Steptoe A, Fidler H
Br J Psychol. 1987 May;78 ( Pt 2):241-9. doi: 10.1111/j.2044-8295.1987.tb02243.x.
A questionnaire study was carried out with three groups of musicians: experienced professional orchestral players (n=65), music students (n=41), and members of an amateur orchestra (n=40). Musical performance anxiety was assessed together with neuroticism, everyday fears, self-statements and behavioural coping strategies. Performance anxiety was lowest in the professional group and highest among students. In all three groups, performance anxiety was related to neuroticism and everyday fears, notably fear of crowds and social situations. A negative association between age, performing experience and stage fright was observed in professional musicians but not other groups. Six clusters of self-statements were identified. Catastrophizing was positively linked with performance anxiety in all groups, while realistic appraisal of the performance situation was used most commonly by those with moderate levels of stage fright. Implications for the conceptualization and management of stage fright are discussed.
经验丰富的专业管弦乐演奏者（n = 65）、音乐专业学生（n = 41）和业余管弦乐队成员（n = 40）。对音乐表演焦虑以及神经质、日常恐惧、自我陈述和行为应对策略进行了评估。专业组的表演焦虑最低，学生组最高。在所有三组中，表演焦虑都与神经质和日常恐惧有关，尤其是对人群和社交场合的恐惧。在专业音乐家中观察到年龄、表演经验与怯场之间存在负相关，但在其他组中未观察到。确定了六组自我陈述。在所有组中，灾难化思维都与表演焦虑呈正相关，而对表演情况进行现实评估最常用于怯场程度中等的人。文中讨论了对怯场概念化和管理的启示。
