Factors of choking under pressure in musicians

The Key to Singing Off-Key: The Trained Singer and Pitch Perception Distortion

OBJECTIVES

Pitch perception distortion (PPD) is a novel term describing a phenomenon in which an amplified, accompanied singer's perception of their sung pitch relative to band or accompaniment becomes ambiguous, leading to one of two conditions: a) the singer believes they are out of tune with the accompaniment, but are in tune as perceived by a listener, or b) the singer believes they are in tune with the accompaniment, but are not. This pilot study aims to investigate the existence and incidence of PPD among amplified, accompanied performers and identify associated variables.

DESIGN/METHODS

115 singers were recruited to participate in an online survey, which collected information on musical training, performance environment, and PPD experience.

RESULTS

Reported PPD incidence was 68%, with 92% of respondents indicating that PPD occurred rarely. The factors reported as most associated with PPD experiences included loud stage volume, poor song familiarity, singing outside one's habitual pitch range, and singing loudly. Contrary to previous studies and our hypotheses, no association was found between modality of auditory feedback (e.g., in-ears versus floor monitors) and incidence of PPD. Additionally, higher levels of training were found to be associated with higher incidence of PPD.

CONCLUSIONS

The reported incidence supports that PPD exists beyond chance and anecdotal experience. In light of the highly trained sample, the data suggest that pitch accuracy in accompanied, amplified performance may be more associated with aural environment-specifically loud stage volume-and a highly trained singer's tuning strategy in response to that environment rather than a singer's mastery of vocal intonation skills in isolation. Loud stage volume was implicated as a primary factor associated with PPD, which may be related to the stapedius reflex. Future investigations will target attempted elicitation of PPD in trained singers after establishing baseline auditory reflex thresholds and objective measurements of intonation accuracy.

Neural substrates of choking under pressure: A 7T-fMRI study

Performance decrement under excessive psychological pressure is known as "choking," yet its mechanisms and neural foundations remain underexplored. Hypothesizing that changes in the internal model could induce choking, we conducted a 7 T functional MRI introducing excessive pressure through a rare Jackpot condition that offers high rewards for successful performance. Twenty-nine volunteers underwent a visual reaching task. We monitored practice and main sessions to map the task's internal model through learning. Participants were pre-informed of four potential reward conditions upon success at the beginning of the main session task. The success rates in the Jackpot condition were significantly lower than in other conditions, indicative of choking. During the preparation phase, activations in the cerebellum and the middle temporal visual area (hMT+) were associated with Jackpot-specific failures. The cluster in the cerebellar hemisphere overlapped with the internal model regions identified by a learning-related decrease in activation during the practice session. We observed task-specific functional connectivity between the cerebellum and hMT+. These findings suggest a lack of sensory attenuation when an internal model predicting the outcome of one's actions is preloaded during motor preparation. Within the active inference framework of motor control, choking stems from the cerebellum's internal model modulation by psychological pressure, manifested through improper sensory attenuation.

Focus of attention in musical learning and music performance: a systematic review and discussion of focus instructions and outcome measures

The topic of attentional focus (focus of attention, FOA) in musical learning and performance has recently received increasing interest, as the growing number of empirical studies inspired by the established FOA paradigm in sports by Wulf and colleagues in 1998. The current systematical review aims at collecting, abstracting, and categorizing relevant data to show which kinds of FOA instructions were applied in experimental designs and what kinds of dependent variables were used to measure the effects of FOA instruction on musical performance. The three main inclusion criteria in the selection process were experimental design, detailed descriptions of FOA instructions, and outcome measures (OMs). A systematic search was conducted with a complex search term in four scientific databases in March 2023. For presenting and synthesizing results, we used data collection and an inductive-deductive data categorization. Fifteen studies with a total sample size of 401 participants were included out of 387 records initially identified. We collected 53 different FOA instruction citations from the 15 studies and classified them into 9 FOA subcategories, of which the most applied were bodily focus (21%), sound focus (15%), and visual focus (14%). Selected studies used 63 OMs that were abstracted to 10 different OM categories with expert ratings (27%) and acoustical analysis (22%) as the most applied dependent variables. Data categorization and abstraction of additional study information show multiple combinations of FOA instructions, OMs, participants' instruments and expertise, and musical tasks. Finally, studies show no consistent results of superiority of either external or internal or otherwise different FOA considering positive effects on musical performance. Limitations of the review lie in the small study sample, possible criticism of applied eligibility criteria, and subjectivity of data categorization. We propose a research agenda with a more exploratory approach that comprehensively and qualitatively examines the dimensions of musical goals to create a database that could provide a foundation for developing a music-specific FOA model.

Symptoms of and coping strategies for music performance anxiety through different time periods

Music performance anxiety (MPA) manifests itself at mental, physiological, and behavioral levels. The present study investigated how the experience of the three levels of symptoms changes over time, and how musicians cope with these temporal changes in MPA symptoms. To this end, we conducted a questionnaire survey in which 38 student musicians freely commented on their experiences of mental and physical changes, as well as their coping strategies for these changes. This was examined during five different time periods around public performance, extending from the beginning of the preparation for a public performance until shortly before the next public performance. The free-text comments obtained from the questionnaire were analyzed thematically and classified into different response themes. We then examined the temporal changes in the frequency of comments on each response theme. We further conducted a semi-structured interview involving eight musicians to explore the responses to the questionnaire in greater detail. We analyzed the contents of the free-text comments obtained from the questionnaire and the interview for each response theme, focusing on the most frequently mentioned sub-themes. The results indicate that musicians started to experience mental MPA symptoms (e.g., negative feelings) as soon as they began to prepare for public performance. To cope with mental symptoms, musicians employed mental strategies such as positive thinking/self-talk and concentration both before and during public performance. The experience of physiological MPA symptoms (e.g., increased heart rate) peaked shortly before public performance and remained throughout performance. To cope with a variety of physiological symptoms, musicians employed physical strategies, especially deep breathing and exercise, shortly before public performance. In contrast, behavioral MPA symptoms (e.g., tremor) were experienced mostly during public performance. Some musicians also reported experiencing the actual impairment of performance quality. To avoid this, musicians employed a variety of practicing techniques (e.g., playing at a slower tempo) during the preparation for public performance and performing techniques (e.g., paying attention to expressions) during public performance. Together, the present findings indicate that mental, physiological, and behavioral symptoms of MPA exhibit differential timelines and that musicians effectively utilize different coping strategies according to the temporal changes in MPA symptoms.

Effects of Expressive Writing on "Choking under Pressure" in High Test-Anxious Individuals

(1) Background: High test-anxious students often fail to perform at their actual level and are prone to choking under pressure (CUP). The aim of the present study was to investigate whether expressive writing (EW) can help high test-anxious individuals reduce the degree of the CUP effect, and whether the intervention effects were different in people with different working memory capacities. (2) Methods: High test-anxious participants wrote expressively (EW group) or neutrally (control group) according to guidance, and then completed a modular arithmetic (MA) task under a high-stress condition. (3) Results: The state anxiety score of the control group was significantly higher than that of the EW group in the high-pressure situation, indicating that the EW intervention was helpful to alleviate the state anxiety. Subjects with high working memory capacity in the control group performed the complex MA task significantly less accurately in the high-stress situation than in the low-stress situation, showing the CUP effect. There was no significant difference in complex MA task scores between high- and low-stress situations for subjects with high working memory capacity in the EW group, indicating that the EW intervention can reduce the degree of the CUP effect. (4) Conclusions: EW intervention was effective in reducing state anxiety levels and attenuating the detrimental effects of test stress on cognitive processing in test-anxious individuals with high working memory capacity.