Muzikos atlikimo patirties ir lyties sąsajos su atlikimo nerimu

LTStraipsnyje ieškoma muzikos atlikimo patirties ir lyties sąsajų su muzikos atlikimo nerimu, atsižvelgiant į šiuos veiksnius: klausytojų auditoriją, įvairią muzikos atlikimo veiklą, planus koncertuoti ateityje, savęs kaip atlikėjo vertinimą ir pažymių vidurkį. Tyrime dalyvavo 112 profesionalių muzikos atlikėjų (76 pianistai ir 36 chorvedžiai). Duomenys rinkti naudojant Spielbergerio asmenybinio nerimastingumo skalę, Kenny muzikos atlikimo nerimo klausimyną ir anketą. Išanalizavus duomenis, rastas muzikos atlikimo nerimo ryšys su nerimu, jaučiamu skirtingose klausytojų auditorijose, muzikos atlikimo veikla, savęs kaip atlikėjo vertinimu, pažymių vidurkiu. Ištirta, kad respondentai, ketinantys siekti profesionalaus muzikanto karjeros, patiria mažesnį nerimą nei tie, kurie koncertuoti nebeplanuoja ar dar nėra apsisprendę. Skirtumų tarp pianistų ir chorvedžių patiriamo muzikos atlikimo nerimo nerasta. Nustatyta, kad muzikos atlikimo nerimas nesusijęs su muzikos mokymosi metų skaičiumi ir atlikėjo amžiumi, bet aptiktas statistiškai reikšmingas neigiamas muzikos atlikimo nerimo ir koncertinės patirties ryšys. Tyrimo rezultatai rodo, kad atliekančios muziką moterys jaučia didesnį nerimą nei vyrai.

ENMusic performance anxiety (MPA) is "the experience of marked and persistent anxious apprehension related to musical performance that has arisen through specific anxiety conditioning experiences and which is manifested through combinations of affective, cognitive, somatic and behavioral symptoms". The article deals with music performance experience and gender links with performance anxiety taking into consideration the following factors: the audience, various music performance activities, plans for future performance, self-evaluation of oneself as a performer and average grades. Links between the mentioned factors and MPA were established first of all in all the respondents; later they were analyzed according to their experience and gender. In the study, 112 professional music performers (76 pianists and 36 chorus conductors) took part. The data were collected employing the Spielberger Stait-Trait Anxiety Inventory, a questionnaire and the Kenny Music Performance Anxiety Inventory that has not been used in Lithuania before. Analysis of the data demonstrated links between music performance anxiety and the anxiety present in different audiences and different music performance activities. It was established that the degree of anxiety was the highest when professional dominated in the audience. Those musical activities that were judged by a jury produced the greatest degree of anxiety (competitions, examinations). It was established that music performance anxiety was not linked with the number of years of music studies and the performer’s age; however, links between music performance anxiety and concert experience were discovered. It was observed that the greater concert experience the lesser music performance anxiety. Data analysis suggested that students experienced greater music performance anxiety than teachers.No links were discovered between the number of years of music study and the anxiety caused by different audiences. Links were established between the anxiety felt in the audience with large numbers of professional and concert experience. The greater concert experiences the lesser the anxiety performing in front of professional musicians. The comparison of male and female groups revealed that women feel greater music performance anxiety than men. It was observed that they have greater somatic anxiety symptoms and a weaker feeling of control. Analysis suggested that women performers feel more anxious than men performing for a professional audience and in front of a jury. It was established that the better performers think of themselves, the lesser anxiety they experience. Anxiety is also lesser when the performer’s grades are higher. There are no differences between men and women. Analysis has revealed that the respondents who are going to embark on a professional career feel less anxiety than those who are not going to perform in the future or have not made up their mind. The comparison of pianists and choir conductors demonstrates that there is no statistically significant difference between the anxieties they experience.