Student musicians were recruited to participate in an experimental repeated measures research design study to identify effects of heart rate variability (HRV) biofeedback training and emotional self-regulation techniques, as recommended by HeartMath® Institute, on music performance anxiety (MPA) and music performance. Fourteen students were randomly assigned to a treatment or control group following a 5 minute unaccompanied baseline performance. Treatment group participants received 4-5 HRV training sessions of 30-50 minutes each. Training included bibliotherapy, using the computerized Freeze-Framer® 2.0 interactive training software, instruction in the Freeze-Frame® and Quick Coherence® techniques of emotional regulation, and also use of an emWave® portable heart rate variability training device for home training. Measures included the State-Trait Anxiety Inventory (STAI), Performance Anxiety Inventory (PAI), Flow State Scale (FSS), average heart rate (HR), and heart rate variability (HRV). Quade's rank transformed ANCOVA was used to evaluate treatment and no-treatment group comparisons. Combined MPA scores showed statistical significance at p=.05 level with large effect size of eta2=.320. Individual measurements of trait anxiety showed a small effect size of eta2=.001. State anxiety measurement showed statistical significance at the p=.10 level with a large effect size eta2=.291. FSS showed no statistical or effect size difference. PAI showed no statistical significance and a large effect size eta2=.149. HR showed no statistical significance and a large effect size eta2=.143. HRV showed statistical significance at p=.000 level and a large effect size eta2=.698. This study demonstrated practical/clinical significance of a relatively quick and inexpensive biofeedback training that had large effect at decreasing mental, emotional, and physiological symptoms of MPA for university students.

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).

Bakgrund: Inom den psykiatriska vården kan tvångsåtgärder behöva utföras på patienter som vårdas under tvångsvård. Detta kan innebära att patienternas delaktighet i vårdandet försvinner. Tidigare forskning visar att sjuksköterskor har svårt att vidta tvångsåtgärder då åtgärderna går emot flera av de principer som sjuksköterskor arbetar efter. Syfte: Belysa sjuksköterskors upplevelse av tvångsåtgärder inom psykiatrisk vård. Metod: En kvalitativ litteraturöversikt utförd med en systematisk sökning av vetenskapliga artiklar och analyserad med hjälp av femstegs analys.  Resultat: Sjuksköterskors upplevelse av tvångsåtgärder är mycket negativ. De upplever det som den svåraste delen av arbetet. Relationen mellan sjuksköterskan och patienten påverkas även negativt. Det upplevdes däremot som något nödvändigt för att skydda personal och patienter. Inget annat alternativ kunde inte heller identifieras och tvångsåtgärder sågs därför som nödvändigt för att situationen inte skulle bli ohållbar. Konklusion: Sjuksköterskor som arbetar inom psykiatrisk vård har en svår arbetsuppgift att utföra tvångsåtgärder när tvångsvård behövs. Det skapar ett etiskt dilemma som medför att respektera patientens autonomi/integritet och behovet att utföra åtgärder som resulterar i en kränkning av patienten. När en patient blir för aggressiv är situationen ohållbar. Tvångsåtgärder ses som nödvändigt för att bedriva en trygg och säker psykiatrisk vård. / Background: Restrictive measures can sometimes be necessary in psychiatric care as patients are treated with compulsory care. This can result in the disappearance of patient´s participation in the care. Previous research shows that nurses have difficulty using these measures as it goes against several of the nursing principles. Aim: Examine nurses experience of restrictive measures in psychiatric care. Method: A qualitative literature review was made using a systematic search for scientific articles. The data was analyzed using a five-step analysis. Findings: Nurses' experience of restrictive measures was very negative. They perceived it as the most difficult part of the job. The relationships between nurses and patients were also affected negatively. However, they perceived restrictive measures as necessary to protect patients and staff. No other alternative could be identified and it was perceived necessary to have the alternative of using it, to not make the situation unsustainable. Conclusion: Nurses in psychiatric care have a difficult task to perform with restrictive measures when compulsory care is needed. It creates an ethical dilemma, the patient’sautonomy/integrity needs to be respected but restrictive measures that violate patients are also needed. When patients become too aggressive the situation is unsustainable. To perform safe psychiatric care, restrictive measures are necessary.

This essay focuses on the possibilities and problems that come with having teleportation mixed with horror and fear and not having monsters in fear games. How it is to play a horror game without enemies and just being able as an Interactiondesigner to relay on the psychological feeling within the player, if the feeling is more than enough if the player him self get to fantasies and let their deepest fright feelings take over. Is there no difference if there are monsters/enemies or not. Is fright and fear already there before you encountering the enemies? These questions are answered as the paper also presents a game in the shape of a course that has been paralleled worked with. The world with the complete and finished game have bin done in the Hammer editor which the game HalfLife2 (VU games/Valve Software, 2004) is built on. The finished game is a result of several user tests from the prototype game and user questionnaires. Fear games are mainly built on humans’ psychological feelings, the imaginations and how one feel. Through strong usage and building upon these main factors to create fear I have worked from that perspective and investigated how I by best possible means, should do to create fear to fright players by not using enemies as main frightening objects. Focus has been on the narrative of both visual and auditive narration. I have also given an account of the advantage and disadvantages with working with the tool I have chosen, how it has affected my work and my result. The Result turned out to be even better than I had in mind and a positive attitude towards my game from all the test persons. They thought it was a good example that a horror game is not bound to have monsters in order to fright the player. I got a loot of good feedback, response and ideas of what I could improve and what was already good. Some wanted more light effects on the first part and others less sound in the last part. By listening to the test persons I started to create and shape the final version of the game. Everyone became scared and felt more or less frightened through all four parts of the game. I also got positive feedback on my theory from the test persons, that teleportation mixed with horror and fear is something that they could consider using more in games and that this was a good start in the right direction.

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.

This is a study with the purpose of looking over the pattern of consumption of people visiting tourist attractions associated with war, death and suffering; dark tourism. The demarcation of the work has been to look into attractions inside the Stockholm area which do commercial business with the three aspects of dark tourism. With the help of qualitative and quantitative methods, the authors have collected the material needed for the purpose of the study. These qualitative methods have been interviews with visitors of dark tourism and the commercial business themselves, and with observations on three different attractions in Stockholm. The quantitative method, together with some qualitative aspects, has been a poll, with in-depth questions, to get an understanding of the subject at hand. The places for the observations was Stockholm Ghost Walk, the Vasa museum, and the Army museum. As a result of the study, the authors learned that most visitors didn’t know about dark tourism and that they were, in fact, visiting attractions that was called dark. The phenomena itself was unknown to most of them even though they all had visited at least one place under the dark tourism phenomena. / Detta är en undersökning vars syfte är att se över människors konsumtionsmönster på platser associerade med krig, död och lidande; mörk turism. Avgränsningen för arbetet har varit till de attraktioner i Stockholmsområdet som gör kommersiellt nöje av dessa tre aspekter. Med hjälp av kvalitativa och kvantitativa metoder har författarna samlat in det material de behöver för arbetets syfte. Dessa har varit kvalitativa intervjuer med besökare och aktörer på den mörka turism-marknaden i Sverige och observationer på tre attraktioner, samt en kvalitativ och kvantitativ enkät som förarbete för att få en förståelse kring ämnet. De platser som observerades var Stockholm Ghost Walk i Gamla Stan, Vasamuseet samt Armémuseet. Resultatet visar att mörk turism inte alltid är uppenbart som fenomen för besökaren, även om det är ett fenomen som ofta besöks.

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.