Evidence map›Paper›PMID 33967870›Full record

ArticleFrontiers in psychology2021

Classifying Different Types of Music Performance Anxiety.

Claudia Spahn, Franziska Krampe, Manfred Nusseck

Open access · goldAbstract read
In one paragraph

Article in Frontiers in psychology, 2021. The graph could read no effect estimate from its abstract, so it casts no vote on the map. Cited by 16 papers, 1 of them a synthesis that pooled it.

0numbers the graph read from it
0cells of the map it votes in
16citing papers in PubMed, 1 pooled it
32.3field-weighted citation impact, top 1% of its field
1 · What the graph read from it

What it found

Each row is one number read from the abstract, on the scale the paper reported it, with its interval. Left of the dashed line favours the treatment, right favours the comparator. Under each row is the sentence it came from. New to these charts? A ten-minute tutorial.

The abstract states no effect estimate the extractor could read, or names no intervention and outcome on the map, so this paper lights no cell and moves no belief. It is still indexed, cited and linked below.

2 · The registry

The trial behind it

Trials whose registry record cites this paper, or whose number appears in the abstract. A trial that started after this paper was published is citing it as background, not reporting it.

Neither the registry nor the abstract names a trial number. If this is a trial report, that itself is worth knowing.

3 · Its place in the literature

Who cites it

16 citing papers in PubMed, 1 synthesis or guideline pooled it, 35 citations in OpenAlex.

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4 · The record

Corrections and comments

PubMed lists nothing against this paper. Absence here is not a guarantee, only a check that was made.

5 · Who and what money

Authors and funding

3 authors at 2 institutions in 1 country.

Claudia SpahnFreiburg Institute for Musicians' Medicine, University of Music Freiburg, Medical Faculty of the Albert-Ludwigs-University Freiburg, Freiburg Center for Research and Teaching in Music, Freiburg, Germany.
Franziska KrampeChildrens Hospitals Schwabing and Harlaching Munich, Hospital Rechts der Isar, Technical University Munich, München, Germany.
Manfred NusseckFreiburg Institute for Musicians' Medicine, University of Music Freiburg, Medical Faculty of the Albert-Ludwigs-University Freiburg, Freiburg Center for Research and Teaching in Music, Freiburg, Germany.
Hochschule für Musik Freiburg · DEKlinikum rechts der Isar · DE

Funding

No grant is acknowledged in the PubMed record.

6 · The paper itself

Abstract

Music performance anxiety (MPA) is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was performed with 532 musicians; 27% of them being professional orchestra musicians, 45% non-professional orchestra musicians, and 28% non-professional choir singers. The musicians were asked to fill in the Performance-specific Questionnaire for Musicians (PQM) immediately after a performance. The questionnaire contains three scales regarding symptoms of MPA, functional coping with MPA and performance-related self-efficacy. A cluster analysis was performed on the PQM scales to identify systematic variations. Findings indicate that there are three different types of MPA in the sample studied. Type 1 describes musicians who have few symptoms of MPA throughout the performance, show functional coping with MPA, and have a stable and well-developed self-efficacy. Type 2 describes musicians who begin their performance with rather high symptoms of MPA but can positively reduce these by the end of the performance and show high values in self-efficacy and in functional coping. Type 3 contains musicians who begin their performance with some symptoms of MPA, which increase to the end of the performance. The values of self-efficacy and functional coping in this type are rather low. Of the total sample, half of the musicians were assigned to Type 1 and approximately a quarter each to Type 2 (27%) and Type 3 (23%). In accordance with the literature, the results confirm the importance of self-efficacy and functional coping for a positive performance experience.

Indexed as

copingmusic performance anxietyperformance qualityperformance scienceself-efficacy

Identifiers

PMID33967870
PMCPMC8102674
OpenAlexW3159429187

What OpenQuestion holds

Textmetadata
LicenceCC BY
Read underepoch 390

Registered trials

None linked

Read under generation 80e0d062 · epoch 390. Bibliography from PubMed, PubMed Central and OpenAlex; grants from NIH RePORTER; trial links from ClinicalTrials.gov; estimates, votes and beliefs from the OpenQuestion graph.