Music Performance Anxiety
Exploring Music Performance Anxiety, how it can affect us, and how we can reduce its negative consequences.
In my previous blog I addressed the matter of perfectionism among musicians. I also drew briefly upon how perfectionistic concerns can be a contributor of music performance anxiety, which I wanted to expand upon here.
Defining MPA
Music Performance Anxiety (MPA) is something that many musicians will be aware of. There have been many attempts at defining MPA. However, these have not been without flaws, for instance due to the failure to differentiate between performance anxiety, stage fright and shyness.
Kenny offered a comprehensive definition of MPA, which helps overcome many of these issues:
"Music performance anxiety is the experience of marked and persistent anxious apprehension related to musical performance that has arisen through underlying biological and/or psychological vulnerabilities and/or specific anxiety-conditioning experiences. It is manifested through combinations of affective, cognitive, somatic, and behavioral symptoms. It may occur in a range of performance settings, but is usually more severe in settings involving high ego investment, evaluative threat (audience), and fear of failure. It may be focal (i.e. focused only on music performance), or occur comorbidly with other anxiety disorders, in particular social phobia. It affects musicians across the lifespan and is at least partially independent of years of training, practice, and level of musical accomplishment. It may or may not impair the quality of the musical performance" (Kenny, 2009)
As I started to write this blog, I thought about my own experiences of MPA.
I have often been shocked at how nervous I have been when performing in front of an audience (no matter how small), even though I feel I am mentally and physically prepared before hand. Suddenly, for whatever reason, the awareness of eyes and ears watching and listening to everything I do fills me with fear and paranoia; this often results in me making mistakes I would never normally make. When playing in an orchestra, on the other hand, I am rarely nervous because I feel so integrated and energised within the collaborative environment, meaning that I am not conscious of the audience in front of me.
A survey of over 2000 professional musicians carried out by the International Conference of Symphony and Opera Musicians (ICSOM) demonstrated that the highest levels of MPA are most often triggered by solo performances, as well as auditions for orchestral players (Matei and Ginsborg, 2017).
A very useful book relating to this subject is: 'The Psychology of Music Performance Anxiety' by Dianna Kenny (2011). At the start of the book, Kenny draws upon two contrasting examples of the performing experience, similar to my own experiences:
"One of the most exhilarating experiences I know of is performing in public, especially when there is a magnificent piano under my fingers, great music in my head, and the feeling that there are no technical obstacles"- Reubart (in Kenny, 2011)
"I am not fitted to give concerts. The audience intimidates me, I feel choked by its breath, paralyzed by its curious glances, struck dumb by all those strange faces."- Chopin (in Kenny, 2011)
The contrast between these two different perspectives is particularly interesting. The first example draws upon the sensory feeling of performing and the connection between the musician and the music. Reubart does not draw upon an audience, indicating that this is not at the centre of his thoughts.
Symptoms
As explained in Kenny's definition, MPA manifests itself through "combinations of affective, cognitive, somatic, and behavioral symptoms" (Kenny, 2009).
Affective Symptoms
Affective symptoms refer to moods, feelings and emotions. This might include fear, worry, panic and stress.
Somatic Symptoms
The example of Chopin highlights the fear a performer may feel when in front of an audience, which is shown as being at the centre of Chopin's thoughts. The negative consequences this can have on the performance and the performer are implied, for example as Chopin remarks being "struck dumb" from the unfamiliar faces.
Indeed, it is true that MPA can lead to physical consequences (or somatic symptoms), for example an inability to physically play an instrument.
"Our cellist has reached the stage of being so overcome by fear of performing that his muscles ‘would no longer cooperate.’ " (in Kenny, 2011)
Cognitive Symptoms
We might also experience cognitive symptoms, such as fear of failure, fear of negative evaluation from others and rumination (e.g. being negatively impacted by a previous bad performing experience).
Behavioural Symptoms
Sometimes MPA can be so severe that it leads to the avoidance of performance situations, for instance: missing rehearsals, auditions and concerts or avoiding entering competitions. Choosing easier repertoire may also be considered as an anxious behaviour, as well as performing with restricted stage presence (e.g. limiting body movement and playing to the music stand). Performers may also avoid eye contact with others; possibly due to fear of scrutiny or distraction.
Contributing Factors leading to MPA
"Music- what a noble art, what a terrible profession"- Hector Berlioz
A study carried out in Australia investigated some of the commonly cited causes of MPA among professional musicians. The top three of these were:
Pressure from self
Excessive physical arousal prior to, or during performance
Inadequate preparation for performance
Other causes listed in the study included: health issues; general tendencies to be anxious; fear of negative evaluation; pressure from parents; and previous bad performance experiences (Kenny et al., 2014).
Performance Settings
1. Fear of negative evaluation
"Fear of negative evaluation is a core component of social anxiety disorder (social phobia) and by extension, music performance anxiety." (Kenny, 2011)
As evident in the example of Chopin, the presence of an audience can be a major contributor of performance anxiety among musicians and this is largely due to the fear of negative evaluation. Kenny (2011) suggests that this is particularly prevalent during adolescence due to the development of cognitive capacity and the perception of the self as being "center stage".
2. High ego involvement
Ego involvement is when an issue becomes extremely important or central in someone's life. Gendolla and Richter (2006) explain that ego involvement refers to "the evaluation of a valuable ability and makes success highly important".
Much research has been carried out in relation to ego involvement in sports. Gendolla and Richter (2006), for example, carried out a study which highlighted how high ego involvement is likely to lead to increased motivation and cardiovascular output. Despite the apparent benefits of ego involvement, the constant pressure to succeed can, of course, be a contributor of anxiety. Furthermore, it is possible for people to experience a distorted sense of self when their ego and identity are closely entangled due to the need to succeed being a central part of their life. This could result in success being a measurement of self-worth.
3. Fear of failure
We are likely to fear failure if we believe that something negative will happen following a (perceived) unsuccessful performance. For instance, we may worry that we will embarrass ourselves or damage our reputation. In the case of auditions, we may also worry that we will negatively impact our career prospects if we do not perform well.
"The greatest mistake you can make in life is to be continually fearing you will make one." - Elbert Hubbard
4. Biological and Psychological Vulnerabilities
As evident in Kenny's definition of MPA, both biological and psychological vulnerabilities are contributors of music performance anxiety. However, it is important to note that the effects of these vulnerabilities are not limited to the stage.
Biological vulnerabilities refer to biological circumstances which can impact the growth and development of a child, for instance: birth defects, psychiatric disabilities and health challenges (Law Insider, 2013). There are some biological vulnerabilities, such as inherited anxious behaviours, which can make people more susceptible to experiencing MPA.
Some underlying psychological vulnerabilities are also likely to contribute to higher levels of MPA. This is demonstrated in a study carried out by Kenny and Holmes in 2015. The study draws upon an extreme example of MPA wherein insecure attachment patterns in childhood are shown to be a contributing factor of "emotional dysregulation" later in life, leading to MPA (Kenny and Holmes, 2015).
Prevention
As with many things in life, prevention is often better than cure.
Wilson (2002) identified three sources of stress that have different interactions among individuals:
Trait anxiety (personality characteristics)
Situational stress (e.g. in auditions, performances, competitions...)
Task mastery (ranging from performances of simple, well-rehearsed works to those of complex, underprepared material)
Although the first two causes are largely out of a performer's control, engaging in task mastery and turning difficult work into something easier to play will help reduce MPA in certain situations.
This model explains how for highly anxious individuals, mastering a work (perhaps even playing easier repertoire) and performing in relaxed settings will help improve performance due to lower levels of anxiety. For individuals with low anxiety levels, however, a more demanding audience and challenging situation will lead to a better performance (Wilson and Roland, 2002).
Parenting the musically gifted child
Gifted children are able to achieve a high standard in a particular domain in relatively little time. However, these children are physically, psychologically and socioemotionally no different to anyone else in their peer group. This means they have the same need for a secure attachment to primary caregivers as other children (Kenny, 2011). Whilst parents may help facilitate their children's musical exposure (e.g. encouraging them to play an instrument; taking them to county music rehearsals; paying for their instruments etc.), Pruett (2004) points out that parents' primary role is to be parents. He suggests that parents should view their children as people first and talented musicians afterwards. He highlights that it is only possible for a child to fulfil their musical potential, and for their talent to be properly nurtured, if they are in an environment of secure attachment.
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Physical Health
It goes without saying that good physical health will be beneficial for musicians in preventing MPA. This includes physical conditioning to manage the physical demands of playing an instrument. Sufficient rest is also important, especially since it may help prevent mistakes and performance-related injuries. In addition, it is a good idea to practice muscle relaxation to prevent debilitating tension during performances. Essentially, good health is important for musicians as it can reduce some significant stressors which can lead to anxiety.
Psychological Preparation
As indicated earlier, sometimes it is the fear of negative evaluation from others which prevents us from performing at our best. In a public performance setting, it is more effective to adopt a mindset wherein the music is the centre of your focus and to think of creating a wonderful sound for the audience to share with you (Kenny, 2011).
"to have pleasure while giving pleasure"- Mikhail Baryshnikov
In addition to this, I very often find it useful to convert nerves into excitement. This means that what might ordinarily be a daunting experience (e.g. an exam or recital) suddenly becomes something of great enjoyment and means that I am more likely to perform at my best.
Some methods for reducing MPA
There are many researched methods which can help musicians to lower their music performance anxiety so that they can fulfil their musical potential in a healthy way. Here are just a few tools which may be useful to implement into everyday life...
Meditation
As has been demonstrated in a study carried out by Diaz (2018), mindfulness techniques, such as meditation, are promising strategies for reducing MPA. The study found that "participants who meditated at least weekly tended to report less MPA" (ibid.).
In this study, the results suggested that the most effective means for reducing MPA was consistent meditation. More specifically, the study highlighted the potential of meditation for reducing MPA among "individuals with high levels of socially prescribed and self-directed perfectionism" (ibid.). Therefore, this technique could be particularly valuable for musicians suffering from the negative effects of perfectionistic concerns, which I outlined in my previous blog.
Lowering Demands
Whilst mindfulness techniques are undoubtedly beneficial in enabling relaxation, they do not necessarily address the fundamental causes of anxiety.
In 1982, Fogle carried out a study demonstrating that levels of stress can be reduced if demands are lowered and mistakes are permissible (Fogle, 1982). This relates strongly to the positive attributes of perfectionistic strivings and would be a valuable technique for musicians to undertake in their individual practice sessions. Likewise, if mistakes are not accentuated by others during ensemble rehearsals, it could help reduce perfectionistic concerns and stress levels, leading to better performances and a more supportive environment overall. However, as drawn upon earlier, this is likely to be more appropriate for highly anxious individuals.
Severe MPA
As would be expected, more severe cases of MPA are likely to require more complex treatment. This might include psychotherapy (e.g. psychoanalytic and psychodynamic therapies) or cognitive behavioural therapy (CBT).
Music performance anxiety is a very broad field of study. In this blog, I have aimed to outline some of the effects of MPA; common causes; ways of preventing MPA from occurring; and some possible ways at helping to deal with MPA when necessary.
I hope you enjoyed reading! As always, let me know your thoughts and any topic suggestions for future blogs.
“If something stands between you and your success, move it. Never be denied”- Dwayne “The Rock” Johnson
Sources Used:
Diaz, F.M. (2018) 'Relationships Among Meditation, Perfectionism, Mindfulness and Performance Anxiety Among Collegiate Music Students' Journal of Research in Music Education. 66(2), pp.150-167.
Fogle, D.O. (1982) 'Toward effective treatment for music performance anxiety' Psychotherapy: Theory, Research & Practice, 19(3), pp.368–375.
Gendolla, G.H.E. and Richter, M. (2006) 'Ego-Involvement and the Difficulty Law of Motivation: Effects on Performance-Related Cardiovascular Response' Personality & Social Psychology Bulletin. 32(9,) pp. 1188-1203.
Kenny, D.T. (2009) 'Negative emotions in music making: Performance anxiety' in Juslin, P. and Sloboda, J. (eds.) Handbook of music and emotion: Theory, research, applications. Oxford: Oxford University Press.
Kenny, D.T. (2011) 'The Psychology of Music Performance Anxiety' Oxford: Oxford University Press.
Kenny, D.T., Driscoll, T. and Ackermann, B. (2014) 'Psychological well-being in professional orchestral musicians in Australia: a descriptive population study' Psychology of Music. 2, pp.210-232.
Kenny, D. T. and Holmes, J. (2015) 'Exploring the Attachment Narrative of a Professional Musician with Severe Performance Anxiety: A Case Report', J Psychol Psychother, 5(190), DOI: 10.4172/2161-0487.1000190.
Law Insider (2013) Biological Vulnerabilities Definition. Available at: https://www.lawinsider.com/dictionary/biological-vulnerabilities (Accessed: 07.04.22).
Matei, R. and Ginsborg, J. (2017) 'Music performance anxiety in classical musicians- what we know about what works' BJPsych International. Cambridge University Press, 14 (2), pp.33-35.
Pruett, K.D. (2004) First Patrons: Parenting the musician. Medical Problems of Performing Artists, 19(4), pp.154-9.
Wilson, G. and Roland, D. (2002) 'Performance Anxiety' in Parncutt, R. and McPherson, G. (ed.) The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press.
