Lecture 8: Performance Psychology Flashcards
5 important differences between music and sports performance
- musical training starts very early
- making music is linked to sound production (auditory feedback thats faster than visual feedback); includes temporal and spatial accuracy
- the only limit in music are the limits of temporal and spatial accuracy of the auditory system. many fine motor skills are involved
- extremely competitive environments under very high social pressure and a strong reward-punishment mechanism
- linked to high positive emotions which enhance plastic adaptations of the brain
explain Music Performance Anxiety (MPA)
state of arousal, which occurs when musicians present themselves before an audience in performance situations; can affect the performer in different levels of severity and the performer may be affected in various ways
–> expressed through motor and cognitive behaviors
explain “choking under pressure (CuP)” and how different theories explain it
motor failures during performances, increased anxiety, decreased self-confidence
- drive theories: based on the assumption that increased arousal, resulting from striving to excel under pressure, will have a detrimental effect on performance –> inverted U; increased arousal will first lead to improved performance, whereas further increase could deteriorate performance quality
- attentional theories: Distraction theories assume that pressure-induced anxiety will occupy the performer’s working memory, restricting the processing of task-relevant information
Self-focus theories propose that performance anxiety causes the performer to shift the focus of attention inward or to consciously monitor the skill, which detrimentally affects the well-learned automated skill
explain dynamic stereotype
consequence of long-term CuP when these dysfunctional movements are stored in procedural memory traces, maybe as a consequence of conditioned reactions to previous choking experiences and procedural memory formation under stress
explain musician’s dystonia
= persistent muscular incoordination or loss of voluntary motor control during highly trained, task-specific movements, such as playing a musical instrument
–> develops over time, generally at first thought to be a skill issue, which leads people to practice more, which makes it only worse in the end
–> is a learned phenomenon, can also be unlearned
–> feared by many musicians/performers
–> only happens to 1% of performers
–> majority of patients have solo positions and often have an anxiety-prone, perfectionist, control-type personality
–> hereditary factors play a role in etiology of MD
what 3 areas show abnormalities in patients with focal dystonia
1) reduced inhibition in the motor system at cortical, subcortical, and spinal levels
2) deficits in sensory perception and integration
3) impaired sensorimotor integration
what are 5 different ways to improve performance in musicians
- psychodynamic therapy to make (un)conscious meanings and origins of symptoms accessible to the performer
- CBT; change thinking patterns through cognitive restructuring and shifting the attentional focus
- multimodal treatment model of MPA; personal and problem-oriented approach, applies various psychotherapeutic methods
- prescription of certain blockers and tranquilizers
- alternative strategies; meditation, yoga and guided imagery
–> extreme levels of MPA or CuP in musicians are likely to be best prevented by mental training and specific cognitive strategies
explain the heuristic model of performance failures in musicians
4 types of failure in performance; MAP –> CuP –> DS –> MD
Two things influence these failures:
1. sensorimotor triggering factors (8)
- workload
- long practice
- technical difficulties
- overuse
- biomechanical obstacles
- controllability of actions
- late start
- genetics
2. psychological triggering factors (9)
- trait anxiety
- low self-confidence
- catastrophising
- perfectionism
- fear conditioning
- reinvestment
- over focusing
- cognitive interference
- genetics
what are ways that we can try to prevent MD (5)
- create a friendly supportive atmosphere
- introduce reasonable practice schedules
- teach energy-efficient techniques
- prevent overuse and pain including mental practice and variations of movement patterns
- avoid mechanical repetitions to maintain motivation and avoid frustration
explain factors that lead to occupational stress/demands as conceptualized in the study on its relation with wellbeing (7)
- irregular working hours
- repetitive work
- job demands and resources
- competition amongst colleagues
- low social support from coworkers
- imbalance between effort and rewards
- appraisal and coping strategies
explain factors leading to well-being as conceptualized in the study on its relation with occupational demands (8)
- employement type (eg. full-time) and stability
- affective (eg. positive and negative affect) and cognitive (eg. life satisfaction) dimensions
- self-acceptance
- positive relations with others
- autonomy
- environmental mastery
- purpose in life
- personal growth
explain the results of the study on occupational demands and wellbeing (three models)
- the Job Demand-Control(-Support) Model (JDCS) may be suitable to explain the relationship, as organisational demands, autonomy and social support all contributed to well-being
- the Effort-Reward Imbalance Model (ERI) may be suitable because performers did report low levels of occupational rewards and high levels of demands
–> these two models however do not take into account the occupational demands experienced by performers, which was done by the Job Demands-Resources Model (JD-R) which includes interpersonal and emotional demands and performance feedback
explain the aims and results of the “Characteristics and Extent of Mental Health Issues in Contemporary Dance Students” study
- aims; extent and characteristics of mental health issues in contemporary dance students, as clear insight into these health problems is lacking
- conclusions; Contemporary dance students are at risk of mental health issues; dance schools should pay special attention to stress, anxiety, and (constant) tiredness of their students
what are 3 psychosocial stressors and 4 kinds of other stressors within dance
psychosocial:
- upcoming performances
- relationships with choreographers
- maintaining ideal body weight
other:
- environmental (eg. poor facilities and equipment)
- daily responsibilities (eg. financial concerns)
- role/work-specific factors (eg. perceived lack of autonomy/control, intra-group rivalry)
- major life events (eg. deaths of loved ones, serious injuries)
how many students reported at least one health problem and for how many of them was it substantial (meaning some sort of reduction in training volume/performance)
96.9%; 64.3%
