Musical Performance, Neuromodulation, Performance Anxiety
Conditions
Keywords
tDCS, Transcranial Direct Current Stimulation, Music Performance, Motor Control, Self-Efficacy, Anxiety
Brief summary
The goal of this clinical trial is to learn if transcranial direct current stimulation (tDCS) can improve the technical, expressive, and stage aspects of musical performance in young orchestra musicians aged 18 to 30 years. The main questions it aims to answer are: * Does active tDCS improve musical performance compared to sham stimulation? * Does active tDCS reduce music performance anxiety and increase musical self-efficacy? Researchers will compare the active tDCS group to the sham stimulation group to see if active stimulation has positive effects on musical performance and psychological factors. Participants will: * Receive either active or sham tDCS stimulation * Perform a musical piece before and after stimulation * Complete questionnaires about anxiety and musical self-confidence
Detailed description
This randomized pilot study aims to investigate the acute effects of transcranial direct current stimulation (tDCS) on the technical, expressive, and stage aspects of musical performance in young orchestra instrumentalists. A total of 24 musicians, aged 18 to 30 years, with at least three years of orchestral experience, will be randomly assigned to either an active tDCS group or a sham stimulation group. The stimulation will target the supplementary motor area (SMA) using a 2.0 mA anodal current for 30 minutes, with the cathode placed over Fp2. The sham group will undergo the same electrode placement, but the current will be turned off after 30 seconds. The study will adopt a double-blind design, where neither participants, care providers, investigators, nor outcome assessors will know the group allocations. Each participant will perform a standardized musical piece before and after the intervention, and after a 2-hour interval post-intervention. Performances will be recorded and evaluated by independent expert judges using the Rubric for the Assessment of Music Performance Achievement. Psychometric evaluations will be conducted using the Mazzarolo Music Performance Anxiety Scale (M-MPAS) and the General Musical Self-Efficacy Scale. Self-assessments of performance and sensations during stimulation will also be collected. Data analysis will compare changes in musical performance, anxiety, and self-efficacy between groups. This study seeks to provide preliminary evidence on the potential of tDCS to enhance musical performance and psychological factors such as performance anxiety and self-confidence among young musicians. Safety and feasibility of the intervention will also be monitored throughout the study.
Interventions
DEVICEActive transcranial direct current stimulation (tDCS)
2.0 mA anodal stimulation applied over FCz with cathode over Fp2 for 30 minutes using a transcranial direct current stimulation device.
DEVICESham transcranial direct current stimulation (tDCS)
Sham stimulation mimicking the sensations of tDCS; the current will be turned off after 30 seconds while maintaining electrode placement over FCz and Fp2.
Sponsors
Centro Universitário Augusto Motta
Study design
Allocation
RANDOMIZED
Intervention model
PARALLEL
Primary purpose
TREATMENT
Masking
TRIPLE (Subject, Investigator, Outcomes Assessor)
Masking description
Participants, investigators, and outcome assessors will be blinded to group assignment until the end of data collection.
Intervention model description
Participants will be randomly assigned to either an active tDCS group or a sham stimulation group.
Eligibility
Sex/Gender
ALL
Age
18 Years to 30 Years
Healthy volunteers
Yes
Inclusion criteria
* Musicians aged 18 to 30 years. * Minimum of 3 years of orchestral performance experience. * Active participation in a stable orchestra or ensemble. * No history of neurological or psychiatric disorders. * Not currently using psychotropic medications or recreational drugs. * Willingness to participate in all study sessions. * Signed informed consent form.
Exclusion criteria
* Presence of metallic implants in the head (e.g., cranial pins, aneurysm clips). * Presence of implanted electronic devices (e.g., pacemaker). * History of epilepsy or seizures. * Prior experience with transcranial direct current stimulation (tDCS). * Scalp dermatitis or lesions at the electrode placement sites. * Pregnancy.
Design outcomes
Primary
| Measure | Time frame | Description |
|---|---|---|
| Change in Musical Performance Scores (Rubric for the Assessment of Music Performance Achievement) | Baseline, immediately after intervention, and 2 hours after intervention | Musical performance will be evaluated by independent expert judges using a standardized rubric assessing technical, expressive, and stage presence aspects. |
Secondary
| Measure | Time frame | Description |
|---|---|---|
| Change in Self-Reported Musical Performance Score (0-10 scale) | Baseline, immediately after intervention, and 2 hours after intervention | Participants will self-rate the quality of their musical performance on a 0 (worst) to 10 (best) scale after each recording session. |
| Music Performance Anxiety (Mazzarolo Music Performance Anxiety Scale - M-MPAS) | Baseline | Participants' levels of music performance anxiety will be assessed using the Mazzarolo Music Performance Anxiety Scale (M-MPAS), a validated 5-item instrument designed to measure cognitive, somatic, and behavioral symptoms of performance anxiety in musicians. Each item is rated on a 7-point Likert scale (0-6), with a total score range from 0 to 30 points. Higher scores indicate greater levels of anxiety, with scores ≥11 suggesting a tendency toward elevated performance anxiety. |
| Musical Self-Efficacy (General Musical Self-Efficacy Scale) | Baseline | Musical self-efficacy will be assessed using the performance subscale of the General Musical Self-Efficacy Scale, composed of 11 items rated on a 7-point Likert scale ranging from 1 ("Strongly disagree") to 7 ("Strongly agree"). The total score ranges from 11 to 77, with higher scores indicating greater self-efficacy in musical performance contexts. |
| Perception of Intervention Received (Active or Sham) | Immediately after intervention | Participants will report whether they believe they received active stimulation or sham stimulation, to assess effectiveness of blinding. |
Countries
Brazil
Contacts
PRINCIPAL_INVESTIGATORRicardo Galhardoni, Ph.D
Neuromodulação em Foco
STUDY_CHAIRRenato Santos de Almeida, Ph.D
Centro Universitário Augusto Motta
PRINCIPAL_INVESTIGATORDébora Cristina Lima da Silva, Ph.D
Centro Universitário Augusto Motta
Outcome results
None listed