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.

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).

This work is a discussion between myself and a couple of different professionals in the opera industry about stage fright, the importance of preparing and the positives and negative with preparing in different ways. The essay explains the different types of auditions with focus on auditions for scholarships and how to adapt to the statutes of the scholarship without losing your artistry. It ends with a recollection of my five latest large auditions, how they went and my reflections on the result versus my preparations. They also conclude how I can work specifically moving forward since the results were vastly different with the different levels of preparation.

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.

Music performance anxiety (MPA) is a significant concern for musicians of all ages, levels of mastery, and genders (Kenny, 2011). Whereas the anxiety-performance relationship has been well researched in athletes, similar research with musicians is sparse (Nordin-Bates, 2012). In the present research, video feed-forward self-modeling (FF-SM video) was explored as an intervention for use by musicians. FF-SM involves video-editing, typically, to depict a level of master performance higher than that yet attained by the individual. Although video FF-SM has been used successfully with athletes (Ste-Marie, Rymal, Vertes, & Martini, 2011) to increase self-efficacy and improve performance, its use has not yet been explored with musicians. In the present study, Bandura’s Self-efficacy Theory (1977) was used as a framework to explore whether FF-SM videos would increase self-efficacy, lower anxiety, and improve performance in adolescent musicians who self-reported MPA. Twelve string musicians, aged 13 to 18 years, who self-reported MPA took part in a two-week intervention where in one week they practiced with the use of a FF-SM video and in the alternate week they practiced without the video. At the end of each week, participants performed the selected repertoire from their video. Video FF-SM significantly increased musicians’ self-efficacy but only for those musicians who viewed the video in the second week. No changes in anxiety or performance levels were observed. Zimmerman’s triadic self-regulation model is used to explain the cyclical pattern of self-efficacy benefits. It is concluded that the FF-SM video can be an effective tool to increase self-efficacy for musicians who self-report MPA, but that an enactive experience is first needed for those benefits to occur. Research extended over a longer time frame is recommended in order to examine whether influences on anxiety and performance would emerge at a later time.

Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.

Syftet med studien är att undersöka hur musiklärare inom musikskola, gymnasiet och högskola ser på och arbetar med nervositet och scenskräck i undervisning. Studiens teoretiska grund utgörs av diskurspsykologi. Fokusgrupper har tillämpats som datainsamlingsmetod vilket inneburit två olika gruppsamtal där lärare diskuterat om ämnet scenskräck och nervositet. Samtalen spelades in, transkriberades och analyserades utifrån en diskurspsykologisk synvinkel i ett sökande efter tolkningsrepertoarer. Resultatet presenteras utifrån tolkningsrepertoarer om hur lärarna formulerade sin syn på nervositet. Två motstridiga repertoarer framkom i resultatet: nervositet som plötsligt angripande och nervositet som kan bemästras där nervositet konstruerades som både ett störningsmoment och som något önskvärt. Ålder, mognad och musikalisk utveckling formulerades påverka nervositet genom tolkningsrepertoaren nervositet ur ett mognadsperspektiv. Vidare formulerade respondenterna sitt arbete med nervositet och scenskräck i undervisning vilket synliggjorde tolkningsrepertoaren genre och arbete med nervositet. I denna tolkningsrepertoar lyftes genre som påverkande för arbetet med nervositet. I repertoaren läraren som terapeut konstruerade lärarna sig som inkännande utifrån samtal som metod. Repertoaren mental träning som fenomen formulerade ett förebyggande arbete som något värdefullt men tidskrävande, vilket kan ställas emot repertoaren nervositet som tidskrävande arbete där lärarna formulerade en tidsbrist och en känsla av otillräcklighet i arbetet med nervositet. Diskussionen lyfter resultatet i förhållande till tidigare forskning och litteratur där fyra områden diskuteras: Lärares syn på nervositet och elevpåverkan, hantera nervositet genom samtal, arbetet med nervositet i förhållande till tidsamt syn på nervositet och genrers påverkan. / The purpose of this study is to investigate how music teachers in music school, upper secondary school and music college view and work with nervousness and stage fright in teaching. The theoretical framework of the study is discourse psychology. Focus groups have been used as a data collection method, which has involved two different group discussions where teachers discussed the topic of stage fright and nervousness. The conversations were recorded, transcribed and analyzed from a discourse psychological point of view, in search of interpretative repertoires or small discourses. The result is presented through different interpretive repertoires on how teachers formulated their views on nervousness and stage fright. There, two contradictory repertoires emerged: nervousness as suddenly attacking and nervousness that can be mastered, where nervousness was constructed as both a disturbing moment and as something desirable. Age, maturity and musical development were formulated to influence nervousness through the interpretative repertoire nervousness from a maturity perspective. Furthermore, the respondents formulated their work with nervousness and stage fright in teaching, which made visible the interpretation repertoire genre and work with nervousness. There, the genre was emphasized as influencing the work on nervousness. In the repertoire teacher as a therapist, teachers constructed themselves as empathetic through conversation as a method. The repertoire mental training as a phenomenon formulated a preventive work as something valuable but time-consuming, which can be put opposite the repertoire nervousness as time-consuming work, where the teachers formulated a lack of time and a feeling of insufficiency. The discussion lifts the result in relation to previous research and literature where four areas are discussed: Teacher’s view on nervousness and student influence, dealing with nervousness through conversations, work with nervousness in relation to time and views on nervousness and the influence of genres.

This study examines how singing teachers experience students' nervousness and performance anxiety, what physical and intellectual tools they use to work with it and how they have learned to deal with students' nervousness and performance anxiety. The profession of a vocal coach is a socio-cultural profession – they learn from each other, from their students and through individual studies and education. This study consists of three semi-structured interviews and two exploratory interviews. Qualitative interviews were chosen as method to be able to take part in informants' experiences and knowledge of the subject in a deeper way. Sociocultural perspective was applied as a theoretical angle. What can be deduced from the results is that vocal coaches work with students' performance anxiety and nervousness continuously. The interviewed experienced that there has not been much talk about the subject during their education, but that they themselves have found different ways and strategies to help students with these challenges. The result shows that visualization, the use of metaphors, bodily exercises, involvement of students in concert preparation, "tricking" students into learning, creating a calm, safe and humorous environment, de-dramatization, dialogue with students and self-reflection are used by vocal coaches as tools to handle students' performance anxiety and nervousness

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