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        <title>Frontiers in Psychology | Performance Science section | New and Recent Articles</title>
        <link>https://www.frontiersin.org/journals/psychology/sections/performance-science</link>
        <description>RSS Feed for Performance Science section in the Frontiers in Psychology journal | New and Recent Articles</description>
        <language>en-us</language>
        <generator>Frontiers Feed Generator,version:1</generator>
        <pubDate>2026-05-13T16:41:50.213+00:00</pubDate>
        <ttl>60</ttl>
        <item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1814502</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1814502</link>
        <title><![CDATA[The role of relative age effects in generic motor skill diagnostics using the German motor test (6–18): diagnostic outcomes and recruitment of 9–10-year-old children to sports schools in Germany]]></title>
        <pubdate>2026-05-08T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Isabel Stolz</author><author>Tabea Bokeloh</author><author>Chiara Feldhaus</author><author>Klaus Bös</author>
        <description><![CDATA[IntroductionGeneric motor skill diagnostics are widely applied in early talent identification alongside anthropometric and sport-specific performance measures. However, talent selection processes in youth sports are frequently influenced by relative age effects (RAEs), which are closely linked to diagnostic procedures and recruitment practices.MethodsThis retrospective analysis examined associations between calendar age and motor performance in a large cohort of German fourth-grade schoolchildren (N = 19,179; aged 9–10 years). All participants completed the German Motor Test 6–18 (GMT 6–18) between 2008 and 2022 as part of the diagnostic process for recommendations to North Rhine-Westphalia (NRW) Sports Schools, a combined school and competitive sport system. Motor performance differences were analyzed using analyses of variance, reporting F-values, p-values, and effect sizes (η2). Furthermore, generalized linear models (GENLIN) were applied to examine associations while accounting for covariates and to support the robustness of the findings. Recommendation and admission rates were assessed using Pearson's chi-square tests, Cramer's V, corresponding p-values and a logistic regression analysis.ResultsThe results indicate that the magnitude of RAEs in this sport-unspecific, generic motor skill assessment was comparatively low within the 9–10-year-old age group. While statistically significant differences between age groups were observed, effect sizes were consistently small, suggesting limited practical relevance. Overall, the results indicate that raw values should be considered in addition to effect sizes for an appropriate interpretation of age-related differences.Discussion/ConclusionThe gained findings show few meaningful differences in motor performance between age groups, but a practically relevant RAE can be negated. Conclusively, suggestions are given as to how the RAE could be countered in diagnostics to further reduce potential RAEs in talent diagnostics, including refined analytical approaches and mathematical adjustments.]]></description>
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        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1815293</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1815293</link>
        <title><![CDATA[The social hierarchies and intra-group dynamics of symphony orchestras: a psychological perspective on ensemble cohesion]]></title>
        <pubdate>2026-05-08T00:00:00Z</pubdate>
        <category>Mini Review</category>
        <author>Ruiqi Pang</author><author>Qiuyan Wei</author>
        <description><![CDATA[Symphony orchestras require highly precise coordination under time pressure and can be analyzed through a high-reliability organizing lens, insofar as larger uncorrected disruptions in timing, balance, or entry may cascade into salient artistic breakdowns. Yet aural cohesion is produced within a stratified system involving conductors, principals, and section players, which can create subgroup boundaries and social fragmentation. This Mini Review integrates identity-based and job-demands–resources perspectives to explain how hierarchical control, evaluative exposure, perfectionistic norms, and role ambiguity increase burnout risk when autonomy, voice, fairness, and psychological safety are constrained. We propose the Orchestral Dynamics Moderation Model, in which shared leadership and high social identity clarity buffer the pathway from hierarchical stressors to burnout and performance variability, and we identify bullying and mobbing as an under measured structural risk. We conclude by outlining priorities for longitudinal, multimethod, and cross-cultural research, including naturalistic psychophysiology such as HRV and cortisol and intervention trials.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1820643</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1820643</link>
        <title><![CDATA[Hearing movement, seeing sound: multimodal predictive coding in pianist-dancer interaction]]></title>
        <pubdate>2026-05-08T00:00:00Z</pubdate>
        <category>Mini Review</category>
        <author>Xinyu Cao</author><author>Xinlei Shi</author>
        <description><![CDATA[Live piano accompaniment for dance poses a “zero-latency paradox”: performers achieve near-simultaneous audiovisual alignment despite sensory and integration delays that should make purely reactive control too slow. This review argues that pianist–dancer coordination can be usefully framed as bidirectional inference under cross-modal predictive coding, supported by converging behavioral, kinematic, and neurophysiological evidence. Motion-capture and time-series studies suggest that pianists can use dancers' preparatory kinematics, such as trajectory shifts and acceleration changes, to shorten the prediction window for timing and dynamics, while neuroimaging and EEG findings indicate action–perception coupling consistent with internal simulation of action–sound mappings (“seeing sound”). Sensorimotor synchronization paradigms show that micro-timing perturbations in auditory beats elicit rapid, asymmetric phase correction in stepping and tapping, consistent with predictive control in dancers (“hearing movement”), and autonomic measures further suggest that musical tension can modulate arousal before overt movement changes. Integrating coupled-oscillator modeling and EEG hyperscanning, we highlight quantifiable bidirectional adaptation and converging evidence that coordination is dynamically co-regulated rather than purely reactive or unidirectional. Taken together, the reviewed literature supports a neurally informed account of closed-loop dyadic coordination while also underscoring the need for more direct evidence from pianist–dancer interaction itself.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1763814</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1763814</link>
        <title><![CDATA[Music-related background and experience as correlates of music performance anxiety among Japanese musicians]]></title>
        <pubdate>2026-05-08T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Sakie Takagi</author><author>Akihiko Murai</author><author>Michiko Yoshie</author>
        <description><![CDATA[Prior music performance anxiety (MPA) studies have predominantly sampled university music students. Although MPA is recognized as a global concern, evidence from Asia remains limited. To address these gaps, this study examined associations between MPA and individual attributes in a large and diverse sample of Japanese musicians aged 19–64 years across a range of musical backgrounds. We analyzed data from 390 participants who completed an online questionnaire including the Kenny Music Performance Anxiety Inventory-Revised and the Performance Anxiety Questionnaire, capturing both general dispositional aspects of MPA and performance-situation anxiety. Participants comprised 194 professional musicians and 196 amateur musicians. Multiple regression analyses were conducted to examine associations between participant attributes and MPA measures. Attendance at a music-specialized school was positively associated with MPA, whereas greater lifetime public performance experience was negatively associated with MPA. These findings suggest that the educational environment and accumulated performance experience may shape the development of MPA and should inform future research aimed at clarifying underlying mechanisms as well as the design of targeted interventions.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1821294</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1821294</link>
        <title><![CDATA[The psychological characteristics behind talented soccer players: a systematic review with meta-analysis]]></title>
        <pubdate>2026-05-06T00:00:00Z</pubdate>
        <category>Systematic Review</category>
        <author>Filipe Casanova</author><author>José Afonso</author><author>Alberto Pompeo</author><author>José Vilaça-Alves</author><author>Nuno Domingos Garrido</author><author>Everton Luis Rodrigues Cirillo</author><author>Rodrigo Ramirez-Campillo</author><author>Pedro Silva</author><author>André Barreiros</author>
        <description><![CDATA[Soccer performance depends on a long-term process, with the psychological characteristics of young talented players being influential. This meta-analytic review synthesizes research that examined the psychological factors associated with talented soccer players, providing guidance for future studies. This study asked whether psychological factors are associated with future talent-like performance in young football players. We identified 4,015 records by searching PubMed, Scopus, and Web of Science. Of the 1,511 records screened, only 12 studies were included, as they were designed to be longitudinal and covered 3,748 players across recreational to elite levels. Risk of bias was assessed using the Risk of Bias Assessment Tool for Nonrandomized Studies, and certainty of evidence was judged with the GRADE framework. The findings suggest that greater values of achievement motive correlated positively with future talent-like performance; however, the pooled effect size was merely trivial (g = 0.198, 95% CI: 0.003–0.378) and heterogeneity was large (I2 = 78.5%), likely reflecting differences in measurement tools, sample characteristics, and performance indicators. No other psychological construct could be meta-analysed due to insufficient and heterogeneous data, and overall certainty of evidence for all outcomes was rated very low. Other psychological characteristics such as mental toughness, grit, and resilience may play a functional role in talent development, but their isolated prognostic value for future performance appears small, inconsistent, and highly sensitive to methodological choices. In the future psychological factors should therefore not be used as standalone criteria for talent selection or deselection, but rather integrated within multidimensional, longitudinal assessment frameworks rather than solely cross-sectional designs, that combine technical, tactical, physical, and contextual information.Systematic review registration: 10.17605/OSF.IO/J4EPT]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1812481</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1812481</link>
        <title><![CDATA[Shared variance in creative self-beliefs: examining self-compassion and personality traits in creative adolescents and adults]]></title>
        <pubdate>2026-05-04T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Michael P. Diana</author><author>Haiying Long</author><author>Barbara A. Kerr</author><author>Randi C. Gray</author><author>Taylor P. Harris</author>
        <description><![CDATA[IntroductionCreative self-beliefs are shaped by stable personality traits and psychological resources. While the links between the creative personality and creative self-beliefs are established, the role of self-compassion, a promoter of subjective well-being, in shaping creative self-beliefs remains a significant theoretical gap. The goal of this study was to describe the relationships among creative self-beliefs, personality traits, and self-compassion in a sample of creative adolescents and adults.MethodsCreative adolescents and adults were recruited using a purposive sampling procedure in the Midwestern United States. Participants were recruited from a creative career counseling workshop where their creative status was verified through a teacher’s nomination and/or creative accomplishments. A cross-sectional sample of 127 creative adolescents and adults completed self-report measures assessing personality, self-compassion, and creative self-beliefs. Hierarchical linear regression modeled the predictive relationships of these variables, with age group included as a categorical, control variable to account for developmental differences.ResultsCorrelations showed positive relationships between creative self-beliefs and self-compassion. Hierarchical regressions revealed that self-compassion significantly predicted creative self-beliefs in the initial model. Once personality characteristics were included, openness to experience and conscientiousness emerged as the strongest predictors. The results indicate that while self-compassion is associated with creative self-beliefs, it does not account for unique variance beyond that explained by core personality traits.DiscussionThese findings suggest that self-compassion may promote creative self-beliefs by encouraging positive self-perceptions. Although the predictive power of self-compassion overlaps with broader personality traits, identifying both stable and malleable contributors to creativity offers clear targets for psychological and educational interventions across the lifespan. Limitations, implications, and future research directions are discussed.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1835406</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1835406</link>
        <title><![CDATA[Subjective task load and psychological ownership in generative AI collaborative music creation: mechanisms shaping creators’ state sense of agency]]></title>
        <pubdate>2026-05-01T00:00:00Z</pubdate>
        <category>Brief Research Report</category>
        <author>Wenting He</author>
        <description><![CDATA[Generative artificial intelligence (AI) has transitioned into a collaborative creator in music composition, raising concerns about its impact on human creative agency. This study investigates how AI automation levels affect creators’ state sense of agency, examining the serial mediating roles of subjective task load and psychological ownership, and the moderating role of musical expertise. A 3 (AI automation level: low, medium, high) × 2 (musical expertise: novice, expert) between-subjects experiment was conducted (N = 162). Participants completed a music co-creation task using standardized AI generative tools. Results revealed that higher AI automation significantly reduced subjective task load, psychological ownership, and state sense of agency. Furthermore, subjective task load and psychological ownership serially mediated the negative relationship between AI automation and state sense of agency. Musical expertise significantly moderated these effects, with experts experiencing a more pronounced decline in psychological ownership and agency under high automation compared to novices. These findings indicate that while high automation reduces creative effort, it alienates creators from their output by diminishing process involvement and belongingness. Future generative AI systems should balance efficiency with agency preservation to support sustainable human-AI co-creation.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1817616</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1817616</link>
        <title><![CDATA[Clarifying TID and TD in sport: an integrative phase-based framework of talent assessment and promotion]]></title>
        <pubdate>2026-04-29T00:00:00Z</pubdate>
        <category>Conceptual Analysis</category>
        <author>Fabienne Döringer</author><author>Mark Pfeiffer</author>
        <description><![CDATA[Research on Talent Identification (TID), and Talent Development (TD) in sport has produced a diverse body of theoretical frameworks, empirical findings, and practice-oriented models addressing different aspects of long-term athlete development. While these contributions have substantially advanced understanding of talent-related processes, they vary in their conceptual focus, level of analysis, and use of phase terminology. As a result, empirical findings are often difficult to compare systematically and to situate clearly within the overall process. The present paper proposes an integrative, phase-based framework for Talent Identification and Development that aims to support clearer conceptual alignment between assessment and promotion across the pathway from talent detection to talent verification. Drawing on insights from sport science, developmental psychology, and established diagnostic and developmental models, the framework distinguishes five interconnected phases: talent detection, talent orientation, talent identification, talent selection, and talent verification. Across all phases, assessment and promotion are conceptualized as parallel and continuously interacting dimensions rather than as sequential steps. A central feature of the framework is its explicit consideration of the phase-specific meaning of talent and the changing relevance of assessment-related characteristics and promotion priorities over time. The framework emphasizes that predictive validity is inherently phase-dependent and provides a structured basis for situating empirical findings within their appropriate developmental context. Rather than offering prescriptive solutions or new predictors of future performance, the framework integrates existing theoretical, empirical, and practice-oriented approaches into a coherent process structure. The proposed framework has implications for both research and practice. For research, it offers a reference system that supports phase-sensitive interpretation of findings and encourages longitudinal, context-aware, and person-centered approaches to studying talent development. For practice, it provides a conceptual tool for reflecting on the alignment between assessment decisions and promotion structures within talent systems. Overall, the framework seeks to contribute to a more coherent, developmentally informed, and integrative understanding of talent assessment and promotion in sport.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1746761</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1746761</link>
        <title><![CDATA[From concept to proof: developing a neurofeedback-fNIRS protocol to train self-regulation for music performance anxiety in adolescent musicians]]></title>
        <pubdate>2026-04-29T00:00:00Z</pubdate>
        <category>Methods</category>
        <author>Nery Borges</author><author>Pedro Rodrigues Ribeiro</author><author>Sofia Serra</author><author>Lurdes Veríssimo</author><author>Pedro Dias</author><author>Nádia Moura</author><author>Inês Silva</author><author>Isaac Raimundo</author><author>Patrícia Oliveira-Silva</author>
        <description><![CDATA[IntroductionMusic Performance Anxiety (MPA) is a prevalent phenomenon among young musicians, affecting both well-being and artistic performance. Despite its early onset and impact, effective interventions supporting the development of self-regulation of MPA in adolescents remain limited, particularly in relation to neurofeedback-based approaches. In response, this study investigates the feasibility of a Neurofeedback–Functional Near-Infrared Spectroscopy (NFDK-fNIRS) training protocol designed to support this process within a proof-of-concept research framework.MethodsThe protocol alternated MPA induction and regulation within audio-guided sessions conducted in school settings to ensure ecological validity and to integrate top-down control with gradual exposure to performance contexts. The conceptual development and operationalization of the protocol resulted in a theoretical–methodological framework combining gradual exposure, guided imagery, and neurophysiological self-regulation training. This protocol was implemented through standardized auditory scripts and systematic procedures to ensure replicability and experimental coherence. The proof-of-concept implementation was conducted with three female adolescent participants (aged 12–13) across four individual sessions designed to progressively develop physiological self-regulation in response to MPA.ResultsThe procedure demonstrated technical feasibility, hemodynamic signal stability, and participants’ gradual adaptation to the training. fNIRS data revealed increased modulation of the dorsolateral prefrontal cortex, consistent with top-down self-regulatory learning mechanisms. Researchers’ reflective journals emphasized practical aspects such as equipment calibration, session duration, and participant engagement.DiscussionAltogether, the findings indicate that NFDK-fNIRS represents a technically feasible and ecologically applicable approach for training self-regulation of MPA in adolescents, providing a solid foundation for future studies involving larger samples and controlled validation of the protocol.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1773319</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1773319</link>
        <title><![CDATA[An exploratory study to investigate the effects of motor performance and maturation on talent selection in handball]]></title>
        <pubdate>2026-04-28T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Leon Brüning</author><author>Christian Winter</author><author>Fabienne Döringer</author><author>Mark Pfeiffer</author>
        <description><![CDATA[Talent selection, as an important component of talent development, is often examined in the literature using a variable- or person-centered approach in order to better understand which criteria are used in the selection decision. The present study compares the two approaches to investigate the link between motor performance and nomination status in youth. This included both the selection decision at state level (talent selection I) and the nomination for the national team trials (talent selection II). A sample of 331 male (MAge = 12.96 ± 0.19) and 348 female (MAge = 12.92 ± 0.29) handball players completed six motor performance tests (20-m Sprint, Jump and Reach, Shuttle Run, Push-Up Test, Throwing Velocity, Dribbling Test) as part of the state squad selection process. To measure maturation, anthropometric values of the athletes were collected and the Mirwald equation was used (Mirwald et al., 2002). To analyze the link between individual test results (independent variables) and squad nomination (dichotomous dependent variable), a logistic regression model (Nagelkerke′s R2, Odds Ratio) was used, differentiated by gender and squad nomination level (variable-centered). In addition, a cluster analysis (Ward's method, k-means) was performed using the person-centered approach. The relationship between the identified clusters and the nomination of executives was examined (Odds Ratio). Logistic regression showed that throwing performance had a significant influence on talent selection I for both boys and girls (ORBoys = 1.8, p < 0.05; ORGirls = 2.73, p < 0.05). For girls, a significant influence on talent selection II (OR = 1.93, p < 0.05) was also found. Based on the cluster analysis, four clusters were identified for boys and five clusters for girls. Across genders, athletes in one cluster are significantly more likely to be nominated for the State-Squad (ORBoys = 3.71, p < 0.05; ORGirls = 3.67, p < 0.05). This cluster is characterized by above-average performance in all tests. In the case of girls, this link can also be demonstrated in talent selection II (OR = 2.66, p < 0.05). The higher effect sizes of the person-centered approach compared to the variable-centered approach argue in favor of a more holistic view of motor skills in sport in the form of a profile analysis for talent selection.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1767475</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1767475</link>
        <title><![CDATA[When eyes outvote ears: Revisiting Tsay’s Sight-Over-Sound effect in music performance evaluation]]></title>
        <pubdate>2026-04-28T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Kilian Vogt</author><author>Gabriel Gutzmann</author><author>Reinhard Kopiez</author>
        <description><![CDATA[This study replicates Tsay’s Sight-Over-Sound (SOS) effect in music performance evaluation. The original study saw Tsay (2013) present participants with triads of performances originating from music competitions, including the eventual winner. In a three-alternative forced choice (3-AFC) task, participants had to identify the winning player. Participants performed better—to a level beyond that which chance (1/3) could explain—when the triads were presented as video-only, compared to audio-only or audiovisual presentations, suggesting a visual dominance or Sight-Over-Sound effect. The present study aimed to conceptually replicate this effect using excerpts from the semi-final rounds of four international violin competitions. The stimuli were controlled for musical content, camera perspective, and camera movement, and each set included the eventual winner. In an online experiment, 104 participants completed the 3-AFC task for two competitions in the audiovisual condition and for the remaining two competitions in both audio-only and video-only conditions, respectively. Responses were analyzed within a Signal Detection Theory framework. Participants performed above chance in the video-only condition (M = 50.5% correct, d′ = 0.572), but did not exceed chance in the audio-only (M = 35.1% correct) or audiovisual (M = 38.0% correct) conditions, respectively. Perceptual abilities measured by the Goldsmiths Musical Sophistication Index, as well as violin or viola expertise, predicted performance in the audio-only but not in the video-based conditions. The latter is consistent with both Tsay’s original study and previous replication attempts. Taken together, the present results further support the existence of a Sight-Over-Sound effect in music performance evaluation. The findings suggest that as well as a focus on preparing the auditory domain carefully, musicians should also take visual performance components into consideration.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1771837</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1771837</link>
        <title><![CDATA[Practice behavior of first-year university music students: thriving in unusual times]]></title>
        <pubdate>2026-04-28T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Manfred Nusseck</author><author>Frank Heuser</author><author>Claudia Spahn</author><author>Jutta Drinda</author><author>Adina Mornell</author>
        <description><![CDATA[IntroductionThe way in which university music students practice is crucial for their development and critical for their lifelong success. Once they begin attending a music university, practice strategies change and evolve, influenced by individual and environmental factors. However, it remains unclear how music students' practicing changes during their first academic year and what might influence their practice behaviors.MethodIn this study, music students completed questions about their practice both at the beginning and at the end of their first academic year at universities of music. Responses were collected in two surveys: in 2018–2019 and 2019–2020 in Germany (n = 63) and America (n = 47). A questionnaire was developed to allow participants to report their practice behaviors. It included items about daily practice time and the use of specific practice strategies and goals. The final measurement at the end of the second survey took place during the Covid-19 lockdown—quite an unusual situation for the students. Thus, the data also provide insights about how the special situation of the lockdown shaped participants' practice during the second semester of their first-year. Analyses considered comparisons between surveys and institutions.ResultsDuring lockdown, all students increased their use of practice strategies related to self-regulated learning (SRL), considered the development of their own interpretations, and reduced the use of some less effective practice methods, such as repeating a piece from the beginning until a problem is solved. Furthermore, the results showed that music students surveyed in America reduced their average daily practice time at the end of their first academic year, while those in Germany increased it. This difference grew into a significant interaction effect between institutions.DiscussionThe findings provide insights into music students' practice behaviors over their first academic year of higher education. It uncovered some variances in practice strategies that may have been a reaction to the challenges of the pandemic. Generally, much of the students' practice behaviors did not change. However, all appeared to become more self-regulated, even expanding their repertoire of practice methods in the lockdown term. Therefore, the findings suggest that students adapted their practice strategies when external circumstances changed in order to keep thriving during those unusual times.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1838025</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1838025</link>
        <title><![CDATA[Ancillary body movements in piano performance: a critical narrative review of structural coupling, audience cues, and cognitive-scaffolding claims]]></title>
        <pubdate>2026-04-28T00:00:00Z</pubdate>
        <category>Mini Review</category>
        <author>Yue Sun</author><author>Yilin Wang</author>
        <description><![CDATA[Although piano performance is often treated as centered on sound production, it also involves body movements commonly discussed as ancillary, whose observable role extends beyond immediate sound production. These movements have often been discussed through broad embodied-cognition frameworks, yet the empirical basis for specific mechanistic claims remains uneven. This critical narrative review synthesizes research on movements commonly discussed as ancillary from two related but unevenly developed bodies of evidence: their reported relationships with musical organization in performers, and their role as visual cues in audience evaluation. On the performer side, kinematic findings suggest that movements commonly discussed as ancillary are often systematically related to phrasing, meter, and expressive organization, but direct evidence for cognitive-load reduction remains limited. On the audience side, audiovisual studies indicate that visible kinematics can substantially shape judgments of expressivity, emotion, and performance quality, although the strength of these effects varies across tasks and study designs. Across both domains, the literature remains constrained by small samples, limited ecological breadth, and an overreliance on correlational evidence. We therefore argue that current findings support the relevance of movements commonly discussed as ancillary as structural and perceptual cues, but do not yet justify strong claims that they function as cognitive scaffolds. Future work should combine controlled kinematic manipulation with multimodal measurement to clarify how these movements may simultaneously serve overlapping communicative, regulatory, and biomechanical functions.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1752831</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1752831</link>
        <title><![CDATA[Music psychology-based vocal performance anxiety management strategies in pedagogical practice: a mixed-methods intervention study with 3 month follow-up]]></title>
        <pubdate>2026-04-24T00:00:00Z</pubdate>
        <category>Curriculum, Instruction, and Pedagogy</category>
        <author>Qin Cong</author>
        <description><![CDATA[Vocal performance anxiety is a common psychological barrier among vocal students, severely impacts their skill development, stage performance, and overall wellbeing. This study aims to comprehensively evaluate the short-term and long-term effects of an integrated pedagogical model for anxiety management, constructed based on music psychology theories, through a mixed-methods study with a pre-test, post-test, and 3 month follow-up. We recruited 60 undergraduate vocal performance majors and randomly assigned them to an experimental group (receiving a 12-week “Awareness-Skill-Simulation-Reflection” four-stage integrated pedagogical intervention) and a control group (receiving traditional technical instruction). We collected data on students' state anxiety in performance, vocal performance quality (expert blind ratings), psychological resilience, self-efficacy, and Heart Rate Variability (HRV) at three time points: pre-intervention (T1), post-intervention (T2), and 3 months post-intervention (T3). Additionally, reflective journals from the experimental group were subjected to qualitative analysis. Quantitative findings indicate: (1) Compared to the control group, the integrated intervention significantly reduced the experimental group's vocal performance anxiety and enhanced their performance quality, psychological resilience, and HRV levels. These positive effects remained stable 3 months after the intervention concluded. (2) The intervention's effectiveness was moderated by students' initial trait anxiety levels, meaning the intervention was more potent for students with high trait anxiety. (3) Psychological resilience was identified as a potential statistical mediator of the relationship between the pedagogical intervention and the reduction in anxiety levels. Qualitative results revealed profound subjective experiences among students across four dimensions: “Shifting Mindsets,” “Enhanced Bodily Control,” “Reconstructing the Stage Experience,” and “Trust in Teacher-Student Relationship.” This study provides evidence for the effectiveness and durability of this integrated pedagogical model and explores its potential mechanisms, offering a scientific reference for modern vocal education reform.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1817389</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1817389</link>
        <title><![CDATA[“It was clear from his childhood that he was destined to be a top striker”: investigating the construction of football talent narratives in the Italian sporting press]]></title>
        <pubdate>2026-04-24T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Gabriele Morganti</author><author>Thomas Blackwood</author><author>Alexandra Lascu</author><author>Francesca Strassoldo di Villanova</author><author>Elvira Padua</author><author>Bruno Ruscello</author><author>Adam L. Kelly</author>
        <description><![CDATA[IntroductionIn this study, we adopted an interpretivist perspective to explore the construction of football talent narratives in the Italian sporting press. We aimed to understand distal influences on the recognition of beliefs and practices related to talent identification, selection, and development in Italian football.MethodsTo achieve this, we conducted inductive content analysis on 26 articles from La Gazzetta dello Sport and interpreted the findings through the Skilled Intentionality Framework.ResultsFindings revealed that football talent narratives were constructed to emphasize: (a) the early steps (i.e., early start and father as mentor and gateway to early participation, early selection and specialization), (b) developmental pathways and career trajectories (i.e., early achievements and performance progression, playing up, and early exposure to senior-level football), (c) the attributes (i.e., body proportions and physical attributes, technical and tactical skills, and psychological characteristics), and (d) socially mediated validation (i.e., public recognition and market value and youth international selection).DiscussionWe argue that the Italian sporting press uses its narratives not only to describe talent but also to prescribe particular ways of becoming talented, thereby guiding the intentionality of players, parents, practitioners, and other stakeholders navigating the Italian football ecosystem. In line with this, our study contributes to the ongoing discussions about refining conceptualizations of talent identification and development as complex and socially constructed processes, encouraging sporting systems to reflect on the wider sociocultural context in which they operate, to investigate and refine their current practices and outcomes from an ecological perspective.]]></description>
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        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1772540</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1772540</link>
        <title><![CDATA[A study on the mechanism of how network relationship strength affects the work development of college sports associations]]></title>
        <pubdate>2026-04-20T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Shuai Zhu</author><author>Anting She</author>
        <description><![CDATA[College sports culture is rooted in campus environments, with college students as the main participants, sports activities as the core content, and campus spirit as the foundational support. As a key component of college sports culture, university sports association culture contributes significantly to enhancing students’ physical health and advancing the development of campus sports culture. To support students’ physical growth and the promotion of campus sports culture, it is essential to increase resource investment in campus sports initiatives, ensure the rational utilization of these resources, and thereby strengthen the operational capabilities of sports associations. However, university sports associations currently face notable operational challenges, primarily reflected in low organizational performance, difficulties in motivating students’ enthusiasm for sports participation, and consequent constraints on campus culture development. These issues stem from weak organizational capabilities of associations, a shortage of professional organizers, insufficient understanding of available association resources, and ineffective resource utilization. Fundamentally, the mechanism through which the network ties strength of university sports associations influences their organizational performance remains unclear, and empirical research exploring this relationship is lacking. Against this backdrop, this study focuses on investigating the influence mechanism of university sports associations’ network ties strength on organizational performance. This study first conducted a literature review and synthesis, then constructed an influence model to examine the relationship between network ties strength and organizational performance—with network ties strength as the independent variable, organizational ability as the mediating variable, and organizational performance as the dependent variable. Empirical research was carried out among members of sports associations in undergraduate colleges in Urumqi, using a combination of questionnaire surveys, field investigations, and expert interviews, resulting in the collection of 2,246 valid questionnaires. Correlation analysis, structural equation modeling, and regression analysis were employed to verify the research hypotheses. Finally, the study analyzed and summarized its findings, drew relevant conclusions, and put forward suggestions for improving the organizational performance of university sports associations. The results indicate that the influence mechanism of network ties strength on the organizational performance of university sports associations involves three core elements: network ties strength, organizational performance, and organizational ability. The specific mechanisms are as follows: (1) Both the network ties strength and organizational ability of university sports associations exert a positive impact on organizational performance; (2) the network ties strength of university sports associations has a positive influence on both organizational ability and organizational performance; (3) the organizational ability of university sports associations plays a partial mediating role in the relationship between network ties strength and organizational performance. This study clarifies the internal logical relationship between network ties strength and organizational performance of university sports associations, and provides theoretical support and practical guidance for optimizing the operation of university sports associations and promoting the high-quality development of campus sports culture.]]></description>
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        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1767623</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1767623</link>
        <title><![CDATA[Music and awe: complex emotions evoked by tonal dissonance]]></title>
        <pubdate>2026-04-17T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Sara Wilson</author><author>Richard F. Braaten</author><author>Seth J. Coluzzi</author>
        <description><![CDATA[Although previous literature has established a strong connection between awe and music, the influence of consonance and dissonance in this relationship remains largely unexplored. In the present study, participants (N = 50) rated consonant and dissonant musical excerpts on their experiences of pleasure, power, and awe. The results indicate that, while consonance tends to evoke pleasure, dissonance elicits stronger feelings of power and awe, up to a certain point. However, when dissonance becomes too pronounced, such as in a highly chromatic or atonal context, feelings of both pleasure and power decline. More dissonant music also significantly predicted increasing feelings of the following specific awe dimensions: altered time perception, self-diminishment, perceived vastness, physical sensations, and need for accommodation. Musical experience was a significant predictor of the difference in ratings of consonant and dissonant music, with more musically experienced participants deriving greater pleasure, power, and awe, and more connectedness and physical sensations associated with awe, when listening to increasingly dissonant music. These findings reveal an incongruence between positive affect and emotional intensity, challenging the prevailing assumption in psychological literature that dissonance is merely unpleasant.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1753676</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1753676</link>
        <title><![CDATA[From awe to anxiety: investigating art-induced self-transcendence using virtual reality]]></title>
        <pubdate>2026-04-16T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Monica V. Weedman</author><author>Kutter Callaway</author><author>Daniel M. Shafer</author><author>Tyler S. Greenway</author><author>Jo-Ann Tsang</author><author>Wade C. Rowatt</author>
        <description><![CDATA[IntroductionArt has been shown to evoke a range of emotions, yet the mechanisms underlying these responses remain underexplored. Across three studies using between- and within-subjects designs, we examined how viewing original photographic art in virtual reality (VR) influences self-transcendent emotions and related affective states.MethodIn Study 1, participants viewed photographs in one of three VR contexts (museum, warehouse, church sanctuary). In Study 2, participants viewed the same photographs in a VR museum context where the photo scale varied (small vs. large scale). In Study 3, online participants viewed video recordings of the VR museum with or without computer-generated avatars.ResultsContrary to predictions, across all three studies, self-transcendent positive emotions decreased following the virtual art intervention, even after controlling for cybersickness. However, the virtual art intervention also consistently reduced state anxiety.ConclusionAdditional alternative explanations and implications are discussed for using VR to elicit self-transcendent emotional experiences to art.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1769609</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1769609</link>
        <title><![CDATA[Mindfulness and music performance anxiety among early- and mid-career musicians in transition: the mediating roles of emotional intelligence and perfectionism]]></title>
        <pubdate>2026-04-15T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Haixia Sun</author><author>Ziqing Xu</author><author>Huilin Wang</author>
        <description><![CDATA[IntroductionMusic performance anxiety is prevalent among professional musicians and can undermine both wellbeing and performance. Musicians navigating the transition from advanced training to professional careers may be particularly vulnerable due to sustained evaluative exposure and career uncertainty. This study examines whether dispositional mindfulness is associated with music performance anxiety and whether this association operates through emotional intelligence and perfectionism, guided by Emotion Regulation Theory.MethodsParticipants were 283 early-career and pre-professional musicians (including advanced conservatory students and working musicians in professional transition) recruited using purposive convenience and snowball sampling. Data were collected via an anonymous online questionnaire. Structural equation modeling (SEM) with AMOS v23 was used to test the hypothesized dual-pathway mediation model. Indirect effects were estimated using bias-corrected bootstrapping (5,000 resamples; 95% confidence intervals).ResultsDispositional mindfulness was negatively associated with music performance anxiety. Mindfulness was positively associated with emotional intelligence and negatively associated with perfectionism. In turn, emotional intelligence was negatively associated with music performance anxiety, whereas perfectionism was positively associated with music performance anxiety. Bias-corrected bootstrapped confidence intervals indicated a statistically significant indirect association between mindfulness and music performance anxiety through emotional intelligence and perfectionism.DiscussionThe findings are consistent with Emotion Regulation Theory and indicate that mindfulness is statistically associated with lower music performance anxiety via both resource-related (emotional intelligence) and risk-related (perfectionism) pathways. Practically, these results highlight potentially modifiable psychological targets for supporting musicians in early professional development stages, with implications for resilience-building approaches in high-pressure performance communities.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1751742</guid>
        <link>https://www.frontiersin.org/articles/10.3389/fpsyg.2026.1751742</link>
        <title><![CDATA[Bruce Springsteen’s women fans and the deep significance of creative works: meaning, identity, support, and relationships]]></title>
        <pubdate>2026-04-13T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Lorraine Mangione</author><author>Donna Luff</author>
        <description><![CDATA[Works of art can be extremely meaningful and important to people, and perhaps even more so when people consider themselves fans of a particular artist. In this paper, some of the thoughts and feelings of women fans of Bruce Springsteen are described and discussed, based on two large surveys of the fans. Some of the themes that emerged from the first survey are the relationship women have with Springsteen and his work, the meaning his work has for them, the ways in which his work has been helpful to them, the community of fans that exists, and the loss of longtime band member Clarence Clemons. Themes from the second survey include Springsteen’s legacy, and the ongoing community, especially through the Covid pandemic. The importance of art, in this case, music, for people is emphasized, and suggestions for how psychology can become more involved in the intersection of art and personal growth, identity, well-being, and relationships are offered.]]></description>
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