Page 176 - How to Shine on Stage

Spychiger, M. (2009). On the domain-specificity of musical learning, and on
composers as music educators. Bulletin of the International Kodály Society, 34(2),
24–41.
Spychiger, M. B. (2017). From musical experience to musical identity: Musical
self-concept as a mediating psychological structure. In R. MacDonald, D.
J. Hargreaves, & D. Miell (Eds.), Handbook of musical identities (pp. 267–287).
Oxford University Press.
Spychiger, M. (2021). Motivation and developing a musical identity. In A. Creech,
D. A. Hodges, & S. Hallam (Eds.), Routledge international handbook of music
174 Spychiger, M., Gruber, L., & Olbertz, F. (2009). Musical self-concept presentation
psychology in education and the community (pp. 254–268). Routledge.
of a multi-dimensional model and its empirical analyses. In J. Louhivuori &
S. Saarikallio (Eds.), Proceedings of the 7th Triennial ESCOM Conference (pp. 503–
506). Jyväskylä.
How to Shine on Stage Stanislavski, C. (1949). Building a character. Theatre Art Books.
Stajković, A. D., Bandura, A., Locke, E. A., Lee, D., & Sergent, K. (2018). Test
of three conceptual models of influence of the big five personality traits
and self-efficacy on academic performance: A meta-analytic path-analysis.
Personality and Individual Differences, 120, 238–245.
Steca, P., Baretta, D., Greco, A., D’Addario, M., & Monzani, D. (2018).
Associations between personality, sports participation and athletic success:
A comparison of Big Five in sporting and non-sporting adults. Personality and
Individual Differences, 121, 176–183.
Stefani, G. (1987). A theory of musical competence. Semiotica, 66(1–3),7–22.
Steptoe, A. (1989). Stress, coping and stage fright in professional musicians.
Psychology of Music, 17(1), 3–11.
Steptoe, A., & Fidler, H. (1987). Stage fright in orchestral musicians:
A study of cognitive and behavioural strategies in performance anxiety.
British Journal of Psychology, 78(2), 241–249.
Steyn, B. J. M., Steyn, M. H., Maree, D. J. F., & Panebianco, C. (2016).
Psychological skills and mindfulness training effects on the psychological
wellbeing of undergraduate music students: An exploratory study. Journal of
Psychology in Africa, 26(2), 167–171.
Stoeber, J. (2012). Perfectionism and performance. In S. M. Murphy (Ed.), The
Oxford handbook of sport and performance psychology (pp. 294–306). Oxford
University Press.
Stoeber, J., & Eismann, U. (2007). Perfectionism in young musicians: Relations
with motivation, effort, achievement, and distress. Personality and Individual
Differences, 43(8), 2182–2192.
Stoeber, J., & Otto, K. (2006). Positive conceptions of perfectionism: Approaches,
evidence, challenges. Personality and Social Psychology Review, 10(4), 295–319.
Subotnik, R. F. (2004). Transforming elite musicians into professional artists: A
view of the talent development process at the Juilliard school. In M. Ferrari
& L. V. Shavinina (Eds.), Beyond knowledge: Extracognitive aspects of developing high
ability (pp. 137–166). Erlbaum.
Subotnik, R. F., & Knotek, S. (2009). A positive psychology approach to
developing talent and preventing talent loss in the arts and sciences. In E. S.