Page 179 - How to Shine on Stage
P. 179

Webb, T. L., Miles, E., & Sheeran, P. (2012). Dealing with feeling: A meta-
               analysis of the effectiveness of strategies derived from the process model of
               emotion regulation. Psychological Bulletin, 138(4), 775–808.
           Weinberg, R. S., & Gould, D. (2007). Foundations of sport and exercise psychology.
               Human Kinetics.
           Weinstein, C., & Mayer, R. (1986). The teaching of learning strategies. In M.
               Wittrock (Ed.), Handbook of research on teaching (pp. 315–327). Macmillan.
           Weiner, B. (1986). An attributional theory of motivation and emotion. Springer.
           Wesner, R. B., Noyes, R., & Davis, T. L. (1990). The occurrence of performance
               anxiety among musicians. Journal of Affective Disorders, 18(3), 177–185.  177
           Whitaker, S. Ch., & Tanner, D. R. (1987). ‘But I played it perfectly in the practice room!’
               University Press of America.
           Wiedemann, A., Vogel, D., Voss, C., & Hoyer, J. (2019). Music Performance Anxiety
               and its Anxiety Correlates. PsyArXiv Preprints. https://doi.org/10.31234/osf.io
               /cev7u
           Wigfield, A., & Eccles, J. S. (2000). Expectancy-value theory of achievement   Literature
               motivation. Contemporary Educational Psychology, 25(1), 68–81.
           Wiggins, J. (2011). Vulnerability and agency in being and becoming a musician.
               Music Education Research, 13(4), 355–367.
           Williamon, A. (2004). Musical excellence: Strategies and techniques to enhance performance.
               Oxford University Press.
           Williamon, A., and Antonini Philippe, R. (2020). Wellbeing in and through
               performance: Perspectives from sports and music. Frontiers in Psychology, 11,
               399.
           Williamon, A., & Thompson, S. (2006). Awareness and incidence of health
               problems among conservatoire students. Psychology of Music, 34(4), 411–430.
           Williamon, A., & Valentine, E. (2002). The role of retrieval structures in
               memorizing music. Cognitive Psychology, 44(1), 1–32.
           Williamon, A., Clark, T., & Küssner, M. (2017). Learning in the spotlight:
               Approaches to self-regulating and profiling performance. In J. Rink, H.
               Gaunt, & A. Williamon (Eds.), Musicians in the making: Pathways to creative
               performance (pp. 206–221). Oxford University Press.
           Williams, P., & Aaker, J. L. (2002). Can mixed emotions peacefully coexist?
               Journal of Consumer Research, 28(4), 636–649.
           Winner, E., & Martino, G. (2000). Giftedness in nonacademic domains: The
               case of the visual arts and music. In K. Heller, F. Monks, R. Subotnik, &
               R. Sternberg (Eds.), International handbook of giftedness and talent (pp. 367–386).
               Elsevier.
           Winter, N. (2004). The learning of popular music: A pedagogical model for music
               educators. International Journal of Music Education, 22(3), 237–247.
           Wolf, T. (1976). A cognitive model of sight-reading. Journal of Psycholinguistic
               Research, 5(2), 143–171.
           Woody, R. H., & McPherson, G. E. (2010). Emotion and motivation in the lives
               of performers. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and
               emotion: Theory, research, applications (pp. 401–424). Oxford University Press.
           Wright, C. J., & Smith, D. (2009). The effect of PETTLEP imagery on strength
               performance. International Journal of Sport and Exercise Psychology, 7(1), 18–31.
   174   175   176   177   178   179   180   181   182   183   184