Un estudio de la ansiedad escénica en los músicos de los conservatorios de la Región de Murcia

Resum

The scarce studies conducted with community population belonging to the academic musical context indicate the importance of acquiring a greater knowledge about music performance anxiety (from here on, MPA) and the problems it conveys in their formation and professional career (Cox y Kenardy, 1993; Fehm y Schmidt, 2006; Kaspersen y Gotestam, 2002; Kokotsaki y Davidson, 2003; Papageorgi, Creech y Welch, 2013; Studer et al., 2011; Tamborrino, 2001; Salmon et al., 1995; Steptoe y Fidler, 1997; Wang, 2001). The general objective of this investigation is to know the impact of MPA in students and teachers in the Conservatories of Music managed by the Region of Murcia Autonomous Community. The aim is to determine what percentage of them show a high or very high MPA. As a background topic, the importance of the performer and both the musical and extra-musical conditions which directly affect their learning and performance work -understood not only as mere execution, but as a co-creating and meaning-forming instance at a hermeneutic level- situated between the composer and the listener. The specific objectives are based on the relation between socio-demographic, pedagogical, psychological and family-related variables with the levels of MPA. The sample consists of five hundred and two students and sixty-eight teachers of Elementary, Professional and Superior Education who belong to the Conservatories of Music managed by the Region of Murcia Autonomous Community. The research was carried out by means of a co-relational descriptive study by means of a survey, with the aim to put our hypotheses on MPA to the test. Self-informing questionnaires stand out amongst the measurement tools used. They deal with sociodemographic features, general anxiety, specific anxiety (MPA) and evaluation of the parental educational style. The results of the investigation state the high numbers of musicians who see their performance impaired because of MPA. They advice on the necessity to propose pedagogical and psychological measures to tackle this predicament. We have found that teenagers present a higher vulnerability to suffer from MPA than children, and that underaged females show a greater frequency of MPA than their male pairs. The hours of study invested by underage students and the intrinsic motivation of teenagers and adults who have decided to seek a professional career in music are inversely related with the intensity of MPA. Likewise, experience has been shown to be a lessening variable of MPA for the group of teachers and adult students, while the grade, educational centre, age of first performance and instrumental family have not been statistically-relevant variables in the prediction of MPA. On the other hand, we have found a positive correlation between state/trait anxiety and MPA, and an inverse correlation between affinity towards music and the level of MPA on adult performers. Regarding the correlation between parental educational styles and MPA, data reveal that the greater the conduct control parents exert on their children, the greater their response to MPA. By contrast, we see that an inverse relationship between the good humour and optimism that parents convey and the level of MPA, so that an educative style where there is a low level of humour or little optimism can enable higher levels of MPA in children. Lastly, we find it crucial to the importance of context of performance in the experience of MPA.