This research allows for an organized, detailed, and theoretical approach to the design of the online music community, Vinylsqueegee.com. / text

TITLE: The Heritage of František Sedlák within Disciplines of Didactics of Music Education and Music Psychology. SUMMARY: The thesis deals with life and work of František Sedlák, who is known as a teacher, musicologist, choir conductor and musician. The objective of the thesis is to provide Sedlák's biography and give a thorough overview of all his publications. In his articles, papers and other publications, he writes mainly about musical development of a child, musical abilities and skills, psychology of music, problems of children's singing and didactics of music at primary schools. A separate chapter is dedicated to authentic memories of Sedlák's colleagues, which were collected specially for the purpose of this thesis. There is a CD appended to the thesis, where nearly all Sedlák's articles published in various professional journals can be found together with a few pictures from his life. KEYWORDS: František Sedlák, musical development of a child, didactics of music at primary schools, psychology of music, modernization of music education, problems of children's singing, musical abilities and skills.