Zarza-Alzugaray Francisco Javier, Casanova Oscar, McPherson Gary E, Orejudo Santos
Department of Musical, Plastic and Body Expression, University of Zaragoza, Zaragoza, Spain.
Melbourne Conservatorium of Music, University of Melbourne, Melbourne, VIC, Australia.
Front Psychol. 2020 Jun 25;11:1249. doi: 10.3389/fpsyg.2020.01249. eCollection 2020.
Personal perceptions of self-efficacy are particularly relevant in the field of music performance, which is oriented toward the outward expressions of one's own ability through public performances. Within this context, a number of personal variables, including social support and performance anxiety, have been shown to be associated with musical success and are therefore relevant for research that seeks to understand the four sources of self-efficacy (mastery experiences, vicarious observation, verbal persuasion, physiological states) that are integral components of Bandura's (2002) Social Learning Theory. Previous research, as well as observed differences among musicians associated with educational level (preuniversity) and gender (male/female), underpins the context of this study, which presents evidence regarding the factors that are capable of mediating perceptions of self-efficacy for musical performance. Specifically, the main objectives of this study were to more clearly understand relations between social support, public performance, musical performance anxiety, and self-efficacy using structural equation modeling and to compare these results according to gender. A battery of questionnaires was submitted to 359 preuniversity Spanish music students. Results highlight the relevance of family support for self-efficacy in public performance: directly and mediated through musical performance anxiety. The role of teachers and peers appeared to be relevant only for boys and was mediated through performance anxiety. Public performances lead to a greater degree of musical self-efficacy, but only in girls. Further research shall be required in order to improve pedagogical methods and help teachers increasingly individualize their teaching.
自我效能感的个人认知在音乐表演领域尤为重要，音乐表演旨在通过公开演出展现个人能力。在此背景下，包括社会支持和表演焦虑在内的一些个人变量已被证明与音乐成就相关，因此对于旨在理解自我效能感的四个来源（掌握经验、替代性观察、言语劝说、生理状态）的研究具有重要意义，这四个来源是班杜拉（2002）社会学习理论的重要组成部分。先前的研究以及观察到的不同教育水平（大学预科）和性别的音乐家之间的差异，为本研究提供了背景依据，本研究提供了关于能够调节音乐表演自我效能感认知的因素的证据。具体而言，本研究的主要目的是使用结构方程模型更清晰地理解社会支持、公开演出、音乐表演焦虑和自我效能感之间的关系，并根据性别比较这些结果。向359名西班牙大学预科音乐学生发放了一系列问卷。结果突出了家庭支持在公开演出中对自我效能感的相关性：直接相关且通过音乐表演焦虑起中介作用。教师和同伴的作用似乎仅对男孩有意义，并通过表演焦虑起中介作用。公开演出会带来更高程度的音乐自我效能感，但仅在女孩中如此。需要进一步研究以改进教学方法，并帮助教师更好地实现教学个性化。
