Group items tagged

The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc

Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen

There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners

Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance

“when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students

Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).

However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it

Csikszentmihalyi’s nine dimensions of flow as follows

Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.

Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.

These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.

Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.

This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).

Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported

The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being

Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.

“Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).

Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.

Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349

did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed

Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)

State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).

The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety

heart rate at 10 min, 5

Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.

Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a

person has few problems with performance anx-iety

Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, & Mohr, 2003)

Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)

Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987

The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.

d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)

The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale

Performance Anxiety Inventory (PAI)

cognitive, behavioral, and physiological fac

and has beenwidely used in treatment outcome research

Behavioral Anxiety Index (BAI)

igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating

Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance

practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance

This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence

how to use self-talk effectively and how touse cues

Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.

Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg & Clark, 2007).

Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho

MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA

Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.

We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981

Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category

If teachers are supported to set up classrooms to promote success, these students (and other challenging students who have similar behaviors but may not have individualized education plans, or IEPs) can improve their performance in school and in life.

Making positive attention more predictable in the classroom can help break the cycle of negative attention-seeking behaviors. Putting one-on-one time on the student’s personal visual schedule (even if it’s only a couple minutes to read a student’s favorite page in a book) or setting a timer for 10 minutes and telling the student that’s when you will be back are just two strategies that can help.

Teachers who work with challenging students need support from administrators and others in the school. It is very stressful to have a student in class who is constantly disruptive. In order to make the necessary investment, the teacher needs substantive support from administrators to avoid frustration and burnout and to garner the energy to provide effective interventions. When administrators delegate some of the teacher’s responsibilities to other people in the building, the teacher can devote more time to finding solutions. Regularly meeting with consultants (e.g., special educators, mental health professionals, and behavior analysts) can be essential for designing how the student progresses, but it also takes up the teacher’s prep time. If possible, the administrator can arrange coverage so that the teacher can meet with consultants at times other than lunch and prep. Support staff can instruct small groups of children while the teacher works with the student with behavior challenges. And since there are usually so many people involved with a struggling student, delineating a clear coordination plan is also critical. It can be helpful, as a team, to make a list of responsibilities and indicate who is responsible for what.

The more intensely the student is taught the underdeveloped skills, and the more the environment is changed to encourage appropriate behavior, the more quickly the student’s behavior is likely to change.

subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.

felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag

One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)

adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.

past half millennium, the technology of learning has hardly budge

Lectures are banned

attending class on Apple laptops

Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”

Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.

methods will be tested against scientifically determined best practices

when you have a noncurated academic experience, you effectively don’t get educated.

Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”

“The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.

What, he asks, does it mean to be educated?

“Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”

Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.

We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.

memory of material is enhanced by “deep” cognitive tasks

a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.

ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.

e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.

Professors are able to sort students instantly, and by many metrics, for small-group work—

he found the man’s view of education, in a word, faith-based

he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,

I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.

The MOOCs will eventually make lectures obsolete.”

Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.

The MOOCs will eventually make lectures obsolete.”

certain functions of universities have simply become less relevant as information has become more ubiquitous

Minerva challenges the field to return to first principles.

MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.

it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.

part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”

“hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”

I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.

It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”

for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.

professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship

The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.

3. Follow up. I’ve written previously about the importance of coaching and the characteristics of an effective coach. A one-time information flood is ineffective, no matter how engaging the session’s leader may be. Teachers need support as they begin to implement new ideas, methods, and approaches. Note that support, not judgement, is needed. Showing up with an evaluation form is a certain way to kill any benefit professional development might yield. Teachers are learners, and we need the time and space to try, to reflect, to try again, to get helpful feedback, and to truly master implementation. We need the opportunity to learn. Coaching provides this opportunity, along with the encouragement and feedback necessary for success.

Write important information down where the child can easily read and reference it. Remind the student where the information can be found. Divide big assignments into smaller ones, and allow children frequent breaks.

Develop a “secret language” with the child with ADD/ADHD. You can use discreet gestures or words you have previously agreed upon to let the child know they are interrupting. Praise the child for interruption-free conversations.

written behavior plan is near the student

consequences immediately following misbehavior. Be specific in your explanation, making sure the child knows how they misbehaved.

Recognize good behavior out loud. Be specific in your praise, making sure the child knows what they did right.

cross off each item as it is completed.

run an errand or do a task for you

Allow the child breaks as often as every ten to twenty minutes. Teach a better understanding of the passage of time: use an analog clock and timers to monitor homework efficiency.

Provide a stress ball, small toy, or other object for the child to squeeze or play with discreetly at his or her seat.

do one step and then come back to find out what they should do next

extremely brief when giving directions

write directions down in a bold marker or in colored chalk on a blackboard.

Establish a homework folder for finished homework. Check and help the child organize his or her belongings on a daily basis, including his or her backpack, folders, and even pockets. If possible, keep an extra set of textbooks and other materials at home. Help the child learn to make and use checklists, crossing items off as they are accomplished. Help organize loose papers by color coding folders and showing the child how to hole-punch and file appropriately.

play a sport—or at least run around before and after school.

Neurological deficits, not unwillingness, keep kids with attention deficit disorder from learning in traditional ways.

If you can work with and support your child’s teacher, you can directly affect the experience of your child with ADD/ADHD in the classroom.