F. Lã, Mauro B. Fiuza, A. M. Ramírez, Diego Ardura
{"title":"Development and validation of the Singing Voice Function Self-Efficacy Scale (Singing-VoSES)","authors":"F. Lã, Mauro B. Fiuza, A. M. Ramírez, Diego Ardura","doi":"10.1177/03057356231152286","DOIUrl":null,"url":null,"abstract":"This investigation aimed at developing and validating a scale measuring perceived self-efficacy in singing with respect to voice function, the Singing Voice Function Self-Efficacy Scale (Singing-VoSES). Voice experts validated an 18-item scale, subsequently administered online, targeting specifically professional and semi-professional female singers. These inclusion criteria were met by a total of 439 participants. Results of both exploratory and confirmatory factorial analysis suggest that Singing-VoSES is a valid scale, with items grouped into three self-efficacy dimensions: Higher Range and Transitions, Middle Range and Lower Range. Middle Range and Lower Range dimensions were both significantly higher than Higher Range and Transitions. Singing high notes and notes within transitional vocal ranges require a refined neuromotor control of the voice, and thus may be particularly challenging. Comparisons between pre and postmenopausal singers were made, as menopause has been associated with changes in voice function. Significantly lower self-efficacies for Higher Range and Transitions and Middle Range were found in post as compared to premenopausal singers. This result, together with the possible lack of coping strategies, may contribute to negative impacts on singers’ performances and, ultimately, lead to premature retirement from public performances. Thus, monitoring self-efficacy with respect to voice function seems relevant, particularly when assisting singers experiencing menopause-related voice difficulties.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2023-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Psychology of Music","FirstCategoryId":"102","ListUrlMain":"https://doi.org/10.1177/03057356231152286","RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
This investigation aimed at developing and validating a scale measuring perceived self-efficacy in singing with respect to voice function, the Singing Voice Function Self-Efficacy Scale (Singing-VoSES). Voice experts validated an 18-item scale, subsequently administered online, targeting specifically professional and semi-professional female singers. These inclusion criteria were met by a total of 439 participants. Results of both exploratory and confirmatory factorial analysis suggest that Singing-VoSES is a valid scale, with items grouped into three self-efficacy dimensions: Higher Range and Transitions, Middle Range and Lower Range. Middle Range and Lower Range dimensions were both significantly higher than Higher Range and Transitions. Singing high notes and notes within transitional vocal ranges require a refined neuromotor control of the voice, and thus may be particularly challenging. Comparisons between pre and postmenopausal singers were made, as menopause has been associated with changes in voice function. Significantly lower self-efficacies for Higher Range and Transitions and Middle Range were found in post as compared to premenopausal singers. This result, together with the possible lack of coping strategies, may contribute to negative impacts on singers’ performances and, ultimately, lead to premature retirement from public performances. Thus, monitoring self-efficacy with respect to voice function seems relevant, particularly when assisting singers experiencing menopause-related voice difficulties.
期刊介绍:
Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.