Music Performance Anxiety. Techniques and Strategies to overcome MPA.

Abstract
Music Performance Anxiety affects a lot of musicians of all ages. The anxiety
suffered when one has to perform for an audience, adversely affects the results of a
concert, recital or exam, and prevent musicians from performing. This extended
literature review will document knowledge relating to symptoms of anxiety in musical
performance and providing cognitive and behavioural techniques and strategies that
assist in providing a relaxed performance. The research question that emerges is:
What is Music Performance Anxiety and what cognitive and behavioural strategies
will help manage its symptoms for the individual performer? This research does not
include any advice on medication use and does not cover the use of beta blockers.

WHAT IS MPA?

Music Performance Anxiety (MPA) is a condition that has been investigated

extensively, it affects the majority of musicians that perform in front of an audience
(Kahn, 1983; Green and Gallwey, 1986; Ely, 1991; Davis,1994; Kenny, 2006; Diaz,
2018), from teenagers to professionals. MPA can be experienced by all musicians in
certain stage of their careers, most of the time it commences as a subconscious
(relating to thoughts and feelings that exist in the mind and influence the behaviour
although the individual is not aware of them) phenomenon that triggers the
conscious reality in anticipation of an impending performance situation. Therefore, it
is important to continue to research how MPA manifests in different age categories,
musical backgrounds and different performance situations or events where
individuals may be “evaluated or scrutinised” (Ely, 1991) by others, leading to
potential negative effects of shamefulness and humiliation (Kahn, 1983; Green and
Gallwey, 1986; Ely, 1991; Kirchner, 2004; Diaz, 2018). Symptoms and effectiveness
of different treatments will be discussed throughout this research. ( MPA and references
to Stage Fright are used interchangeably (Ortiz, 2011, p.168; Kahn, 1983, p.5; Hamann, 1985;
Ginsberg, 2019, p.16) foot note. )
When individuals are evaluating themselves during a performance, they start
perceiving “inadequate capabilities to deal with the threat” (Kenny, 2006, p.53) of
performance or repertoire and this leads to MPA. In music it is extremely difficult to
“reach a level of perfection” (Kahn, 1983, p.7), due to the fact that a live performance
might have many variables that are not under the musician’s control, that might
affect their focus or efficiency like external noises, illnesses on the day, the
attendants, weather, etc. Hence, the performer focuses on an inner dialog of
disastrous cognitive statements, making the musician interrupt the attention to the
performance (Kenny, 2006, p.53). Regarding variables of how an individual
experiment MPA, Kahn stated that “stage fright may depend on the type of audience;
the size of the crowd; and if he is performing in a group, the number and ability of his
colleagues” (Kahn, 1983, p.9). Musicians who experience slight MPA can often
benefit from practical advice and remedies provided by their professors and
implemented by themselves (Davis, 1991). It is important to find ways to manage
MPA so that the musician's ability to perform does not get affected (Kirchner, 2004,
p.31). However, when the anxiety becomes so intense that it significantly impairs
performance quality or creates obstacles to performing, professional intervention
becomes necessary (Davis, 1991; Kirchner, 2004).

In opposition to the previous, the other face of this condition was examined by
different researchers that assert MPA most not be reduced when musicians are
professional trained and are highly skilled, because it lowers the quality of their
performance. It was found that some musicians performed better when they
experienced MPA. Skilled musicians enhance their performance due to the fact that
they are more aurally curious and aware when they feel highly anxious. However,
musicians are more likely to perform poorly if they experience MPA when they do not
have a high level of mastery in their instruments (Hamann, 1985).

There are plenty of techniques and strategies to support performers on overcoming

anxiety. It is important to detect which ones are suitable for each individual (Kirchner,
2004, p.32). There are a variety of disciplines developed by eastern cultures that can
assist the performers lower their tension, which is one of the most common
symptoms of MPA. Some examples are yoga, meditation and comparable practices
but although these disciplines are helpful, it takes time and dedication to see
excellent results (Kirchner, 2004, p.33).

Research shows that even when treated for MPA, musicians still struggle with
producing their best in a performance, however the results are improved when they
get help from health professionals or learn how to alleviate their symptoms.
Therefore, the best approach is to prevent MPA by raising awareness of effective
strategies and techniques that musicians can apply since early stages of their
careers (Ortiz, 2011, p.164).

Methodology

NOT SURE IF THIS BELONGS HERE?

THIS COULD BE PART OF THE ABSTRACT OR AS AN INTRODUCTION TO THE MAIN PAPER?… Sean C.

WHAT IS MY METHODOLOGY WHICH HAS BEEN SUPPORTED VIA MY LITERATURE REVIEW?

WHAT IS MY INTENT FOR THIS RESEARCH AT THE OUTSET?
WHAT ARE MY QUESTIONS TO BE ANSWERED?
HOW AM I GOING TO PROVIDE CREDIBLE SOLUTIONS?
HOW WILL I REACH A CONCLUSION WITH THIS ARGUMENT? …….. Sean C.

The methodology used for this research project was an extended qualitative
literature review, relevant articles and a couple of books were analysed. The search
for papers was done on the websites Jstor and ProQuest, looking for works with the
key words: stage fright and Music Performance Anxiety. The aim was to understand
what MPA is and find effective ways of alleviating its symptoms. A summary of
different treatments, techniques and strategies was done with focus on the ones that
can be applied by any musician without help from a third party. Any article related
with the intake of beta-blockers was disregarded to avoid getting into negligence of
medical advice.

1- Causes and symptoms

There are many triggers for anxiety, conscious or unconscious that produce “somatic
sensations” (Kenny, 2006, p.53). People have different experiences with MPA, this is
why it does not exist “one-size-fits-all solution” (Ginsberg, 2019). Music Performance
Anxiety is composed of four main characteristics or causes: physiological, cognitive,
behavioural and psychological (Ely, 1991; Ginsberg, 2019). Each one has different
symptoms.

In the physiological aspect of the MPA there are body reactions in response of
the anxiety experimented by the individual. This aspect of MPA is the easiest to
observe and study. The nervous system has two parts, central nervous system that
is compound of brain and spinal cord, and autonomic nervous system that is
compound of head, pelvic and sympathetic divisions. When the central nervous
system perceives danger it sends signals and impulses to to the autonomic nervous
system to manage the situation, like augmented heart rate and pressure, body
sweat, short breathing, shaking arms and legs, dry mouth, intestinal problems, etc. In
a critical life or death situation, these same body responses can save the individual
from true dreads. For instance, the digestion is slowed down, the dry mouth is
because the salivary glands stop working, the blood pressure augments due to the
rapid heartbeats, the glands of sweat works faster and the body produces more
adrenaline, etc. (Ely, 1991). When the musician suffers from all these reactions it is
almost impossible to perform accurately, “the performer will be adversely affected to
such an extent that the performance will suffer dramatically” (Ely, 1991, p.36). Thus,
a combination of these symptoms while performing provokes MPA (Ginsberg, 2019).

The cognitive aspect of MPA is related to the fears and thoughts of a specific
situation, like thinking the performance can be disastrous or making cognitive
statements in their mind asserting that something will go wrong (Ely, 1991; Ginsberg,
2019). The symptoms of MPA depend on the origin or root of the problem. Some
symptoms are concerns, memory lapses, inability to focus. For instance, a performer
that has to play by memory might feel fear about forgetting the repertoire and this
triggers stress and anxiety (Ginsberg, 2019).

The behavioural aspect of MPA makes individuals to change the way they
behave or react, avoiding the stressful situation, for example a bad technique or
posture might be result of that anxiety (Ely, 1991, p.35; Ginsberg, 2019). For
instance, the excitement felt when kids perform or sing for others is replaced with
fear and anxiety due to a traumatic event like laughter or jokes about the individual’s
performance, and this leads to avoid performing again. “This type of avoidance
behaviour is one of the major effects of anxiety” (Ely, 1991).

In the psychological aspect of MPA, individuals are affected by their

perception of danger creating negative thoughts. According to psychologists, it is
categorised as a social phobia due to the nature of the situation which involves being
judged by others, the fear of not performing correctly and being criticised for their
mistakes, etc. Those fears make the individuals ask themselves if they are good
enough and this “lead to obsessive thoughts of failure” (Ely, 1991). Some concerns
are not linked to the performance but to other factors that increase the feelings of
fear, tension and anxiety, (Ely, 1991).

Perfectionism/ High speciations-

Research shows that perfectionism might be an indicative of anxiety in performing

artists of all levels, particularly musicians. This characteristic of the individuals’
personality is outlined by the aspire to perform in an extraordinary level but at the
same time being extremely judgemental with themselves. Perfectionist musicians
may have high levels of MPA and frustration about their performance outcomes
(Diaz, 2018). Some performing artists are not able to perform due to the goals they
set that are far from their realistic ability of playing. Musicians should know that in a
public performance they will reach no more than eighty percent of their real skills’
level (Davis, 1994).

Negative thoughts/ Fears-

MPA might be presented when a performer has negative thoughts about the possible
negative outcome of a performance due to the perception that a situation can be
harmful (Ely, 1991). Catastrophizing is one of the best predictors of MPA, this is
when a musician thinks and feel the performance is going to be disastrous (Kirchner,
2004). Some of those negative thoughts are not related to the performance but to
other factors like the look of the performer, the people attending the concert, etc.
(Ely, 1991). Thoughts affect feelings and feelings affect the performance. Negative
thoughts come from believes and not necessarily from facts, thus it is mandatory to
replace those thoughts with positive ones to have a quality performance (Buswell,
2006).

2- Treatments

Cognitive therapy helps musicians to manage their anxiety by changing the

way they think about threats and challenges. This can be done by comparing the
threat to more serious ones, seeing it from a different perspective, challenging
negative thoughts and beliefs, temporarily setting aside thoughts about the
performance, or reappraising the reasons for anxiety. In other words, cognitive
therapy helps musicians to see that their anxiety is not based on reality, and that
they have the power to control their thoughts and emotions. This can lead to a
significant reduction in anxiety, and improved performance (Davis, 1994).

The concept of cognitive restructuring holds immense value in helping individuals

address their mental health concerns and improve their overall well-being. Drawing
from cognitive therapy principles, the focus musician therapists is to assist
individuals in identifying and reshaping faulty thinking patterns that contribute to
maladaptive behaviours and hinder their personal growth. Research indicates that
cognitive restructuring techniques are particularly effective in addressing anxiety-
related thought patterns and can be highly beneficial for musicians experiencing
performance anxiety (Kenny, 2006, p.61).

There are treatments that can be helpful in the reduction of MPA symptoms,
relaxation, biofeedback and exercise, due to its calming effect that counter body
responses of fight or flight. Relaxed muscles, regulated blood pressure and low heart
rate are indicative of a relax state of body and mind.The body and the mind are
connected and due to this integration, a calm body can lead the mind reach a
calmed state. (Davis, 1994). Thus, feelings and thoughts affect the way of
performing due to the link between body and mind (Boswell, 2006).

Behavioural therapies have proven to be effective in treating anxiety

disorders, with a key focus on addressing maladaptive behaviours that occur when
individuals feel anxiety. These therapeutic approaches aim to target excessive
muscle tension, a common symptom experienced by individuals with anxiety
disorders. Exaggerated muscle tension can have a significant impact on an
individual's daily functioning and overall well-being. One of the widely used methods
in behavioural therapy for anxiety disorders is deep muscle relaxation training. This
technique involves teaching individuals how to achieve a state of deep relaxation by
systematically tensing and then releasing different muscle groups in their bodies.
Through this training, individuals can develop greater awareness and control over
their muscle tension, leading to a reduction in overall anxiety levels (Kenny, 2006,
p.61; Green and Gallwey, 1986).

According to Kenny (2006), behavioural therapies, such as cue-controlled relaxation

training, systematic desensitisation, and behavioural rehearsal have shown some
level of effectiveness in reducing MPA. Additionally, cognitive interventions have the
potential to be beneficial. However, the lack of strong studies limits researchers to
draw conclusions about the usefulness of cognitive interventions in managing MPA.
Furthermore, Kenny highlights that there is no consistent evidence indicating the
superiority of any specific behavioural intervention. It is important to note that treated
performers may not achieve the same level of anxiety as those who don’t suffer the
condition, and that almost all of them may not be able to completely overcome their
MPA (Kenny, 2006, p.61).

Cognitive Behavioural Therapy (CBT) is a highly effective approach for

musicians seeking to improve their mental well-being and address negative thinking
patterns and behaviours that may be hindering their musical performance or overall
quality of life. Research has shown that CBT is particularly beneficial for individuals
experiencing depression and anxiety disorders, which are common psychological
challenges faced by musicians. Furthermore, studies have indicated that CBT
delivered through telephone-based sessions have demonstrated superior outcomes
in comparison to traditional treatment methods for various conditions, including
Chronic Widespread Pain (Ortiz, 2001).

Behavioural, cognitive and cognitive-behavioural treatments can have favourable

results to individuals that present MPA (Kenny, 2006, p.60) Although there is much
research to be done yet, treatments can be applied to help performing musicians
(Kenny, 2006, p.60) and one day performers will know easy techniques to keep
themselves away of MPA (Davis, 1994).

3-Techniques

Breathing-

Musicians should engage in breathing exercises when they are calmed so that they
can use these methods effectively when anxiety arises. Usually no one is all the time
thinking in breathing, however, it is of vital importance to be aware of it when
practicing or performing. Before beginning the study session or public performance,
the individual must take a minute or two to focus the attention on the breath.
Breathing calmly helps to have a clearer mind, being mindful in the present
(Johnson. 2019). According to Buswell, the breathing must be deep, with the
stomach and not the chest, through the nose and not the mouth, even and smooth,
in order to do it properly. This technique is helpful specially if musicians train their
body to do it in a regular basis, and then whenever they feel stressed or anxious at
the performance, it will be easier to put in practice. Breathing correctly leads to a
state of relaxation (Buswell, 2006).

Relaxation-

The relaxation is a process and a state of mind that helps regulate the pressure, the
heart rate, the breathing, the body tension, etc., in this way the individual achieves to
be in calm. There are different types of relaxation, according to Buswell some of
them are: Autogenic therapy, The Feldenkrais Method, The Alexander Technique,
Progressive Muscular Relaxation, Cued Relaxation, Self-Hypnosis, etc. (Buswell,
2006). Learning to practice or perform with the correct amount of tension is what
musicians need to do. Being relaxed while performing is not always easy, but it is
vital for the performer to enjoy the practice session by releasing tension to be able to
do it in critical moments (Johnson, 2019). It is possible to learn how to relax, and it is
important to do it in “low stress conditions” (Buswell, 2006). If performers feel tension
in the jaw, upper back, neck, or elsewhere, they should encourage the body to relax
(Johnson, 2019).
Meditation-

The main characteristic of meditation is awareness, focus and relaxation. Meditation

helps individuals with the reduction on anxiety and it is used as a treatment for MPA
among professional and amateur musicians. Meditation is gaining territory among
therapies utilised for overcoming MPA due to its mind and body calming effect (Ortiz,
2011; Diaz, 2018).

Visualisation-

Many artists can already visualise performing a complete piece or even approaching
a full program without MPA. Visualising going on stage, having the instrument ready,
performing the program, receiving positive reaction from the listeners and walking off
the stage can be part of the process (Kirchner, 2004-5, p. 32). Visualisation helps to
learn faster, to acquire new skills and solve issues easier, because the brain does
not distinguish between real and imagined events (Buswell, 2006). Imagination or
visualisation is one of the artist's most powerful tools. When the individual creates a
clear mental script of the performance and then try to replicate it during the actual
performance can reduce MPA. Experiencing the performance in the mind first, will
create a feeling that there is less to worry on stage (Davis, 1994). In words of
Buswell, visualisation has the power of transformation as is stated in the next text:

“Visualisation is a sturdy weapon in the armoury of the mentally robust. It has the
power to transform: to change failure into success, hopelessness into hope, and
despair into delight. It can be used to overcome fear, to achieve goals, to build
self-confidence and self-esteem. For the musician, visualisation is a compelling
complement to physical rehearsal and practice, and, sometimes, a substitute for
it. As with many of the skills taught in this book, it requires practice, but once the
skill is embedded, it is there as an ally for a lifetime.” (Buswell, 2006)

Cognitive or mental rehearsal-

The mental rehearsal helps musicians to acquire physical skills without using their
bodies, recreating mentally the movement, the sound of the instrument and
kinaesthetic features like the sensation of touching or playing the instrument
(Buswell, 2006). Mental rehearsal is needed in order to achieve an excellent
performance. It consists in imagining all details about a coming performance, if the
rehearsal is positive and free of anxiety, the outcome will be performing with less
anxiety. According to Ely, “It is a good idea to analyse the situation rationally and to
rehearse the entire event ahead on time in your mind” (Ely, 1991). Some benefits
from rehearsing mentally are calmed nerves, having more energy and more
confidence. This technique might be used just to complement real physical practice
instead of being a substitution of physical practice (Buswell, 2006).

Alexander Technique-

The Alexander Technique, developed by the Australian Frederick Mathias

Alexander, help replacing usual reactions with conscious new ones, it is a useful tool
for minimising excessive muscular tension and improving habits of how people use
their body (Kirchner, 2004; Kenny, 2006). Performers use this technique as a way to
be aware of the body signals, taking into account their position on the stage or
practice room, the tension of the body and their thoughts. Research suggests that
this technique helps to improve the musician’s state of mind and might increase the
performance quality (Kenny, 2006, p.62). Alexander Technique is delivered by oral
instructions and little corporal management by the instructor where the individual
learns body movements, improving the coordination, posture and balance (Kirchner,
2004). There are different studies that show positive effects of this technique in the
reduction of MPA (Ortiz, 2011).

Cognitive statements/ self-affirmations-

Cognitive statements are useful to minimise MPA, they are used by individuals to
replace negative thoughts with positive ones (Ely, 1991). The inner dialogue is
regularly negative and depreciating, so the performer needs to learn stoping and
eliminating the negative inner voice in order to achieve a more relaxed and accurate
performance (Green and Gallwey, 1986; Davis, 1994). Positive statements help to
change the believes that are limiting to the potential of a Performance without MPA.
These statements assist in reprogramming unconscious thoughts or believes in the
mind. It increases self-steam and self believes that are harmful for a performance
free of fears and stress (Buswell, 2006).

3- Strategies

Practice and preparation-

Musicians sometimes have the feeling of not being enough prepared for a
performance, even when they had extensive practice sessions (Kahn, 1983, p.7). All
musicians are aware of the importance of being well prepared for a performance,
playing with confidence and accurately is the result of having practiced correctly
(Johnson, 2019). Musicians need to be well prepared to avoid feelings of stress and
anxiety. It is important to have weekly goals, to manage the practice time, make
annotations on the music, know the style of the composer, etc. (Ely, 1991; Johnson,
2019). Analysing and learning the music is necessary to practice as if it was the
performance, the previous helps to identify what needs to be addressed before the
actual presentation (Green and Gallwey, 1986; Ely, 1991). According to Davis, “a
musical performance is an extremely complex set of mental and physical interactions
that seem effortless and automatic, at least in gifted performances. Performing by
reflex is possible only if the material is prepared to the point of over learning” (Davis
1994). Practice time must not be boring, the most effective way of learning the
repertoire is enjoying the session and having fun because nervousness and
seriousness are not needed in order to achieve an accurate performance (Green and
Gallway, 1986). In order to have an effective practice session, it is important to plan
ahead and play like if it was the performance day. Planning and scheduling what
needs to be done and how to accomplish the individual’s goals is mandatory to avoid
wasting time and then feeling unprepared on the presentation day, it is better to
practice regularly a couple of hours rather than practice excessively some days
before the presentation (Buswell, 2006). Practicing in the venue where the
performance will take place is helpful to feel comfortable and with confidence on the
day of the presentation (Ely, 1991).
Realistic Expectations-

MPA can vary according to musicians’ self-perception of their ability to have an

accurate performance. The best way of counter the problem is having lower
expectancy, stop self-criticism and avoid focusing on the mistakes (Davis, 1994).
One way to prevent MPA is to choose repertoire that is in the performer’s level. A
performer who perceives a piece of music as being too difficult will present higher
MPA. This is also similar to musicians who play instruments that require a higher
level of mastery like violin or piano (Ortiz, 2011, p.164). The repertoire has to be
learned to the point where the individual is able to play with freedom and confidence
(Davis, 1994; Kirchner, 2004; Ortiz, 2011). Realistic time frame is important, the
musician will need enough time to practice and also time to just reaffirm the learned
music for the performance (Kirchner, 2004).

Exposure-

One of the most effective ways of overcoming MPA is performing regularly. The
more an individual is exposed to anxiety situations, the more is going to get used to
MPA feelings and know what to expect. After identifying how it feels to be anxious,
the musician will be able to find strategies to cope with the problem (Ely, 1991).
However, not always is possible to perform frequently. Although performances might
be spaced, each presentation can help musicians gain confidence by knowing
themselves in a performance setting (Kirchner, 2004).

In opposition of the previous, Buswell states that being exposed to numerous

performances is not needed for a consistent performance, “rather it is about
developing the mental toughness which will enable you to be a more resilient
performer” (Boswell, 2006). Being regularly exposed to stressful situations when
performing on stage may have harmful effects for musicians if they do not develop
the necessary techniques or strategies to overcome MPA (Ginsberg, 2019).
Conclusion

After reviewing a vast number of articles and a couple of books related to

Music Performance Anxiety, I found that this problem or condition affects a large
number of artists, especially performing musicians. MPA can manifest in musicians
of any musical background. Learning what MPA is and how to overcome the problem
is essential for professional musicians who perform regularly in front of an audience.
It would be of great help if from early stages of the musical career teachers taught
how to overcome anxiety when it starts to manifest in their students. There are many
actions that can be taken in order to relieve MPA symptoms, from “do it yourself”
solutions to treatments where a professional is needed. The findings show that the
solutions or treatments are to be different for each musician depending on the
severity or origin of their anxiety, leading the performer to plan different strategies to
fight the fright or nervousness felt before and while playing for others. All the
techniques presented in this paper are the most common solutions that the majority
of the health and music professionals, like music teachers and psychologist,
recommend, but there should be much more than the ones I found in my literature
review. All of the sources I examined agree in the fact that a little bit of nervousness
is desirable for a successful performance, especially if the musician has a high
musical and technical level but, once it gets out of control, it needs to be addressed.
Overall, it is mandatory to be well prepared to don’t confuse the fact of not being
ready for a performance, due to the lack of practice, with the genuine fear of going
on stage despite having practiced enough. It is important to think positive, a positive
mind set is one of the most effective ways to achieve a quality practice session and
performance. The most recommended strategy to overcome MPA, as in almost every
health issue, is the prevention.
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