Page 124 - How to Shine on Stage

An important factor that often contributes to MPA is perfectionism.
Patston and Margaret S. Osborne (2016) have examined the predictive
role of perfectionism in MPA from a developmental perspective. They
found that correlations between perfectionism and age consistently ex-
hibit a strong, positive, highly significant link to MPA between the ages
of 10 to 17, particularly in terms of concern about making mistakes. They
also found that this link increases with years of experience. Bianka Do-
bos et al. (2019) found that four out of six subscales of perfectionism sig-
122 nificantly predicted MPA, among which parental criticism and doubts
about actions were positive, while parental expectations and preference
for organization were negative predictors. Similarly, Sintija Leva Buk-
ovnik (2018) confirmed the existence of a significant connection between
How to Shine on Stage tive connection between MPA and personal standards, and a moder-
MPA and perfectionism among Slovenian musicians; namely, a nega-
ately positive connection between MPA and doubts about performance,
expectations, and parental criticism.
With regard to gender, most studies confirm higher levels of MPA
in women at all developmental stages (Brugués, 2011; Habe, 1998; 2002;
Habe & Kržič, 2017; Nolen-Hoeksema, 2012; Kenny, 2008; Yondem,
2007). However, it should be noted that studies using physiological met-
rics have not confirmed differences in MPA (Abel & Larkin, 1990; Ryan,
2004).
In contrast to individual factors, there are many contextual factors
for MPA, including the size of the audience, the nature of the perfor-
mance (competition, audition, concert), the type of performance (re-
hearsal, solo/group performance), the musical genre, the instrument
played, and previous performance experience. Research studies indicate
an increase in MPA with audience size (Broughton, 2015; Endo et al.,
2014; Habe, 1998; Kwan, 2016). Competitions induce higher MPA (Mi-
chiko et al., 2009; Papageorgi et al., 2007), while solo performances in-
duce higher MPA than group performances (Habe, 1998; Goren, 2014;
Nicholson et al., 2015). Nicholson et al. (2015) found that social anxie-
ty predicts MPA in both practice and performance settings, while the
fear of negative evaluation predicts MPA in practice and in solo and
group performance settings. Some studies have suggested that MPA var-
ies depending on the instrument played (Iuscă & Dafinoiu, 2012; Kemp,
1996; Manning, 2013). Dorina Iuscă and Dafinoiu (2012) have found
that string players and singers experience significantly higher MPA than
pianists, woodwind players, and brass players. Manning (2013) reports
the highest levels of MPA in woodwind players and the lowest in brass
players and percussionists. He also notes that different instrumentalists