Rey Ludovic, Guyon Amélie J A A, Hildebrandt Horst, Güsewell Angelika, Horsch Antje, Nater Urs M, Jamieson Jeremy P, Gomez Patrick
Department of Occupational and Environmental Health, Unisanté, Center for Primary Care and Public Health & University of Lausanne, Lausanne, Switzerland.
Department of Clinical Research, Faculty of Medicine, University of Bern, Bern, Switzerland.
Front Psychol. 2025 May 12;16:1579759. doi: 10.3389/fpsyg.2025.1579759. eCollection 2025.
Musicians' performance experiences range widely, from elation to severe anxiety. In this study, we examined musicians' performance experiences through the lens of the biopsychosocial model of challenge and threat. According to this model, a challenge state arises when perceived resources meet or exceed perceived demands, while a threat state occurs when demands outweigh resources. These states can be quantified using the Demand Resource Evaluation Score (DRES), calculated as the difference between resource and demand evaluations, with higher values indicating a greater challenge-type response. Although post-event processing is a key factor in maintaining social anxiety, research on factors influencing musicians' post-performance thoughts remains limited. Additionally, the link between DRES and post-performance thoughts is unknown. This study aimed to determine (1) how DRES is influenced by the general music performance anxiety (MPA) level, audience presence, and time (pre-performance vs. during-performance); (2) how negative and positive post-performance thoughts are influenced by general MPA level and audience presence; and (3) whether DRES predicts post-performance thoughts.
Classical music students ( = 121) with varying levels of MPA performed solo in a private and a public session. We assessed pre-performance and during-performance DRES, and negative and positive post-performance thoughts.
DRES decreased with increasing general MPA level, was lower in public than private sessions, and declined from pre-performance to during-performance. These effects were qualified by a three-way interaction: the effect of general MPA level was strongest before performing publicly, the audience effect was most pronounced at higher general MPA levels before performing, and the time effect was greatest at lower general MPA levels during public sessions. General MPA level was associated with more negative thoughts and fewer positive thoughts. Audience presence increased only negative thoughts. Higher during-performance DRES predicted fewer negative and more positive thoughts both intraindividually and interindividually, with pre-performance DRES showing similar interindividual effects.
These findings demonstrate the complex interplay of personal and situational factors in shaping musicians' challenge and threat experiences. Moreover, high general MPA levels are associated with a general tendency toward more negative and fewer positive post-performance thoughts. Interventions fostering challenge-oriented appraisals may enhance musicians' post-performance processing, potentially mitigating performance anxiety.
音乐家的表演体验范围广泛，从兴高采烈到极度焦虑。在本研究中，我们通过挑战和威胁的生物心理社会模型来审视音乐家的表演体验。根据该模型，当感知到的资源满足或超过感知到的需求时，就会出现挑战状态；而当需求超过资源时，则会出现威胁状态。这些状态可以使用需求资源评估得分（DRES）来量化，该得分通过资源评估与需求评估之间的差值计算得出，值越高表明挑战型反应越强。尽管事后处理是维持社交焦虑的关键因素，但关于影响音乐家表演后想法的因素的研究仍然有限。此外，DRES与表演后想法之间的联系尚不清楚。本研究旨在确定：（1）DRES如何受到一般音乐表演焦虑（MPA）水平、观众在场情况和时间（表演前与表演期间）的影响；（2）消极和积极的表演后想法如何受到一般MPA水平和观众在场情况的影响；以及（3）DRES是否能预测表演后想法。
具有不同MPA水平的古典音乐学生（n = 121）在私人和公开场合进行独奏表演。我们评估了表演前和表演期间的DRES，以及消极和积极的表演后想法。
DRES随着一般MPA水平的升高而降低，在公开场合低于私人场合，并且从表演前到表演期间有所下降。这些效应受到三方交互作用的影响：一般MPA水平的效应在公开表演前最强，观众效应在表演前较高的一般MPA水平时最为明显，而时间效应在公开场合较低的一般MPA水平时最大。一般MPA水平与更多的消极想法和更少的积极想法相关。观众在场仅增加了消极想法。表演期间较高的DRES在个体内和个体间都预测了更少的消极想法和更多的积极想法，表演前的DRES显示出类似的个体间效应。
这些发现表明了个人和情境因素在塑造音乐家的挑战和威胁体验中的复杂相互作用。此外，较高的一般MPA水平与表演后想法更消极、积极想法更少的总体倾向相关。促进以挑战为导向的评估的干预措施可能会增强音乐家的表演后处理能力，潜在地减轻表演焦虑。
