Managing Musical Performance Anxiety

Author(s): Joann Kirchner

Source: American Music Teacher , December/January 2004/2005, Vol. 54, No. 3
(December/January 2004/2005), pp. 31-33
Published by: Music Teachers National Association

Stable URL: http://www.jstor.com/stable/43546444

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by

Joann Kirchner

When anxiety prevents an individual

their hearts race; their from performing her best, not only is
hands shake. Eighty the performer affected, but others'
percent of al people musical experience also may be
Their their percent hands experience palms hearts shake. of al sweat; anxiety race; Eighty
experience anxiety affected.
when they become the center of atten- It is important for performers to
Joann Kirchner HHHļ tion.1 Many musicians are not able to seek methods to deal with the feelings
has a Ph.D. degree perform their best as a result of an accompanying performance anxiety.
in piano pedagogy increased anxiety level. While many The following are several basic tech-
from the University believe it is important, and even neces- niques to alleviate mild performance
of Oklahoma. She sary, to experience some performance anxiety.
coordinates the HIJI anxiety to play their best, anxiety
secondary piano HHHHishould not take over and debilitate the Memory Stations
program at Temple performer. The effects of performance Selecting designated measures
University where she also teaches
anxiety may appear when a discrepan- throughout a composition to be mem-
both applied and class piano. cy exists between what has occurred in ory stations, an individual could confi-
practice and the actual performance. dendy jump to these if the need arose.

AMERICAN MUSIC TEACHER 31

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Managing Musical ¡||fipp

These stations should coincide with Attend to Non-Musical Matters program also may reduce anxiety. This
the phrase structure of the piece, possi- in Advance process may include walking on the
bly every eight to sixteen measures, Take care of the non-musical matters stage, sitting down at the piano and
and should be well marked within the well in advance. If you are responsible composing yourself, playing through
score. Such notation will be especially for the programs, be certain they are the program, having the audience
helpful for visual learners. proofread and assembled and know favorably acknowledge the perform-
who will distribute them. Think about ance and walking off the stage.
Video/Audio Tape what you will wear for your perform- The above-mentioned techniques are
Video- or audiotape practice ses- ance. For females, it always is a good offered as ways to assist individuals
sions, reviewing the tape, critiquing idea to practice in the shoes you will with dealing with performance anxiety.
the performance. While viewing the wear for the concert, especially if the Some individuals may need to employ
videotape, you could identify places in shoes are being worn for the first time. multiple coping strategies. Finding a
the music where tension is present. To If a page-turner is being utilized, make particular technique, or techniques,
help the feeling of being threatened by the arrangements prior to the perform- that work for a student is paramount
the critique, listen or view the tape as ance. Attending to these matters will in the preparation of young
an outsider observing a colleagues help reduce any last-minute panic on performers.
performance. the day. Sometimes an individual s perform-
ance anxiety is so severe they may need
Realistic Expectations Focus on the Present professional assistance. The following
Be certain to set realistic expecta- Absorb yourself in the present are strategies that may require profes-
tions when choosing appropriate reper- moment. Avoid allowing your mind to sional intervention or training. In
toire. Selected repertoire should be focus on an upcoming difficult pas- addition, these techniques involve a
well within an individual s capability. sage, a slip that just occurred or any greater time commitment than those
The time frame also needs to be con- other irrelevant thought. previously discussed to adequately
sidered when choosing the music, Csikszentmihalyi refers to having a master the technique.
allowing ample time for the student to focused state of mind with total
learn the music and have time to live absorption in an activity as being in a Alexander Technique
with it once the music is learned. state of "flow." The Alexander Technique, developed
in 1904 by Australian actor Frederick
Performance Rehearsals Avoid Inner Dialogue Matthias Alexander, is a procedure
Participate in performance rehearsals Avoid inner dialogue while perform- where an individual learns to rid her
during the weeks prior to a scheduled ing. Such dialogue could only leave the body of harmful tension and stress,
performance. If possible, hold a individual feeling distracted and flus- and cultivate relaxation. Through
rehearsal in the actual performance tered. If a performer becomes engaged changing body movements, an individ-
space. This would be especially helpful in an inner dialogue during perform- ual acquires the necessary coordination
for pianists, allowing them to become ance, this is the time to return his for a particular activity with greater
familiar with the instrument. Three to focus to the music. ease and efficiency. The results can be
four rehearsals prior to a performance improved posture, balance and coordi-
permit the individual to feel more Replace Negative Thoughts nation. The Alexander Technique
secure with the music, as well as iden- Performance anxiety often is com- involves almost no physical manipula-
tify any weak spots that may need prised of negative thoughts and feel- tions, but rather consists of guidance
additional attention. ings, so it is important to replace the through verbal instructions.
negative thoughts with more positive
Perform Frequently ones. It is helpful to program positive Autogenic Therapy
Performing frequently may not thoughts during practice sessions so The word autogenic comes from the
always be possible. While it has been the musician can readily recall such Greek word autos, meaning self, and
reported that anxiety increases when thoughts when needed during a genous, meaning produced by.
there is widely spaced exposure to anx- performance. Autogenic therapy involves a state of
iety ensuing situations,2 such perform- deep relaxation, created by a feeling of
ances increase the musicians Visualization warmth and heaviness throughout the
confidence level, and the performer is Many performers may already visu- body. It is a rather lengthy procedure,
able to gain self-knowledge within the alize playing a piece from start to fin- taking about three months to
performance venue. ish, but visualizing playing an entire complete.

32 DECEMBER/JANUARY 2004/2005

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 Managing Musical

Beta Blockers Deep Breathing ■ Right hand

In a study of professional orchestral By simply changing your breathing ■ Right forearm and hand
musicians in Canada, beta blockers pattern from shallow breathing to deep ■ Entire right arm
were considered to be the most effec- breathing, it is possible to lower your ■ Left hand
tive coping strategy in dealing with stress level. One way to establish such ■ Left forearm and hand
performance anxiety.3 Beta blockers a pattern is to think of the number ■ Entire left arm
prevent the flow of adrenalin to the one as you exhale and then take a ■ Abdomen
beta-receptor sites in the autonomic breath and think of the number two. ■ Chest
nervous system. They are known to Continue this process until you arrive ■ Neck and shoulders
substantially reduce the physiological at ten or fifteen. Deep breathing ■ Face

manifestations of performance anxiety should come from the abdomen and

such as increased heart rate, sweaty not the chest area. Systematic Desensitization
palms and shaking. Propranolol, also Systematic desensitization uses the
known as Inderal, is the most com- Eastern Disciplines imagination to recall an anxiety-
monly used beta blocker for treating Eastern cultures have developed sev- producing situation, and is a relaxation
performance anxiety. This usually is eral practices to help individuals regu- technique to lessen the anxiety.
administered in a small dose of ten to late the tension in their bodies. Zen, These above techniques are men-
twenty milligrams one to two hours yoga, t'ai chi, transcendental medita- tioned as possible ways of dealing with
prior to a performance.4 tion or other similar exercises all are musical performance anxiety. Each
examples. While such practices may technique can be used independendy
Biofeedback serve a performing artist well, mastery or in combination with one or more of
Biofeedback was developed in 1969 of such techniques requires time and the others. Often, individuals employ
as a way for an individual to receive commitment. multiple coping strategies because one
feedback to develop relaxation and particular strategy is not sufficient.
stress management skills. Biofeedback Progressive Muscle Relaxation Since there is no one correct treatment
therapy utilizes a sensitive instrument to Progressive muscle relaxation, devel- for musical performance anxiety, each
measure physiological processes such as oped by Edmund Jacobson in 1939, is individual s needs must be considered.
muscle tension, heart rate, blood pres- a two-step process. The first step AMT
sure and blood flow. Electrodes are con- involves deliberately tensing certain
nected to sites on the body where groups of muscles, and the second step NOTES
measurements are taken. The informa- centers on relaxing the muscles and 1. Plaut, E. A. (1990).
tion is then "fed back" to the individual getting in touch with the resulting "Psychotherapy of Performance
through either a tone or visual display. feelings. When applying tension, sim- Anxiety." Medical Problems of
If the tension increases in the muscles, ply squeeze a particular muscle group Performing Artists, 5(1), 58-63.
the instruments display this informa- as hard as possible for about eight sec- 2. Lehrer, P. (1978). Performance
tion to the individual, who is then able onds, then leť go of the tension, allow- Anxiety and How to Control It: A
to monitor his own relaxation. Deep ing it to flow out of the muscles as you Psychologists Perspective." In C.
breathing, relaxation and visualization exhale. Remain relaxed for about fif- Grindea (Ed.), Tensions in the
techniques often are used in conjunc- teen seconds, then move to the next Performance of Music (London: Kahn
tion with the biofeedback. The length muscle group. Over time, an individ- & Averill.) 134-152.
of biofeedback therapy is dependent on ual will learn to recognize and distin- 3. Bartel, L. R. and E. G.
the severity of the symptoms. guish the feelings connected with tense Thompson (1994). "Coping with
muscles. Performance Stress: A Study of
The following muscle groups are Professional Orchestral Musicians in

( For
BOnUS BYTE ^
more details about auto-
involved, beginning with your feet and Canada." The Quarterly Journal of
progressing upward: Music Teaching and Learning 5(4),
genic therapy and systematic ■ Right foot 70-78.
desensitization, go to ■ Right lower leg and foot 4. Brandfonbrener, A. G. (1990).
www.mtna.org. Click on ■ Entire right leg "Beta Blockers in the Treatment of
"American Music Teacher" then ■ Left foot Performance Anxiety." Medical
click on "Tell me more ■ Left lower leg and foot Problems of Performing Artists, 5(1),
about... Bonus Bytes." ■ Entire left leg 23-26.
V about... Bonus Bytes." J
AMERICAN MUSIC TEACHER 33

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