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Music performance anxiety (MPA) is considered non-beneficial but its debilitating aspects are not directly addressed in current questionnaires (“general MPA”). Together with general MPA, we assessed “debilitating MPA” with questions about aspects that debilitate musical performance. In addition, since musicians often experience a beneficial aspect of MPA in the form of a performance boost, we assessed this boost with additional questionnaire items. The first goal of our questionnaire survey was to investigate whether general MPA is perceived as part of the same continuum as performance boost. Our second goal was to determine which aspects of MPA may lead to a downward spiral of a musical career. The results of our questionnaire survey of 320 professional and student musicians show that general MPA does not lie at the other end of the spectrum of boost. Instead, debilitating MPA with a weak career impact was influenced by boost and performance confidence. Debilitating MPA with a strong career impact was influenced by health and mental distress. Debilitating and general MPA were related to perceived pressure, whereas boost was related to perceived support. Perceived pressure and support might be more accessible anchor points in the treatment of MPA, and in the maintenance of a stimulating level of boost.

From an early age, children are attracted to the aesthetics of music. Employing a cross-sectional design including school-aged children, the present exploratory study aimed to investigate the effects of age, gender, and music education on three important aspects of the aesthetic experience of music: musical preference, musical emotion recognition, and the use of the aesthetic categories for music. To this aim, we developed an experimental procedure suitable to quantify children’s musical preferences and their judgment of musical emotions and aesthetics. The musical material consisted of three short piano pieces: a piece in major mode, a piece in minor mode, and a free tonal piece. The responses of 78 children were analyzed, whereby the children were assigned to two age groups: 6–7-year-olds (n = 38) and 8–9-year-olds (n = 40). Children preferred the piece in major mode to the one in minor. Except for 6–7-year-olds without music education, children gave the highest happiness ratings for the major piece. Only 8–9-year-olds found the minor piece sadder than the major piece, and the major piece more beautiful than the piece in minor. The ratings of the free tonal piece were mostly indifferent and probably reflect children’s difficulty in judging music that does not yet belong to their short musical history. Taken together, the current data imply that school-aged children are able to make emotional and aesthetic judgments about unfamiliar musical pieces.

We explored the content and structure of the cognitive, knowledge-based concept underlying aesthetic responses to music. To this aim, we asked 290 Finnish students to verbally associate the aesthetic value of music and to write down a list of appropriate adjectives within a given time limit. No music was presented during the task. In addition, information about participants’ musical background was collected. A variety of analysis techniques was used to determine the key results of our study. The adjective “beautiful” proved to be the core item of the concept under question. Interestingly, the adjective “touching” was often listed together with “beautiful”. In addition, we found music-specific vocabulary as well as adjectives related to emotions and mood states indicating that affective processes are an essential part of aethetic responses to music. Differences between music experts and laymen as well as between female and male participants were found for a number of adjectives. These findings suggest the existence of a common conceptual space underlying aesthetic responses to music, which partly can be modified by the level of musical expertise and gender.