COPING WITH MUSIC

PERFORMANCE ANXIETY

Wagner Soares Trindade

Western Oregon University

Introduction to Graduate Research - MUS 675

Instructor: Dr. Diane Baxter

March 16, 2011 1

INTRODUCTION

Anxiety has always been part of the human condition, with accounts of its various manifestations,

including acute shyness and stage fright, dating back to classical antiquity. However, since the end of

the Second World War, reported levels of anxiety have risen alarmingly. Is this stunning development

in the mental health field during the past half century due to any social factors? Some observers point

that the ever increasing pace and demands of modem life. However, a larger body of evidence

suggests that the prevalence of anxiety is due less to these pressures themselves than to a prevailing

social code that teaches people that anxiety related symptoms are a socially and medically legitimate

response to life in the modem age.

Defined as a feeling of apprehension or fear accompanied by a range of physical symptoms including

sweating, dizziness, fainting, nausea, or heart palpitations, anxiety afflicted almost 20 million adult

Americans by the early 21st century. In 2001, the National Institute of Mental Health declared anxiety

the most common mental health problem in the United States. In 2002, the World Mental Health

Survey reported that anxiety was the most prevalent mental health problem around the globe.

Several international reviews of music performance anxiety (MPA) among professional orchestral

musicians indicate that MPA is widespread1 . For example, the International Conference of Symphony

and Opera Musicians National US study, distributed to 48 orchestras (2,212 respondents) reported that

24% of musicians frequently suffered stage fright, defined in this study as the most severe form of

MPA, 13% experienced acute anxiety and 17% experienced depression.

However, since not all performers suffer the same degree of MPA, or indeed report the same levels of

occupational stress, individual differences in a range of psychological characteristics are likely to

account for variations in the degree to which musicians experience symptoms. A large number of

1 Kenny, Dianna T. 2005. "A Systematic Review of Treatments for Music Performance Anxiety." Anxiety, Stress & Coping 18,
no. p. 1.

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treatment modalities2 (behavioral, cognitive, pharmacological and complementary) have been

developed for music performance anxiety (MPA). The terminology surrounding the concept is also

problematic. For example, MPA is sometimes referred to as stage fright and the terms are used

interchangeably, while others view stage fright as an extreme form of MPA. Recently, a number of

integrative theories have been proposed and these have the potential to direct future research into

the aetiology and treatment of the condition.

DEFINITION

Most musicians, actors, speakers readily admit to some type of apprehension, tension, or anxiety in

performance situations. The reactions to this stress may range from sweaty palms to complete inability

to go onstage.

Hans Selye, having written thirty-eight books on the subject of stress modification, defines stress as

“the nonspecific response of the body to any demand”. Consequently, it could not and should not be

avoided; from complete freedom from stress is death.”3 It is apparent that not only can stress not be

avoided, but it is essential for survival, learning, and individual growth and for progress in society as

well. When stresses become excessive, tension also escalates, followed by maladaptive responses.

What occurs physiologically when you experience tension? Most often, the body is activated for

action, by producing the “fight-or-flight” response.

The moment your stress response is triggered, your heartbeat quickens to pump more blood to your

vital organs. Part of this additional blood is drawn from the peripheral blood vessels lying slightly

under the skin throughout the body, leaving you cold, clammy hands.

2 Kenny, Dianna T. 2005. "A Systematic Review of Treatments for Music Performance Anxiety." Anxiety, Stress & Coping 18,
no. 3: p.2.

3Whitaker, Charlotte Sibley, and Donald Ray Tanner. 1987."But I played it perfectly in the practice room!” Lanham, MD:
University Press of America: p. 11.

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As your heartbeat quickens, your blood pressure rises. More blood is received by the muscles and the

brain, thus enabling you to react more clearly. Sugar is poured into the system from the liver,

supplying quick energy. The adrenal glands pump adrenalin for strength and quickened heart activity.

The digestive system shuts down so there will be no wasted energy. More red blood cells are produced

so the body can utilize additional supplies of oxygen. Stress activates the body’s entire mental and

physiological systems, precipitating more than 1,400 physiological changes. The speed with which this

transformation occurs is awesome. In a matter of seconds, the body is fully mobilized and ready for

action4.

This kind of response was appropriate when man faced life-threatening situations on a daily basis, but

fortunately, most of those situations have been removed from our everyday living. But yet, we often

react to our contemporary stresses as though they were physical threats. This is certainly an

inappropriate activation of the “fight-or-flight” response.

Many researchers have found that the body reacts physiologically to the mental and emotional

concerns in our minds. When you think about an event about which you have some feeling, your

physiological system begins to react to that emotion, usually to activate and increase its operation. For

most of us, that activation occurs immediately upon awakening in the morning, as we consider the

activities in which we will be engaged that day.

As you mentally interpret situations to be stressful, your body reacts with the “fight-or-flight” response,

and your body systems become stressed. When you overload yourself with excessive stressful

situations, the body systems begin to break down, and you become ill.

If you can make yourself ill, perhaps you can also make yourself well. If your mind and body can be

voluntarily regulated to appropriate responses to stresses in the environment, then you may be able to

learn to cope with disorders as they occur, or even to train yourself to prevent some of them from

happening.

4Whitaker, Charlotte Sibley, and Donald Ray Tanner. 1987."But I played it perfectly in the practice room!” Lanham, MD:
University Press of America: pp. 11-12.

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 Psychological stress may occur in the form of debilitating emotions, particularly

negative ones, such as fear, anger, sadness, or a sense of loss or separation; it may also appear as

mental hypo-functioning, involving excessive forgetting and excusing, minimizing, repressing and

substitution5.

Whether coping with a stressful situation results in a gain or loss depends entirely upon the person’s

reaction to the situation. In order to respond constructively to the stressors, you must know yourself,

which includes the body and the mind as well.

THE FOUR MAJOR COMPONENTS OF PERFORMANCE ANXIETY

Performance anxiety has four major components6:

1. Physiological component: sweating, shortness of breath, increased heart rate, shaking, and
other body’s changes;

2. Cognitive component: here, it is about our thoughts and worries about a given situation;
3. Behavioral component: changing the way we behave or think, to avoid situations that will
cause anxiety;

4. Psychological component: how our perceptions of a given situation affect our responses to it.
Although each of these components may be experienced separately, they are usually

experienced together in varying degrees. Understanding the components of performance anxiety

and learning how to overcome their effects are important steps toward improving musical

performances.

A LEARNED REACTION

5Whitaker, Charlotte Sibley, and Donald Ray Tanner. 1987."But I played it perfectly in the practice room!” Lanham, MD:
University Press of America: p. 13
6 Ely, Mark C. "Stop performance anxiety!" Music Educators Journal 78, no. 2 (October 1991): p.35

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 Since our perceptions of various situations are shaped by our experiences, it seems likely that

our tendency to experience anxiety when performing in public is learned. Evidence for this belief is

the fact that young children sing and dance in front of people with no fear whatsoever. In fact, most

young children get very excited about performing for others. They simply love the attention.

During adolescence, this excitement is replaced by self-consciousness, and anxiety associated

with performing in front of one's peers becomes quite common. Even prior to adolescence, this

excitement is often replaced by fear. One possible explanation for this is that at some point during

childhood, other people laugh at or make fun of us for something we do or try to do. As a result, we

feel embarrassed and experience various symptoms of anxiety. To avoid future embarrassment, we

avoid the situations in which these feelings occurred. According to Paul Lehrer7, this type of avoidance

behavior is one to the major likely that this type of behavior is generalized to other, similar experiences

later in life and that the forms of distress associated with these experiences may change.

A rigorous definition of MPA is needed to advance treatment. However, defining MPA as a

social anxiety (social phobia) using criteria set out in DSM-IV-TR8 (Diagnostic and Statistical Manual of

Mental Disorders, published by the American Psychiatric Association) as the inclusion criteria may be

too restrictive, particularly if the musician presenting for treatment experiences MPA as a focal anxiety

(does not meet other criteria for social anxiety). Few of the intervention studies reviewed

acknowledged that performers need a certain amount of arousal or anxiety to maximize their

performance. For example, increased anxiety may facilitate performance, especially for performers

with high task mastery, and be associated with better adjudicator ratings. Experienced performers

may also need more anxiety in order to achieve peak performance.

Standard treatments for anxiety do not seem to be directly transportable to treatment for

music performance anxiety.

7 Ely, Mark C. "Stop performance anxiety!" Music Educators Journal 78, no. 2 (October 1991): 36

8Kenny, Dianna T. 2005. "A Systematic Review of Treatments for Music Performance Anxiety." Anxiety, Stress & Coping 18, no.
3: p.204

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 POSSIBLE WAYS TO COPE WITH MUSIC PERFORMANCE ANXIETY9

Realistic Expectations

Be sure to set realistic expectations when choosing appropriate repertoire. Selected repertoire

should be well within one’s capability. The time prior to performance also needs to be considered

when choosing the music, allowing ample time for the person to learn the music and have time to live

with it once the music is learned.

Memory Stations

Selecting specific measures throughout a composition to be memory stations, one could jump

to these confidently if the need arose. These stations should coincide with the phrase structure of the

piece, and should be well marked within the score. Such notation will be especially helpful for visual

learners.

Video/Audio Recording

Video or audio record practice sessions. Reviewing the file and critiquing the performance.

While viewing the video (or listening to the audio), you could identify places in the music where

tension is present. To help the feeling of being threatened by the critique, listen or view the tape as an

outsider observing a friend’s performance.

Performance Rehearsals

Participate in performance rehearsals during the weeks prior to a scheduled performance. If

possible, try to have a rehearsal in the actual performance space. This would be especially helpful for

pianists, allowing them to become familiar with the instrument. A few rehearsals prior to a

performance permit the individual to feel more secure with the music, as well as identify any weak

spots that may need additional attention.

9 Kirchner, Joann. "Managing Musical Performance Anxiety." American Music Teacher 54, no. 3 (December 2004): 31-33

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Perform Frequently

Performing frequently may not always be possible. Performances increase the musician’s

confidence level, and the performer is able to gain self-knowledge within the performance venue.

Attend to Non-Musical Matters in Advance

Take care of the non-musical matters well in advance. If you are responsible for the programs,

be certain they are proofread and assembled and know who will distribute them. Think about what

you will wear for your performance. For women, it always is a good idea to practice in the shoes you

will wear for the concert, especially if the shoes are being worn for the first time.

Focus on the Present

Engage yourself in the present moment. Avoid allowing your mind to focus on an upcoming

difficult passage, a slip that just occurred or any other irrelevant thought.

Avoid Inner Dialogue

Avoid inner dialogue while performing. Such dialogue could only leave the individual feeling

distracted and disconcerted. If a performer becomes engaged in an inner dialogue during

performance, this is the time to return his focus to the music.

Replace Negative Thoughts

Performance anxiety often is comprised of negative thoughts and feelings, so it is important to

replace the negative thoughts with positive ones. It is helpful to program positive thoughts during

practice sessions so the musician can readily recall such thoughts when needed during a performance.

Visualization

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 Many performers may already visualize playing a piece from start to finish, but visualizing

playing an entire program also may reduce anxiety. Using a pianist for example, this process may

include:

• walking on the stage

• sitting down at the piano and composing yourself

• playing through the program

• having the audience favorably acknowledge the performance

• walking off the stage

The techniques mentioned above are offered as ways to assist individuals with dealing with

performance anxiety. Some individuals may need to employ multiple coping strategies. Finding a

particular technique, or techniques, that work for a student is vital in the preparation of young

performers. Sometimes an individual’s performance anxiety is so severe they may need professional

assistance.

PROFESSIONAL TREATMENT

The following are strategies that require professional intervention or training. These

techniques involve a greater time commitment than those previously discussed to effectively master

the technique.

Alexander Technique

Developed in 1904 by Australian actor Frederick Matthias Alexander, this is a procedure where

an individual learns to free the body of harmful tension and stress, and cultivate relaxation. Through

changing body movements, an individual acquires the necessary coordination for a particular activity

with greater ease and efficiency. The results can be improved posture, balance and coordination.

Autogenic Therapy

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 The word autogenic comes from the Greek word autos, meaning “self”, and genous, meaning

“produced by”. Autogenic therapy involves a state of deep relaxation, created by a feeling of warmth

and heaviness throughout the body. It is a rather lengthy procedure, taking about three months to

complete.

Beta Blockers

In a study of professional orchestral musicians in Canada10, beta blockers were considered to

be the most effective coping strategy in dealing with performance anxiety. Beta blockers prevent the

flow of adrenalin to the beta-receptor sites in the autonomic nervous system. They are known to

substantially reduce the physiological manifestations of performance anxiety such as increased heart

rate, sweaty palms and shaking. Propranolol, is the most commonly used beta blocker for treating

performance anxiety. This usually is administered in a small dose of ten to twenty milligrams one to

two hours prior to a performance.

Biofeedback

Biofeedback was developed in 1969 as a way for an individual to receive feedback to develop

relaxation and stress management skills. Biofeedback therapy utilizes a sensitive instrument to

measure physiological processes such as muscle tension, heart rate, blood pressure and blood flow.

Electrodes are connected to sites on the body where measurements are taken. The information is then

“fed back” to the individual through either a tone or visual display. If the tension increases in the

muscles, the instruments display this information to the individual, who is then able to monitor his

own relaxation. Deep breathing, relaxation and visualization techniques often are used in conjunction

with the biofeedback. The length of biofeedback therapy is dependent on the severity of the

symptoms.

Deep Breathing

10 Dowbiggin, Ian R. "High Anxieties: The Social Construction of Anxiety Disorders." Canadian Journal of Psychiatry 54, no. 7
(July 2009): 429-436

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 By simply changing your breathing pattern from shallow breathing to deep breathing, it is

possible to lower your stress level. One way to establish such a pattern is to think of the number one as

you exhale and then take a breath and think of the number two. Continue this process until you arrive

at ten or fifteen. Deep breathing should come from the abdomen and not the chest area.

Eastern Disciplines

Eastern cultures have developed several practices to help individuals regulate the tension in

their bodies. Zen, yoga, t’ai chi, transcendental meditation or other similar exercises all are examples.

Progressive Muscle Relaxation

Progressive muscle relaxation, developed by Edmund Jacobson in 1939, is a two-step process.

The first step involves deliberately tensing certain groups of muscles, and the second step centers on

relaxing the muscles and getting in touch with the resulting feelings. When applying tension, simply

squeeze a particular muscle group as hard as possible for about eight seconds, then let go of the

tension, allowing it to flow out of the muscles as you exhale. Remain relaxed for about fifteen seconds,

and then move to the next muscle group. Over time, an individual will learn to recognize and

distinguish the feelings connected with tense muscles.

The following muscle groups are involved, beginning with your feet and progressing upward:

• Right foot

• Right lower leg and foot

• Entire right leg

• Left foot

• Left lower leg and foot

• Entire left leg

• Right hand

• Right forearm and hand

• Entire right arm

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 • Left hand

• Left forearm and hand

• Entire left arm

• Abdomen

• Chest

• Neck and shoulders

• Face

Systematic Desensitization

Systematic desensitization uses the imagination to recall an anxiety producing situation, and is

a relaxation technique to lessen the anxiety.

These above techniques are mentioned as possible ways of dealing with musical performance

anxiety. Each technique can be used independently or in combination with one or more of the others.

Often, individuals employ multiple coping strategies because one particular strategy is not sufficient.

Since there is no one correct treatment for musical performance anxiety, each individual’s needs must

be considered.

CONCLUSION

As one learns to accept himself as a worthy person, he/she can confidently place themselves in

vulnerable position, which require risk taking. Any time they take a risk, they are inviting potentially

stressful situation; however, their possibility of reward is great.

Since the absence of stress is death, a tensionless state may not be as desirable a goal as one

might imagine. According to Viktor Frankl:

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 What man actually needs is not a tensionless state, but rather, the striving and struggling for

some goal worthy for him. What he needs is not the discharge of tension at any cost, but the call of

a potential meaning waiting to be fulfilled by him11

Does performance has that meaning? Perhaps, using some of the techniques presented here, and

knowing and understanding the body and mind, we may better be able to communicate and enjoy

the gift of performing.

11 Whitaker, Charlotte Sibley, and Donald Ray Tanner. 1987."But I played it perfectly in the practice room!” Lanham, MD:

University Press of America. p. 41

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 Bibliography

Journals, Articles and Researches

Albert LeBlanc, Young Chang Jin, Mary Obert and Carolyn Siivola. “Effect of Audience on Music

Performance Anxiety.” Journal of Research in Music Education. Vol. 45, No. 3 (Autumn, 1997), pp.

480-496

Sternbach, David J. "Stress in the Lives of Music Students." Music Educators Journal 94, no. 3 (January

2008): 42-48. Academic Search Premier, EBSCOhost (accessed March 6, 2011).

Cockey, Linda, and Kathryn Kalmanson. "Annotated Bibliography on Musician Wellness." American

Music Teacher 52, no. 6 (June 2003): 34-49. Academic Search Premier, EBSCOhost (accessed March 6,

2011).

Ely, Mark C. "Stop performance anxiety!" Music Educators Journal 78, no. 2 (October 1991):

35.Academic Search Premier, EBSCOhost (accessed March 6, 2011).

Berenson, Gail. "Health Promotion in Schools of Music." American Music Teacher 54, no. 6 (June 2005):

103-104. Music Index, EBSCOhost (accessed March 6, 2011).

Kirchner, Joann. "Managing Musical Performance Anxiety." American Music Teacher 54, no. 3

(December 2004): 31-33. Academic Search Premier, EBSCOhost (accessed March 6, 2011).

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Steptoe, Andrew. “Performance Anxiety. Recent Developments in Its Analysis and Management.” The

Musical Times. Vol. 123, No. 1674 (Aug., 1982), pp. 537-541.

Dowbiggin, Ian R. "High Anxieties: The Social Construction of Anxiety Disorders." Canadian Journal of

Psychiatry 54, no. 7 (July 2009): 429-436. Academic Search Premier, EBSCOhost (accessed March 10,

2011).

A. C. Huizink, et al. "The developmental course of anxiety symptoms during adolescence: the TRAILS

study." Journal of Child Psychology & Psychiatry 50, no. 10 (October 2009): 1209-1217. Academic

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Savage, Dylan. "An Answer to Performance Anxiety." American Music Teacher 58, no. 4 (February 2009):

26-29. Academic Search Premier, EBSCOhost (accessed March 6, 2011).

Kokotsaki, Dimitra, and Jane W. Davidson. "Investigating Musical Performance Anxiety among Music

College Singing Students: a quantitative analysis." Music Education Research 5, no. 1 (March 2003):

45.Academic Search Premier, EBSCOhost (accessed March 6, 2011).

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Mor, Shulamit, and Hy I. Day. "Perfectionism, control, and components of performance anxiety in

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Yoshie, Michiko, Kazutoshi Kudo, Takayuki Murakoshi, and Tatsuyuki Ohtsuki. 2009. "Music

performance anxiety in skilled pianists: effects of social-evaluative performance situation on

subjective, autonomic, and electromyographic reactions." Experimental Brain Research 199, no. 2:

117-126. Academic Search Premier, EBSCOhost (accessed March 6, 2011).

Kenny, Dianna T. 2005. "A Systematic Review of Treatments for Music Performance Anxiety." Anxiety,

Stress & Coping 18, no. 3: 183-208. Academic Search Premier, EBSCOhost (accessed March 6, 2011).

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Books

Sapolsky, Robert M. 2004. “Why zebras don't get ulcers”. New York: Owl Book/Henry Holt and Co.

Orsillo, Susan M. and Lizabeth Roemer. 2005. “Acceptance and Mindfulness-Based Approaches to

Anxiety.” New York: Springer Science+Bussines Media.

Salmon, Paul, and Robert G. Meyer. 1992. “Notes from the green room: coping with stress and anxiety

in musical performance”. New York: Lexington Books.

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Whitaker, Charlotte Sibley, and Donald Ray Tanner. 1987."But I played it perfectly in the practice room!”

Lanham, MD: University Press of America.

Hays, Kate F. 2009. “Performance psychology in action: a casebook for working with athletes,

performing artists, business leaders, and professionals in high-risk occupations”. Washington, DC:

American Psychological Association.

Pargman, David. 2006. “Managing performance stress: models and methods”. New York: Routledge.

Sadie, Stanley, and John Tyrrell. 2001. “The new Grove dictionary of music and musicians”. New York:

Grove.

Web Sites

University of Wisconsin-Eau Claire. Counseling Service: “Coping with Music Performance Anxiety.”

Accessed March 6, 2011. http://www.uwec.edu/counsel/pubs/musicanxiety.htm

University of Nebraska-Lincoln. Engineering Electronic Shop: “Coping with Performance Anxiety.”

Accessed March 6, 2011. http://eeshop.unl.edu//anxiety.html

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