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PSYCHOMETRIC PROPERTIES OF MUSIC PERFORMANCE ANXIETY
INVENTORY FOR ADOLESCENTS IN A SAMPLE OF PIANO STUDENTS
Alev SEZER
Dokuz Eylul University State Conservatory, Piano Department
Tunç ALKIN
Dokuz Eylul University Medical Faculty, Psychiatry Department
Şeniz DURU
Dokuz Eylul University State Conservatory, Piano Department
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PSYCHOMETRIC PROPERTIES OF MUSIC PERFORMANCE ANXIETY
INVENTORY FOR ADOLESCENTS IN A SAMPLE OF PIANO STUDENTS
Alev SEZER
Dokuz Eylul University State Conservatory, Piano Department
Tunç ALKIN
Dokuz Eylul University Medical Faculty, Psychiatry Department
Şeniz DURU
Dokuz Eylul University State Conservatory, Piano Department
1. INTRODUCTION: PERFORMANCE ANXIETY
Performance is a form of action requiring a level of intelligence, emotion and
behaviour in a particular situation at a particular time. The optimal state for human
performance that in which one can transform his full potential into action. But sometimes it is
more difficult to turn one’s full potential into performance due to internal and external factors.
One of these factors is a high level of anxiety.
Anxiety is a state of uneasiness and apprehension caused by physical, emotional and
intellectual changes when one faces a perceived threat or danger. Not only animals but also
humans respond with anxiety or fear when they feel a potential threat. These dangers are not
necessarily life-threatining. The conditions (be criticized - be scolded etc.) which may
negatively effect or harm the relationships with other people also stimulates anxiety. An
optimum level of anxiety helps the performer in willingness, decision-making and generating
a high level of performance energy. The results usually is negative in a situation when we
never feel anxiety because we are never willing to perform our best. Extreme anxiety causes
lack of concentration, poor memory, nervousness, psychological and physical tension and as a
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result of catastrophic interpretation of these symptoms, an artist may get stage fright. The
cognitive, behavioural and physical components of anxiety can be seen on Table 1.
Table 1 Cognitive, Behavioural and Physical Components on Anxiety
PHYSICAL COGNITIVE BEHAVIOURAL
Palpitation Catastrophic thinking Avoidance
Dyspnea Worry Help-seeking behaviours
Paresthesias Intrusive thoughts-images Safety behaviours
Increased perspiration Obsessions Compulsions
Tremor/shaking
Dizziness
Chest thightness
Shortness of breath
Nausea or abdominal distress
Increased muscle tension, pain
High blood pressure
Mydriasis
In psychiatry “anxiety disorders” are defined as a group of psychopathological
disorders which means that symptoms are on a pathological level (American Psychological
Association, 2000). One of these disorders named social phobia or social anxiety disorder is
related very closely to performance on stage. “Social phobia is a marked and persistend fear
of one or more social and performance situations in which the person is exposed to unfamiliar
people or to possible scrutiny by others. The individual fears that he or she will act in a way
that will be humiliating or embarrasing.” (APA, 2000) The social fears that is frequently seen
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is given on Table 2. People who have this anxiety disorder would fear situations that will be
assessed by other such as sitting on an exam.
Table 2 The social circumstances which stimulate anxiety listed in Liebowitz
Social Phobia Scale
Using a telephone in public Participating in a small group activity Eating in public Drinking with others Talking to someone in authority Acting, performing, or speaking in front of an audience Going to a party Working while being observed Writing while being observed Calling someone you don't know very well Talking face to face with someone you don't know very well Meeting strangers Urinating in a public bathroom Entering a room when others are already seated Being the center of attention Speaking up at a meeting Taking a test of your ability, skill, or knowledge Expressing disagreement or disapproval to someone you don't know very well Looking someone who you don't know very well straight in the eyes Giving a prepared oral talk to a group Trying to make someone's acquaintance for the purpose of a romantic/sexual
relationship Returning goods to a store for a refund Giving a party Resisting a high pressure sales person
The core feature in social anxiety disorder is that one feels himself insecure in relations in
which one trying to make a positive impression (Clark and Wells 1995). They exaggerate the
results of being negatively avaluated. It has been determined that there is a strong relationship
between musical performance anxiety and social anxiety that is one of the most common
disorders (ALFANO, C.A., D.C. Beidel, S.M. Turner; “Cognition in Childhood Anxiety:
Conceptual, Methodological and Developmental Issues”, Clinical Psychology Review, 22,
2002, 1209–1238 P.).
Many people feel a little bit of fear when on stage, it sharpens to reflections provide more
focus and concentretion and reminds the person that he is about to perform something
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magnificent. The performance takes place in front of the audience and in a social environment
(FEHM,L., K.Schmidt; “Performance Anxiety in Gifted Adolescent Musicians”, Anxiety
Disorders, 2006 (20), 98-109 P.). Therefore if the level of performance anxiety is high then it
is a kind of social anxiety disorder. In medical literature it is also named “nongeneralized type
of social anxiety disorder”. Performance anxiety is a state which can be seen among
professional musicians, amateur musicians and students who educate in music departments.
The essential features of performance anxiety:
- One knows his/her reaction is irrational but believes that he/she should be “perfect” on
the stage and if not, the results would be disastrous (Steptoe and Fidler, 1987;
Tobacyk and Downs, 1986).
- Performance always provoke fear or anxiety and during the performance one feels
trembling, shortness of breath, tremor (James, 1988; Lehrer, 1987).
- Performances are avoided or endured with intense anxiety (Clark and Agras, 1991;
van Kemenade, van Son and van Heesch, 1995).
According to Salmon (1999), performance anxiety is a state that can be seen among
professional and amateur musicians, and students studying at the music department. Music
term performance anxiety most commonly used without considering the one’s talent,
education and his/her preparation stage, has been seen as an experience anxiety that a loss of
real value of performance talent in front of the audience (FEHM,L., K.Schmidt; “Performance
Anxiety in Gifted Adolescent Musicians”, Anxiety Disorders, 2006 (20), 98-109 P.).
In Netherlands, in a survey among 155 of 650 professional musicians, 91 of 155
participants demonstrated that the performance anxiety effect their professional life (van
Kemenade, van Son and van Heesch,1995;555-562 P.). In London, in a study among 2212
professional member of orchestra,16% of the participants reported that anxiety is a serious
problem for them (Fishbein, Middlestadt, Ottati, Straus and Ellis, 1988).
It is crucial to detect and measure music performance anxiety in order to perform the
proper treatment timely, because it is seen very often and interferes with the progress of the
profession. However scales assessing presence and intensity of music performance anxiety are
limited. More importantly none of the scales has been adapted in Turkish.
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2.MATERIAL AND METHODS
2.1 Aim
There is no scale for performance anxiety in Turkish. Thus, the aim of this study is to
adapt the scale called “Music Performance Anxiety Inventory for Adolescents” developed by
Osborne and Kenny (2005), after obtaining measures of validity and reliability in Turkish. We
also planned to determine if there is a difference between students studying in the department
of piano at the conservatories in Turkey aged between 18-23 in comparison with the students
who do not perform on stage at the same age.
2.2 Material and method
The scale which was developed by Osborne and Kenny consists of 15 questions. This
was developed in order to obtain a self-report music performance anxiety mesurements of
young musicians aged between 12-19. This scale has been prepared to not only to identify the
high school students at risk of music performance anxiety but also to help the studies of music
performance anxiety. Also this scale is an instrument that would be used as a precise, reliable
and valid pre-post intervention scale for studies related to results of treatment. The Turkish
translations of Music Performance Anxiety Inventory for Adolescents were made separately
by three academic staff with advanced levels of English. The Turkish translations were then
retranslated into English by another staff member, blinded to the original texts, and then
compared to the original papers. The items that did not exactly fulfill the original meaning
were reviewed and the final Turkish forms were produced.
2.3 Design of study
99 students aged between 18-23 studying at the Department of Piano in Dokuz Eylul
University, Hacettepe University, Bilkent University, Mimar Sinan Fine Arts University,
Uludag University, Anadolu University, Çukurova University State Conservatories were
participated in the study.
72 students responded the survey and filled the inventory. The control group was
composed of 40 students studying at Faculty of Fine Arts who are at the same age, but not
performing on stage. The inventory of 37 students was used. In our study a total of 109 people
were assessed consisting of Department of Piano students’ group and control group.
Sociodemographic data form, Music Performance Anxiety for Adolescents Inventory, State
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and Trait Anxiety Inventory and Liebowitz Social Anxiety Scale were given to each
participant.
Statistical analyses that show whether the Turkish version of the scale was valid and
reliable were done on the given data.
2.4 Assessments
2.4.1 Sociodemographic data
Total participants of this study consisted of 72 piano students of those 28 (38.89%)
were male and 44 (61.11%) were female.
The average age of the piano group was 19.69±1.89 ranging from 18 to 23.
The average year of education of the piano group was 14.26±1.43 ranging from
12 to 16.
The average number of years in practising piano of the piano group was
9.75±2.68 ranging from 4 to 18.
The average number of years on stage of the piano group was 7.92±2.44
ranging from 2 to 14. Most of the participants had a concert experience ranging
from 6 to 10.
2.4.2. Reliability measures
The Cronbach’s Alpha value of the Turkish version of the Music Performance Anxiety
Inventory for Adolescents Scale was 0.78 from the data obtained from 109 subjects.
Item analysis revealed that every item’s Cronbach’s alfa value varied between 0.54 –
0.82 when item deleted. However, when 10th question that correlated in a negative way with
the total score and 12th question which displayed the least item - total score correlation (0.24)
were deleted, the Cronbach alfa value of the 13 item scale increased to 0.82. Thus, after
excluding the Turkish translations of these items (10. and 12. Questions) which do not work,
the new 13 item version of the scale had a high level of reliability and homogeneous structure.
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2.4.3. Validity measures
Results showed that there is a strong and statistically significant correlations between
Music Performance Anxiety Inventory for Adolescents Scale and subscales of Liebowitz
Social Anxiety Scale (social anxiety subscale: r = 0.402, p<0.001; avoidance subscale: r =
0.318, p=0.001 and total score: r = 0.394, p< 0.001). The 13 item scale also showed
correlation with tarit anxiety scores (r = 0.353, p<0.001).
2.4.3. Comparisons of Groups
The results of the comparisons of general anxiety (state-trait anxiety), social anxiety
and music performance anxiety levels between piano students and control group were
presented in Table 3.
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Table 3 Comparison of independent groups t-test and the mean scale scores of the groups
Number Mean Standard
Deviation
T df p 95% of Confidence interval
(the lowest-
the highest)
The mean total scores of
Music Performance Anxiety for Adolescents
Piano students
Control group
72
37
28.43
42.57
12.33
14.39
-5.350 107 0.000** 19.37 - -8.89
The mean scoresof
Liebowitz Anxiety subscale
Piano students
Control group
72
37
13.76
20.00
8.59
10.20
-3.362 107 0.001** 9.91 - -2.56
The mean score of Liebowitz avoidance subscale
Piano students
Control group
72
37
12.03
15.11
7.24
9.54
-1.883 107 0.062 6.32 - 0.16
The mean total score of Liebowitz Social Anxiety Scale
Piano students
Control group
72
37
25.79
35.11
14.89
18.75
-2.826 107 0.006** 15.85 - 2.78
The mean total score of the state anxiety
Piano students
Control group
72
37
40.14
41.24
4.70
5.45
-1.100 107 0.274 3.09 – 0.,88
The mean total score of the trait anxiety
Piano students
Control group
72
37
44.13
46.73
4.83
5.97
-2.454 107 0.016* 4.71 - -0.50
* < p 0.05, ** < p 0.01
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3.DISCUSSION
Before using an assessment tool that was developed in a foreign language or in another
society, a reliability and validity study should be done. A scale may be used in another culture
only after the determination of its psychometric properties.
3.1 Reliability measurements
The reliability of a scale is defined as the stability condition which is seen on the same
measured dimentions and which is seen on repeated measurements.
In our study, internal consistency of 15 item Music Performance Anxiety Inventory for
Adolescents, Turkish version was found to be 0.78. This result indicate that the reliability of
the scale is high. The items in the inventory are compatible in itself and scale as a whole.
When another internal consistency evaluation method called “item-total item” or “item-
dimension” is applied, removing the items 10 and 12 has increased the reliability of a 13-item
version of the scale. All of the items were above the correlation value of 0.20 which indicated
fair consistency. In other words, each item was determined to have good consistency with the
whole scale and thus the reliability of the scale had been supported.
3.2 Validity of measurements
For a measurement tool, measuring the desired dimensions fully and in an accurate
way is called validity. The measured dimensions must be able to identify different structures
and highlight the desired points.
According to our findings, the Music Performance Anxiety Inventory for Adolescents
measured similar psychological constructs (anxiety, social anxiety, performance anxiety).
These positive significant correlations indicate a good convergent validity. The scale were
also able to determine the score differences between the control group and the piano students
(Piano students group = 28.43 ± 12.33, control group = 42.57 ± 14.37; p < 0.001). These
results supported the discriminative validity of Turkish version of the Music Performance
Anxiety Inventory. So, the Turkish version of “Music Performance Anxiety for Adolescents”
appeared as a valid scale.
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3.3 Comparisons Between the Groups (Table 3)
Referring to the data which was obtained from Music Performance Anxiety Inventory
for Adolescents, we can see that the performance-related anxiety scores of the control group
(average of 42.57 points), is significantly higher than the piano students group (average of
28.43 points). The social anxiety scores of the control group, social avoidance scores and total
scale scores (Table 3) is also higher. These results show that, apart from the musical
performance related anxiety, the control group also have more social anxiety. When the
control group was questioned, they have perceived a music performance more anxiety
provoking compared to piano students. A socially anxious person is more readily conceive a
performance as a “threatening situation”. However, the severity of the avoidance is less in
control group and did not differed from piano students. It seems that control group has more
social anxiety but not affecting their behaviours (i.e., less phobic avoidance behaviour) which
may reflect less severe social anxiety levels or merely “shyness”. Given the fact that the study
groups are not clinical patient groups, it is expected to observe lesser avoidance. Another
explanation may be the impact of other kinds of anxiety disorders as evidenced by the high
scores of trait anxiety of STAI and anxiety subscale of Liebowitz Scale.
Probably many students planning to study performing arts should also take their social
anxiety into consideration as well. Individuals with high social anxiety will flee to other
educational areas when they imagined a stage performance. Thus, piano student group may
represent a more sterile group of students in terms of social anxiety.
An important factor, the previous stage performance experiences of the music
department students (average concert year = 7.92 ±2.44 years), should also be considered. “In
vivo exposure” and “preventing avoidance behaviours” are the most commonly adopted
techniques used in psychosocial therapies for social anxiety disorder. In other words, patients
with high social anxiety are encouraged to face the situations that they experience anxiety and
avoidance as much as possible. Homeworks that they will repeatedily exposed these situatiuns
in real life are arranged. Thus anxiety levels decreases along with sufficient number of
practices. The levels of performance anxiety is likely to be reduced for the piano student
group which exposed nearly 8 years to various stage performances.
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4. CONCLUSION
The studies on performance anxiety in musicians spread all over the world recently.
Many scales were improved in order to determine the level of anxiety experience on stage.
The results this study showed that “Music Performance Anxiety Inventory for
Adolescents” is a valid and reliable tool to measure performance fears or stage fright. This
self-report scale, which took as little as 5 minutes to complete, could detect social anxiety
symptoms that a student may have experienced and determine these symptoms’severity. An
easy to use scale in Turkish will lead teachers to identify young talented musicans with social
anxiety and/or performance anxiety and thus early interventions will prevent the progression
of performance anxiety to a disability level. This early identification and intervention might
have important psychosocial consequences. First, talented adolescent students with social
anxiety or stage fright will not leave music education. Music teachers and mental health
professionals’ collaboration, preventing social avoidance behaviors and restoring the self-
esteem, will regain many socially anxious students. lost. Secondly, alcohol and substance
abuse which is prevalent in adult musicians with fear of performing on stage, could also be
prevented.
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Turkish version of the Music Performance Anxiety Inventory for Adolescents Scale requests should be adressed to [email protected] .
