000048699 001__ 48699
000048699 005__ 20201217140621.0
000048699 0247_ $$2doi$$a10.1177/0305735614567932
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000048699 037__ $$aART-2016-94780
000048699 041__ $$aeng
000048699 100__ $$0(orcid)0000-0003-0088-2261$$aZarza Alzugaray, Francisco Javier$$uUniversidad de Zaragoza
000048699 245__ $$aKenny Music Performance Anxiety Inventory: Confirmatory factor analysis of the Spanish version
000048699 260__ $$c2016
000048699 5060_ $$aAccess copy available to the general public$$fUnrestricted
000048699 5203_ $$aThis article presents the process of adjusting into Spanish Kenny’s Music Performance Anxiety Inventory (Kenny, Davis, & Oates, 2004). This questionnaire is based on Barlow’s theory of performance anxiety and evaluates levels of anxiety whilst on stage. After doing two translations into Spanish, a peer review, and pilot study, the questionnaire was answered by 490 musicians training in six Spanish music conservatories. Results showed that the adapted version of the instrument, with some minor modifications, has good psychometric properties, also validated through a confirmatory factor analysis procedure. Thereof, and in accordance with to Barlow’s theoretical framework, we saw emerge three related factors that made reference to specific cognitions of performance anxiety, such as helplessness as a factor of psychological vulnerability and early family influences. Performance anxiety is related to a psychological vulnerability profile and early relationship context. Finally, it is important to count with reliable instruments that allow contrasting theories in different cultural background, comparing the effects of problems or treatment outcomes.
000048699 540__ $$9info:eu-repo/semantics/openAccess$$aby$$uhttp://creativecommons.org/licenses/by/3.0/es/
000048699 590__ $$a1.394$$b2016
000048699 591__ $$aPSYCHOLOGY, EDUCATIONAL$$b30 / 58 = 0.517$$c2016$$dQ3$$eT2
000048699 591__ $$aPSYCHOLOGY, EXPERIMENTAL$$b62 / 84 = 0.738$$c2016$$dQ3$$eT3
000048699 591__ $$aPSYCHOLOGY, APPLIED$$b47 / 80 = 0.587$$c2016$$dQ3$$eT2
000048699 592__ $$a0.669$$b2016
000048699 593__ $$aMusic$$c2016$$dQ1
000048699 593__ $$aPsychology (miscellaneous)$$c2016$$dQ2
000048699 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/publishedVersion
000048699 700__ $$0(orcid)0000-0001-6492-2248$$aOrejudo Hernández, Santos$$uUniversidad de Zaragoza
000048699 700__ $$0(orcid)0000-0002-8263-3447$$aCasanova López, Oscar$$uUniversidad de Zaragoza
000048699 700__ $$aMazas Gil, Beatriz
000048699 7102_ $$13001$$2189$$aUniversidad de Zaragoza$$bDpto. Expres.Music.Plást.Corp.$$cÁrea Didáctica Expres. Musical
000048699 7102_ $$14009$$2735$$aUniversidad de Zaragoza$$bDpto. Psicología y Sociología$$cÁrea Psicolog.Evolut.Educac
000048699 773__ $$g44, 3 (2016), 340.352$$pPSYCHOLOGY OF MUSIC$$tPSYCHOLOGY OF MUSIC$$x0305-7356
000048699 8564_ $$s555791$$uhttps://zaguan.unizar.es/record/48699/files/texto_completo.pdf$$yVersión publicada
000048699 8564_ $$s61121$$uhttps://zaguan.unizar.es/record/48699/files/texto_completo.jpg?subformat=icon$$xicon$$yVersión publicada
000048699 909CO $$ooai:zaguan.unizar.es:48699$$particulos$$pdriver
000048699 951__ $$a2020-12-17-14:04:52
000048699 980__ $$aARTICLE