Managing musical performance anxiety.

Their palms sweat; their hearts race; their hands shake. Eighty percent of all people experience anxiety when they become the center of attention. (1) Many musicians are not able to perform their best as a result of an increased anxiety level. While many believe it is important, and even necessary, to experience some performance anxiety to play their best, anxiety should not take over and debilitate the performer. The effects of performance anxiety may appear when a discrepancy exists between what has occurred in practice and the actual performance. When anxiety prevents an individual from performing her best, not only is the performer affected, but others' musical experience also may be affected.

It is important for performers to seek methods to deal with the feelings accompanying performance anxiety. The following are several basic techniques to alleviate mild performance anxiety.

Memory Stations

Selecting designated measures throughout a composition to be memory stations, an individual could confidently jump to these if the need arose. These stations should coincide with the phrase structure of the piece, possibly every eight to sixteen measures, and should be well marked within the score. Such notation will be especially helpful for visual learners.

Video/Audio Tape

Video- or audiotape practice sessions, reviewing the tape, critiquing the performance. While viewing the videotape, 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 colleague's performance.

Realistic Expectations

Be certain to set realistic expectations when choosing appropriate repertoire. Selected repertoire should be well within an individual's capability. The time frame also needs to be considered when choosing the music, allowing ample time for the student to learn the music and have time to live with it once the music is learned.

Performance Rehearsals

Participate in performance rehearsals during the weeks prior to a scheduled performance. If possible, hold a rehearsal in the actual performance space. This would be especially helpful for pianists, allowing them to become familiar with the instrument. Three to four 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.

Perform Frequently

Performing frequently may not always be possible. While it has been reported that anxiety increases when there is widely spaced exposure to anxiety ensuing situations, (2) such 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 females, 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. If a page-turner is being utilized, make the arrangements prior to the performance. Attending to these matters will help reduce any last-minute panic on the day.

Focus on the Present

Absorb 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. Csikszentmihalyi refers to having a focused state of mind with total absorption in an activity as being in a state of "flow."

Avoid Inner Dialogue

Avoid inner dialogue while performing. Such dialogue could only leave the individual feeling distracted and flustered. 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 more 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

Many performers may already visualize playing a piece from start to finish, but visualizing playing an entire program also may reduce anxiety. 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 and walking off the stage.

The above-mentioned techniques 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 paramount in the preparation of young performers.

Sometimes an individual's performance anxiety is so severe they may need professional assistance. The following are strategies that may require professional intervention or training. In addition, these techniques involve a greater time commitment than those previously discussed to adequately master the technique.

Alexander Technique

The Alexander Technique, developed in 1904 by Australian actor Frederick Matthias Alexander, is a procedure where an individual learns to rid her 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. The Alexander Technique involves almost no physical manipulations, but rather consists of guidance through verbal instructions.

Autogenic Therapy 

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 Canada, beta blockers were considered to be the most effective coping strategy in dealing with performance anxiety. (3) 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, also known as Inderal, 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. (4)

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

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. While such practices may serve a performing artist well, mastery of such techniques requires time and commitment.

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, 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

* 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.

BONUS BYTE

For more details about autogenic therapy and systematic desensitization, go to www.mtna.org. Click on "American Music Teacher" then click on "Tell me more about ... Bonus Bytes."

NOTES

(1.) Plaut, E. A. (1990). "Psychotherapy of Performance Anxiety." Medical Problems of Performing Artists, 5(1), 58-63.

(2.) Lehrer, 13. (1978). "Performance Anxiety and How to Control It: A Psychologist's Perspective." In C. Grindea (Ed.), Tensions in the Performance of Music (London: Kahn & Averill.) 134-152.

(3.) Bartel, L. R. and E. G. Thompson (1994). "Coping with Performance Stress: A Study of Professional Orchestral Musicians in Canada." The Quarterly Journal of Music Teaching and Learning 5(4), 70-78.

(4.) Brandfonbrener, A. G. (1990). "Beta Blockers in the Treatment of Performance Anxiety." Medical Problems of Performing Artists, 5(1), 23-26.

Joann Kirchner has a Ph.D. degree in piano pedagogy from the University of Oklahoma. She coordinates the secondary piano program at Temple University, where she also teaches both applied and class piano.