Performance anxiety amongst trauma and orthopaedic surgical trainees.

BACKGROUND: This study aims to assess performance anxiety amongst orthopaedic trainees. Operating is equivalent in its skill level, both dexterous and mental, to that of elite sport. This study uses a slightly altered version of the validated Sports Competition Anxiety Test (SCAT), making it relevant to operating, rather than to sport, to evaluate peri-operative stress and anxiety in orthopaedic surgeons. METHODS: The SCAT questionnaire was sent to trainees across 3 UK. deaneries via email. A score of <17 suggests low-levels of anxiety, 17-24 suggests medium-levels of anxiety and >24 suggest high-levels of anxiety. Data was anonymised except from training grade and sex. RESULTS: 109 of 273 (40%) responded to the survey, 71% of respondents were male (n = 77). The mean SCAT score amongst Core Surgical Trainees was 16.9 (n = 21, range 12-23), Specialist Trainees years 3-5 was 18.7 (n = 51, range 12-28), Specialist Trainees years 6-8 was 16.8 (n = 26, range 11-24) and consultants was 16 (n = 11, range 11-28). Across all groups, when sub-divided by sex, females had higher mean scores, this was statistically significant for Specialist Trainees years 3-5 (p = 0.029) and Specialist Trainees years 6-8 (p = 0.042) groups. DISCUSSION: Surgical performance anxiety exists amongst orthopaedic surgeons, with females scoring higher than males. Five respondents scored "high-levels of anxiety" including 2 consultants level surgeons, suggesting experience does not entirely eliminate anxiety. Stress and anxiety are known to lead to surgical mistakes and "burnout" amongst surgeons which is highly topical at present. It is important to highlight this significant issue and it could be taken forward as a national survey to evaluate further.

The latent structure of social anxiety disorder and the performance only specifier: a taxometric analysis.

Social anxiety disorder (SAD) is often treated as a discrete diagnostic entity that represents a naturally occurring class, though empirical evidence largely supports a dimensional conceptualization of social fears. Further, the inclusion of a "performance only" specifier in the DSM-5 implies that individuals who experience intense social anxiety exclusively in performance situations are distinct from those with broader social fears. The purpose of the present research was to examine the latent structure of SAD and the DSM-5 "performance only" specifier in a large nonclinical sample (n = 2019). Three taxometric procedures (MAXCOV, MAMBAC, and L-Mode) were applied to indicators derived from two commonly used measures of social anxiety. Results yielded convergent evidence indicating that social anxiety exhibits a dimensional latent structure. Further, social performance anxiety demonstrates continuous relationships with milder social fears, suggesting that the "performance only" specifier may not represent a discrete entity. The implications of these findings for the assessment, diagnosis, classification, and treatment of social anxiety are discussed.

[Corrective effect of aromatherapy on indices of heart rate variability in students under exam stress conditions].

There were investigated changes in indices of the activity of regulatory mechanisms of heart rhythm in student under exam stress conditions and the possibility of their correction with aid of aromatherapy. The examination stress was established to be accompanied by pronounced shifts of integral and spectral indices of heart rhythm in students, indicating to the activation of the sympathetic circuit of Autonomic Nervous System in conditions of examination stress. A positive, relaxation impact of the essential oil of orange on the investigated indices was also recorded. The latter is expressed by weakly pronounced changes or lack of them in data of integral and spectral heart rate indices in students from the experimental group, that indicates to the stabilizing effect of used ethereal oil on the psycho-physiological state of students in conditions of exam stress

Sensitivity to change and concurrent validity of direct behavior ratings for academic anxiety.

Multitiered frameworks of service delivery have traditionally underserved students with mental health needs. Whereas research has supported the assessment and intervention of social and academic behavior across tiers, evidence is limited with regard to mental health concerns including internalizing behaviors (e.g., anxiety and depression). In particular, there is a notable shortage of brief anxiety assessment tools to be used for progress monitoring purposes. Moreover, traditional omnibus rating scale approaches may fail to capture contextually dependent anxiety. The purpose of the present investigation is to examine the sensitivity to change and concurrent validity of Direct Behavior Ratings (DBR; Chafouleas, Riley-Tillman, & Christ, 2009; Chafouleas, Riley-Tillman, & Sugai, 2007) of anxiety and traditional rating scales in measuring academic anxiety directly before, during, and after a potentially anxiety provoking stimulus. Research was conducted with 115 undergraduate students in a Southeastern university. Results indicated significant relationships between DBRs and pre- and postmeasures of anxiety. Change metrics suggested an overall lack of correspondence between DBR and the criterion measure, with DBR scales detecting greater change both across the testing situation and participants. The use of DBR for anxiety is considered within a multitiered, problem-solving framework. Feasibility and limitations associated with implementation are discussed.

Parameters for screening music performance anxiety

Objective: To assess the discriminative capacity of the Kenny Music Performance Anxiety Inventory (K-MPAI), in its version adapted for Brazil, in a sample of 230 Brazilian adult musicians. Method: The Social Phobia Inventory (SPIN) was used to assess the presence of social anxiety indicators, adopting it as the gold standard. The Mann-Whitney U test and the receiver operating characteristic (ROC) curve were used for statistical analysis, with p ≤ 0.05 set as the significance level. Results: Subjects with social anxiety indicators exhibited higher mean total K-MPAI scores, as well as higher individual scores on 62% of its items. The area under the ROC curve was 0.734 (p = 0.001), and considered appropriate. Within the possible cutoff scores presented, the score -15 had the best balance of sensitivity and specificity values. However, the score -7 had greater specificity and accuracy. Conclusion: The K-MPAI showed appropriate discriminant validity, with a marked association between music performance anxiety and social anxiety. The cutoff scores presented in the study have both clinical and research value, allowing screening for music performance anxiety and identification of possible cases. .

Parameters for screening music performance anxiety.

OBJECTIVE: To assess the discriminative capacity of the Kenny Music Performance Anxiety Inventory (K-MPAI), in its version adapted for Brazil, in a sample of 230 Brazilian adult musicians. METHOD: The Social Phobia Inventory (SPIN) was used to assess the presence of social anxiety indicators, adopting it as the gold standard. The Mann-Whitney U test and the receiver operating characteristic (ROC) curve were used for statistical analysis, with p ≤ 0.05 set as the significance level. RESULTS: Subjects with social anxiety indicators exhibited higher mean total K-MPAI scores, as well as higher individual scores on 62% of its items. The area under the ROC curve was 0.734 (p = 0.001), and considered appropriate. Within the possible cutoff scores presented, the score -15 had the best balance of sensitivity and specificity values. However, the score -7 had greater specificity and accuracy. CONCLUSION: The K-MPAI showed appropriate discriminant validity, with a marked association between music performance anxiety and social anxiety. The cutoff scores presented in the study have both clinical and research value, allowing screening for music performance anxiety and identification of possible cases.

Development of a performance anxiety scale for music students.

In the present research, the Performance Anxiety Scale for Music Students (PASMS) was developed in three successive studies. In Study 1, the factor structure of PASMS was explored and three components were found: fear of stage (FES), avoidance (AVD) and symptoms (SMP). The internal consistency of the subscales of PASMS, which consisted of 27 items, varied between 0.89 and 0.91. The internal consistency for the whole scale was found to be 0.95. The correlations among PASMS and other anxiety-related measures were significant and in the expected direction, indicating that the scale has convergent validity. The construct validity of the scale was assessed in Study 2 by confirmatory factor analysis. After several revisions, the final tested model achieved acceptable fits. In Study 3, the 14-day test-retest reliability of the final 24-item version of PASMS was tested and found to be extremely high (0.95). In all three studies, the whole scale and subscale scores of females were significantly higher than for males.

Evaluation of the proposed social anxiety disorder specifier change for DSM-5 in a treatment-seeking sample of anxious youth.

BACKGROUND: The current proposal for the DSM-5 definition of social anxiety disorder (SAD) is to replace the DSM-IV generalized subtype specifier with one that specifies fears in performance situations only. Relevant evaluations to support this change in youth samples are sparse. METHODS: The present study examined rates and correlates of the DSM-IV and proposed DSM-5 specifiers in a sample of treatment-seeking children and adolescents with SAD (N = 204). RESULTS: When applying DSM-IV subtypes, 64.2% of the sample was classified as having a generalized subtype of SAD, with the remaining 35.2% classifying as having a nongeneralized subtype SAD. Youth with generalized SAD, relative to those with nongeneralized SAD, were older, had more clinically severe SAD, showed greater depressive symptoms, and were more likely to have a comorbid depressive disorder. No children in the current sample endorsed discrete fear in performance situations only in the absence of fear in other social situations. CONCLUSIONS: The present findings call into question the meaningfulness of the proposed changes in treatment-seeking youth with SAD.

Monitoring stage fright outside the laboratory: an example in a professional musician using wearable sensors.

We implemented and tested a wearable sensor system to measure patterns of stress responses in a professional musician under public performance conditions. Using this sensor system, we monitored the cellist's heart activity, the motion of multiple body parts, and their gradual changes during three repeated performances of a skill-demanding piece in front of a professional audience. From the cellist and her teachers, we collected stage fright self-reports and performance ratings that were related to our sensor data analysis results. Concomitant to changes in body motion and heart rate, the cellist perceived a reduction in stage fright. Performance quality was objectively improved, as technical playing errors decreased throughout repeated renditions. In particular, from performance 1 to 3, the wearable sensors measured a significant increase in the cellist's bowing motion dynamics of approximately 6% and a decrease in heart rate. Bowing motion showed a marginal correlation to the observed heart rate patterns during playing. The wearable system did not interfere with the cellist's performance, thereby allowing investigation of stress responses during natural public performances.