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Clint Hamada

e-Portfolios: An overview : JISC - 69 views

  • But most importantly we are interesed in e-portfolios because there is emerging, often powerful evidence from practitioners  and learners of how e-portfolios can promote more profound forms of learning, as well their further potential in supporting for example transition between institutions and stages of education, and in supporting professional development and applications for professional accreditation.
  • An e-portfolio is a purposeful aggregation of digital items - ideas, evidence, reflections, feedback etc. which 'presents' a selected audience with evidence of a person's learning and/or ability
  • Behind any product, or presentation, lie rich and complex processes of planning, synthesising, sharing, discussing, reflecting, giving, receifing and responding to feedback.
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  • Descriptions of e-portfolio processes also tend to include the concepts of learners drawing from both informal and and formal learning activities to create their e-portfolios
D. S. Koelling

Views: What's High School For? - Inside Higher Ed - 35 views

  • In theory, dual enrollment enables high school students to accrue college credits for very little cost and imbues them with a sense of confidence that they can complete college work. If students can succeed in college classes while still in high school, conventional wisdom holds, they will be more likely to matriculate at the postsecondary level.
  • In reality, though, dual enrollment may do more harm than good.
  • The problem is that high school is not college and completion of a dual enrollment high school class is not always a guarantee that students have learned the material.
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  • As a result, classes that used to be termed “college-prep” are now seen as college proper.
  • In practice, however, courses covered in a high school setting on a high school calendar are often vastly different in practice.
  • This is not a criticism of high school teachers. Many are excellent educators and care deeply about students. But they often teach more classes than college faculty do, have myriad extracurricular responsibilities, and lack the requisite training that enables college faculty to introduce best practices in the field. In contrast, college faculty members expect a higher level of work from students, including having them study independently, write in the discipline and be exposed to the latest research. They are less likely to offer extra credit, or evaluate students based on an inflated high school norm.
  • High school students, especially sophomores and juniors, are not like college students. A collection of 15-, 16-, and 17-year-olds are normally at a different stage of intellectual and moral development than are college students. Treating a high school student like a college student does not always do them a favor.
  • This student, as a sophomore in high school, earned a “C” in a “college” English course, which exempts her from our basic English 111 College Writing class. Even though her ACT score indicates her writing skills are deficient, we are limited in what we can do. Like many students who have already passed a “college” class, she thinks she already has the necessary writing skills to be successful in college. We know she very likely does not. Our willingness to increase student access by accepting transfer credit means that, without taking this student’s credits away, we cannot help her with her writing. Instead, by virtue of an average performance as a high school sophomore, this student will be placed into college classes for which she is unprepared.
  • Most colleges willingly accept credits from like institutions because we trust that our courses are equivalent and that our faculty are credentialed. I doubt that same trust applies to high schools. The best service a high school can provide is to prepare students for college, not substitute for it.
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    High school dual enrollment programs may not be helping students succeed in college.
Björn Hedin

Princeton University - Kindle pilot results highlight possibilities for paper reduction - 20 views

  • However, e-readers must be significantly improved to have the same value in a teaching environment as traditional paper texts, participants said.
  • but they also said the ability to highlight directly on traditional text, to take notes and flip pages for ease in navigation suffers in the e-reader.
  • With hopes of assisting industry with the refinement of e-readers, and providing useful information to other academic institutions considering the devices, information and data from the one-time pilot have been compiled on an Office of Information Technology (OIT) website.
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  • About 65 percent of the participants in the pilot said they would not buy another e-reader now if theirs was broken. Almost all the participants said they were interested in following the technology to its next stages, because they think a device that works well in academia would be worth having.
  • "I found the device difficult to use and not conducive to academic purposes," he said, and added, "But I can see how it can be used for pleasure reading."
  • What they liked best about the devices was: the battery life, the wireless connection and the portability of the e-reader; the fact that all the course reading was on one device; the ability to search for content; and the legibility of the screen, including the fact it could be read in full sunlight. The top five suggestions students had for improving e-readers were: improving the ability to highlight and annotate PDF files; improving the annotation tools; providing a folder structure to keep similar readings together; improving the highlighting function; and improving the navigation within and between documents on the reader (including having more than one document open at the same time for comparison).
  • "The Kindle would be better for an academic setting if the PDF format worked more effectively,"
  • "There would be a greater benefit realized if the devices could develop a better way to deliver the ubiquitous PDF document, which is used by many journals and libraries to deliver documents, and is the common format in which dissertations and theses are published and read by faculty," Temos said. "Some students said they spent a considerable amount of time printing PDF documents during the semester, and hardly ever referred back to them once the semester was over. I don't expect that is unusual."
Elizabeth Hobbs

Lesson: Mitosis & Meiosis on the Table - 93 views

  • y (lab) is designed to help students to learn the critical distinctions between what happens to chromosomes during mitosis vs meiosis. Students manipulate pipe-cleaner chromosomes on a template showing stages of
  •  
    Elizabeth, I do a similar activity with my students, and this year we are using a flip video camera to create a movie of the phases. Students will move the chromosomes, narrate from a summary script that they have written for each phase, and then put the clips together to make the video. They love to watch and listen to their explanations, and the videos can be used as a review.
Keith Rowley

Harvard Working Knowledge: Why Leaders Lose Their Way - Bill George - 1 views

  • Leaders who lose their way are not bad people; rather, they lose their moral bearings
  • we all have the capacity for actions we deeply regret unless we stay grounded.
  • Self-reflection: a path to leadership development
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  • narcissistic wounds from childhood.
    • Keith Rowley
       
      Their "crucibles." Or, as Eckhard Tolle calls it, "pain bodies".
  • What's the purpose of my leadership?
  • Why do I want to lead?
  • Often they reject the honest critic who speaks truth to power.
  • these problems are neither their fault nor their responsibility. Or they look for scapegoats to blame for their problems. Using their power, charisma, and communications skills, they force people to accept these distortions, causing entire organizations to lose touch with reality. At this stage leaders are vulnerable to making big mistakes, such as violating the law or putting their organizations' existence at risk. Their distortions convince them they are doing nothing wrong, or they rationalize that their deviations are acceptable to achieve a greater good.
    • Keith Rowley
       
      George W Bush!
  • Values-centered leadership
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North.
  • reframing their leadership from being heroes to beingservants of the people they lead.
    • Keith Rowley
       
      Values-centerd leaders are "Go-Givers"
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North. This requires reframing their leadership from being heroes to beingservants of the people they lead.
  • discipline
    • Keith Rowley
       
      Meditation is a good discipline to practice.
  • meditation
  • A system to support values-centered leadership The reality is that people cannot stay grounded by themselves. Leaders depend on people closest to them to stay centered. They should seek out people who influence them in profound ways and stay connected to them. Often their spouse or partner knows them best.
  • rue North Groups
    • Keith Rowley
       
      What is this???
  • Spouses and partners can't carry this entire burden though. We need mentors
  • heir choices don't matter, as long as they relieve stress and enable them to think clearly about work and personal issues.
  • Surround yourselves with people who will be honest with you about how you really are and what you are becoming, and then make them promise to not hold back… from telling you the truth."
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    Values-centered leadership. Bill George is great!
Joanne Sobolik

Hiding the Sausage - 60 views

    • Joanne Sobolik
       
      Shouldn't the legislators be the ones who are writing the policy?
  • “Really, it’s not that much different than the way things have already worked for a while,” says Brad Ashwell, Florida Public Interest Research Group’s democracy and consumer advocate. “It’s the same thing as it always was, only now they have more top-down planning, more corporate structure around.”
    • Joanne Sobolik
       
      The speaker sees no problem with this--and I can thus infer that he believes corporate America should be running America.
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  • If nobody knows exactly what path the money is taking, it’s unlikely that it’s headed in the direction of the public interest.
    • Joanne Sobolik
       
      Yet many people believe these policies will benefit them.
  • “As a voter, it bothers me to think that if I’m talking to my lawmaker, or sending him a letter – or maybe I’ve been organized with 100 people in my community – that they’re going to overlook that in favor of some corporate vehicle for corporations to get what they want,” Ashwell says.
  • “As a voter, it bothers me to think that if I’m talking to my lawmaker, or sending him a letter – or maybe I’ve been organized with 100 people in my community – that they’re going to overlook that in favor of some corporate vehicle for corporations to get what they want,” Ashwell says.
  • “As a voter, it bothers me to think that if I’m talking to my lawmaker, or sending him a letter – or maybe I’ve been organized with 100 people in my community – that they’re going to overlook that in favor of some corporate vehicle for corporations to get what they want,” Ashwell says.
  • the stage is being set for a corporation-owned future, parcel by parcel.
  • ALEC, she says, is dangerous. “They own the government. I knew that they owned a certain amount, that there were certain contributions and certain leaders they owned, but I didn’t realize to what degree,” she says. “Now I’m frightened because they really own a great deal of our government from state to state. I’m not anti-corporation, but I am anti them taking over the government.”
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    Expose on ALEC
anonymous

Pertiodic table of the elements - 33 views

  •  
    A great periodic table of the elements
  •  
    Find what the elements are used for in this fascinating periodic table.
Beth Panitz

Kathy Schrock's - Google Blooms Taxonomy - 11 views

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    Blooms taxonomy with all the google tools placed in it to show wehre they fit in the various stages of learning
  •  
    Visual menu of applications available through Google arranged according to Bloom's Taxonomy
Carla Wimmersberger

Learning. Your time starts… now! | Betchablog - 47 views

  • If you accept that Learning is a Conversation, and that some of the most powerful learning can take place in the process of conversing and exchanging ideas with others, then setting up ways to have as many of these conversations as possible seems like an obvious thing to do.
  • It might be easy to think that the people on the stage at conferences have the knowledge and that if we simply listen to them we will get wisdom, but the truth is that sometimes it just doesn't work like that, and even if it does, most of those ideas gather far more momentum once we start to internalise them through further conversation with others. Ideas beget ideas, one thing leads to another, and you often find some of the best, most useful ideas come to you not from what was said by a speaker, but from things that came to to you as a result of further conversation about what was said.  (by the way, the same logic applies in classrooms too!)
  • If we limit our notion of learning to the "official" channel - the teacher, the textbook, the syllabus - we miss so much. Yes, learning happens at school, but what about outside school? Yes, learning happens in the classroom, but what about outside the classroom? Yes, learning happens in the act of "being taught", but what about when we are not "being taught"?
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  • Our schools system implies that when we ring the bell to signal the start of a class, we are really saying that the learning starts... wait for it... now!  And at the end of the lesson we ring it again to say the learning now stops. Ok, school's over, you can all stop learning now. Until tomorrow.
  • if we acknowledge that creativity in education is important, then how can we teach kids to be creative if we continue to focus on just regurgitating standard answers to standard questions, year after year. Because if it's only about learning pre-defined content then you don't need creativity, and you don't need conversation. Learning in messy and there is no point extending our thinking into new and creative areas if we aren't committed to that notion, because that just muddies up all those nice clean facts we have to remember.
  • Papert said that the one really valuable skill for a 21st century learner is that of being able to "learn to learn"... To be able not just to know the answers to what you were taught in school, but to know how to find the answers to those things you were not taught in school.
  • So how do virtual communities fit into this? They are an obvious and convenient way of extending conversations with other likeminded people, no matter where (or when) in the world they might be.
  • Unfor
  • If you accept that Learning is a Conversation , and that some of the most powerful learning can take place in the process of conversing and exchanging ideas with others, then setting up ways to have as many of these conversations as possible seems like an obvious thing to do.
  • If we limit our notion of learning to the "official" channel - the teacher, the textbook, the syllabus - we miss so much. Yes, learning happens at school, but what about outside school? Yes, learning happens in the classroom, but what about outside the classroom? Yes, learning happens in the act of "being taught", but what about when we are not "being taught"?  Our schools system implies that when we ring the bell to signal the start of a class, we are really saying that the learning starts... wait for it... now!   And at the end of the lesson we ring it again to say the learning now stops. Ok, school's over, you can all stop learning now. Until tomorrow.
  •  if we acknowledge that creativity in education is important, then how can we teach kids to be creative if we continue to focus on just regurgitating standard answers to standard questions, year after year. Because if it's only about learning pre-defined content then you don't need creativity, and you don't need conversation. Learning in messy and there is no point extending our thinking into new and creative areas if we aren't committed to that notion, because that just muddies up all those nice clean facts we have to remember.
Martin Burrett

Free Resources for Teachers KS1 & Early Years Foundation Stage - 76 views

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    A good all-round Early Years site with lots of resources to download. There are some physical items to buy, but all electronic resources seem to be free. http://ictmagic.wikispaces.com/Early+Years
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    FYI: These resources are from the UK. Money pages are for counting pence. Word list includes "mum" instead of "mom".
Thad Haines

Social Media: Why This Matters To Everyone In Education - 57 views

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    ""Social Media: Why It Matters to Everyone in Education" - an opinion article by Daniel Clark. The article explores social media and the use of social media in an educational context applying a staged model proposed by the author. Daniel Clark views social media as an immediate challenge with the potential to introduce major changes to educational approaches and paradigms. "
Gayle Cole

Coexist-Documentary Film Outreach Project - 22 views

  • Teachers were also eager to explore how to make the connection between genocide and bullying. Former nun and author Barbara Coloroso says the common denominator between genocide and bullying is contempt. “When institutional and situational factors combine with a murderous racial, ethnic, or religious ideology rooted in contempt for a group of people, then bullying is taken to its extreme. The bullies are now well on their way to setting the stage for the dress rehearsals that precede a genocide.”[1]
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    I don't think it is contempt, it is dehumanization. If you can believe someone doesn't deserve respect as a fellow human being, then you set the table for both genocide and bullying. Another aspect of this is that the bully and the social group or society that surrounds the victim must also feel that the victim deserves to be victimized because they won't act against that victimization. "Blaming the victim" is the halmark of both bullying and genocide.
tecno teach

Woodland, J. (2011) Psychology for the classroom: E-Learning. Oxon: Routledge - 4 views

    • tecno teach
       
      Chapter 4 - Pedagogy Motivation through the possible 'white heat of technology' - the newness. * Emotional engagement *Immediacy * Action Engagement * Cognitive Engagement - see the Hierarchy of Engagement on page 75. * Creative and Critical Thinking - Bono's Six Thinking Hats and Technology * Using VLEs * Social Interaction - Oliver and McLaughlin (1996) proposed five levels of teacher-learner interaction: social, procedural, expository, explanatory and cognitive. * Engagement * Assessment
    • tecno teach
       
      Chapter 2 - Theory: * Piaget's stages of cognitive development and technologies. * Skiiner's programmed learning theory - technology programmes that are task analysis, sequencing of learning and presentation of concepts through step by step positive reinforcement. * Wenger Communities of Practice * Gilly Salmon (2005) five-step model of levels of maturity in online environments: access and motivation/ online socialisation/ information exchange/ knowledge construction/ learner development. * GBL and Avatars discussed.
    • tecno teach
       
      Those against technology - Tanya Byron stating they technology is affecting children's minds.
    • tecno teach
       
      Changing attitudes whilst online - different identities - different ways some converse.
    • tecno teach
       
      * Motivation of learning - attention, confidence, satisfaction, appreciation and relevance
    • tecno teach
       
      Key aspects of book of relevance: * explains e-Learning - cybergogy (online pedagogy) * 3 modes of learning - expository, active and interactive * synchronous and asynchronous learning alongside cognitive and social natures of learning
  • grounding in both theory and pedagogical application
  • current research,
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  • s illustrative case studies
  • cybergogy
  • behaviourism, cognitivism and constructivism in the context of e-learning.
  • social networking;
  • cybergogy and new learning domains
Sharin Tebo

Guide: Using the SAMR Model to Guide Learning | That #EdTech Guy's Blog - 74 views

  • The SAMR Model (above) was developed by Dr. Ruben Puentedura. It enables educators to analyse how effective their use of technology is on teaching and learning.
  • – Enhancement (Substitution and Augmentation) – technology is used just to enhance a task
  • – Transformation (Modification and Redefinition) – tasks are designed in a way which would not be possible without the use of technology
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  • Substitution – at this stage, technology is simply used as an alternative tool for completing the original task with no real change in the tasks function.
  • Example: instead of writing by hand, learners use an app like Pages to type up a report.
  • Example: once again, if students are creating a document on Pages, using the collaborative tools available on iWork for iCloud, learners can work on a document together. Peers could add feedback comments to the document in real time which could be responded to, which would improve the end product further.
  • Augmentation – here, technology is still used as a direct substitute like above, however it offers improvements in terms of the function of the task.
  • Example: again using Pages, however making use of features like spellchecking function or importing images to enhance the end product.
  • Modification – it is at this point where technology starts to enhance teaching and learning. It requires tasks to be redesigned, in order to make the most of the technology available.
  • it still does not improve the students learning experience.
  • Redefinition– this is the point at which technology really enhances the learning experience for students and has the greatest impact. Through the use of technology, educators are able to design tasks that were previously impossible.
  • Example: like before, learners may be collaborating on a document in Pages. However, this time the end product will be uploaded to a website or perhaps a class blog. Students are usually excited by the prospect of their work being on display in a classroom, so the use of a real audience is huge for them. Furthermore, this builds their literacy skills as they need to consider the audience that they’ll be writing to and adapt their work accordingly. Finally, this opens up the possibility of feedback from this global audience which they can respond to.
  •  
    SAMR Explained with Definitions and Application Examples
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
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  • 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
Rafael Morales_Gamboa

Should students be partners in curriculum design? | Times Higher Education (THE) - 35 views

  • We are pretty good at listening to students in terms of moans, groans and satisfaction,” says Healey. “We are not as good at going to the next stage, where partnership comes in, where we have students sitting at the table with us and making decisions
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
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  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
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    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

  • 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
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • 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.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • 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
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • 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.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • 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
  • 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
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • 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
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • 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.
  • 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.
  • 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.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • 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.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • 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).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • 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
  • 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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