The use of visualization, onset-and-rime, story read-alouds, and discussion to improve diverse first graders' vocabulary and comprehension

It has long been known that vocabulary is essential in the development of reading. Because vocabulary leading to increased comprehension is important, it necessary to determine strategies for ensuring that the best methods of teaching vocabulary are used to help students make gains in vocabulary leading to reading comprehension. According to the National Reading Panel, multiple strategies that involve active engagement on the part of the student are more effective than the use of just one strategy. The purpose of this study was to determine if students' use of visualization, student-generated pictures of onset-and-rime-patterned vocabulary, and story read-alouds with discussion, would enable diverse first-grade students to increase their vocabulary and comprehension. In addition, this study examined the effect of the multimodal framework of strategies on English learners (ELs). This quasi-experimental study (N=69) was conducted in four first-grade classrooms in a low socio-economic school. Two treatment classes used a multimodal framework of strategies to learn weekly vocabulary words and comprehension. Two comparison classrooms used the traditional method of teaching weekly vocabulary and comprehension. Data sources included Florida Assessments for Instruction in Reading (FAIR), comprehension and vocabulary scores, and weekly MacMillan/McGraw Hill Treasures basal comprehension questions and onset-and-rime vocabulary questions. This research determined that the treatment had an effect in adjusted FAIR comprehension means by group, with the treatment group (adj M = 5.14) significantly higher than the comparison group ( adj M = -8.26) on post scores. However, the treatment means did not increase from pre to post, but the comparison means significantly decreased from pre to post as the materials became more challenging. For the FAIR vocabulary, there was a significant difference by group with the comparison adjusted post mean higher than the treatment's, although both groups significantly increased from pre to post. However, the FAIR vocabulary posttest was not part of the Treasures vocabulary, which was taught using the multimodal framework of strategies. The Treasures vocabulary scores were not significantly different by group on the assessment across the weeks, although the treatment means were higher than those of the comparison group. Continued research is needed in the area of vocabulary and comprehension instructional methods in order to determine strategies to increase diverse, urban students' performance.

Representações sobre a leitura e sua influência em práticas educativas: um estudo no 1.º ciclo de Bolonha

É amplamente reconhecida a relevância crescente da leitura no século XXI, enquanto requisito fundamental para um exercício de cidadania responsável e crítico. Por outro lado, tal como acontece com outros aspetos da vida social, a investigação reconhece a influência exercida pelas representações sociais sobre a nossa compreensão do caráter multifacetado das práticas de leitura. Tal peso assume particular relevo no que diz respeito aos estudantes do Ensino Superior, nomeadamente aos futuros profissionais da Educação, pela sua responsabilidade acrescida na formação de leitores autónomos e críticos, privilegiando a sua motivação para a leitura e o seu desempenho em compreensão na leitura. No entanto, em Portugal, poucos estudos focam as representações sobre a leitura destes estudantes e sua influência em práticas educativas futuras. Nesse sentido, realizámos um estudo cujos objetivos de investigação foram: i) Identificar e caracterizar as representações de estudantes a frequentar um primeiro ciclo de estudos de Bolonha sobre: a sua motivação para a leitura; o seu desempenho em compreensão na leitura; os fatores que os influenciariam; as competências em leitura do seu futuro público; estratégias didáticas orientadas para a motivação para a leitura e o desenvolvimento da compreensão na leitura no seu futuro público; ii) determinar a influência das representações sobre estes aspetos nas suas práticas futuras relacionadas com a motivação para a leitura e o desenvolvimento da compreensão na leitura; iii) conceber, implementar e avaliar um plano de formação em Didática do Português, visando a promoção da competência didática dos estudantes, orientada para a motivação do seu futuro público para a leitura e o desenvolvimento da compreensão na leitura. Neste estudo, participaram 53 estudantes, inscritos na unidade curricular de Iniciação à Leitura e à Escrita, integrada no 3.º ano do plano de estudos da Licenciatura em Educação Básica da Escola Superior de Educação de Viseu, no 1.º semestre do ano letivo de 2012/2013. Foram objeto de uma intervenção didática, integrada no módulo programático consagrado à leitura, que durou quatro semanas. Face aos objetivos traçados, optámos por uma abordagem de natureza qualitativa, tendo como referencial metodológico o estudo de caso único. Foram utilizados vários instrumentos de recolha de dados: para os relativos às representações, usámos um questionário, uma reflexão escrita individual e duas fichas de trabalho; para os relacionados com o desempenho, recorremos a um relatório escrito de um trabalho prático de planificação e fundamentação de atividades, com uma componente individual e outra realizada em grupo. Todos os dados recolhidos foram objeto de análise de conteúdo, complementada por uma análise estatística descritiva (frequências absolutas e relativas). O nosso estudo permitiu-nos concluir que as representações sobre a leitura destes estudantes podem ser encaradas como um constructo multifacetado e complexo, no qual assume centralidade o conhecimento, associado à valorização da leitura em contexto escolar, sendo relegada para segundo plano uma dimensão mais afetiva da leitura. Tais representações seriam influenciadas por múltiplos fatores. No que respeita à motivação para a leitura, tais fatores incluiriam o género, o estatuto sociocultural, as práticas de literacia familiar e académica, os hábitos de leitura, o gosto pela leitura e preferências de leitura. O desempenho em compreensão na leitura, de caráter multidimensional, seria influenciado pelas estratégias que os estudantes mobilizariam durante a leitura, pela sua atitude de persistência quando confrontados com dificuldades e pela facilidade com que leriam com fins informativos, académicos e recreativos. Concluímos igualmente que tais representações sobre a leitura se repercutiriam nas práticas educativas futuras dos estudantes relacionadas com a motivação para a leitura e com o desenvolvimento da compreensão na leitura. A intervenção didática realizada teria concorrido para os dotar de algumas competências didáticas relacionadas com o ensino explícito da compreensão na leitura e fazer evoluir as representações, contribuindo também para algumas alterações ao seu perfil de leitor, em termos de motivação e de desempenho. Inferimos que tal evolução se repercutiu no modo como encaravam as suas futuras práticas educativas, no que se referia à competência didática para a motivação para a leitura e desenvolvimento de competências em compreensão na leitura no seu futuro público. Da investigação realizada decorrem algumas sugestões pedagógicodidáticas com vista a contribuir para o aprofundamento das representações sobre a leitura dos estudantes futuros profissionais da Educação e sua influência em práticas educativas.

BET on Top Hat: challenges to improve language proficiency

Within the business context, communication and interaction tends to be considerably rooted in the use of English (as lingua franca), as well as in ICT use. Thus, professionals have to be able to speak the English language, resorting to specific, internationally recognised terminology and be proficient in the use of manifold ICT tools. In fact, the tendency is for the great majority of higher education (HE) students to own mobile devices (laptops, smartphones and/or tablets) and use them to access information and communicate/interact with content and other people. Bearing this in mind, a teaching and learning strategy was designed, in which m-learning (i.e. learning in which the delivery platform is a mobile device) was used to approach Business English Terminology (BET). The strategy was labelled as ‘BET on Top Hat’, once the selected application was Top Hat (https://tophat.com/) and the idea was for students to face it as if it were a game/challenge. In this scenario, the main goals of this exploratory study were to find evidence as to: i) the utility of m-learning activities for learning BET and ii) if and how m-learning activities can generate intrinsic motivation in students to learn BET. Participants (n=23) were enrolled in English II, a curricular unit of the 1st cycle degree in Retail Management offered at Águeda School of Technology and Management – University of Aveiro (2014/15 edition). The data gathered included the students’ results in quizzes and their answers to a short final evaluation questionnaire regarding their experience with BET on Top Hat. Consequently, data were treated and analysed resorting to descriptive statistical analysis, and, when considered pertinent, the teacher’s observation notes were also considered. The results unveil that, on the one hand, the strategy had a clear positive impact on the students’ intrinsic motivation and, on the other hand, the students’ performance as to BET use tended to improve over time.

Disortografia: um modelo de intervenção

Dissertação apresentada à Escola Superior de Educação de Paula Frassinetti por Benedita Cerqueira Magro Coimbra

The role of games in the development of oral skills in Teaching english as a foreign language to adult learners from An extension course at Universidad del Valle [recurso electr?nico]

This research arose from the notorious need to promote oral production in the adult learners of the English Extension courses at Universidad del Valle in 2014. This qualitative research was carried out in a 60 hour course divided along 15 sessions on Saturdays, and with an adult population between the ages of 22 and 65 years old. Its main objective was to describe the impact of games aimed at promoting oral production in English with a group of adult learners. Data were collected from one demographic survey, video-recordings of classroom events during the implementation of games, students? surveys after each game and a teacher?s journal. The analysis of data showed that games did have an impact in students? performance which was related to a positive atmosphere in the classroom. Students showed progress in terms of fluency, interaction and even pronunciation; however they still showed difficulties with accuracy in their spontaneous utterances. These learners? achievements seemed to have a relation with the class atmosphere during games where students showed high level of involvement, confidence, mutual support and enjoyment.

Investigating problem-based learning in Saudi Arabian mathematics education: a TIMSS-related study

The aim of this study is to investigate the effectiveness of problem-based learning (PBL) on students’ mathematical performance. This includes mathematics achievement and students’ attitudes towards mathematics for third and eighth grade students in Saudi Arabia. Mathematics achievement includes, knowing, applying, and reasoning domains, while students’ attitudes towards mathematics covers, ‘Like learning mathematics’, ‘value mathematics’, and ‘a confidence to learn mathematics’. This study goes deeper to examine the interaction of a PBL teaching strategy, with trained face-to-face and self-directed learning teachers, on students’ performance (mathematics achievement and attitudes towards mathematics). It also examines the interaction between different ability levels of students (high and low levels) with a PBL teaching strategy (with trained face-to-face or self-directed learning teachers) on students’ performance. It draws upon findings and techniques of the TIMSS international benchmarking studies. Mixed methods are used to analyse the quasi-experimental study data. One -way ANOVA, Mixed ANOVA, and paired t-tests models are used to analyse quantitative data, while a semi-structured interview with teachers, and author’s observations are used to enrich understanding of PBL and mathematical performance. The findings show that the PBL teaching strategy significantly improves students’ knowledge application, and is better than the traditional teaching methods among third grade students. This improvement, however, occurred only with the trained face-to-face teacher’s group. Furthermore, there is robust evidence that using a PBL teaching strategy could raise significantly students’ liking of learning mathematics, and confidence to learn mathematics, more than traditional teaching methods among third grade students. Howe ver, there was no evidence that PBL could improve students’ performance (mathematics achievement and attitudes towards mathematics), more than traditional teaching methods, among eighth grade students. In 8th grade, the findings for low achieving students show significant improvement compared to high achieving students, whether PBL is applied or not. However, for 3th grade students, no significant difference in mathematical achievement between high and low achieving students was found. The results were not expected for high achieving students and this is also discussed. The implications of these findings for mathematics education in Saudi Arabia are considered.

A multi-perspective approach to performance anxiety in music students

AbstractPerforming publicly has become increasingly important in a variety of professions. This condition is associated with performance anxiety in almost all performers. Whereas some performers successfully cope with this anxiety, for others it represents a major problem and even threatens their career. Musicians and especially music students were shown to be particularly affected by performance anxiety.Therefore, the goal of this PhD thesis was to gain a better understanding of performance anxiety in university music students. More precisely, the first part of this thesis aimed at increasing knowledge on the occurrence, the experience, and the management of performance anxiety (Article 1). The second part aimed at investigating the hypothesis that there is an underlying hyperventilation problem in musicians with a high level of anxiety before a performance. This hypothesis was addressed in two ways: firstly, by investigating the association between the negative affective dimension of music performance anxiety (MPA) and self-perceived physiological symptoms that are known to co-occur with hyperventilation (Article 2) and secondly, by analyzing this association on the physiological level before a private (audience-free) and a public performance (Article 3). Article 4 places some key variables of Article 3 in a larger context by jointly analyzing the phases before, during, and after performing.The main results of the self-report data show (a) that stage fright is experienced as a problem by one-third of the surveyed students, (b) that the students express a considerable need for more help to better cope with it, and (c) that there is a positive association between negative feelings of MPA and the self-reported hyperventilation complaints before performing. This latter finding was confirmed on the physiological level in a tendency of particularly high performance-anxious musicians to hyperventilate. Furthermore, the psycho-physiological activation increased from a private to a public performance, and was higher during the performances than before or after them. The physiological activation was mainly independent of the MPA score. Finally, there was a low response coherence between the actual physiological activation and the self-reports on the instantaneous anxiety, tension, and perceived physiological activation.Given the high proportion of music students who consider stage fright as a problem and given the need for more help to better cope with it, a better understanding of this phenomenon and its inclusion in the educational process is fundamental to prevent future occupational problems. On the physiological level, breathing exercises might be a good means to decrease - but also to increase - the arousal associated with a public performance in order to meet an optimal level of arousal needed for a good performance.

Music performance anxiety among full-time music students

Introduction Music performance anxiety (MPA, often referred to as "stage fright") is one of the leading severe medical problems among musicians. For about 15-25% of musicians MPA is a serious problem. Particularly high levels of MPA are observed among music students. Musical performance can induce negative emotions, including anxiety, which in some individuals can approach extreme levels of terror and take the form of panic attack, impair the quality of the performance, lead to avoidance of performance situations, and consequently have debilitating effects on the career. Coping efforts used by musicians in their attempts to manage MPA, such as sedatives, alcohol, and β-blockers can have deleterious health side-effects. Music ranks high in the cultural and economic life of Switzerland. In ten university music schools, students from all around the world are educated to become professional musicians. Despite the importance of musical education in Switzerland, data concerning the phenomenon of MPA are largely lacking. Goal and Methods The main goal of this research was to survey the occurrence, experience, and management of MPA among full-time music students in French Swiss conservatories. A questionnaire was developed based on the literature and interviews with music students and teachers and distributed to all the students of the conservatories of Fribourg, Geneva, Lausanne, and Neuchâtel in the spring 2007. 194 students (61% women) returned the questionnaire. Results The size of the problem: MPA is a major problem for 1/3 of the students (ranks 3 and 4). The consequences of MPA: 22% and 35% of the students think that they have failed exams and auditions, respectively, because of MPA. Further, 25% of the students have already avoided performing and 11% have interrupted public performances because of MPA. Coping with MPA: 90% of the students have never used alcohol prior to performing, whereas 97% and 81%, respectively, have never used recreation drugs and medication. The majority of students use relaxation exercises, respiratory exercises, and meditation techniques to prepare themselves. About ¾ of the students think that the use of alcohol and recreational drugs to manage MPA is never justified. 53% of the students think that the use of medication is justified on some occasions. Need for information and support: 66% of the students would like to receive more support and help to cope with music performance situations. This support should mainly come from their teachers and specialists. 53% of the students know nothing or little about possible means for the management of MPA. About 50% consider themselves not at all or little informed about the possible risks associated with the consumption of alcohol, recreational drugs, and medication for the management of performance situations. 89% would like to know more about MPA and 94% think that this topic should be discussed much more in their musical education at the conservatory. Conclusions The results of this survey indicate that MPA is a major problem for 1/3 of the students with serious consequences on their career. There is a huge need for more information and support on how to manage the stress due to performance situations. The use of alcohol, recreational drugs, and medication is modest but the students are poorly informed about possible side-effects of these coping strategies. It seems clear that more should be done in the French Swiss conservatories about music performance anxiety to inform, educate, and prepare the students for their future professional career.

Hyperventilation complaints in music performance anxiety among classical music students.

Objective: Despite the importance of respiration and hyperventilation in anxiety disorders, research on breathing disturbances associated with hyperventilation is rare in the field of music performance anxiety (MPA, also known as stage fright). The only comparable study in this area reported a positive correlation between negative feelings of MPA and hyperventilation complaints during performance. The goals of this study were (a) to extend these previous findings to the period before performance, (b) to test whether a positive correlation also exists between hyperventilation complaints and the experience of stage fright as a problem, (c) to investigate instrument-specific symptom reporting, and (d) to confirm gender differences in negative feelings of MPA and hyperventilation complaints reported in other studies. Methods: We assessed 169 university students of classical music with a questionnaire comprising: the State-Trait Anxiety Inventory for negative feelings of MPA, the Nijmegen Questionnaire for hyperventilation complaints, and a single item for the experience of stage fright as a problem. Results: We found a significant positive correlation between hyperventilation complaints and negative feelings of MPA before performance and a significant positive correlation between hyperventilation complaints and the experience of stage fright as a problem. Wind musicians/singers reported a significantly higher frequency of respiratory symptoms than other musicians. Furthermore, women scored significantly higher on hyperventilation complaints and negative feelings of MPA. Conclusion: These results further the findings of previous reports by suggesting that breathing disturbances associated with hyperventilation may play a role in MPA prior to going on stage. Experimental studies are needed to confirm whether hyperventilation complaints associated with negative feelings of MPA manifest themselves at the physiological level. (C) 2010 Elsevier Inc. All rights reserved.

An ASsessment of Relationship between Students' Perception of Social Studies and their Academic Performance in Colleges of Education in Kaduna State

The objective of this study was to find out the relationship between students’ perception of Social Studies and their academic performance in the subject in Colleges of Education in Kaduna State. The respondents of the study comprised NCE 2 and NCE 3 students of Social Studies at the Federal College of Education in Zaria and the Kaduna State College of Education in Gidan Waya. The data for the study was collected using a questionnaire with reliability coefficient of 0.87. The Pearson’s Product Moment Correlation Coefficient was used to test the hypotheses formulated for the study. The hypotheses were tested at 0.05 level of significance with df = 232. The findings were as follows: 1. The Social Studies students in colleges of education in Kaduna State do not record high academic performance in the subject. 2. Students’ perception of the Social Studies curriculum does affect their academic performance in the subject 3. Students’ perception of relevance of Social Studies education has no bearing on their academic performance in the subject. 4. Students’ perception of public attitude towards Social Studies has no impact on their academic performance in the subject. 5. Students’ general perception of Social Studies does not affect their academic performance in the subject. Based on these findings the following recommendations were proffered for Social Studies researchers and policy makers. a. There is need for further research in order to determine the actual cause of students’ failure to display high performance in Social Studies. b. The NCE Social Studies curriculum should be reviewed in terms of volume and difficulty.

The importance of relative performance feedback information: Evidence from a natural experiment using high school students

We study the effect of providing relative performance feedback information onperformance, when individuals are rewarded according to their absolute performance. Anatural experiment that took place in a high school offers an unusual opportunity to testthis effect in a real-effort setting. For one year only, students received information thatallowed them to know whether they were performing above (below) the class average aswell as the distance from this average. We exploit a rich panel data set and find that theprovision of this information led to an increase of 5% in students grades. Moreover, theeffect was significant for the whole distribution. However, once the information wasremoved, the effect disappeared. To rule out the concern that the effect may beartificially driven by teachers within the school, we verify our results using nationallevel exams (externally graded) for the same students, and the effect remains.

Cardio respiratory activity in high-anxious vs. low-anxious professional music students before and during performance

Questionnaire studies indicate that high-anxious musicians may suffer from hyperventilation symptoms before and/or during performance. Reported symptoms include amongst others shortness of breath, fast or deep breathing, dizziness and thumping heart. However, no study has yet tested if these self-reported symptoms reflect actual cardio respiratory changes. Disturbances in breathing patterns and hyperventilation may contribute to the often observed poorer performance of anxious musicians under stressful performance situations. The main goal of this study is to determine if music performance anxiety is manifest physiologically in specific correlates of cardio respiratory activity. We studied 74 professional music students divided into two groups (i.e. high-anxious and lowanxious) based on their self-reported performance anxiety in three distinct situations: baseline, private performance (without audience), public performance (with audience). We measured a) breathing patterns, end-tidal carbon dioxide (EtCO2, a good non-invasive estimator for hyperventilation), ECG and b) self-perceived emotions and self-perceived physiological activation. The poster will concentrate on the preliminary results of this study. The focus will be a) on differences between high-anxious and low-anxious musicians regarding breaths per minute and heart rate and b) on the response coherence between self-perceived palpitations and actual heart rate.

Psychophysiological activation during preparation, performance, and recovery in high- and low-anxious music students

The present study provides a comprehensive view of (a) the time dynamics of the psychophysiological responding in performing music students (n = 66) before, during, and after a private and a public performance and (b) the moderating effect of music performance anxiety (MPA). Heart rate (HR), minute ventilation (VE), and all affective and somatic self-report variables increased in the public session compared to the private session. Furthermore, the activation of all variables was stronger during the performances than before or after. Differences between phases were larger in the public than in the private session for HR, VE, total breath duration, anxiety, and trembling. Furthermore, while higher MPA scores were associated with higher scores and with larger changes between sessions and phases for self-reports, this association was less coherent for physiological variables. Finally, self-reported intra-individual performance improvements or deteriorations were not associated with MPA. This study makes a novel contribution by showing how the presence of an audience influences low- and high-anxious musicians' psychophysiological responding before, during and after performing. Overall, the findings are more consistent with models of anxiety that emphasize the importance of cognitive rather than physiological factors in MPA.

Performance anxiety : cardiorespiratory activity in high- and low-anxious professional music students in a performance situation

Questionnaire studies indicate that high-anxious musicians may suffer from hyperventilation symptoms before and/or during performance. Reported symptoms include amongst others shortness of breath, fast or deep breathing, dizziness and thumping heart. A self-report study by Widmer, Conway, Cohen and Davies (1997) shows that up to seventy percent of the tested highly anxious musicians are hyperventilators during performance. However, no study has yet tested if these self-reported symptoms reflect actual cardiorespiratory changes just before and during performance. Disturbances in breathing patterns and hyperventilation may negatively affect the performance quality in stressful performance situations. The main goal of this study is to determine if music performance anxiety is manifest physiologically in specific correlates of cardiorespiratory activity. We studied 74 professional music students of Swiss Music Universities divided into two groups (high- and lowanxious) based on their self-reported performance anxiety (State-Trait Anxiety Inventory by Spielberger). The students were tested in three distinct situations: baseline, performance without audience, performance with audience. We measured a) breathing patterns, end-tidal carbon dioxide, which is a good non-invasive estimator for hyperventilation, and cardiac activation and b) self-perceived emotions and self-perceived physiological activation. Analyses of heart rate, respiratory rate, self-perceived palpitations, self-perceived shortness of breath and self-perceived anxiety for the 15 most and the 15 least anxious musicians show that high-anxious and low-anxious music students have a comparable physiological activation during the different measurement periods. However, highanxious music students feel significantly more anxious and perceive significantly stronger palpitations and significantly stronger shortness of breath just before and during a public performance. The results indicate that low- and high-anxious music students a) do not differ in the considered physiological responses and b) differ in the considered self-perceived physiological symptoms and the selfreported anxiety before and/or during a public performance.

Aufftrittsangst : kardiorespiratorische Aktivität bei ängstlichen und nichtängstlichen Musikstudenten in einer Auftrittssituation = Performance anxiety : cardiorespiratory activity in high- and low-anxious professional music students in a performance situation

Fragebogenstudien haben gezeigt, dass ängstliche Musiker vor und/oder während eines Auftritts möglicherweise unter Hyperventilationssymptomen leiden. Berichtete Symptome beinhalten Kurzatmigkeit, schnelles oder tiefes Einatmen, Schwindelgefühl und Herzklopfen. Bisher hat jedoch noch keine Studie getestet, ob diese selbstberichteten Symptome tatsächlich kardiorespiratorische Veränderungen widerspiegeln. Das Hauptziel dieser Studie ist es, zu bestimmen, ob sich Auftrittsangst bei Musikern physiologisch über kardiorespiratorische Muster äußert. Wir haben insgesamt 74 Musikstudenten von Schweizer Musikhochschulen getestet. Diese Studenten wurden aufgrund ihrer selbstberichteten Auftrittsangst (STAI-S) in zwei Gruppen unterteilt: ängstliche Musiker und nichtängstliche Musiker. Die Studenten wurden in drei unterschiedlichen Situationen getestet: Ausgangszustand, Auftritt ohne Publikum, Auftritt mit Publikum. Wir haben folgende Parameter gemessen: a) kardiorespiratorische Muster und endexpiratorisches CO2, welches eine gute nichtinvasive Schätzung des Hyperventilationsgrades liefert und b) subjektiv wahrgenommene Emotionen und subjektiv wahrgenommene physiologische Aktivität. Das Poster zeigt die ersten Resultate der 15 ängstlichsten und der 15 am wenigsten ängstlichen Musiker. Das Hauptinteresse gilt den folgenden Punkten: Herz- und Atemfrequenz, subjektiv wahrgenommenes Herzklopfen, subjektiv wahrgenommene Kurzatmigkeit und subjektiv wahrgenommenes Angstgefühl. Die Resultate dieser Studie zeigen erstens, dass ängstliche und nichtängstliche Musikstudenten zu den verschiedenen Messzeitpunkten eine vergleichbare physiologische Aktivität aufweisen und zweitens, dass ängstliche Musikstudenten ein signifikant höheres Angstgefühl haben und signifikant mehr Herzklopfen und Kurzatmigkeit wahrnehmen vor und/oder während eines Auftritts mit Publikum. Dies deutet darauf hin, dass sich ängstliche und nichtängstliche Musikstudenten a) bezüglich der subjektiv wahrgenommenen physiologischen Symptome und des selbst berichteten Angstgefühls vor und/oder während eines öffentlichen Auftritts unterscheiden und sich b) bezüglich der untersuchten physiologischen Reaktionen nicht unterscheiden.