Primary and secondary appraisals formed theoretically consistent and reliable evaluations of threat and challenge. Secondary appraisals were significantly lower for students who viewed the performance as a threat. Students who viewed the performance as a challenge reported significantly less cognitive anxiety and higher self-confidence. Findings indicate that the PAM is a brief and reliable measure of cognitive appraisals that trigger precompetitive emotions of anxiety and confidence which can be used to identify those performers who could benefit from pre-performance intervention strategies to manage performance stress.
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Life After Exams - 7 views
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"We are currently deep in the middle of exam season here in the UK, but the end is in sight. But what do you and your pupils do with this strange time after exams when so much of your time effort (blood and sweat). Do you revel in the limbo and become demob happy, or full throttle to the end of the year? In this session of #UKEdChat we discuss your plans and opinions to 'life after exams'."
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Executive leadership: you can't be in two places at once! by @MaximJKelly - UKEdChat - 0 views
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"As a headteacher, I had become quite used to doing things in my own way. Over a number of years I had developed my own style, grown comfortable and confident about my personal convictions and educational philosophy and had found, I thought, an effective way to deliver my kind of leadership and make my school my kind of school."
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The Effective Use of Detentions by @RichardJARogers - 9 views
Study claims @ClassDojo encourages an archaic approach to school discipline - 15 views
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Precompetitive appraisal, performance anxiety and confidence in conservatorium musician... - 0 views
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Music performance anxiety (MPA) can be controlled when musicians cognitively restructure their own thoughts and feelings about their performance by anticipating symptoms of anxiety and turning them to constructive use
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The cognitive interpretation, or appraisal, of an initial emotional response, such as fear, exerts a proximal influence on performance
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and substantially determines if performers will suffer emotion-related detriments or profit from emotion-related benefits
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Emotions that are too weak or intense and feel unpleasant lead to lower motivation, distracted attention, and reduced performance.
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On the other hand, appropriately intense emotions which feel pleasant and are expected to help future performance are more likely to lead to increased effort, better decision making, and hence enhanced performance
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Mann-Whitney U tests of mean ranks showed that compared to students who viewed performance as a threat (MThreat = 7.00, SDThreat = 0.99), students who viewed performance as a challenge (MChallenge = 5.02, SDChallenge = 1.91); reported significantly less cognitive anxiety at pre-recital (U = 21.00, z = -2.167, p = .028) and significantly higher self-confidence both at the start of semester, (MThreat = 4.79, SDThreat = 0.90; MChallenge = 6.42, SDChallenge = 1.08; U = 29.50, z = -3.555, p < .001) and pre-recital (MThreat = 4.45, SDThreat = 0.72; MChallenge = 6.55, SDChallenge = 0.98; U = 2.50, z = -3.104, p < .001, Figure 2).
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Mental skills for musicians: Managing music performance anxiety and enhancing performance. - 1 views
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In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, & Skutnick–Henley,
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
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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
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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)
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State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
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The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
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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.
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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
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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)
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987
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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.
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d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
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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
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Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
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practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
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This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
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Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
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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).
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Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
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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
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Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
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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
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Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category
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Journalism for the 21st Century: Zotero, Diigo and Research - 3 views
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Diigo is good if you want to save websites of interest, and then access them from any computer. It does not provide the automatic bibliography of Zotero, but the user could simply save his bookmarks, return to the sites, hit the Zotero button and the problem is quickly solved. Diigo also features a highlighting tool that allows the user to select text from the site and write comments. If the user is logged in to Diigo and returns to the site, the highlights and comments remain. It it also somewhat useful if you want to find websites related to a certain topic that you are interested in. However, finding academic type articles or journal entires in a person's bookmarks is rare.
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Media and Technology Resources for Educators | Common Sense Media - 15 views
www.commonsensemedia.org/educators
InternetSafety digitalcitizenship cyberbullying Internet_safety cipa
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with complete confidence. Our online trainings show you how. More about parent professional development Research Credentials Check out our DNA. Our programs are built on respected digital ethics research. More about parent research credentials Turn wired students into great digital citizens Get all the tools you need with our FREE Digital Literacy and Citizenship Curriculum and Parent Media Education Program. The relevant, ready-to-use instruction helps you guide students to make safe, smart, and ethical decisions in the digital world where they live, study and play. Every day, your students are tested with each post, search, chat, text message, file download, and profile update. Will they connect with like minds or spill ... read more Get started Browse our classroom lessons and parent education resources by grade level or topical area. select gradeK123456789101112 select topicCell phones & digital communicationCyberbullying & online relationshipsDigital creation, plagiarism & piracyFamily media managementGaming & online worldsInternet safetyMedia's influence on kidsOnline privacy and securityOnline research & learningSocial networking & communityViolence in media Get Started Educator Updates Common Sense announces di gital driver's license Common Sense Media announced plans to create a digital driver’s license, an interactive online game that will teach kids the basics of how to be safe and responsible in a digital world. Read more about our plans for interactive curriculum modules
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The UKEd Podcast - Episode 15 - Behaviour with @AnneMGoldsmith & @Sean_S_Warren - 0 views
Behavioral Education in the 21st Century: Journal of Organizational Behavior Management... - 20 views
Educator | Topic Details - 6 views
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Why didn't that work? Maybe its culture? - The Learner's Way - 15 views
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n practical terms, any change effort that does not consider the culture into which it is introduced is unlikely to succeed. The worst-case scenario is that the change effort is resisted to such a degree that it is never truly implemented. In many cases, however, the change effort fails to produce the sort of results initially imagined despite the efforts of all involved to adopt the change. Although the new behaviours are adopted, something goes wrong, and it isn't always that the new idea itself is to be blamed. - Maybe it's culture?
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(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views
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Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
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A systematic review of all available treatment studies for music performance anxiety was undertaken.
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reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
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59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
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A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
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However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
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A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
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However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
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Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
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These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
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with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
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For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
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The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
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In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
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Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
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A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
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Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
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Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
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The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
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Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
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Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
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A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
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Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
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None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
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In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
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12 Tips For Students To Manage Their Digital Footprints - 43 views
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Where Everybody Knows Your (Screen) Name: Online Games as "Third Places" - 52 views
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"bowling alone" hypothesis (Putnam, 2000), which suggests that media are displacing crucial civic and social institutions
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According to Putnam, time spent with relatively passive and disengaging media has come at the expense of time spent on vital community-building activities.
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A core problem on both sides of the debate is an underlying assumption that all Internet use is more or less equivalent
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It would be more plausible and empirically rigorous, then, to consider how specific forms of Internet activity impact civic and social engagement as a result of their particular underlying social architectures
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combining conclusions from two different lines of MMO research conducted from two different perspectives—one from a media effects approach, the other from a sociocultural perspective on cognition and learning.
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By providing spaces for social interaction and relationships beyond the workplace and home, MMOs have the capacity to function as one form of a new "third place" for informal sociability much like the pubs, coffee shops, and other hangouts of old.
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They are known for their peculiar combination of designed "escapist fantasy" and emergent "social realism"
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from two research projects: one an examination of the media effects of MMOs, the other an ethnographic study of cognition and culture in such contexts.
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the assumption that the most fruitful advances are sometimes made when congruent findings are discovered through disparate means
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as a way to tease out what happens in the virtual setting of the game and how the people involved consider their own activities, the activities of others, and the contexts in which those activities takes place
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a reasonable level of generalizability (random assignment to condition in the first study) and contextualization (ethnographic description of existing in-game social networks and practices in the second)
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brick-and-mortar "third places" in America where individuals can gather to socialize informally beyond the workplace and home
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virtual environments have the potential to function as new (albeit digitally mediated) third places similar to pubs, coffee shops, and other hangouts.
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the default assumption is that no one person is compelled to participate legally, financially, or otherwise.
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Unless one transforms the virtual world of the game into a workplace (e.g., by taking on gainful employment as a virtual currency "farmer" for example, Dibbell, 2006; Steinkuehler, 2006a) or enters into such agreement, no one person is obligated to log in
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Yee's (2006) interviews also reveal that individuals who game with romantic partners or family find that such joint engagement in the "other world" of MMOs allows them to redefine the nature and boundaries of their offline relationships, often in more equitable terms than what may be possible in day-to-day offline life
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the relationships that play-partners have with one another offline are often "leveled" within the online world
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appeal to people in part because they represent meritocracies otherwise unavailable in a world often filled with unfairness
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"In all such systems, linguistic interactions have been primary: users exchange messages that cement the social bonds between them, messages that reflect shared history and understandings (or misunderstandings) about the always evolving local norms for these interactions" (p. 22).
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such that "one may go alone at almost any time of the day or evening with assurance that acquaintances will be there"
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accessible directly from one's home, making them even more accommodating to individual schedules and preferences
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"What attracts a regular visitor to a third place is supplied not by management but by the fellow customer,"
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"It is the regulars who give the place its character and who assure that on any given visit some of the gang will be there"
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As one informant satirically commented in an interview, "You go for the experience [points], you stay for the enlightening conversation.
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Oldenburg argues that third places are characteristically homely, their d�cor defying tidiness and pretension whenever possible. MMOs do not fit this criterion in any literal sense
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In neither of our investigations did the degree of formality exhibited by players within the game bear any relation to the degree of visual ornamentation of the players' immediate vicinity.
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Thus, while the visual form of MMO environments does not fit Oldenburg's (1999) criterion of "low profile," the social function of those environments does.
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Oldenburg (1999) argues that seriousness is anathema to a vibrant third place; instead, frivolity, verbal word play, and wit are essential.
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The playful nature of MMOs is perhaps most apparent in what happens when individuals do bring gravity to the game.
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Participation becomes a regular part of daily life for players and, among regular gamemates such as guild members, exceptional absences (i.e., prolonged or unforeseen ones) are queried within the game or outside i
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create an atmosphere of mutual caring that, while avoiding entangling obligations per se, creates a sense of rootedness to the extent that regularities exist, irregularities are duly noted, and, when concerning the welfare of any one regular, checked into
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Anderson (1991), who suggests that geographic proximity itself is neither a necessary nor sufficient condition for the emergence and preservation of "community."
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Social capital (Coleman, 1988) works analogously to financial capital; it can be acquired and spent, but for social and personal gains rather than financial
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This form of social capital is marked by tentative relationships, yet what they lack in depth, they make up for in breadth.
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On the one hand, bridging social capital provides little in the way of emotional support; on the other hand, such relationships can broaden social horizons or worldviews, providing access to information and new resources.
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shows that bridging and bonding social capital are tied to different social contexts, given the network of relationships they enable.
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Virtual worlds appear to function best as bridging mechanisms rather than as bonding ones, although they do not entirely preclude social ties of the latter type.
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One could argue that, if the benchmark for bonding social capital is the ability to acquire emotional, practical, or substantive support, then MMOs are not well set up for the task:
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While deep affective relationships among players are possible, they are less likely to generate the same range of bonding benefits as real-world relationships because of players' geographic dispersion and the nature of third places themselves.
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Despite differences in theoretical grounding and methodologies, our conclusions were remarkably similar across complementary macro- and micro-levels.
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It is worth noting, however, that as gamers become more involved in long-term social networks such as guilds and their activities become more "hardcore" (e.g., marked by participation in large-scale collaborative problem-solving endeavors such as "raids" into difficult territories or castle sieges), the function of MMOs as "third places" begins to wane.
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It may be, then, that the structure and function of MMOs as third places is one part of the "life cycle" for some gamers in a given title.
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In such cases, MMOs appear to enable a different kind of sociability, one ostensibly recognizable as a "community" nonetheless.
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However, our research findings indicate that this conclusion is uninformed. To argue that MMO game play is isolated and passive media consumption in place of informal social engagement is to ignore the nature of what participants actually do behind the computer screen
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Perhaps it is not that contemporary media use has led to a decline in civic and social engagement, but rather that a decline in civic and social engagement has led to retribalization through contemporary media (McLuhan, 1964).
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Such a view, however, ignores important nuances of what "community" means by pronouncing a given social group/place as either wholly "good" or "bad" without first specifying which functions the online community ought to fulfill.
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Moreover, despite the semantics of the term, "weak" ties have been shown to be vital in communities, relationships, and opportunities.
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In light of Putnam's evidence of the decline of crucial civic and social institutions, it may well be that the classification "lacking bridging social capital" best characterizes the everyday American citizen. T
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Without bridging relationships, individuals remain sheltered from alternative viewpoints and cultures and largely ignorant of opportunities and information beyond their own closely bound social network.
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it seems ironic that, now of all times, we would ignore one possible solution to our increasingly vexed relationship with diversity.