A research overview on music performance anxiety

Irie N., Morijiri Y., Yoshie M.

Music performance anxiety (MPA) manifests itself at mental, physiological, and behavioral levels. The present study investigated how the experience of the three levels of symptoms changes over time, and how musicians cope with these temporal changes in MPA symptoms. To this end, we conducted a questionnaire survey in which 38 student musicians freely commented on their experiences of mental and physical changes, as well as their coping strategies for these changes. This was examined during five different time periods around public performance, extending from the beginning of the preparation for a public performance until shortly before the next public performance. The free-text comments obtained from the questionnaire were analyzed thematically and classified into different response themes. We then examined the temporal changes in the frequency of comments on each response theme. We further conducted a semi-structured interview involving eight musicians to explore the responses to the questionnaire in greater detail. We analyzed the contents of the free-text comments obtained from the questionnaire and the interview for each response theme, focusing on the most frequently mentioned sub-themes. The results indicate that musicians started to experience mental MPA symptoms (e.g., negative feelings) as soon as they began to prepare for public performance. To cope with mental symptoms, musicians employed mental strategies such as positive thinking/self-talk and concentration both before and during public performance. The experience of physiological MPA symptoms (e.g., increased heart rate) peaked shortly before public performance and remained throughout performance. To cope with a variety of physiological symptoms, musicians employed physical strategies, especially deep breathing and exercise, shortly before public performance. In contrast, behavioral MPA symptoms (e.g., tremor) were experienced mostly during public performance. Some musicians also reported experiencing the actual impairment of performance quality. To avoid this, musicians employed a variety of practicing techniques (e.g., playing at a slower tempo) during the preparation for public performance and performing techniques (e.g., paying attention to expressions) during public performance. Together, the present findings indicate that mental, physiological, and behavioral symptoms of MPA exhibit differential timelines and that musicians effectively utilize different coping strategies according to the temporal changes in MPA symptoms.

Kenny D.T.

I commenced my academic exploration of music performance anxiety in a study with opera chorus artists from Opera Australia in 2004. I subsequently postulated a new theory of the aetiology of music performance anxiety and began the development of the Kenny Music Performance Anxiety Inventory (K-MPAI) to assess the hypothesized theoretical constructs underpinning its diverse clinical presentations. I proposed a new definition of music performance anxiety in 2009 and revised the item content of the K-MPAI from 26 to 40 in 2011. Over the ensuing years, many researchers have used the K-MPAI in studies on a wide variety of musicians, including vocalists and instrumentalists, popular and classical musicians, tertiary music students, and professional, solo, orchestral, ensemble, band, and community musicians. To date, the K-MPAI has been reported in more than 400 studies and has been translated into 22 languages. It has been the subject of more than 39 dissertations. In this paper, I examine the research that has used the K-MPAI to assess the theory and to ascertain how well the assessment tool, and its cross-cultural validation have provided evidence for its factorial structure, robustness, and utility. The evidence indicates that the factorial structure remains consistent across cultures and different populations of musicians. It has good discriminative ability and utility for diagnostic purposes. I conclude with some reflections on how the K-MPAI can guide therapeutic interventions and with some thoughts on future directions.

Mazzarolo I., Schubert E.

Given the prevalence of debilitating anxiety associated with music performance, there is a need for rapid, pinpointed assessment of the extent to which an individual experiences music performance anxiety (MPA). A short, five item scale, the Mazzarolo Music Performance Anxiety Scale (M-MPAS), was developed to capture retrospective self-reported estimates of the frequency, intensity and aversion tendency associated with performing music. 102 musicians completed the scale, as well as an established MPA inventory. The M-MPAS was found to be internally reliable (Cronbach’s alpha = 0.894) with all items being statistically relevant to the overall scale. Furthermore, the M-MPAS was correlated with the relevant factors of an established MPA measure (r = 0.791), suggesting that the new scale exhibited good construct validity. M-MPAS is easy to score, with a scale range of 0–30. A score of 11 or above is suggested as the range in which a diagnosis of potential high MPA can be made, but more research into this and the psychometric robustness of the scale is called for. Nevertheless, the reliability and validity demonstrated in the present study, along with the brevity of the M-MPAS suggest that the newly proposed scale may offer considerable triaging benefits for pinpointed assessment of the extent to which an individual experiences MPA.

Papageorgi I.

Literature suggests that music performance anxiety (MPA) is prevalent in adolescence, a developmental period with increased likelihood of experiencing anxiety under evaluative conditions. Evidence also indicate that individuals may respond to evaluative situations in distinct ways. Factors contributing to the individuality of responses in evaluative situations (such as test taking and musical performance) are not yet fully understood. This study investigated student typologies in adolescent instrumental learners. Participants included 410 learners who completed the Young Musicians’ Performance Questionnaire. K-Means cluster analysis revealed three typologies: Cluster 1 – moderately anxious students evidencing lower levels of motivation and feeling ineffective but guarding their self-esteem; Cluster 2 – highly anxious students evidencing negative self-perceptions and being susceptible to experiencing maladaptive MPA; Cluster 3 – low anxious students evidencing high levels of motivation and confidence and inclined toward experiencing adaptive MPA. The 3-cluster solution effectiveness was validated with discriminant analysis. Significant associations between examination achievement and cluster membership revealed variations between clusters. Thematic analysis of qualitative data facilitated further understanding of their characteristics. This study adds to the body of MPA literature by exploring the different ways with which adolescent musicians interpret and respond to anxiety inducing situations. Findings have implications for clinical and educational practice.

Kotani S., Furuya S.

Skilled performance, in many situations, exposes an individual to psychological stress and fear, thus triggering state anxiety and compromising motor dexterity. Suboptimal skill execution in people under pressure affects the future career prospects of trained individuals, such as athletes, clinicians, and musicians. However, it has not been elucidated in what manner state anxiety affects multijoint movements and thereby degrades fine motor control. Using principal component analysis of hand kinematics recorded by a data glove during piano performances, we tested whether state anxiety affects the organization of movements of multiple joints or merely constrains the amplitude of the individual joints without affecting joint movement coordination. The result demonstrated changes in the coordination of movements across joints in piano performances by experts under psychological stress. Overall, the change was characterized by reduction of synergistic movements between the finger responsible for the keypress and its adjacent fingers. A regression analysis further identified that the attenuation of the movement covariation between the fingers was associated with an increase in temporal error during performance under pressure. In contrast, neither the maximum nor minimum angles of the individual joints of the hand were susceptible to induced anxiety. These results suggest that degradation of fine motor control under pressure is mediated by incoordination of movements between the fingers in skilled piano performances. NEW & NOTEWORTHY A key issue in neuromuscular control of coordinated movements is how the nervous system organizes multiple degrees of freedom for production of skillful motor behaviors. We found that state anxiety disorchestrates the organization of finger movements so as to decrease synergistic motions between the fingers in musical performance, which degrades fine motor control. The findings are important to shed light on mechanisms underlying loss of motor dexterity under pressure.

van Fenema E., Gal P., van de Griend M., Jacobs G., Cohen A.

Music performance anxiety (MPA) is a specific condition for musicians. Although it can have a negative influence on their music careers, little attention is paid to this phenomenon both in the professional environment and in stress research. In the current pilot study, insight was gained into the physiology of the autonomic stress response related to anxiety in musicians when performing on stage by using a wearable biosensor patch for registration of a range of physiological parameters. Also, the validity of two different psychometric questionnaires in objectifying the stress response on stage to predict the individual stress response was explored. The autonomic physiological parameters (heart rate, respiratory rate, skin temperature) of 11 violists and violinists were collected while performing on stage and in resting state using the VitalConnect HealthPatch®. In addition, scores on validated questionnaires in research on MPA (State Anxiety Inventory, Kenny Music Performance Anxiety Inventory, Short Form Health Survey) were collected in order to try to objectify the magnitude of the subjective level of both MPA and experienced stress. The registration of the autonomic parameters showed a significant increase in heart rate, respiratory rate, and stress level from resting state measurements during stage performance. Analysis of heart rate variability showed a shift from indices of parasympathetic nervous system activity during baseline measurements towards indices of sympathetic nervous system activity during stress measurements. Surprisingly, none of the questionnaires was correlated to the physiological stress parameters on stage. In conclusion, the wearable biosensor patch proved to be an adequate tool to assess physiological stress parameters on stage. The different questionnaires did not contribute to the prediction of its occurrence in a group of musicians.

BURIN A.B., OSÓRIO F.L.

Reschke-Hernández A.E., Okerstrom K.L., Bowles Edwards A., Tranel D.

Acute psychological stress affects each of us in our daily lives and is increasingly a topic of discussion for its role in mental illness, aging, cognition, and overall health. A better understanding of how such stress affects the body and mind could contribute to the development of more effective clinical interventions and prevention practices. Over the past 3 decades, the Trier Social Stress Test (TSST) has been widely used to induce acute stress in a laboratory setting based on the principles of social evaluative threat, namely, a judged speech-making task. A comparable alternative task may expand options for examining acute stress in a controlled laboratory setting. This study uses a within-subjects design to examine healthy adult participants' (n = 20 men, n = 20 women) subjective stress and salivary cortisol responses to the standard TSST (involving public speaking and math) and the newly created Iowa Singing Social Stress Test (I-SSST). The I-SSST is similar to the TSST but with a new twist: public singing. Results indicated that men and women reported similarly high levels of subjective stress in response to both tasks. However, men and women demonstrated different cortisol responses; men showed a robust response to both tasks, and women displayed a lesser response. These findings are in line with previous literature and further underscore the importance of examining possible sex differences throughout various phases of research, including design, analysis, and interpretation of results. Furthermore, this nascent examination of the I-SSST suggests a possible alternative for inducing stress in the laboratory. © 2016 Wiley Periodicals, Inc.

Craft L.L., Magyar T.M., Becker B.J., Feltz D.L.

The multidimensional approach to the study of anxiety (Martens, Vealey, & Burton, 1990a) considers subcomponents of anxiety, specifically cognitive anxiety, somatic anxiety, and self-confidence. Much of the research based on this theory has utilized the Competitive State Anxiety Inventory (CSAI-2) (Martens, Burton, Vealey, Bump, & Smith, 1990b). Findings have been inconsistent, with some research suggesting that the three subcomponents have separate relationships with performance and other studies failing to find any relationship between the anxiety subcomponents and performance. This meta-analysis examined the effect of state anxiety as measured by the CSAI-2 (i.e., cognitive anxiety, somatic anxiety, and self-confidence) on athletic performance. Studies were coded for characteristics that could potentially moderate the effects of anxiety on performance (i.e., features of design, subjects, sport). Interdependency between the three subscales was examined using multivariate meta-analytic techniques (Becker & Schram, 1994). Relationships among cognitive anxiety, somatic anxiety, self-confidence, and performance appeared weak. Exploratory modeling showed that self-confidence displayed the strongest and most consistent relationship with performance.

Krane V.

Hanin (1980) proposed the zone of optimal functioning hypothesis (ZOF), suggesting that each athlete has a specific band width, or zone, of anxiety in which best performances will most likely be observed. The present study combined the ZOF hypothesis with the multidimensional anxiety theory (Martens, Burton, Vealey, Bump, & Smith, 1990). Unique cognitive anxiety and somatic anxiety zones were identified, and it was hypothesized that athletes whose anxiety levels fell within these zones would be more successful than athletes whose anxiety levels were outside these zones. Results of separate cognitive and somatic anxiety ANOVAs indicated that poorest performances were observed when athletes’ cognitive and somatic anxiety were above their zones; performances when anxiety was within or below cognitive and somatic anxiety zones did not differ.

Cox R.H., Martens M.P., Russell W.D.

The purpose of this study was to use confirmatory factor analysis (CFA) to revise the factor structure of the CSAI-2 using one data set, and then to use CFA to validate the revised structure using a second data set. The first data set (calibration sample) consisted of 503 college-age intramural athletes, and the second (validation sample) consisted of 331 intercollegiate (Division I) and interscholastic athletes. The results of the initial CFA on the calibration sample resulted in a poor fit to the data. Using the Lagrange Multiplier Test (Gamma) as a guide, CSAI-2 items that loaded on more than one factor were sequentially deleted. The resulting 17-item revised CSAI-2 was then subjected to a CFA using the validation data sample. The results of this CFA revealed a good fit of the data to the model (CFI = .95, NNFI = .94, RMSEA = .054). It is suggested that the CSAI-2R instead of the CSAI-2 be used by researchers and practitioners for measuring competitive state anxiety in athletes.

Yoshie M., Nagai Y., Critchley H.D., Harrison N.A.

The presence of an evaluative audience can alter skilled motor performance through changes in force output. To investigate how this is mediated within the brain, we emulated real-time social monitoring of participants’ performance of a fine grip task during functional magnetic resonance neuroimaging. We observed an increase in force output during social evaluation that was accompanied by focal reductions in activity within bilateral inferior parietal cortex. Moreover, deactivation of the left inferior parietal cortex predicted both inter- and intra-individual differences in socially-induced change in grip force. Social evaluation also enhanced activation within the posterior superior temporal sulcus, which conveys visual information about others’ actions to the inferior parietal cortex. Interestingly, functional connectivity between these two regions was attenuated by social evaluation. Our data suggest that social evaluation can vary force output through the altered engagement of inferior parietal cortex; a region implicated in sensorimotor integration necessary for object manipulation and a component of the action-observation network which integrates and facilitates performance of observed actions. Social-evaluative situations may induce high-level representational incoherence between one’s own intentioned action and the perceived intention of others which, by uncoupling the dynamics of sensorimotor facilitation, could ultimately perturbe motor output.

Brouwer A., Hogervorst M.A.

We here introduce a new experimental paradigm to induce mental stress in a quick and easy way while adhering to ethical standards and controlling for potential confounds resulting from sensory input and body movements. In our Sing-a-Song Stress Test, participants are presented with neutral messages on a screen, interleaved with 1-minute time intervals. The final message is that the participant should sing a song aloud after the interval has elapsed. Participants sit still during the whole procedure. We found that heart rate and skin conductance during the 1-minute intervals following the sing-a-song stress message are substantially higher than during intervals following neutral messages. The order of magnitude of the rise is comparable to that achieved by the Trier Social Stress Test. Skin conductance increase correlates positively with experienced stress level as reported by participants. We also simulated stress detection in real time. When using both skin conductance and heart rate, stress is detected for 18 out of 20 participants, approximately 10s after onset of the sing-a-song message. In conclusion, the Sing-a-Song Stress Test provides a quick, easy, controlled and potent way to induce mental stress and could be helpful in studies ranging from examining physiological effects of mental stress to evaluating interventions to reduce stress.

Studer R.K., Danuser B., Wild P., Hildebrandt H., Gomez P.

The present study provides a comprehensive view of (a) the time dynamics of the psychophysiological responding in performing music students (n = 66) before, during, and after a private and a public performance and (b) the moderating effect of music performance anxiety (MPA). Heart rate (HR), minute ventilation (VE), and all affective and somatic self-report variables increased in the public session compared to the private session. Furthermore, the activation of all variables was stronger during the performances than before or after. Differences between phases were larger in the public than in the private session for HR, VE, total breath duration, anxiety, and trembling. Furthermore, while higher MPA scores were associated with higher scores and with larger changes between sessions and phases for self-reports, this association was less coherent for physiological variables. Finally, self-reported intra-individual performance improvements or deteriorations were not associated with MPA. This study makes a novel contribution by showing how the presence of an audience influences low- and high-anxious musicians’ psychophysiological responding before, during and after performing. Overall, the findings are more consistent with models of anxiety that emphasize the importance of cognitive rather than physiological factors in MPA.

Larrouy-Maestri P., Morsomme D.

SummaryObjective The quality of a music performance can be lessened or enhanced if the performer experiences stressful conditions. In addition, the quality of a sung performance requires control of the fundamental frequency of the voice, which is particularly sensitive to stress. The present study aimed to clarify the effects of stress on singing voice accuracy. Methods Thirty-one music students were recorded in a stressful condition (ie, a music examination) and a nonstressful condition. Two groups were defined according to the challenge level of the music examination (first and second music levels). Measurements were made by self-reported state anxiety (CSAI-2R questionnaire) and by observing heart rate activity (electrocardiogram) during each performance. In addition, the vocal accuracy of the sung performances was objectively analyzed. Results As expected, state anxiety and heart rate were significantly higher on the day of the music examination than in the nonstressful condition for all the music students. However, the effect of stress was positive for the first-year students but negative for the second-year students, for whom the music examination was particularly challenging. In addition, highly significant correlations were found between the intensity of cognitive symptoms and the vocal accuracy criteria. Discussion This study highlights the contrasting effects of stress on singing voice accuracy but also the need to consider the challenge level and perception of the symptoms in experimental and pedagogical settings.