Post performance mood in classical musicians: where elation meets depression
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Abstract
Although anecdotal evidence shows that post-performance mood disturbances have long affected the lives of many classical musicians, among researchers this phenomenon has not generated much interest. This research was aimed at addressing this dearth of empirical studies by conducting an investigation into the existence of post-performance depression in classical musicians, along with data collection intended to define and name the condition. An online survey, specifically devised for this investigation, was used to explore the characteristics of the post-performance experience and to compare two different groups of musicians: professionals and music majors in college. Data was collected from 205 participants, one-third identified as music students in college and two-thirds as professional musicians. The majority (75%, n = 154) of musicians in this sample characterized their post-performance experience as a mixture of both unpleasant and pleasant emotions, with positive feelings dominating the overall mood. This emotional experience was consequently named Post-Performance Mood Response. Results further showed that 75% of the musicians in this sample felt that the unpleasant emotions following performances negatively affect their daily activities, routines, and relationships. A Principle Component Analysis explored these unpleasant emotions and revealed that they can be characterized by five themes Self-Criticism, Exertion, Emotional Volatility, Despair, and Sense of Loss. These components had Cronbach alpha levels ranging from .70 to .86, indicating good to excellent internal stability of the measure. The unpleasant emotions last on average for three days and tend to negatively affect a musician's daily activities, routines, or relationships. Upon entering the professional world, musicians tend to have fewer and milder occurrences of unpleasant emotions associated with the post-performance mood response (p < .05). Furthermore, musicians who engage frequently in orchestra performances as principal players tend to exhibit more positive moods (p < .05). Musicians, students in particular, may benefit from education related to postperformance mood disturbances; specifically about contributing factors and how to productively cope with unexpected mood fluctuations. Further research with a specific focus on performance-related self-efficacy, goal-setting and self-evaluation and the effect these parameters may have on mood may further illuminate the characteristics of the post-performance mood response.
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Thesis (Ed.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.