Adverse experiences toward making music can be found in both musicians (music performance anxiety) and non-musicians (avoidance of participating in musical experiences). Both anxiety and avoidance are driven by perceptions and attributions about particular stimuli, based on schemas developed via direct and indirect experiences. Most research within music psychology focuses on the views of professional or student musicians. However, little is known about music avoidance in the general population, or their perceptions of music and performance. This article proposes to address this gap by comparing Australian adults’ perceptions toward music making and performance. A total of 116 participants self-identified as musical/non-musical, a musician/non-musician, and a performer/non-performer, then defined various terms and phrases related to music making and performance. Logistic regressions indicated that those with exposure to the music education system were significantly more likely to self-identify as musical, a musician, and a performer. Tests of independence reveal a relationship between self-identification and perceptions of music making, performance, anxiety, and willingness to engage. Possible mechanisms underlying the results of this study are discussed and a conceptual expansion related to music performance anxiety (MPA) and music making is proposed.

中文翻译：

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我们都在为同一件事焦虑吗？音乐参与背景下音乐制作和表演的通俗定义的比较


音乐家（音乐表演焦虑）和非音乐家（避免参与音乐体验）都可能出现创作音乐的不良经历。焦虑和回避都是由对特定刺激的感知和归因驱动的，这些感知和归因基于通过直接和间接经验形成的图式。音乐心理学的大多数研究都集中在专业或学生音乐家的观点上。然而，人们对普通人群的音乐回避或他们对音乐和表演的看法知之甚少。本文旨在通过比较澳大利亚成年人对音乐制作和表演的看法来解决这一差距。共有 116 名参与者将自己定义为音乐/非音乐、音乐家/非音乐家、表演者/非表演者，然后定义了与音乐制作和表演相关的各种术语和短语。逻辑回归表明，那些接触过音乐教育体系的人更有可能自我认同为音乐人、音乐家和表演者。独立性测试揭示了自我认同与音乐制作、表演、焦虑和参与意愿之间的关系。讨论了本研究结果的可能机制，并提出了与音乐表演焦虑（MPA）和音乐制作相关的概念扩展。