Between Anxiety and Excitement. Emotions in Performing Arts Implementing the Example of Musical Performance
Keywords:
musicians, mixed emotions, music performance anxiety, performance quality, creativityAbstract
The aim of the article is a review of research on the emotions present in the final phase of the creative process - the public presentation of the work. The results of research on the musicians’ emotional state during public performances provide arguments for the apprehension of this state in the category of mixed emotions. A variety of emotions are shown, relating to public performance and changes over time, as well as configurations of pre-performance emotions in the distinguished emotional profiles. The results also point to the function of negative (music performance anxiety) and positive emotions, and mixed emotions for public performance quality. In conclusion, the article shows the benefits of experiencing mixed emotions for performers, and contains a guideline for coping with music performance anxiety.References
Abele, A. (1992). Positive versus negative mood influences on problem solving: A review. Polish Psychological Bulletin, 23, 187-202.
Akinola, M., Mendes, W.B. (2008). The dark side of creativity: Biological vulnerability and negative emotions lead to greater artistic creativity. Personality and Social Psychology Bulletin, 34 (12), 1677-1686.
Baas, M., De Dreu, C.I., Nijstad, B. (2008). A meta-analysis of 25 years of mood-creativity research: Hedonic tone, activation, or regulatory focus? Psychological Bulletin, 134,779-806.
Berrios, R., Totterdell, P., Kellett, S. (2015). Eliciting mixed emotions: A meta-analysis comparing models, types, and measures. Frontiers in Psychology, 6, 428.
Braniecka, A., Trzebińska, E., Dowgiert, A., Wytykowska, A. (2014). Mixed emotions and coping: The benefits of secondary emotions. PLoS ONE 9 (8), e103940.
Brooks, A.W. (2014). Get excited: Reappraising pre-performance anxiety as excitement. Journal of Experimental Psychology: General, 143 (3), 1144-1158.
Conner, T.S., Silvia, P.J. (2015). Creative days: A daily diary study of emotion, personality, and everyday creativity. Psychology of Aesthetics, Creativity, and the Arts, 9, 463-470.
Ekman, P. (1984). Expression and the nature of emotion. W: K.R. Scherer, P. Ekman (red.), Approaches to emotion (s. 319-343). Hillsdale, NJ: Erlbaum.
Ekman, P. (1999). Basic emotions. W: T. Dalgleish, M.J. Power (red.), Handbook of cognition and emotion (s. 45-60). New York: John Wiley and Sons.
Eysenck, H.J. (1988). Personality, stress and cancer: Prediction and prophylaxis. British Journal of Medical Psychology, 61, 57-75.
Folkman, S. (1997). Positive psychological states and coping with severe stress. Social Science Medicine, 45, 1207-1221.
Folkman, S. (2008). The case for positive emotions in the stress process. Anxiety, Stress and Coping, 21 (1), 3-14.
Folkman, S., Moskowitz, J.T. (2000). Positive affect and the other side of coping. American Psychologist, 55, 647-654.
Fredrickson B.L. (1998). What good are positive emotions? Review of General Psychology, 2,300-319.
Fredrickson, B.L. (2001). The role of positive emotions in positive psychology: The broaden and build theory of positive emotions. American Psychologist, 56 (3), 218-226.
Gabrielsson, A. (2001). Emotion in strong experiences with music. W: P.N. Juslin, J.A. Sloboda (red.), Music and emotion: Theory and research (s. 431-449). Oxford: Oxford University Press.
Gabrielsson A. (2010). Strong experiences with music. W: P.N. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 547-604). Oxford: Oxford University Press.
Gołaszewska, M. (1986). Kim jest artysta? Warszawa: Wydawnictwa Szkolne i Pedagogiczne.
Goryńska, E. (2005). Przymiotnikowa Skala Nastroju UMACL Geralda Matthewsa, A. Grahama Chamberlaina, Dylana M. Jonesa. Podręcznik. Warszawa: Pracownia Testów Psychologicznych Polskiego Towarzystwa Psychologicznego.
Holmes, P.S., Collins, D.J. (2001). The PETTLEP approach to motor imagery: A functional equivalence model for sport psychologists. Journal of Applied Sport Psychology, 13 (1), 60-83.
Isen, A.M. (1999). Positive affect. W: T. Dalgleish, M.J. Power (red.), Handbook of cognition and emotion (s. 521-539). New York: John Wiley and Sons.
Isen, A.M., Daubman, K.A., Nowicki, G.P. (1987). Positive affect facilitates creative problem solving. Journal of Personality and Social Psychology, 52 (6), 1122-1131.
Ivcevic, Z., Brackett, M.A. (2015). Predicting creativity: Interactive effects of openness to experience and emotion regulation ability. Psychology of Aesthetics, Creativity, and the Arts, 9 (4), 480-487.
Izard, C.E. (1992). Basic emotions, relations among emotions, and emotion-cognition relations. Psychological Review, 99, 561-565.
Jarymowicz, M., Imbir, K. (2010). Próba taksonomii ludzkich emocji. Przegląd Psychologiczny, 53 (4), 439-461.
Kaleńska-Rodzaj, J. (2014a). Motywacyjne podstawy aktywności scenicznej. W: R. Lawendowski, J. Kaleńska-Rodzaj (red.), Psychologia muzyki. Współczesne konteksty zastosowań (s.137-159). Gdańsk: Harmonia.
Kaleńska-Rodzaj, J. (2014b). Skala Oceny Występu Muzycznego - w poszukiwaniu kryteriów oceny estetycznej wykonań muzycznych. W: R. Lawendowski, J. Kaleńska-Rodzaj (red.), Psychologia muzyki. Współczesne konteksty zastosowań (s. 111-137). Gdańsk: Harmonia.
Kaleńska-Rodzaj, J. (w druku, 2016). Waiting for the concert: Pre-performance emotions and the performance success of teenage music school students. Polish Psychological Bulletin.
Kaleńska-Rodzaj, J. (w recenzji). Music performance anxiety - is it only anxiety? Pre-performance emotions and music performance anxiety beliefs in young musicians.
Kaleńska-Rodzaj, J., Tokarz, A. (2011). Artysta wobec publiczności. Referat wygłoszony na II Konferencji z cyklu ARS et VOX pt. „Psychologiczne aspekty wykonawstwa muzycznego”, Akademia Muzyczna w Krakowie, 11 lutego 2011.
Kaufman, G., Vosburg, S.K. (2002). The effect of mood on early and late idea production. Creativity Research Journal, 14, 317-330.
Kenny, D.T. (2006). Music performance anxiety: Origins, phenomenology, assessment and treatment. Context: Journal of Music Research, 31, 51-64.
Kenny, D.T. (2010). The role of negative emotions in performance anxiety. W: P. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 425-451). New York: Oxford University Press.
Kenny, D.T. (2011). The psychology of music performance anxiety. Oxford University Press, Oxford.
Kenny D.T., Osborne M.S. (2006). Music performance anxiety: New insights from young musicians. Advances in Cognitive Psychology, 2, 103-112.
Kępińska-Welbel, J. (1990). Trema u muzyków. W: K. Miklaszewski, M. Meyer-Borysewicz (red.), Psychologia muzyki: problemy, zadania, perspektywy. Materiały Międzynarodowego Seminarium Psychologów Muzyki (s. 469-474). Warszawa: Akademia Muzyczna im. Fryderyka Chopina.
Kocowski, T. (1991). Szkice z teorii twórczości i motywacji. Poznań: Kantor Wydawniczy SAWW.
Kocowski, T., Tokarz, A. (1991). Prokreatywne i antykreatywne mechanizmy motywacji twórczej. W: A. Tokarz (red.), Stymulatory i inhibitory aktywności twórczej (s. 79-95). Kraków: Instytut Psychologii Uniwersytetu Jagiellońskiego.
Lamont, A. (2012). Emotion, engagement and meaning in strong experiences of music performance. Psychology of Music, 40, 574-594.
Larsen, J.T., McGraw, A.P. (2014). The case for mixed emotions. Social and Personality Psychology Compass, 8 (6), 263-274.
Larsen, J.T., McGraw, A.P., Cacioppo, J.T. (2001). Can people feel happy and sad at the same time? Journal of Personality and Social Psychology, 81, 684-696.
Lazarus, R.S., Folkman, S. (1984). Stress, appraisal, and coping. New York: Springer.
Leung, A.K; Liou, S., Qiu, L., Kwan, L.Y., Chiu, C.Y., Yong, J.C. (2014). The role of instrumental emotion regulation in the emotions-creativity link: How worries render individuals with high neuroticism more creative. Emotion, 14 (5), 846-856.
Marin, M.M., Bhattacharya, J. (2013). Getting into the musical zone: trait emotional intelligence and amount of practice predict flow in pianists. Frontiers in Psychology, 4 (853).
Matthews, G., Jones, D.M., Chamberlain, A.G. (1990). Refining the measurement of mood: The UWIST Mood Adjective Checklist. British Journal of Psychology, 81, 17-42.
Mayer, J.D., Salovey, P. (1999). Czym jest inteligencja emocjonalna? W: P. Salovey, D.J. Sluyter (red.), Rozwój emocjonalny a inteligencja emocjonalna (s. 23-69). Poznań: Dom Wydawniczy Rebis.
McGonigal, K. (2015). The upside of stress. New York: Avery.
Nęcka, E. (2001). Psychologia twórczości. Gdańsk: GWP.
O’Neill, S.A. (1999). Flow theory and the development of musical performance skills. Bulletin of the Council for Research in Music Education, 141, 129-134.
Papageorgi, I., Hallam, S., Welch, G. (2007). A conceptual framework for understanding musical performance anxiety. Research Studies in Music Education, 28, 83-107.
Parandowski, J. (1986). Alchemia słowa. Warszawa: Czytelnik.
Plutchik, R. (1982). A psychoevolutionary theory of emotions. Social Science Information, 21,529-553.
Ribot, T. (1901). O wyobraźni twórczej. Studium psychologiczne. Warszawa: Głos.
Schachter, S., Singer, J. (1962). Cognitive, social, and physiological determinants of emotional state. Psychological Review, 69, 379-399.
Simoens, V.L., Puttonen, S., Tervaniemi, M. (2015). Are music performance anxiety and performance boost perceived as extremes of the same continuum? Psychology of Music, 43,171-187.
Szczygieł, D., Kolańczyk, A. (2000). Skala Poziomów Świadomości Emocji - adaptacja skali Lane’a i Schwartza. Roczniki Psychologiczne, 3, 155-179.
Tokarz, A. (2011). Procesy emocjonalne w aktywności twórczej. W: D. Doliński, W. Błaszczak (red.), Dynamika emocji: teoria i praktyka (s. 303-342). Warszawa: Wydawnictwo Naukowe PWN.
van Tilburg, W.A.P., Sedikides, C., Wildschut, T. (2015). The mnemonic muse: Nostalgia fosters creativity through openness to experience. Journal of Experimental Social Psychology, 59,1-7.
Vosburg, S.K. (1998a). The effects of positive and negative moods on divergent thinking performance. Creativity Research Journal, 11 (2), 165-172.
Vosburg, S.K. (1998b). Mood and the quantity and quality of ideas. Creativity Research Journal, 11 (4), 315-331.
Williams, P., Aaker, J.L. (2002). Can mixed emotions peacefully coexist? Journal of Consumer Research, 28, 636-649.
Wilson G.D. (2002). Psychology for performing artists: Butterflies and bouquets. London: Whurr.
Wolfe, M.L. (1989). Correlates of adaptive and maladaptive musical performance anxiety. Medical Problems of Performing Artists, 4, 49-56.
Woody R., McPherson G. (2010). Emotion and motivation in the lives of performers. W: P.N. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 401-424). Oxford: Oxford University Press.
Wroński, T. (1996). Techniki gry skrzypcowej. Warszawa - Łódź: Państwowe Wydawnictwo Naukowe.
Yang, J.S., Hung, H.V. (2015). Emotions as constraining and facilitating factors for creativity: Companionate love and anger. Creativity and Innovation Management, 24 (2), 217-220.
Akinola, M., Mendes, W.B. (2008). The dark side of creativity: Biological vulnerability and negative emotions lead to greater artistic creativity. Personality and Social Psychology Bulletin, 34 (12), 1677-1686.
Baas, M., De Dreu, C.I., Nijstad, B. (2008). A meta-analysis of 25 years of mood-creativity research: Hedonic tone, activation, or regulatory focus? Psychological Bulletin, 134,779-806.
Berrios, R., Totterdell, P., Kellett, S. (2015). Eliciting mixed emotions: A meta-analysis comparing models, types, and measures. Frontiers in Psychology, 6, 428.
Braniecka, A., Trzebińska, E., Dowgiert, A., Wytykowska, A. (2014). Mixed emotions and coping: The benefits of secondary emotions. PLoS ONE 9 (8), e103940.
Brooks, A.W. (2014). Get excited: Reappraising pre-performance anxiety as excitement. Journal of Experimental Psychology: General, 143 (3), 1144-1158.
Conner, T.S., Silvia, P.J. (2015). Creative days: A daily diary study of emotion, personality, and everyday creativity. Psychology of Aesthetics, Creativity, and the Arts, 9, 463-470.
Ekman, P. (1984). Expression and the nature of emotion. W: K.R. Scherer, P. Ekman (red.), Approaches to emotion (s. 319-343). Hillsdale, NJ: Erlbaum.
Ekman, P. (1999). Basic emotions. W: T. Dalgleish, M.J. Power (red.), Handbook of cognition and emotion (s. 45-60). New York: John Wiley and Sons.
Eysenck, H.J. (1988). Personality, stress and cancer: Prediction and prophylaxis. British Journal of Medical Psychology, 61, 57-75.
Folkman, S. (1997). Positive psychological states and coping with severe stress. Social Science Medicine, 45, 1207-1221.
Folkman, S. (2008). The case for positive emotions in the stress process. Anxiety, Stress and Coping, 21 (1), 3-14.
Folkman, S., Moskowitz, J.T. (2000). Positive affect and the other side of coping. American Psychologist, 55, 647-654.
Fredrickson B.L. (1998). What good are positive emotions? Review of General Psychology, 2,300-319.
Fredrickson, B.L. (2001). The role of positive emotions in positive psychology: The broaden and build theory of positive emotions. American Psychologist, 56 (3), 218-226.
Gabrielsson, A. (2001). Emotion in strong experiences with music. W: P.N. Juslin, J.A. Sloboda (red.), Music and emotion: Theory and research (s. 431-449). Oxford: Oxford University Press.
Gabrielsson A. (2010). Strong experiences with music. W: P.N. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 547-604). Oxford: Oxford University Press.
Gołaszewska, M. (1986). Kim jest artysta? Warszawa: Wydawnictwa Szkolne i Pedagogiczne.
Goryńska, E. (2005). Przymiotnikowa Skala Nastroju UMACL Geralda Matthewsa, A. Grahama Chamberlaina, Dylana M. Jonesa. Podręcznik. Warszawa: Pracownia Testów Psychologicznych Polskiego Towarzystwa Psychologicznego.
Holmes, P.S., Collins, D.J. (2001). The PETTLEP approach to motor imagery: A functional equivalence model for sport psychologists. Journal of Applied Sport Psychology, 13 (1), 60-83.
Isen, A.M. (1999). Positive affect. W: T. Dalgleish, M.J. Power (red.), Handbook of cognition and emotion (s. 521-539). New York: John Wiley and Sons.
Isen, A.M., Daubman, K.A., Nowicki, G.P. (1987). Positive affect facilitates creative problem solving. Journal of Personality and Social Psychology, 52 (6), 1122-1131.
Ivcevic, Z., Brackett, M.A. (2015). Predicting creativity: Interactive effects of openness to experience and emotion regulation ability. Psychology of Aesthetics, Creativity, and the Arts, 9 (4), 480-487.
Izard, C.E. (1992). Basic emotions, relations among emotions, and emotion-cognition relations. Psychological Review, 99, 561-565.
Jarymowicz, M., Imbir, K. (2010). Próba taksonomii ludzkich emocji. Przegląd Psychologiczny, 53 (4), 439-461.
Kaleńska-Rodzaj, J. (2014a). Motywacyjne podstawy aktywności scenicznej. W: R. Lawendowski, J. Kaleńska-Rodzaj (red.), Psychologia muzyki. Współczesne konteksty zastosowań (s.137-159). Gdańsk: Harmonia.
Kaleńska-Rodzaj, J. (2014b). Skala Oceny Występu Muzycznego - w poszukiwaniu kryteriów oceny estetycznej wykonań muzycznych. W: R. Lawendowski, J. Kaleńska-Rodzaj (red.), Psychologia muzyki. Współczesne konteksty zastosowań (s. 111-137). Gdańsk: Harmonia.
Kaleńska-Rodzaj, J. (w druku, 2016). Waiting for the concert: Pre-performance emotions and the performance success of teenage music school students. Polish Psychological Bulletin.
Kaleńska-Rodzaj, J. (w recenzji). Music performance anxiety - is it only anxiety? Pre-performance emotions and music performance anxiety beliefs in young musicians.
Kaleńska-Rodzaj, J., Tokarz, A. (2011). Artysta wobec publiczności. Referat wygłoszony na II Konferencji z cyklu ARS et VOX pt. „Psychologiczne aspekty wykonawstwa muzycznego”, Akademia Muzyczna w Krakowie, 11 lutego 2011.
Kaufman, G., Vosburg, S.K. (2002). The effect of mood on early and late idea production. Creativity Research Journal, 14, 317-330.
Kenny, D.T. (2006). Music performance anxiety: Origins, phenomenology, assessment and treatment. Context: Journal of Music Research, 31, 51-64.
Kenny, D.T. (2010). The role of negative emotions in performance anxiety. W: P. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 425-451). New York: Oxford University Press.
Kenny, D.T. (2011). The psychology of music performance anxiety. Oxford University Press, Oxford.
Kenny D.T., Osborne M.S. (2006). Music performance anxiety: New insights from young musicians. Advances in Cognitive Psychology, 2, 103-112.
Kępińska-Welbel, J. (1990). Trema u muzyków. W: K. Miklaszewski, M. Meyer-Borysewicz (red.), Psychologia muzyki: problemy, zadania, perspektywy. Materiały Międzynarodowego Seminarium Psychologów Muzyki (s. 469-474). Warszawa: Akademia Muzyczna im. Fryderyka Chopina.
Kocowski, T. (1991). Szkice z teorii twórczości i motywacji. Poznań: Kantor Wydawniczy SAWW.
Kocowski, T., Tokarz, A. (1991). Prokreatywne i antykreatywne mechanizmy motywacji twórczej. W: A. Tokarz (red.), Stymulatory i inhibitory aktywności twórczej (s. 79-95). Kraków: Instytut Psychologii Uniwersytetu Jagiellońskiego.
Lamont, A. (2012). Emotion, engagement and meaning in strong experiences of music performance. Psychology of Music, 40, 574-594.
Larsen, J.T., McGraw, A.P. (2014). The case for mixed emotions. Social and Personality Psychology Compass, 8 (6), 263-274.
Larsen, J.T., McGraw, A.P., Cacioppo, J.T. (2001). Can people feel happy and sad at the same time? Journal of Personality and Social Psychology, 81, 684-696.
Lazarus, R.S., Folkman, S. (1984). Stress, appraisal, and coping. New York: Springer.
Leung, A.K; Liou, S., Qiu, L., Kwan, L.Y., Chiu, C.Y., Yong, J.C. (2014). The role of instrumental emotion regulation in the emotions-creativity link: How worries render individuals with high neuroticism more creative. Emotion, 14 (5), 846-856.
Marin, M.M., Bhattacharya, J. (2013). Getting into the musical zone: trait emotional intelligence and amount of practice predict flow in pianists. Frontiers in Psychology, 4 (853).
Matthews, G., Jones, D.M., Chamberlain, A.G. (1990). Refining the measurement of mood: The UWIST Mood Adjective Checklist. British Journal of Psychology, 81, 17-42.
Mayer, J.D., Salovey, P. (1999). Czym jest inteligencja emocjonalna? W: P. Salovey, D.J. Sluyter (red.), Rozwój emocjonalny a inteligencja emocjonalna (s. 23-69). Poznań: Dom Wydawniczy Rebis.
McGonigal, K. (2015). The upside of stress. New York: Avery.
Nęcka, E. (2001). Psychologia twórczości. Gdańsk: GWP.
O’Neill, S.A. (1999). Flow theory and the development of musical performance skills. Bulletin of the Council for Research in Music Education, 141, 129-134.
Papageorgi, I., Hallam, S., Welch, G. (2007). A conceptual framework for understanding musical performance anxiety. Research Studies in Music Education, 28, 83-107.
Parandowski, J. (1986). Alchemia słowa. Warszawa: Czytelnik.
Plutchik, R. (1982). A psychoevolutionary theory of emotions. Social Science Information, 21,529-553.
Ribot, T. (1901). O wyobraźni twórczej. Studium psychologiczne. Warszawa: Głos.
Schachter, S., Singer, J. (1962). Cognitive, social, and physiological determinants of emotional state. Psychological Review, 69, 379-399.
Simoens, V.L., Puttonen, S., Tervaniemi, M. (2015). Are music performance anxiety and performance boost perceived as extremes of the same continuum? Psychology of Music, 43,171-187.
Szczygieł, D., Kolańczyk, A. (2000). Skala Poziomów Świadomości Emocji - adaptacja skali Lane’a i Schwartza. Roczniki Psychologiczne, 3, 155-179.
Tokarz, A. (2011). Procesy emocjonalne w aktywności twórczej. W: D. Doliński, W. Błaszczak (red.), Dynamika emocji: teoria i praktyka (s. 303-342). Warszawa: Wydawnictwo Naukowe PWN.
van Tilburg, W.A.P., Sedikides, C., Wildschut, T. (2015). The mnemonic muse: Nostalgia fosters creativity through openness to experience. Journal of Experimental Social Psychology, 59,1-7.
Vosburg, S.K. (1998a). The effects of positive and negative moods on divergent thinking performance. Creativity Research Journal, 11 (2), 165-172.
Vosburg, S.K. (1998b). Mood and the quantity and quality of ideas. Creativity Research Journal, 11 (4), 315-331.
Williams, P., Aaker, J.L. (2002). Can mixed emotions peacefully coexist? Journal of Consumer Research, 28, 636-649.
Wilson G.D. (2002). Psychology for performing artists: Butterflies and bouquets. London: Whurr.
Wolfe, M.L. (1989). Correlates of adaptive and maladaptive musical performance anxiety. Medical Problems of Performing Artists, 4, 49-56.
Woody R., McPherson G. (2010). Emotion and motivation in the lives of performers. W: P.N. Juslin, J.A. Sloboda (red.), Handbook of music and emotion: Theory, research, applications (s. 401-424). Oxford: Oxford University Press.
Wroński, T. (1996). Techniki gry skrzypcowej. Warszawa - Łódź: Państwowe Wydawnictwo Naukowe.
Yang, J.S., Hung, H.V. (2015). Emotions as constraining and facilitating factors for creativity: Companionate love and anger. Creativity and Innovation Management, 24 (2), 217-220.
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2016-12-01
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Kaleńska-Rodzaj, J. (2016). Between Anxiety and Excitement. Emotions in Performing Arts Implementing the Example of Musical Performance. Annales Universitatis Paedagogicae Cracoviensis Studia Psychologica, 9(1), 42–54. Retrieved from https://studia-psychologica.uken.krakow.pl/article/view/5623
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