Introduction: Nursing students will come across stressful situations during their internships and will continue to do so in future practice. Because of the impact stress can have on performance, nursing students need to be equipped to work and collaborate in such situations. Careful consideration of the needs and desires of nursing students should be taken in account, in order to create a training environment that fosters students' ability to learn to collaborate under stress. Aim: The aim of this study is to identify viewpoints of undergraduate nursing students towards the learning of collaboration in stressful situations, to understand their needs and desires, and to improve educational designs for training to collaborate in stressful situations. Methods: We conducted a Q-methodology study, a mixed methods approach that studies and charts subjectivity, and uses a by-person factor analytical procedure to create profiles of shared viewpoints. The process of our Q-study is based on the following five steps: Q-set development (54 statements), participant selection (n = 29), Q-sorting procedure, data analysis, and factor interpretation. Results: Q-factor analysis resulted in two prevailing factors that answer our research question. Twenty-five students loaded on these two factors, and factor interpretation resulted in Profile 1 “Practice makes perfect, so let's do it” and Profile 2 “Practice is needed, but it scares me”. Whereas Profile 1 regarded learning to collaborate in stress mainly as a challenge, Profile 2 appeared anxious despite feeling the necessity to learn this. An overarching consensus factor revealed the importance of a learning environment in which mistakes can be made. Discussion: The two described profiles align with the biopsychosocial model of challenge and threat, and could help to recognize and address the individual needs of nursing students when learning to collaborate in stressful situations. Incorporating these profiles in training may guide students towards a more challenge-like appraisal of stressful situations.
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Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities (MID) who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly important. In order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID (N = 13) from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive (e.g., music listening) interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research.
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The present study focuses on the level of stress a teacher perceives when dealing with the most behaviorally challenging student in his or her classroom. To measure stress in Dutch elementary classrooms, a sample was drawn of 582 teachers. Two questions concerning this relation between student and teacher will be addressed. First of all, we focus on background variables of teachers and students as sources of variation in explaining the magnitude of challenging student behavior and the associated level of stress teachers experience. The second topic of this paper is to accommodate the potentially stressful relationship between student and teacher in a wider network of surrounding variables, which are, Self-efficacy, Negative affect, Autonomy in taking decisions, and Support amongst colleagues. To evaluate the presence of challenging behavior, the behavior of the student is related to more general variables like student responsibility, class size and ratio of boys to girls. We close our paper by assessing the validity of the studied relationship between teacher and student with respect to possible burnout.
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The present study focuses on the level of stress male and female teachers perceive when dealing with the most behaviorally challenging student in his or her classroom. To measure stress in Dutch elementary classrooms, a sample was drawn of 582 teachers. First, they rated the most challenging student in their classroom on six different behavioral components: Against the grain, Full of activity/Easily distractible, Needs a lot of attention/Week student, Easily upset, Failuresyndrome/Excessively perfectionist, and Aggressive/Hostile. Teachers then scored perceived stress as a result of this challenging behavior. Two questions concerning gender relations in class rooms will be addressed. Do female and male teachers select the same type of behaviorally challenging students as the most challenging? And: do they perceive the same level of stress? Our data shows that female teachers do indeed report significantly more incidence of challenging behavior, but no evidence is found for differences between stress levels of male and female teachers.
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Music performance anxiety (MPA) is one of the most reported psychological problems among musicians, posing a significant threat to the optimal performance, health, and psychological wellbeing of musicians. Most research on MPA treatment has focused on reducing symptoms of performance anxiety, but complete “cures” are uncommon. A promising addition or alternative that may help musicians enhance their performance under pressure, despite their anxiety, is pressure training (PT). In other high-pressure domains, such as sports and police work, pressure training has been proven effective in reducing choking and enhancing performance quality under pressure. Therefore, the aim of this narrative review is to explore the potential of pressure training in music settings. Specifically, we first provide a theoretical overview of current models explaining performance declines due to anxiety. Second, we discuss the current state of research on the effectiveness and application of pressure training in sports and police work as well as recent developments in pressure training interventions for music settings. While there is a limited number of studies investigating the effectiveness of pressure training on musicians' performance quality, research focusing on musicians' experiences has shown that pressure training can be particularly beneficial for enhancing performance skills, preparing for performances, and managing performance anxiety. Based on the reviewed literature, the final section points out suggestions for future research as well as recommendations for musicians, teachers, and music institutions for practical applications.
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In elite sports, a case is increasingly made for the structural inclusion of what we label as planned disruptions. These are structured and deliberate training activities whereby athletes are exposed to increased and/or changing demands under controlled circumstances. Despite the growing body of evidence in support of planned disruptions (Sarkar & Fletcher, 2017), there is a lack of knowledge on which strategies coaches use in an applied context and why they use them. The present study, therefore, aimed at exploring the different types of planned disruptions high-performance coaches use and the desired outcomes of these disruptions. To this end, thematic analysis (Braun, Clarke, & Weate, 2016) was used to analyze semistructured interviews with 9 talent development and elite-level coaches (M age = 42.9, SD = 8.3; 6 male, 3 female). Results indicated that coaches use a combination of 9 types of planned disruptions (i.e., location, competition simulation, punishments and rewards, physical strain, stronger competition, distractions, unfairness, restrictions, and outside the box). These strategies were used to familiarize athletes to pressure, create awareness, develop or refine personal resources, and promote team processes. Three additional themes emerged, namely, the surprise use of planned disruptions, periodization, and the impact on personal relationships. The findings in the present study can guide further applied and theoretical explorations of the use of planned disruptions.
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In this study self-reported stress and burn-out levels between general and special education teachers in the Netherlands are compared. More than eight hundred teachers were assessed with the Utrechtse Burnout Schaal (UBOS-L/MBI) to determine their levels of emotional exhaustion, depersonalization, and personal accomplishment within the school context. We also used instruments to measure different stress indicators (personal characteristics: self-efficacy, negative affect, and student characteristics: student responsibility and discipline, studentpeer relationships, and class size). Contrary to recent findings in the United States (Shoho, 2002), results regarding burnout did not show any significant differences between general education teachers (n=604) and special education teachers (n=206). However, we do find significant differences in stress indicators explaining burnout. We also looked for factors other than those intrinsic to teaching, by crossnationally comparing teacher stress and burnout. Teachers in the U.S. and the Netherlands differ significantly in burnout level. U.S. teachers experience more burnout.
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Imagery Rehearsal Therapy (IRT) is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy (AT) is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy (IR-AT). The added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research.
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In recent years, numerous environmental psychology studies have demonstrated that contact with nature as opposed to urban settings can improve an individual’s mood, can lead to increased levels of vitality, and can offer an opportunity to recover from stress. According to Attention Restoration Theory (ART) the restorative potential of natural environments is situated in the fact that nature can replenish depleted attentional resources. This replenishment takes place, in part, because nature is deemed to be a source of fascination, with fascination being described as having an ‘‘attentional’’, an‘‘affective’’ and an ‘‘effort’’ dimension. However, the claim that fascination with nature involves these three dimensions is to a large extent based on intuition or derived from introspection-based measurement methods, such as self-reports. In three studies, we aimed to more objectively assess whether these three dimensions indeed applied to experiences related to natural environments, before any (attentional) depletion has taken place. The instruments that were used were: (a) the affect misattribution procedure (Study 1), (b) the dot probe paradigm (Study 2) and (c) a cognitively effortful task (Study 3).These instrument were respectively aimed at verifying the affective, attentional and effort dimension of fascination. Overall, the results provide objective evidence for the claims made within the ART framework, that natural as opposed to urban settings are affectively positive (cfr., affective dimension) and that people have an attentional bias to natural (rather than urban) environments (cfr., attentional dimension). The results regarding the effort dimension are less straightforward, and suggest that this dimension only becomes important in sufficiently difficult cognitive tasks.
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Stage fright among musicians and music students is a severe problem, and a problem moreover that is not easily talked about. This researchreport is a reflection of the project Peak Performance & Reducing Stage Fright, in which six students of the Prince Claus Conservatoire got the opportunity to take the HeartMath training. A training developed by de GGZ Heerenveen. The research, which is described in this report, was aimed at the usefulness of this training for professional music students.
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