Vocal fold (VF) nodules are very common laryngeal lesion that affects people, including children as well. However, it has a negative impact on the communication and voice quality which is why it is ...important to study and measure it. Unfortunately, there may be factors which disturb examining process especially during questionnaire self-assessment. This study aimed to investigate whether public speaking anxiety (stage fright) correlates with scores on the Children’s Voice Handicap Index-10 (CVHI-10) and to determine if children with VF nodules assess their voice similarly to those without such lesions.
Thirty-seven respondents at age 8–12 participated in the study. It was conducted the surveys: Children Voice Handicap Index-10 (CVHI-10), Stage Fright Scale – Children & Youth (SFS-CY), and Neuroticism subscale of the Big Five Questionnaire – Children (BFQ-C-Neu) and endoscopy laryngeal examination. The text describes the reliability analysis, means comparison, and correlation analysis.
The measures used achieved a high level of reliability. There were no statistically significant differences in voice self-assessment scores between groups with and without VF nodules. Significant relationships were found between the CVHI-10 scores and all factors of the SFS-CY.
The results reveal that children with VF nodules assess their voice similarly to those without laryngeal lesions. Correlation analysis shows significant relationships between voice handicap in self-assessment and stage fright factors. This may explain the lack of differences in CVHI-10 scores among groups; however, further research is needed to clarify this phenomenon.
Stage fright is a natural and very common phenomenon that affects everyone who must present themselves in public. However, it has a negative impact on the health and voice emission of children and ...adolescents, which is why it is important to study and measure it. Unfortunately, there are no appropriate tools for examining public presentation anxiety intended for children and adolescents, and that would also include the context of voice production. The main aim of this study was to describe stage fright and to present the stages of creating a tool based on the three-factor theory of stage fright constructs. The text describes the steps of developing the questionnaire, Confirmatory Factor Analysis, reliability, and convergent and discriminant validity. The results of the conducted analyses confirmed the three-factor structure of the tool and suggest that the Stage Fright Scale – Children & Youth is a reliable and consistent questionnaire for measuring stage fright in children and adolescents.
Anxiety has long been associated with diminished performance within a number of domains involving evaluative interpersonal interactions, including Sex, Sport, and Stage. Here, we pose three ...questions: (1) how do these disparate fields approach and understand anxiety and performance; (2) how does the understanding of the issue within one field offer insight to another field; and (3) how could each field benefit from the ideas and strategies used by the others. We begin with a short review of models of anxiety/arousal and performance and then explore definitions, models, presumed underlying physiological processes, and characterizing and influencing factors within each domain separately in a narrative review. This discussion is followed by a synthesis that identifies elements specific to and common across the various domains, with the latter captured in a model of essential characteristics. Concluding remarks note the potential value of promoting increased cross-disciplinary conversation and research, with each domain likely benefiting from the conceptualizations and expert knowledge of the others.
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.
High heart rate (HR) and restlessness are two important features of music performance anxiety (MPA). In a case report of a cellist suffering from this condition, we showed that HR and restlessness ...decreased after repeated live performances of the same musical excerpt, thereby positively modulating objective performance criteria and subjective components. Here, we largely replicate these results in a group of 18 string players reporting MPA.
Objective measurement devices included a miniaturized electrocardiogram monitor and three 3-axis accelerometer loggers. Subjective measures included the Multidimensional Mental Health Questionnaire (MDBF) and a customized visual analogue scale (VAS) questionnaire for MPA. Non-artistic performance errors were assessed by music experts using a composite score for technical playing errors (i.e., intonation errors, omission of notes, and bowing noise). Data were collected from each study participant during three brief public solo performances of the same musical excerpt, with each performance occurring before a new audience on the same day.
From the 1st to the 3rd performance, HR, VAS, and playing error scores decreased significantly. MDBF (RU scale) showed a significant increase in calmness from the 1st to the 3rd performance on stage. HR and RU, VAS, and RU, as well as bow acceleration and overall duration of playing correlated significantly across participants and performances.
We conclude that repeated stage exposure significantly reduces HR as well as restlessness and playing errors linked to MPA. Public performances are still successful when HR is significantly higher than during rest periods. These results underscore the importance of stage training to become accustomed to realistic public self-exposure. Musicians - especially students - should consider this component of stage training as an integral part of their practice routine. Therefore, stage training can reduce MPA, promote better live performances and prevent stress-related mental disorders and physical injuries. These result from excessive self-exercise strategies common in musicians experiencing MPA. HR monitoring should be an integral part of evaluating the effectiveness of interventions for better MPA management and efficient performance training.
Stage fright sebagai sebuah masalah yang sering kali dialami oleh mahasiswa baru dapat menghambat mahasiswa dalam menjalankan tugas lapangan pada proses perkuliahan dan dalam proses menyampaikan ...materi di dalam kelas. Dalam peneitian ini, metode penelitian yang digunakan adalah metode penelitian R&D, peneliti mengembangkan sebuah panduan terapi yang menggabungkan teknik hipnosis dan Neuro Linguistic Programming (NLP) yang diujicobakan kepada Mahasiswa baru UIN Sunan Kalijaga. Hasil uji coba dari modul panduan tersebut menunjukkan bahwa satge fright dapat diminimalisir dengan hypnosis dan NLP yang dalam penelitian ini berfungsi sebagai media untuk memasukkan nilai baru kepada klien dengan menggunakan pengembangan model Hipno-NLP untuk membuat bentuk anchor baru yang bertujuan mengatasi stage fright.
Abstract: Stage fright as a problem that is oftentimes be experienced by new college students is obstructive in obeying assignment of study, either field assignment or presenting assignment in class. This research used Research and Development method and developed a therapeutic guide which combines hypnosis and Neuro Linguistic Programming (NLP) techniques and were tested on new students of UIN Sunan Kalijaga. The trial results of the guide module indicate that there is a significant effect on the subjects within both of these tools serve as a medium for entering new values to clients by using the development of the Hipno-NLP model to create new anchor that aim to overcome the stage fright
In the course of their training, students of classical music performance acquire thorough mastery of their instruments and solid theoretical knowledge. They are also trained to perform on stage by ...giving multiple concerts, recitals and auditions. Many of them experience anxiety at these events. The terms “stage fright” and “stress” are widely used to refer to these difficulties, and the proliferation of articles and workshops shows a growing interest in this subject in the classical music community. In this article, we propose to reflect on the place of stress in relation to musical performance and its management by performers. Based on the ethnography of a classical music faculty in Quebec, we analyse the discourses and practices that contribute to the changing definition of the very notion of stress. The way in which performers explain and appropriate the scientific discourse on this notion reveals a conceptualization of stress as an integral and, indeed, inevitable component of the profession. Defined as having harmful effects only in the absence of self-control, stress is ultimately a way of describing the emotional work that interpreters have to undertake. This research also reveals the construction of an ideal state – both physical and mental – for going on stage, thus conveying an injunction to excellence as well as a discourse on the profession and, more generally, on art. This article contributes to a better understanding of normative as well as prescriptive effects that social anxieties and fears can have when they are put into words and subjected to a form of institutionalisation.
Performance anxiety is a widespread issue that can affect musicians across their education and career. It can develop in musicians from a young age leading to short-term and long-term impacts on not ...only their performance, but also their wellbeing. There is potentially a significant role that music educators hold in the development of their students and how they handle performance anxiety, though it is not clear how, or how often, teachers support their students in this way. Through a PRISMA-based systematic review, this paper explores what is known about the strategies used by music educators to help manage their students' performance anxiety. The paper also discusses the role that instrumental/vocal tutors and school classroom teachers might hold in this area. The findings show that music educators are implementing multiple strategies to assist their students with MPA, with the most common being simulated performance, positive outlook, preparation and breathing. It was found that there is a role for teachers to address MPA management with their students. While some students prefer to receive MPA support from experts in the field of psychology, students still expressed a need to have this support come from their teacher. Though many teachers felt a need for additional training for them to help their students cope with MPA, many of the strategies were found to be multifunctional and embedded into the regular teaching practices or teaching styles of the educator. Although these strategies might be implicit rather than explicit, the findings suggest that music educators could represent a valuable source of support for MPA management.
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