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EXERCISES FOR MIDDLE SCHOOL TEACHERS TO REDUCE

MUSIC PERFORMANCE ANXIETY OF THEIR STUDENTS

By

KELLY GALLMAN

SUPERVISORY COMMITTEE:

DR. KEITH P. THOMPSON, CHAIR

DR. WILLIAM I. BAUER, MEMBER

A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF MUSIC IN MUSIC EDUCATION

UNIVERSITY OF FLORIDA

2015

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MUSIC PERFORMANCE ANXIETY

Abstract

Music Performance Anxiety can effect musicians of all ages beginning as early as the

elementary school years. Teachers, parents, and students are often not equipped to (a) identify

the symptoms of MPA and (b) reduce their effect. This project provides teachers with tools they

can use to identify and address the symptoms of MPA in middle school students. The exercises,

for use in large group rehearsals, with small ensembles, and for home practice, are based on a

review of literature on music performance anxiety. They were designed for use during rehearsal

warm-ups and during home practice to help reduce the effects of MPA. The author also

developed research-based questionnaires and checklists, which were peer-reviewed by other

teachers.

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Exercises for Middle School Teachers to Reduce

Music Performance Anxiety of Their Students

Rising performance standards in today’s society cause children to experience

performance anxiety, surfacing in academics, sports, drama, public speaking, and music

situations. Students are subjected to constant performance testing in academics, sports, and

music. With the expectations to excel on their performance tests, students are subjected to

varying levels of performance anxiety. Musicians usually welcome any performance

opportunity; however, some experience depression or apprehensive feelings prior to and during

performances. This type of unease is known as Music Performance Anxiety (MPA), which

affects people of all ages in both solo and ensemble situations. (Brugués, 2011a; Osborne &

Kenny, 2005).

Boucher and Ryan (2011) discovered that young musicians reported MPA from their first

concert experience. Students tend to base their self-worth on their accomplishments in

academics, sports, and music achievements. Due to MPA, young musicians struggle to succeed

and earn the highest award or chair in the ensemble and typically are more anxious when higher

importance is placed on the event. Fehm and Schmidt (2004) reported that, the majority of the

students in their study were negatively impacted while performing by anxiety, and more than

half of the students believed that the audience members’ level of musical knowledge resulted in

their own increased anxiety. Teachers, students and parents need exercises to learn to reduce or

cope with MPA before it causes the students to withdraw from music performance situations.

Children as young as three and four years old were studied by Boucher and Ryan (2011) and

were found to have experienced stress associated with musical performances. Fehm and Schmidt

(2004) found that 73% of the students in their study experienced a negative impact on their

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performance. Strategies to deal with Music Performance Anxiety are not regularly taught by

music teachers. They need to be addressed with students to assist them in coping with its’

effects.

Characteristics of Music Performance Anxiety

Young students and adolescences share the same experiences as adults suffering with

MPA. The four components of MPA include: affect (tension and apprehension), cognition

(distraction and memory lapses), behavior (tremors, technique failure, and poor posture), and

physiology (increased heart rate, perspiration and altered body temperature). Musicians worsen

their anxieties by catastrophizing or exaggerating the likelihood of negative consequences during

a performance. MPA, unlike stage fright, can happen in a variety of situations such as lessons,

testing, auditions or performances (MacKenzie 2014). It often occurs in performance

preparation, during, and after the performance. Throughout the preparation leading up to the

performances, anxiety occurs through many forms, including depression, insomnia, headaches,

loss of appetite, disorganization, and academic negligence. During the performance, physical

symptoms such as trembling hands, dizziness, sweating, muscle tension, and increased heart rate,

result in cognitive effects such as memory lapses, panic, negative self-talk, and confusion. After

the performance, the cognitive symptoms include negative self-talk, anger, doubt, and a lack of

confidence resulting from negative self-esteem about ones’ performance (Errico 2012).

Teachers, parents, and students need to have methods and resources to cope with and reduce this

anxiety.

Osborne and Kenny (2008) discussed performance anxiety as a combination of

physiological arousal, behavioral responses, and fearful cognitions. Negative cognitions cause

more performance disruptions than the physiological and behavioral responses. Arousal occurs

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in MPA with cognitive appraisals that determine the emotional response by the performer.

Performance can improve with increased anxiety in highly trained musicians. Positive

cognitions can cause a distraction from the performance task by reminding the performer of the

anxiety-arousing situation.

When experiencing MPA, musicians have a fear of failure or negative evaluation from

the audience due to possible problems that might occur during the performance. Musicians can

create an illogical thought process based on prior negative performance experiences. These

anxious and negative feelings may take over to create a sense of doom over the performance

experience. Anxiety can also cause the musician to experience difficulty with performance skills

including focus, memory, and agility (Mayre, 2011). Three sources of performance anxiety are

the person, situation, and musical task. Performance anxiety is more than the physical and

mental sensations, it is also defined by the causes and conditions produced by the anxiety

(Lehman, Sloboda, & Woody, 2007). The physical, emotional, and cognitive effects of the MPA

symptoms can be detrimental to students’ performance, self-esteem, and confidence. A negative

performance experience may cause the students to not want to perform again. Students must

learn how to cope with and reduce the effects of MPA.

Significance of Music Performance Anxiety in Adolescence

Adolescence is a time of emotional growth and developing emotional independence. As

they transition from childhood into adolescence, students’ lives become more peer centered and

their focus often involves blending in with peers. This increased peer pressure leads to

performance anxiety. Middle school programs are focused on a high performance quality with

high expectations and high standards placed on the students. Students at this age become more

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self-critical and place more importance on higher achievements (Osborne, Kenny, and

Holomsback, 2005) which leads to performance anxiety.

Music teachers are faced with numerous roles in the classroom in addition to preparing

students for performances. Students may be faced with “stage fright” issues and teachers must

help the students identify, control, and avoid their anxiety while also preparing for musical

performances. Music teachers should strive to be aware of anxiety producing traits and then help

students identify the symptoms and their causes. As a middle school educator for 21 years, I

have witnessed numerous students try to cope with MPA. Teachers may be able to help students

overcome MPA through a variety of exercises to be used in the classroom and at home. Music

teachers are in the unique position of building relationships with students and their families while

teaching the students for many years. Parents and teachers place an emphasis on musical

achievement, which can cause performance anxiety in children due to perceived pressure to excel

(Lehman, Sloboda, & Woody, 2007). Teachers and parents can communicate about the

symptoms of MPA and strategies that can be incorporated at school and home to help students

overcome MPA.

Most studies of MPA have been performed with adults and young adults with fewer

studies on adolescents. Thomas and Nettelbeck (2013) suggested that further research needs to

be conducted to track MPA levels from adolescence to early adulthood and in the transition to

professional employment. In their study of 90 volunteer adolescent musicians, around 30%

reported varying levels of MPA. More research is also needed concerning younger musicians to

prevent MPA (Ryan 2005). Additional research should also be conducted on the effectiveness of

coping strategies and treatments.

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Purpose of the Capstone Project

The purpose of this project was to develop a guide to help music teachers identify

symptoms of MPA and exercises for teachers to use in rehearsals with middle school students to

reduce the negative impacts of performance anxiety on musical performance. Exercises for

students to use at home, with the support of parents, were also created.

Essential questions driving the project include:

1. How can directors identify students that are experiencing Music Performance Anxiety?

2. What are some exercises and techniques that directors can implement within an ensemble

rehearsal to reduce students’ experience of Music Performance Anxiety?

3. What are some individual exercises and techniques that directors can recommend for

implementation by individual students experiencing Music Performance Anxiety?

Review of Literature

Music performance anxiety has been an on-going concern for musicians and music

teachers for many years. Both expert opinion and data-based research has been conducted and

will be included in this review. However, this is not intended to be a comprehensive review of

literature on music performance anxiety, rather a sampling that will provide a foundation for the

guide to be developed. The review will summarize some of the published literature on music

performance anxiety symptoms, gender differences, treatments, and experiences for teachers to

use to reduce MPA. This review of literature resulted in the construction of a Table of

Specifications (see Appendix D) that lists symptoms, identification procedures, and remediation

that were offered by the authors reviewed. This Table of Specifications provided a basis for the

guide and tools that were developed as part of this project.

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Music Performance Anxiety Symptoms

MPA affects musicians of all ages and includes increased heart rate, sweating, dizziness,

dry mouth, respiration, trembling hands, and muscle tension (Garner, 2012; Su et al., 2010;

Taborsky, 2007). In Ryan’s’ (2004) study, students’ heart rates rose significantly throughout all

the stages of the recital including pre-concert activities, walking on stage, performing, and

walking off stage. MPA negatively affected self-esteem. Boucher and Ryan (2011) studied

sixty-six 3 and 4 year olds taking group lessons and two concerts while exhibiting symptoms

including a rise of cortisol levels and observations of anxious behaviors.

Prior to 2005 and the work of Osborne and Kenny, there were three studies on MPA in

early adolescents without the consideration of psychometric properties. Osborne and Kenny

(2005) developed the MPAI-A test which includes a 15-item self-report. Their test subjects

included 381 Australian elite musicians, 12 to 19 years old. According to Osborne, Kenny and

Holsomback (2005), the test revealed three factors of “MPA according to somatic and cognitive

features, performance context and performance evaluation” (p. 313). The MPAI-A test was

validated by adding 84 test subjects, ages 11-13, from an American 6th and 7th grade band class

to the original study of Australian students. The less advanced American students displayed

lower MPA on the MPAI-A compared to the more experienced Australian students. Another

difference between the two groups included the amount of performance exposure with the

Americans having 3 times the performances than the Australians. Exposure is a key aspect in the

treatment of anxiety disorders (Osborne, Kenny, & Holsomback, 2005). This study validates the

MPAI-A as a tool for measuring MPA levels in younger students and provides consistency and

reliability for the test. American students experiences MPA in the same manner as the

Australian students.

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Gender Differences

Females report higher MPA than males ranging from young musicians through

professional adult musicians (Osborne and Kenny, 2005, Thomas and Nettleback, 2013). In the

2004 study by Ryan, twenty-six sixth-grade piano students were monitored prior to a piano

recital using their heart rates and behavior. They completed the STAI-C immediately after the

recital performance. The girls’ heart rates rose before and after the recital and the boys heart

rates marginally rose before the recital and surpassed the girls’ rates during the recital. The boys

exhibited significantly higher anxious behaviors before and during the performance and

performed better. The girls with the least amount of reported performance anxiety performed

worst and the girls with the highest anxiety performed well. A limitation to the study included

that the sixth grade boys might not have reported these emotions as truthfully as the girls

reported their anxieties and emotions. Ryan acknowledged that the performance problems such

as false starts and memory lapses could have been caused by poor preparation (Ryan, 2004).

Adolescent girls received higher MPA scores than the adolescent boys in the 2005 Osborne and

Kenny study.

In Ryans’ 2005 study of 173 elementary students grades 3-7 using the STAI-C, gender

differences did not occur in grades 3-4 and started in 5th grade. Both genders experienced

anxiety on the concert day and regular school day and the boys experienced higher levels of

anxiety than the girls. Previous studies revealed the girls reported more anxiety than boys

however, those studies did not include students younger than 6th grade.

Treatments

“Treatments for music performance anxiety include pharma logical, psychological, and

behavioral approaches.” (Khalsa, Shorter, Cope, Wyshak, & Sklar, 2009, p. 280). Musicians

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have tried beta-blocking drugs and have found that they disrupt the fine motor control which will

be detrimental to a musical performance. They should be used only as a temporary solution until

coping strategies are employed (Kenny, 2005, Khalsa, Shorter, Cope, Wyshak, & Sklar, 2009,

Kirchner, 2005, Toborsky, 2007). Yoga and meditation training including breathing exercises

reduced the anxiety and improved the mood of young professional musicians at the Tanglewood

Music Center in the 2006 study (Khalsa, Shorter, Cope, Wyshak, & Sklar, 2009).

In addition to the psychological techniques used to treat performance anxiety, anti-

anxiety drugs and homeopathic treatments are available. Homeopathic treatment options include

acupuncture, meditation and botanical supplements such as Kava. Acupuncture provides stress

to a particular site of the body and then relief when it is released (Mayre, 2011).

According to McPherson and Parncutt (2002), effective treatments of MPA combine

relaxation techniques with realistic performance expectations and cognitive restructuring.

Hypnotherapy and the Alexander Technique are also effective in reducing MPA. MPA is related

to other forms of social phobia as it represents a fear of a negative evaluation. Perfectionists

have unrealistically high expectations of themselves and others, are self-critical, suffer low self-

esteem, and desire excessive personal control all traits leading to anxiety. Cognitive-behavioral

interventions used to reduce perfectionism may also reduce severe performance anxiety.

Additional cognitive strategies to reduce performance anxiety include positive self-talk, mental

rehearsal and imagery, and goal setting. Behavioral strategies include relaxation, establishing a

pre-performance routine, and supportive lifestyle habits (McPherson & Parncutt, 2002). To treat

physiological symptoms relaxation techniques such as deep breathing and muscle relaxation

exercises, biofeedback training, Alexander technique, and beta-blockers can be effective. Deep

breathing is the most popular strategy before a performance. Muscle relaxation exercises involve

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contracting and relaxing the muscles beginning with the small extremities and proceeding to the

larger muscles. Biofeedback assistance utilizes monitors to identify the physiological responses

to anxiety; violinists and violists have used it to reduce tension in the thumb and forearm

muscles. Alexander Technique is used by musicians to reduce tension associated with anxiety

(Lehman, Sloboda, & Woody, 2007).

Breathing strategies have been used to reduce anxiety and muscle tension. A study

involving Relaxation Breathing Training (RBT), with 59 3rd through 6th grade musicians in

Taiwan, found short-term success in the reduction of MPA. The students performed for a jury of

the applied music teachers at the end of the semester. The students also took the Music

Performance Anxiety Inventory for Adolescents (MPAI-A) to measure the effectiveness of RBT

on reducing MPA. The study discussed the effectiveness of RBT is 30 minutes and 5 minutes

before a performance in reducing MPA levels in the students. The limitations of the studies are

that they could not define a long-term solution for MPA (Su et al., 2010). Students have

developed their own coping strategies due to a limited amount of strategies learned from teachers

and parents. Students imagine they are performing in front of only their parents or to block out

everything except the music (Ryan, 2004).

Performers can benefit from cognitive restructuring by replacing counterproductive

thoughts with realistic and thought-focused thoughts and goal setting through process-centered

or outcome oriented goals. Identifying and incorporating strategies to deal with situational stress

are imperative to performance preparations. The proper level of mastery must be achieved to

reduce anxiety and the music must not challenge performers beyond their skill level (Lehman,

Sloboda, & Woody, 2007).

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Experiences for Teachers to Use to Reduce MPA

The literature review in this section includes a variety of strategies for teachers to use in

the classroom or music studio to reduce their students’ MPA. Kirchner (2005) and Whitcomb

(2008) discussed various techniques teachers could implement to assist students with anxiety

including memory stations (pre-selected measures for recall), videotaping practices (to identify

tension and critique the performance), realistic expectations (selecting appropriate level

literature), performance rehearsals, and performing frequently (Kirchner, 2005, Whitcomb,

2008). Students must focus on the present and not on the missed notes and rhythms or the areas

of concern later in the piece. Teachers must establish an environment where the student feels

safe from negative criticism when they make a mistake. Perfection is not the ultimate goal of a

musician, performing and conveying a musical performance to the audience with the best of their

abilities is the desired outcome. Teachers are not perfect and make mistakes and students can

learn how to deal with mistakes by observing how teachers deal with their own mistakes. Once a

mistake is made, it can’t be erased and must be utilized as a learning experience. Bloom,

Kirchner, and Stutnick-Henley (2008) describe one of the hardest aspects of performing to be

focusing on the present during a performance. Students must be taught to forget about past

mistakes and not to worry about possible future mistakes. If they focus on the details such as the

desired swell of a crescendo, they will remain focused on the present. Negative self-talk should

not be used and should be replaced with positive and supportive thinking (Bloom, Kirchner, &

Stutnick-Henley 2008).

Teachers should not only provide immediate feedback to students, but also should teach

students to critique their own performances. Students can practice critiquing themselves by

videotaping or audio taping their practice sessions and then critiquing themselves using

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established criteria (Bloom, Kirchner, & Stutnick-Henley, 2008). From the beginning, teachers

are critiquing their students individually and as an ensemble, modeling constructive criticism

using positive examples. Students can begin critiquing themselves by critiquing their posture.

They can take a picture of themselves with their best correct posture and compare that with

videos of themselves practicing or performing for others. Teachers can provide students with

performance test rubrics and explain the parameters of the rubrics which the students can

practice self-critiquing using the same rubric.

Setting clear practice and performance goals will help the student reduce MPA. Once the

appropriate difficulty level of literature is selected, the teacher must help the students understand

how to approach the music and to use their practice time effectively. Identifying the strengths

and weaknesses of the ensemble will help the teacher select appropriate literature and identify

the areas in the pieces needing more attention. According to Bloom, Kirchner, and Stutnick-

Henley (2008), the skill level and challenge level should be appropriately matched when

selecting literature. If the literature is too challenging, the students will experience a high level

of performance anxiety. Students must learn to set performance goals and effective practice

routines.

Teachers can add relaxation techniques into their warm-up routine during the first five

minutes of class. Garner (2012) suggests relaxation treatments such as yoga postures, Brain

Gym exercises, desensitization, and Alexander Technique exercises. String players should focus

on building the core muscles, including the back and stomach, while freeing up the upper body

and arms for full range of motion exercises. Teachers can incorporate yoga postures including

planks and downward facing dog into their rehearsal warm-ups if the proper space is available in

the room. These positions would be more effective in smaller classes and one on one situations

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rather than large ensemble rehearsals. Brain Gym exercises are a series of movements used to

improve academic success, spatial and listening skills and used before performances will help

prepare the body and mind for focused work.

Garner (2012) suggested desensitization exercises that teachers can use to help students

reduce MPA. Desensitization helps students deal with anxiety while in practice situations

through visualizing, breathing, and practice performances. During rehearsals, teachers can help

students visualize the entire performance in detail through observing the arm movements and

feel of the arms, hearing the pitches, and seeing where they place their fingers on the instrument.

This visualizing will help students develop muscle memory, providing a focus on visual and

auditory senses while performing. Additional desensitization includes breathing exercises,

which can be used in rehearsals, involving the use of coffee stirrers to raise heart rates to

stimulate nervousness. Students breathe through the coffee stirrer raising their heart rate and

then play their instrument in this state. Practicing while in a state of nervousness will help the

students persevere through this nervous feeling, which may occur in performing situations.

Errico (2012) discussed the 10-second centering breathing exercise she used with fourth and fifth

grade choir students before a performance. While using focused breathing, the students repeat

positive and supportive phrases to themselves. Garner (2012) discussed having students perform

in a variety of practice performance situations. They can practice in front of a friend and then in

front of the entire class while gradually increasing the intensity by choosing a harder piece and

larger audiences.

Garner (2012) also suggested that a healthy lifestyle will help reduce anxiety. Teachers

and parents can encourage students to follow a diet including grains, fruits, vegetables and lean

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proteins. Establishing a good sleep routine with eight hours of sleep, avoiding caffeine up to

four hours before bed, and adding regular exercise will also help reduce stress and anxiety.

Whitcomb (2008) discusses strategies for teacher to use prior to performances including

guiding students through breathing exercises, starting at the end of the piece and working

backwards to the beginning, monitoring tension while practicing, having students move their

body while playing since a lack of motion creates tension, and practicing psyching up students

before a practice run through. While performing, students should think confidently and focus on

playing musically.

The current knowledge about MPA and its’ symptoms, causes, treatments, effects, and

coping strategies gained from research studies and journal articles have been used by researchers

and teachers to help reduce MPA in their students. We are beginning to identify MPA in

younger students and must treat the symptoms and develop coping strategies to help them deal

with its’ effects before it causes them to withdraw from musical performances. In my previous

educational experiences, I have not been taught how to identify or help students with symptoms

of MPA continue to cope with their anxiety.

A Guide to Assisting Middle School Students with Music Performance Anxiety

I was never trained how to identify MPA symptoms or to help students reduce the

symptoms and effects of MPA. Music teachers were all taught and continue to identify effective

rehearsal strategies and classroom management strategies, however, MPA is affecting more

students in our programs and we need to help them reduce its effects. This guide is based on

reports of research studies, journal articles, and personal experience from my 21 years of

teaching elementary-high school music student.

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What is Music Performance Anxiety?

You have experienced MPA if you have had trembling hands, increased heart rate,

dizziness, muscle tension, sweating, and nausea, fear of failure or vision changes before or

during a performance. I remember during my adolescent years, performing in a string quartet

during a mass and experiencing many of these symptoms, playing with rampant vibrato due to

my trembling hands. I still experience many of these symptoms today whether performing a

solo, duet, or conducting my groups at Large Group Performance Evaluation. My knees still

shake uncontrollably when performing a solo or duet and I am constantly worrying about making

a mistake. No one ever talked to me about MPA and I always thought that being nervous was

normal. I realized that my symptoms were more severe than I expected after reading this MPA

research and watching my students experience the same symptoms. Reflect on your own

experiences as you read this guide and discuss it with your colleagues. I was amazed to discover

that a colleague and great friend of mine also suffers from MPA and is currently on medication

to control her symptoms. Now reflect on your students’ behaviors and you will find that MPA

affects more people than we anticipated and we need to help them and possibly ourselves cope

with the symptoms in order to continue enjoying our craft.

How do you know your students are experiencing music performance anxiety?

We have all experienced a little “stage fright” in our musical careers. Stage fright usually

refers to the positive and mild performance anxiety symptoms whereas music performance

anxiety usually refers to the more severe and negative symptoms of performance anxiety that

some of our students are experiencing. Some students experience depression or apprehensive

feelings prior to and during performances, which drastically affects their performance.

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Music teachers build relationships with their students and their parents and are in a

position to observe certain behaviors including performance anxiety symptoms. Music students

perform individually in class, in small groups, and as a member of the larger ensemble on a daily

basis. If you begin noticing anxious behaviors in your students, use the MPA Symptoms

Checklist (Appendix A), to document your observations, students’ report of symptoms, and the

parents’ observations. After completing the checklist, administer the student questionnaire

(Appendix B), and utilize the interview protocol found in Appendix C.

When should performance anxiety be of concern?

Performance anxiety in severe cases can cause students to drop out of any performance

based activities. If you observe MPA symptoms with any of your students and students begin to

withdraw from performance opportunities in class including solo demonstrations, individual

playing tests, or enrolling in Solo and Ensemble Performance Evaluation, you need to address

students’ performance anxiety before they drop out. In one of my 7th grade orchestra classes, I

recently began observing MPA behaviors and symptoms in one of my violinists. She earned the

concertmaster position and was very reluctant to perform the required duties including tuning the

orchestra, running 1st Violin sectionals, and demonstrating for the class. She also refused to

perform a solo for Solo and Ensemble Evaluation or audition for All-County or All-State

Orchestras. She began to withdraw during class and stopped practicing beyond the required

time. After the next test, she was moved to a lower seat and the MPA symptoms were not

observed as often. After observing these behaviors and noticing the decline in her performance,

I began working with her and her parents to help her with her anxieties.

Students can be exhibiting MPA by routinely asking to go to the restroom, volunteer to

run an errand, or file music to avoid playing in class. They will also try these avoidance

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activities around playing test time or if you are calling on volunteers or volunteering students to

demonstrate on their instrument in front of the class. At first, I thought these type of student

behaviors were just a way for them to skip class or that maybe they were afraid because they

didn’t know their part. For some students, that is what they are doing, however, for others they

are running away from a fear of failure in front of you or their peers and the thought of being

singled out does actually make them sick. Reflect on any instances you have observed with your

students with these behaviors and try to identify if there are other MPA symptoms they are trying

to hide. These are students we need to reach out to the most.

What can you do to alleviate music performance anxiety?

Treatments directors can use with their students include relaxation techniques and

cognitive restructuring. I understand the time constraints and pressure to perform and produce a

quality program faced by every ensemble director, however, the students are also sharing in these

same feelings of pressure and high expectations we place on them to perform. We must equip

them with the necessary tools to combat their anxious feelings in order to enjoy making music. I

understand your skepticism and reluctance of including additional activities into your rehearsals,

however, you, your students, and your program will benefit from these exercises.

Many of our effective rehearsal strategies will allow our students to understand our

expectations and provide structure needed for them to feel less anxious and more confident.

Providing our students with effective practice strategies will allow them to make more progress,

feel more confident, and that will result in lower levels of performance anxiety. From the

beginning of the semester, teachers can implement strategies and experiences to help students

reduce MPA and most of these strategies you may already use in your rehearsals. We need to

understand how they will help students with MPA through focusing on the musical details and

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preparing for performances with less anxiety. Continuous concept understanding checks should

occur in the rehearsal to help students focus on the details in the present. Younger students

exhibit shorter attention spans and need constant reminders of the focus of the lesson. Students

will remain more engaged in the lesson if they are more involved in the decision making and

checks for understanding through questioning rather than the teacher giving the answers or

dictating the musical decisions. Students must mark their music when they make a mistake

rather than assume that they will remember the correct note, rhythm, or dynamic when it is

played again. For middle school students, having them highlight dynamics and signs or using

colored pencils will help them see the important aspects in the music. Musical awareness will

help them alleviate anxieties while performing and focusing on the musical details early in the

learning process will allow them to perform the music on a higher level.

Cognitive restructuring will help reduce MPA through replacing negative self-talk with

positive and supportive thinking. (Bloom, Kirchner, & Stutnick-Henley, 2008). Teachers set the

tone of their rehearsals from the first day of class. Students will be more comfortable and open

to constructive criticism if they have a trusting relationship with the teacher. Teachers must

establish this level of trust through positive thinking, clear instructions and expectations, and

mutual respect. The teacher must model this behavior and allow the students to offer their own

critiques in a positive manner. In a rehearsal, rather than stopping and immediately giving a

solution to a problem, teachers should ask students to state why they stopped and to offer a

solution to the problem. When students can identify problems, they can work on correcting

them. If they only hear teachers repeatedly telling them the tone is weak and never fully hear it

for themselves, they will not focus on finding a solution to improving tone. Focusing on one

area at a time will also allow them to reduce their anxiety.

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Prior to performances, teachers can reduce MPA by having a practice concert at the

performance venue prior to the concert to familiarize students with the venue (Boucher and

Ryan, 2010, Brugués, 2011b, Garner, 2012, Whitcomb, 2008). Students can also reduce MPA

by performing frequently to become more familiar and more comfortable with the performance

processes. Teachers can have students perform in front of each other in class in a safe and

supportive environment. As students are preparing for Solo and Ensemble Evaluation, they

should perform their solos and ensembles in front of the class with the teacher judging them

using the judges’ criteria. Students performing in a Solo and Ensemble Recital two weeks prior

to the actual event will allow the students to practice performing their songs in front of a

supportive audience. Orchestra, band, and choir ensembles are performance based classes and

students should perform frequently and in a variety of venues and occasions. Students will

experience less MPA if they are familiar with the venue and occasion. Dress rehearsals should

be at the venue with full performance lighting and sound for the students to prepare for these

conditions prior to the concert. They must also practice entering and exiting the stage, audience

etiquette, and should know where to leave their cases for the performance and where to sit in the

audience. Musicians have to adapt their performance based on the acoustics of the venue.

Teachers should guide students in identifying how to approach learning the music

through style, articulations, rhythms, and phrasing. Teachers can also help the students establish

practice goals within each rehearsal and weekly practice goals. Students can become

overwhelmed if they do not set clear mini practice goals for each rehearsal or practice session.

They should focus on one or two musical aspects at a time such as intricate rhythm patterns or

key signature. If a song contains sixteenth note passages in the key of D Major, they can warm-

up with the D Major scale using a variety of rhythmic patterns including the patterns in their

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song. After identifying the style of music, discuss with the students the techniques used in this

style and design warm-ups in that style with scales, method book exercises, or etudes so that the

entire rehearsal focuses on style.

Students need to establish effective practice routines and teachers should model an

effective routine in class. Practice routines should begin with a warm-up including scales on

long tones and/or rhythms and continue with exercises in method books with corresponding

keys, rhythms, and concepts. The warm-ups should be purposeful and relate to the literature or

concept being taught. Teachers must model how to practice literature by identifying and isolating

areas needing improvement, practicing them slowly then gradually increasing the tempo, and

practicing the measures before and after the problem spots for smooth transitions.

What can you do with an entire ensemble?

When working with a large instrumental ensemble, the activities listed below should be

performed at the beginning of the lesson before unpacking instruments and should only take up

to five minutes. After these initial activities, unpack the instruments, practice breathing exercises

using deep and focused breathing, and practice long tones. Other anxiety reducing techniques to

incorporate into warm-ups with large ensembles include memorization and meditation. The

students do not need to perform on stage without their music, however, if they are practicing the

music enough then they will have it memorized and can focus on the qualities of a good

ensemble musician rather than the notes on the page which will help them relax. I typically have

them turn their stands around in class and play from memory so they can focus on the other

ensemble parts.

At the beginning of the year, help students relax by doing the following activities:

1. Yoga pose (before unpacking instruments and allow enough room to perform the pose)

21


a. Gravity Glider: Stand with feet crossed, inhale deeply then exhale while dropping

down and reaching for the toes. Inhale while lifting upright then fall to the left, center

and to the right exhaling while falling and inhaling while returning upright. Cross

feet the other way and repeat on both sides again. This pose releases tension and

improves coordination.

2. Brain Gym exercises are used to improve brain function. (before unpacking instruments

while sitting in their seats)

a. Lazy Eights: Form the figure 8 with at one hand, then the opposite hand and now

with both hands together.

b. The Owl: Take one hand and grasp the opposite shoulder while turning head from

side to side and repeat with other hand.

c. Double Doodles: Create shapes with both hands in the air going in opposite

directions at the same time.

d. Brain Buttons: Place one hand on your navel and the other hand on the hollow

area under your collarbone and rub vigorously with thumb and other fingers for

about 30 seconds.

3. Breathing exercise (performed towards the end of class)

a. Use coffee stirrers to raise heart rates to stimulate nervousness. Students breathe

through the coffee stirrer raising their heart rate and then play their instrument in

this state.

Two-three weeks before the concert:

1. Visualizing Success: During a rehearsal, the teacher verbally guides the students through

visualizing the entire performance. Visualize the performance in detail through

22


observing the arm movements and feel of the arms, hearing the pitches, and seeing where

to place your fingers on the instrument.

2. Dress rehearsal: Perform the entire concert at the concert venue using stage lights and

practicing entering and exiting the stage. The students need to experience a dress

rehearsal at the concert venue to understand what their expectations are for the concert

and to prepare them for the event to reduce their anxiety. For many students, this might

be their first concert at the venue and even though we might have performed their

numerous times, we have to remember that this will cause anxiety in many of our

students and we need to prepare them for the event.

3. Continue the yoga and Brain Gym exercises. During a rehearsal, add a massage line to

alleviate stress and help students form a bond. The class forms a massage line or circle

massaging each other’s shoulders. This will also help with bonding as they begin to

laugh and talk to each other and will feel more connected as a group.

What can you do with small groups?

In addition to the activities above for the large groups, the following poses can be

performed with small classes at the beginning of the year to help students relax:

1. Yoga poses can help relax and strengthen the body (before unpacking instruments and

allow enough room to perform the pose).

a. Downward facing dog is an energizing pose that strengthens the arms and legs and

stretches out the back and entire body. Downward facing dog: Begin from a kneeling

position with hands on the floor directly under the shoulders and fingers pointing

forward, knees under the hips, and feet up on your toes. Lift up with your knees bent

to an inverted V position while stretching the back. Relax and drop the shoulders,

23


straighten the knees to feel the stretch, and return to the kneeling position while

exhaling. After completing the yoga pose and unpacking the instruments, practice

long tones and relaxed breathing during warm-ups.

b. Gravity Glider: Stand with feet crossed, inhale deeply then exhale while dropping

down and reaching for the toes. Inhale while lifting upright then fall to the left, center

and to the right exhaling while falling and inhaling while returning upright. Cross

feet the other way and repeat on both sides again. This pose releases tension and

improves coordination.

What can you do with individual students?

Teachers can guide the student through relaxation and breathing exercises such as 10-

second centering. The student inhales for 5 seconds then exhales for 5 seconds while thinking

positive thoughts such as “I will play my violin successfully” or “My parents are here to support

me.” Students can also make up their own support phrases. Guiding students through positive

self-talk exercises will boost their confidence and self-esteem and calm their nerves prior to a

test or performance.

In my own experiences, I have used relaxed breathing and positive phrases (Table 1) with

my students prior to an audition, playing test, Solo and Ensemble, and performance.

Table 1 Positive Phrases

I trust my teacher.

I trust my own abilities.

I will perform to the best of my ability.

My parents are here to support me.

My teacher and classmates are here to support me.

24


I will play my instrument successfully.

I am prepared for this test or concert.

I will breathe and enjoy making music.

I am a talented musician.

I am proud of my hard work.

I will share my talent and love of music with the audience.

I have had to clear the Solo and Ensemble Performance Evaluation room from any

spectators for some of my students to successfully perform. At a recent all-state audition, a

student almost fainted before entering my room and another teacher and I caught him and his

violin. We sat him down and had him calm his breathing down and used positive phrases with

him until he felt confident and comfortable enough to enter the room to continue his audition.

Students need to feel safe and supported in any performance situation.

What can students do for themselves?

In addition to practicing their music and technique building skills, students can add the

following exercises into their daily practice routines on a rotational basis. Teachers can add

anxiety reducing exercises to the students’ practice logs to encourage them to use them and to

also hold them accountable for the activities.

1. Brain Gym exercises-These exercises help to clear the mind while preparing for a

performance and should be a part of the warm-up routine prior to a performance.

a. Cross Crawl: While marching in place, alternate touching one hand or elbow to the

opposite knee. This will improve coordination and give you more energy.

25


b. Positive points: Place three fingers on the raised portion above the center of each

eyebrow, close your eyes, and take ten deep breaths. This will immediately calm you

and release emotional stress.

c. Hook ups: While sitting in a chair, cross your left ankle over your right ankle.

Extend your arms, interlocking your left over your right and bring your hands towards

your chin. Sit quietly while breathing deeply. Relax and uncross your feet and hands

and bring your hands together while lightly touching fingertips and breathe deeply.

This exercise connects both sides of the brain and will calm and relax you.

d. Lazy Eights: Form the figure 8 with one hand, then the opposite hand and now with

both hands together.

e. The Owl: Take one hand and grasp the opposite shoulder while turning head from

side to side and repeat with other hand.

f. Double Doodles: Create shapes with both hands in the air going in opposite

directions at the same time.

g. Brain Buttons: Place one hand on your navel and the other hand on the hollow area

under your collarbone and rub vigorously with thumb and other fingers for about 30

seconds.

2. Yoga-These exercises strengthen the core while improving posture and helping to relieve

tension. These postures should be part of the daily warm-up routine.

a. Plank: In a push-up position, with elbows on floor and body diagonal to the floor,

hold this position then walk the feet apart and together.

b. Side planks are performed by turning to one side while stretching arm upward and

then repeating on other side.

26


c. Downward facing dog: Begin from a kneeling position with hands on the floor

directly under the shoulders and fingers pointing forward, knees under the hips, and

feet up on your toes. Lift up with your knees bent to an inverted V position while

stretching the back. Relax and drop the shoulders, straighten the knees to feel the

stretch, and return to the kneeling position while exhaling. After completing the yoga

pose and unpacking the instruments, practice long tones and relaxed breathing during

warm-ups.

After completing the yoga postures, practice scales in long tones while focusing on deep

breathing while relaxing body and extremities. Students want to avoid any tension in their body

while practicing. They can slowly begin to increase the rhythmic difficulty of the scales by

adding various rhythmic patterns they are struggling with in the repertoire while focusing on

intonation and avoidance of tension as the difficulty level increases.

While practicing etudes for technique building, continue to avoid tension in the body. If

the students are feeling anxious while repeating the harder sections of the etude or repertoire they

are practicing, have them take a short stretch break and breathe deeply. Purposeful practice

sessions should focus on the harder sections of the music initially then working on the entire

piece. Shorter and focused practice sessions should be thirty minutes at a time.

In order to help students deal with anxious feelings during a performance, they can take a

walk or run to raise their heart rate to simulate playing with the effects of nerves before

continuing to practice. They can end their practice sessions with shoulder and neck rolls and

extremity stretches. Students need to learn to accept their anxious feelings and learn how to not

let them overshadow their performance. This can be accomplished by focusing on the anxiety

symptom when it occurs and noticing whether it affects the performance. By simply being aware

27


of the symptom and realizing that it doesn’t have to ruin the performance, students can begin to

focus more on the musical performance rather than the symptom.

In preparation for the performance, incorporate the following techniques into practice

sessions:

1. Visualizing success: Visualize the entire performance in detail through observing the

arm movements and feel of the arms, hearing the pitches, and seeing where to place your

fingers on the instrument.

2. Adequate practice time: Practice in front of a friend and then in front of family/church

while gradually increasing the intensity by choosing a harder piece and larger audiences.

3. Memorization: Establish memory recall sections when memorizing the music.

4. Meditation: Instruct the student to assume a comfortable position, breathe in deeply and

imagine they are surrounded by nature and the wind is blowing all around them. Allow

the anxious feelings to become the wind and relax. Visualize being at the beach and like

the waves, parts of their life are choppy and rough. Move gently back and forth like the

waves and relax.

What should parents know about music performance anxiety?

Music Performance Anxiety is more than “stage fright” and coping strategies and

treatments should be started with younger children before it results in them halting their love of

music. We all want the best for our children and want them to succeed, however, placing too

much emphasis on achievement and always being the best can cause the students to experience

stress and anxious feelings. MPA is also a fear of negative evaluation and failure and if the

parents will support their child no matter what the rating, focus on the students’ achievement,

28


and ask that they only perform to the best of their ability, the student will enjoy making music

and result in less anxiety.

What can parents do?

Parents need to support their children and provide positive reinforcements and praise

during their musical training. Parents can provide a quiet place for their child to practice, a

music stand, and a posture chair without arms in the practice area. Parents can help alleviate

everyone’s stress by helping their child schedule regular practice sessions. Parents can help their

children by supporting their practicing of the yoga poses and brain gym exercises with them.

Parents can also provide a healthy diet with well-balanced protein and complex carbohydrates

prior to a performance, encourage children to drink plenty of water, exercise routines, and

healthy fruits and vegetables.

Summary

Teachers need to continue to educate themselves about MPA and to work with students

and parents to help the students cope with their own MPA. We also need to remember that while

we may have the best intentions, that we are also applying pressure to our students to succeed

and to always be the best. We must remember that we are an important influence in the lives of

our students and with that comes a greater responsibility to help them achieve their best and to

enjoy the process as well as the end result. We must help lessen their anxieties and provide

exercises to help them cope with them as we are also coping with our own performance

anxieties. I hope you will find this guide useful and also continue to research to discover

additional strategies to use to reduce MPA in our students.

29


Conclusions

MPA affects musicians of all ages ranging from young children through adulthood.

Teachers, students and parents need to implement coping strategies in the beginning years of the

musicians’ experiences to better serve the students’ needs. If MPA is not addressed and

strategies not implemented to reduce the anxiety, we will continue to see students drop out of

music as a result of MPA.

Thomas and Nettleback (2013) suggested that further research needs to be conducted to

track MPA levels from adolescence to early adulthood and in the transition to professional

employment and the influences of MPA levels. Additional research should also be conducted on

the effectiveness of the coping strategies and treatments mentioned in this music teachers’ guide.

The guide that was developed as part of this project should be field tested by teachers working in

diverse schools and with diverse groups of students to determine the effectiveness of the material

that has been included. A more thorough review of literature should be completed to identify

additional exercises for use in the classroom and at home with the students. I also suggest a

review of literature in other fields such as sports, drama, dance, and academics to identify if they

have similar performance anxiety problems and if they have coping strategies that might be

applied in music.

30


Reference

Bloom, A.J., Kirchner, J.M., & Stutnick-Henley, P. (2008). The relationship between

performance anxiety and flow. Medical Problems of Performing Artists, 23(2), 59-65.

Boucher, & Ryan. (2011). Performance stress and the very young musician. Journal of Research

in Music Education, 58(4), 329-345.

Brugués, A. O. (2011a). Music performance anxiety: Part I - A review of its

epidemiology. Medical Problems of Performing Artists, 26(2), 102-107.

Brugués, A. O. (2011b). Music performance anxiety-part 2. A review of treatment

options. Medical Problems of Performing Artists, 26(3), 164-171.

Errico, A. S. (2012). The effects of a researcher-designed intervention on elementary students'

music performance anxiety levels (Doctoral dissertation). Retrieved from ProQuest

Dissertations & Theses Full Text. (1179049440).

Dennison, P., & Dennison, G., (1989). Brain Gym. Ventura: Edu Kinesthetics Inc.

Fehm, L., & Schmidt, K. (2006). Performance anxiety in gifted adolescent musicians. Journal of

Anxiety Disorders, 20(1), 98-109.

Garner, A. M. (2012). Performance anxiety: Treatment options for stage fright. American String

Teacher, 62(1), 34-37.

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Khalsa, S., Shorter, S., Cope, S., Wyshak, G., & Sklar, E. (2009). Yoga ameliorates performance

anxiety and mood disturbance in young professional musicians. Applied Psychophysiology

and Biofeedback, 34(4), 279-289.

Kirchner, J. (2005), Managing musical performance anxiety. American Music Teacher, 54(3),

31-33.

Lehmann, A. S. (2007). Psychology for musicians: Understanding and acquiring the skills. New

York: Oxford University Press.

MacKenzie, K. (2014). Performance anxiety in students: A pedagogical reference guide.

(Doctoral Dissertation). Retrieved from ProQuest Dissertations & Theses Full Text.

(1640912543)

Marye, L. H. (2011). A survey of music performance anxiety: Definitions, causes and

treatments (Doctoral Dissertation). Retrieved from ProQuest Dissertations & Theses Full

Text. (869529457)

McPherson, G., & Parncutt, R. (2002). The science & psychology of music performance:

Creative strategies for teaching and learning. Oxford: Oxford University Press.

Mitchell, N. (2011). Evaluation and performance anxiety in music study. Canadian Music

Educator, 53(1), 32-34.

Osborne, M. S., & Kenny, D. T. (2005). Development and validation of a music performance

anxiety inventory for gifted adolescent musicians. Journal of Anxiety Disorders, 19(7), 725-

751.

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Osborne, M.S., & Kenny, D.T. (2008). The role of sensitizing experiences in music performance

anxiety in adolescent musicians. Psychology of Music, 36(4), 447-462.

Osborne, M.S., Kenny, D.T., & Holsomback, R.. (2005). Assessment of music performance

anxiety in late childhood: A validation study of the music performance anxiety inventory for

adolescents (MPAI-A). International Journal of Stress Management, 12(4), 312-330.

Ryan, C. (2005). Experience of musical performance anxiety in elementary school

children. International Journal of Stress Management, 12(4), 331-342.

Ryan, C. (2004). Gender differences in children's experience of musical performance

anxiety. Psychology of Music, 32(1), 89-103.

Su, Y., Luh, J., Chen, H., Lin, C., Liao, M., & Chen, H. (2010). Effects of using relaxation

breathing training to reduce music performance anxiety in 3rd to 6th graders. Medical

Problems of Performing Artists, 25(2), 82-86.

Taborsky, C. (2007). Musical performance anxiety: A review of literature. Update - Applications

of Research in Music Education, 26(1), 15-25.

Thomas, J.P., & Nettelbeck, T. (2013). Performance anxiety in adolescent musicians. Psychology

of Music, 42(4), 624-634.

Whitcomb, B. (2008). Overcoming performance anxiety. American String Teacher, 58(4), 36-39.

33


Appendix A

MPA Symptoms Checklist Student Name________________________

MPA Symptoms

Symptoms Observed

by the Teacher

Symptoms Reported by

the Student

Symptoms Observed

by the Family

Increased heart rate

Sweating

Dizziness

Dry mouth

Respiration

Trembling hands

Muscle tension

Nausea

Vision changes

34


Appendix B Student Name _______________________

Student Questionnaire

1. What is your area?

a. Strings

b. Woodwinds

c. Brass

d. Percussion

e. Vocal

2. How many years have you sung or played your instrument?

a. 1

b. 2

c. 3

d. 4 or more

3. Do you prefer performing solos or in ensembles?

a. Solos

b. Ensembles

4. How do you feel when performing solos? (Circle the three symptoms that you most often

experience)

a. Nervous

b. Anxious

c. Afraid

d. Focused

e. Relaxed

f. Happy

g. Calm

h. Excited

i. Worried

j. Other__________________________

35


5. How do you feel when performing in ensembles? (Circle the three feelings that you most

often experience)

a. Nervous

b. Anxious

c. Afraid

d. Focused

e. Relaxed

f. Happy

g. Calm

h. Excited

i. Worried

j. Other ____________________

6. Does anxiety cause you to perform less frequently?

a. Yes

b. No

c. I have not experienced performance anxiety.

7. When is your performance anxiety at the highest level?

a. Preparing for the performance

b. During the performance

c. After the performance

36


Appendix C Student Interview Questions

These questions should be asked after reviewing the results of the symptoms checklist and student

questionnaire. Begin the dialogue with the student by sharing an example of performance anxiety from

your own experience.

1. Does performance anxiety interfere with your performances? If so, how?

2. Does anxiety aid your performance? If so, how?

3. Do you experience performance anxiety prior to a performance? Please describe the common

symptoms you experience.

4. Do you experience performance anxiety during a performance? Please describe the common


5. Do you experience performance anxiety after the performance? Please describe the common


6. How have you coped with these symptoms in the past?

7. As you gain more performance experience, are the symptoms increasing or decreasing?

37


Appendix D Table of Specifications

Symptom Identification Remediation

Teacher/Student/Parent

Observation

Student

Questionnaire

Ensemble Home

Respiration

Increased heart

rate

Ryan (2004), Su et al

(2010), Taborsky (2007),

Garner (2012), and Osborne

& Kenny (2008)

Ryan (2004), Su

et al(2010),

Taborsky

(2007), Garner

(2012)

Garner (2012)

and Su et al

(2010)

Garner

(2012) and Su

et al (2010)

Dizziness Su et al (2010) Su et al (2010)

Shortness of

breath

Ryan (2004), Garner

(2012), and Osborne and

Kenny (2008)

Ryan (2004) and

Garner (2012)

Muscular-

Skeleton

Trembling hands Garner (2012) Garner (2012) Garner (2012)

Garner

(2012)

Muscle tension

Garner (2012) and Su et al

(2010)

Garner (2012)

and Su et al

(2010)

Garner (2012)

and Su et al

(2010)

Garner

(2012) and Su

et al (2010)

Physical

Dry Mouth Taborsky (2007) Taborsky(2007)

Sweating

Taborsky (2007) and

Osborne and Kenny

(2008)

Taborsky

(2007)

38


Teacher/Student/Parent

Observation

Student

Questionnaire

Ensemble Home

Nausea

Vision Changes

Cognitive

Fear of Making

Mistake

Ryan (2004) and

Osborne & Kenny (2008)

Ryan (2004)

Ryan (2004)

Taborsky

(2007)

Taborsky

(2007)

Failures of

Technique

Osborne and Kenny

(2008)

Garner (2012)

Taborsky

(2007)

Garner

(2012)

Taborsky

(2007)

Feeling of

Impending

Disaster

Osborne and Kenny

(2008)

Garner (2012)

Garner

(2012)

Lack of

Confidence

Taborsky (2007)

Taborsky

(2007)

Garner (2012)

Taborsky

(2007)

Garner

(2012)

Taborsky

(2007)

Fear of

Negative

Evaluation

Osborne and Kenny

(2008)

Garner (2012)

Taborsky

(2007)

Garner

(2012)

Taborsky

(2007)

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