|
音乐表演怯场心理程度的影响因素分析
|
Abstract:
怯场心理普遍存在于从事音乐表演的人群中,它以恐惧、焦虑、压力为基本心理反应,以肢体颤抖、出汗、面色惨白等一系列不受控制的表现为基本生理反应,严重影响着音乐表演的质量及个人幸福感。上台表演作为一种行为,受到动机水平、结果反馈、需要满足/剥夺、情绪体验和经验记忆的影响,其中,体验强度、经验频度、发生节点、时间间隔长度、自我形象和音乐表演自身特征是影响怯场心理程度的六个因素。分析影响怯场心理程度的因素有助于进一步提出预防和矫治策略,这需要相关学科共同参与,需要家庭、专业导师、同行、观众、社会等多方主体形成合力,共同推进音乐表演与个人成长的和谐发展。
Stage fright is prevalent among music performance professionals, and it is characterized by fear, anxiety, and stress as basic psychological reactions, and a series of uncontrolled manifestations such as trembling limbs, sweating, and pale faces as basic physiological reactions, which seriously affects the quality of music performance and personal well-being. Performing on stage as a behavior is in-fluenced by motivation level, result feedback, need satisfaction/deprivation, emotional experience and experience memory, among which, intensity of emotional experience, experience frequency, when experience occurred in children’s cognitive and behavioral development period, the length of time interval between the performance behavior and the result feedback, self-image and charac-teristics of music performance itself are six factors that affect the degree of stage fright. Analyzing the factors that affect the level of stage fright psychology can help to further propose prevention and correction strategies. This requires the joint participation of related disciplines and the formation of synergy among multiple subjects, including families, professional instructors, peers, audiences, and society, to jointly promote the harmonious development of music performance and personal growth.
[1] | [苏]艾?阿?阿斯拉强(1955). 伊?彼?巴甫洛夫生平和科学创作(p. 78). 外国文书籍出版局. |
[2] | [苏]伊万?彼德罗维奇?巴甫洛夫(1958). 巴甫洛夫全集(赵壁如, 吴生林 译, p. 23). 人民卫生出版社. |
[3] | Berk, L. E. (2014). 伯克毕生发展心理学: 从0岁到青少年(第4版, 陈会昌, 等 译). 中国人民大学出版社. |
[4] | 李继娜, 王玮玮, 张维军, 屈智勇(2022). 累积创伤对儿童复杂性创伤后应激障碍的影响: 经验回避与消极认知情绪调节策略的中介作用. 心理发展与教育, (5), 683-691. |
[5] | 刘明明(2021). 音乐表演焦虑研究综述. 中央音乐学院学报, (1), 81-91. |
[6] | 梅罗丰(2009). 心理防御机制意识成分研究. 硕士学位论文, 西宁: 青海师范大学. |
[7] | 韦钰(2021). 儿童早期发展与神经科学研究. 早期儿童发展, (1), 5-26. |
[8] | 张前(2004). 音乐表演艺术论稿(p. 1). 中央民族大学出版社. |
[9] | 周海宏(2018). 琴童家长必修课——儿童教育的问题、原理与策略. 中央音乐学院出版社. |
[10] | Bandura, A. (1977). Self-Efficacy: Toward a Unifying Theory of Behavioral Change. Psychological Review, 84, 191-215.
https://doi.org/10.1037/0033-295X.84.2.191 |
[11] | Barlow, D. H. (2000). Unraveling the Mysteries of Anxiety and Its Disorders from the Perspective of Emotion Theory. The American Psychologist, 55, 1247-1263. https://doi.org/10.1037/0003-066X.55.11.1247 |
[12] | Burke, A., Heuer, F., & Reisberg, D. (1992). Remembering Emo-tional Events. Memory & Cognition, 20, 277-290.
https://doi.org/10.3758/BF03199665 |
[13] | Eckland, N. S., Sperry, S. H., Castro, A. A., & Berenbaum, H. (2022). In-tensity, Frequency, and Differentiation of Discrete Emotion Categories in Daily Life and Their Associations with Depression, Worry, and Rumination. Emotion (Washington, D.C.), 22, 305-317. https://doi.org/10.1037/emo0001038 |
[14] | Ely, M. C. (1991). Stop Performance Anxiety! Music Educators Journal, 79, 35-39. https://doi.org/10.2307/3398258 |
[15] | Hernández, M. M., Eisenberg, N., & Valiente, C. (2015). Observed Emotion Frequency versus Intensity as Predictors of Socioemotional Maladjustment. Emotion, 15, 699-704. https://doi.org/10.1037/emo0000099 |
[16] | Hirst, W., & Phelps, E. A. (2016). Flashbulb Memories. Current Directions in Psychological Science, 25, 36-41.
https://doi.org/10.1177/0963721415622487 |
[17] | Hyland, P., Murphy, J., Shevlin, M., Vallires, F., McElroy, E., Elklit, A., Christoffersen, M., Cloitre, M., Vallires, F., & Cloitre, M. (2017). Variation in Post-Traumatic Response: The Role of Trauma Type in Predicting ICD-11 PTSD and CPTSD Symptoms. Social Psychiatry and Psychiatric Epidemiology: The International Journal for Research in Social and Genetic Epidemiology and Mental Health Services, 52, 727-736. https://doi.org/10.1007/s00127-017-1350-8 |
[18] | LeBlanc, A., Jin, Y. C., Obert, M., & Siivola, C. (1997). Effect of Audience on Music Performance Anxiety. Journal of Research in Music Education, 45, 480-496. https://doi.org/10.2307/3345541 |
[19] | Lehmann, A. C., Sloboda, J. A., & Woody, R. H. (2007). Psychology for Musi-cians: Understanding and Acquiring the Skills. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780195146103.001.0001 |
[20] | Liddell, B. J., Nickerson, A., Felmingham, K. L., Malhi, G. S., Cheung, J., Den, M., Askovic, M., Coello, M., Aroche, J., & Bryant, R. A. (2019). Complex Posttraumatic Stress Disorder Symptom Profiles in Traumatized Refugees. Journal of Traumatic Stress, 32, 822-832. https://doi.org/10.1002/jts.22453 |
[21] | Martin, A. Y. (1960). The Physiological and Psychological Concomitants of Stage Fright. The NATS Bulletin, 17, 18-23. |
[22] | Phelps, E. A. (2006). Emotion and Cognition: Insights from Studies of the Human Amygdala. Annual Review of Psychology, 57, 27-53. https://doi.org/10.1146/annurev.psych.56.091103.070234 |
[23] | Seibert, P. S., & Ellis, H. C. (1991). Irrelevant Thoughts, Emotional Mood States, and Cognitive Task Performance. Memory & Cognition, 19, 507-513. https://doi.org/10.3758/BF03199574 |
[24] | Sieger, C. (2017). Music Performance Anxiety in Instrumental Music Stu-dents: A Multiple Case Study of Teacher Perspective. Contributions to Music Education, 42, 35-52. |
[25] | Silverman, W. K., Fleisig, W., Rabian, B., & Peterson, R. A. (1991). Childhood Anxiety Sensitivity Index. Journal of Clinical Child Psychol-ogy, 2, 162-168. https://doi.org/10.1207/s15374424jccp2002_7 |
[26] | Szpunar, K. K., Spreng, R. N., & Schacter, D. L. (2014). A Taxonomy of Prospection: Introducing an Organizational Framework for Future-Oriented Cognition. Proceedings of the National Academy of Sciences of the United States of America, 111, 18414-18421. https://doi.org/10.1073/pnas.1417144111 |