A Mental Approach to Performance: Think, Commit, Sing.

Dr. Brian Lanier

Northwest Missouri State University
blanier@nwmissouri.edu

Success occurs when preparation meets imagination.

Prepare your Students and Yourself for success!

Facing Fear - The “outer game” vs. the “inner game”

What are your greatest fears as a singer (tennis player, golfer, skier)?
What are your greatest fears as a teacher (coach)?
What are your greatest fears as a conductor?
Think of the first significant musical experience in your life. Was it scary? fun?
exciting? terrible?

Fear creates tension which leads to physical and mental interference

Identifying Self-interference (The Inner Game of Music)

You are going on stage to perform (sing, conduct, play).

Make a list of the things that worry you:

Things I think about when going on stage to perform

 might lose control

 not enough practice; unprepared
 worried about the accompanist
 equipment malfunction – lights, sound, instruments
 might lose my place in the music
 choir singing flat
 audience will not like the performance
 memory slips – words, notes
 Now, what are the effects of interference?

Physical and Mental effects of interference

 dry mouth, loss of breath
 increased heartbeat
 sweaty hands
 shaking hands, arms, legs, knees
 tension
 losing concentration
 tempo control – speed up, slow down
 distractions

The Power of Awareness

 acknowledge the fear and doubt

 develop techniques to identify the manifestations and effect of the interference
 CHOOSE to focus your attention elsewhere
 relaxation techniques
 complete study and understanding of the music can provide comfort and relaxation as
you move into performance

Know What You Can and Cannot Control

Every Shot Must Have a Purpose – page 37

You Can Control Musical Equivalent You Cannot Control Musical Equivalent
Your temper The weather
Your equipment Your playing partners
Your warm-up Other’s speed of play
Pre-shot routine Pin placement
Post-shot routine Course conditions
Pre-swing fundamentals Score
Aiming Breaks
Your attitude Lie of the ball
Your club selection Tee times
Your strategy Past shots
Decision/commitment Winning
Your diet
Your posture
Your own speed of play
More about Awareness

In order to progress toward successful performances [the FUTURE], we must focus on what is
happening in the PRESENT!

WATCH – see what is actually happening in front of your eyes; observe the singer’s
(athlete’s) posture, muscle formation, head position, use of energy
 often the teacher does not “SEE” what is really going on

LISTEN – focus on the sound coming from the choir, soloist, piano, instruments
 many times the teacher imagines to hear sounds that are not real

FEEL – allow your personal experiences to connect to the music, and create new feelings
from the music
 often the conductor (coach) may suppress his/her feelings about the music and emphasize
the technical aspects
 encourage and permit the singers (athletes) to experience and express their feelings about
the songs (games)

USE WHAT YOU KNOW – each of us has thousands of bits of information gained from
our own learning and performance experiences
 let your singers (athletes) reap the benefits from your depth of experiences in life
 use imagery to broaden the singer’s depth of understanding and achieve an enhanced
performance
The Power of Will
Why do we choose music (sports) as a life goal?

I choose music as a life goal because Students choose sports as a life goal because
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Let’s break singing/performing/golfing/running/skiing/tennis down into 5 elements:

Physical – fitness, posture, nutrition, proper rest, warm-up

Technical – swing, grip, stance, aim, equipment, fundamentals, pitches, rhythms
Mental – focus, motivation, decision making, goal setting, strategy
Emotional – feelings, nerves, anger, anxiety, passion for the game
Social – interaction with others, family, coach, playing partners

Now, where do you place the bulk of your focus when preparing to perform/teach/play?
Practice with a purpose

 hitting golf balls on the practice range with no specific target or purpose merely
reinforces bad habits and permits the swing to become loose and unfocused
 hitting golf balls on the practice range with no practice plan allows the mind and body to
become lazy
 going to the practice room without a specific plan or purpose is a waste of time
 putting your choir through a rehearsal without the conductor having a specific plan
and purpose is a waste of everyone’s time
 PRACTICE WITH A PURPOSE!

Make practice real

 sports coaches simulate “game” conditions (loud speakers during practice sessions)
 move singers and choirs to a variety of venues for listening purposes
 change the seating/standing arrangement occasionally to develop ensemble and
individual confidence

Play with a purpose

Don’t try a shot you can’t handle

 “Good shots are a combination of commitment, trust, and honesty.” (Nilsson, p. 99)
(So are good musical performances!!!)
 I think I can hit this 7 iron 165 yards into the wind, over the lake, to that pin in the
back of the green and get a birdie. (Uh-huh………..right……)
 be sensible – put your ego aside and make choices based on ability (yours and the
singer’s) and honesty
 evaluate your abilities and those of the singers – don’t attempt things that simply are not
possible
 develop patience – there is no need to lower standards – points of arrival may be farther
apart from year to year, group to group, singer to singer – be tenacious, but patient
 not every piece or every shot will work – that is the mystery and beauty of music and
sports
 know the boundaries for success and failures; don’t be afraid to push, but recognize the
risks (vocal duress, strain, mental fatigue, music too difficult, constraints of rehearsal
time, performance venue)
 The Power of Trust
Three major obstacles to trust: worries about your self-image, the feeling that things are out of
your control, and doubts and fears about your own ability. (Green, p. 79)

 identify and confront the obstacles

 it is very easy to get down on yourself when you hit a bad shot –
bad shots happen! figure out what went wrong, adjust, and move on
 talk (kindly) to yourself and recognize the challenges of the obstacles
 know that music, like sports, is a performing art, physical and mental
 rely on your skills and the established high quality practice routines you have developed
 concentration and focus = good pitch and diction

THE THINK BOX D THE PLAY BOX

E
 analytical, left brain, digital, intellectual C  sensory, right brain
 decide on swing thought, make practice I  involves imagery
swing S  instinctual
 complete honesty I  no digital thinking
 changes from day to day O
N

 In the THINK BOX, you pack your L

parachute I  In the PLAY BOX, you just jump!
N
E

 Spend time in the THINK BOX:

- developing your skills (swing, serve)
- planning your program (repertoire choices, competition schedule)
- rehearsing (practicing with a PURPOSE)
- inspiring your performers (team)
- planning the details of the concert (game plan)

 THEN, step across the DECISION LINE into THE PLAY BOX
- move out onto the stage and HIT THE BALL!
- no room for doubts
- no room for fear
- rely on the information stored in your mind and muscles from the
THINK BOX
Final Thoughts

Who “decides” what is good and best?

Where is the bottom line of professional competence?
How do you get yourself beyond that level?
How do you take your students to the next level?
 Prepare your singers – then release them and permit them to have fun with the music – let
it flow through them
 use a variety of approaches to reach all the athletes/singers through a sequential approach
to the craft
 use imagery to describe the sound and effect of music
 a mental lapse can cause a shank shot from the middle of the fairway
 concentration can result in a great shot from a terrible lie in the rough

Selected References

Green, Barry. (1986). The Inner Game of Music. Doubleday. ISBN 0-385-23126-1

Green, Barry. The Inner Game of Music – VIDEO. The University of Wisconson-
Madison (WI)

Kauss, Dave. (2001). Mastering Your Inner Game. Champaign, IL - Human Kinetics.
ISBN 0-7360-0176-X

Nilsson, M. and Lynn Marriott. (2005). Every Shot Must Have a Purpose. Gotham
Books. ISBN 1-592-40157-0