Performance Anxiety Annotated Bibliography

compiled by

Pance Zaev, DMA Student

Fall 2006

Brodsky, Warren; John A. Sloboda; Mitchell G. Watterman. "An Exploratory Investigation into Auditory Style as a Correlate and Predictor of Music Performance Anxiety." Medical Problems of Performing Artists, December 1994 pg 101-?

This study explored auditory style among group of professional orchestral musicians and another group of non-musicians. The study concluded that the group of musicians had high scores of anxiety, while non-musicians had low scores.

Caldwell, Robert. The Performer Prepares. Pst…Inc. Dallas, 1990.

This is an excellent book on how to prepare for a performance. The author believes that charisma, presence, nerves, stage fright, and tension, are qualities that greatly influence the way we make music, and are the wellspring of our artistry. The author uses a number of talented musicians in the book who t transform their performances through the various techniques presented in the book.

Ching, James. Performer and Audience: an investigation into the psychological causes of anxiety and nervousness in playing singing or speaking before an audience. Hall The Publisher, LTD. Oxford, 1947.

This is one of the older books to address the deep psychological causes of those irrational anxieties which often haunt those who play, sing, speak, and act in front of audiences. The author does not agree that anxiety is inherited, and therefore impossible to modify. With this book, he wants to prove this philosophy. The author was a piano teacher and performer, and therefore planned principally for pianists. However, the book is applicable to everyone who performs in public.

Colgrass, Michael. My lessons with Kumi, How I learned to Perform with Confidence in Life and Work. Real People Press, Box F. Moab, Utah, 2000.

In this adventure, the main character Nick is a man who lost his job, his marriage and his confidence. Driving through Montana, he finds a mentor called Kumi. With the help of Kumi, Nick undergoes a extensive training of mind, body, and spirit that transforms his personal and professional life. The book explains positive self-talk, visualization, exercises for relaxing the body, correct diet, etc.
It also specifically includes examples for musicians. He includes many exercises for the arms and hands, which would be helpful in improving dexterity for musicians.

Dunkel, Edward Stuart. The Audition Process Anxiety Management and Coping Strategies. Pendagon Press. Sryvesant, NY, 1989.

This book is a part of the Julliard Performance Guides No. 3. It is a very extensive reading and is divided into four chapters: Chapter I. Psychological Adaptations to Audition Stress (The audition risk, The self and its many parts, Psychological pressures, Fears, Tension and physical stress, Expectations, Self-consciousness); Chapter II. On the Realities of the Music Business (Life in the arts, Dealing with Criticism, Dealing with failure, Overcoming jealousy, The self and work); Chapter III. Coping Strategies and Techniques (Finding control under pressure, Preparation for auditioning, Using feelings and emotions productively, Self-talk, Concentration and attention shifts, Relaxation techniques, Humor, Diet and Drugs); Chapter IV. Successful Attitudes and Outlooks for Auditioning (Situational focus, Building confidence, Reframing old outlooks, Trust, Individuality).

Freymuth, Malva. “Mental Practice for Musicians: Theory and Application.” Medical Problems of Performing Artists. December, 1993.

This article’s aim is to help musicians who are in highly competitive environments, in which practice causes stress and tension. With the instruction of mental practice, musicians have a healthier alternative to excessive hours of physical practice. Freymuth claims that mental imagery will improve physical performance.

Godoy, Inge Rolf, and Jorgensen Harald. Musical Imagery. Swets & Zeitlinger Publishers. Lisse, 2001.

This book is the product of the “International Conference on Systematic and Comparative Musicology,” which took place at the University of Oslo in the summer of 1999. The topic was musical imagery, and the book is a collection of articles written for the Oslo conference. The book is about images of musical sound in our mind. The belief is that musical imagery is at the very core of musical experience, and possibly the very content of musical thought. This book is helpful to music psychologists, performers, composers, arrangers, music theorists, musicologists, music educators, and any person interested in music. The book is organized into two parts:. The first part deals with the theoretical perspectives and historical overview on musical imagery. The second part is focused on issues related to performance and composition, and presents more practical applications of musical imagery.

Greene, Don. Performance Success. Routledge, New York 2002.

In this book, Don Greene uses a system of evaluating the reader in each chapter. The reader is certain in every moment of the book what to do in order to improve their weaknesses, or embrace their strong traits.

Greene, Don. Audition Success. Routledge, New York 2001.

In writing this book, Don Greene used the taped coaching interviews he did with two of his patients. The book is in dialogue form, which holds the attention of the reader. The first patient is a horn player who wishes to play professionally in orchestras, but is not able to win major orchestra job positions. The second patient is a mezzo-soprano, who has negative thoughts about her singing. Greene evaluates both of the patients, and works with them to overcome their hurdles. This book has some of the same ideas as “Performance Success.” However, the different format of writing is very valuable in understanding the approach.

Grindea, Carola. Tensions in the Performance of Music. Stanmore Press Ltd. Gt. Yarmouth, Norfolk 1982.

This was a symposium edited by Carola Grindea. The book has nine articles written by nine different authors concerning tension in string playing, piano playing, singing, conducting, composing, and clarinet playing. Composers have tension, too!!! Alfred Nieman wrote the article “The Composer and Creative Tension. Gervase De Peyer wrote the article on “Clarinet playing and the control of tension.

Harrison, Christine, Barbara Paull. The Athletic Musician, a Guide to Playing Without Pain. The Scarecrow Press, Inc. 1997.

Christine Harrison is a professional orchestral violinist in Toronto, Canada. She started having body pains from playing her violin in 1983. She explains her journey to recovery. The book is also written by her physiotherapist Barbara Paull, the doctor who helped Christine play her instrument without pain. The book is full of advice about how to correctly practice, and how to play your instrument without causing physical injury due to strain.

Havas, Kato. Stage Fright, its Causes and Cures with Special Reference to Violin Playing. Bosworth & Co. Ltd. London, 1974.

This book explains performance anxiety symptoms, causes, and cures. However, the major part of this book is concerned with stage-fright associated with violin playing. This book can be of great value to any string player, as it contains chapters on the fear of being out of tune, or the fear of a trembling bow arm.

Merritt, Stephanie. Mind Music and Imagery, Unlock the Treasures of your Mind. Aslan Publishing. Santa Rosa, 1996.

In this book, Merrit explains how music imagery can help to reduce stress, improve your self-conscious, and increase your confidence. Imagery can be important tool for healing the body and mind. It includes step-by-step instructions on how to improve your imaging skills. The book also includes a list of musical works from classical and modern music to helping with the imagery.

Meyer, Robert G., Paul G. Salmon. Notes From The Green Room, Coping With Stress And Anxiety in Musical Performance. Lexington Books, New York, 1992.

In this book, the author presents the story of a child music prodigy who goes through difficulties in performing when she left her family to continue in a conservatory setting. The student had motivation as a child to please her parents, family and teachers. However, when she was on her own, she was confused and did not know how to find her own musical motivations.

"Overcoming Performance Anxiety." University of Toronto, Student Services. http://www.studentservices.utoronto.ca/resources/performance_anxiety.aspx

This short article is posted for use at the University of Toronto to overcome performance anxiety for public speaking, or for any kind of performance in front of an audience. It makes various references to music performance. Some of the ideas covered to overcome fear include the following: The acceptance of fear; Focusing and relating to the audience; Identifying and challenging fearful thoughts; The use of proper breathing; Being passionate about your topic/performance and sharing it with others; The belief that your performance matters to you.

Sloboda, John A., Patrick N. Juslin. Music and Emotion. Oxford University Press, 2001.

Chapter 13 of this book, written by Andrew Steptoe, is dedicated to “Negative Emotions in Music Making: The Problem of Performance Anxiety.”

Reubart, Dale. Anxiety and Musical Performance on Playing the Piano From Memory. Da Capo Press. New York, 1985.

Although this book is geared toward playing the piano from memory, the author
also talks in great deal about performance anxiety. His chapter on performance functions outside of the conscious awareness is very helpful in understanding how the mind works in a performance setting. He also writes of a great deal of practicing techniques which could be applied to any instrument. Reubart brings up the hereditary and environmental factors which contribute to making the performer who he is.

Rink, John: Ed. Musical Performance: A Guide to Understanding. Chapter 12. Cambridge University Press, 2002.

Chapter twelve in this book deals with the fear of performance, and was written by Elizabeth Valentine. She discusses how to understand performance anxiety, as well as the causes and cures. She also recommends using a “treatment package,” which means to employ a combination of therapies to overcome anxiety.

Roland, David. The Confident Performer. Currency Press Ltd, Sydney, Australia, 1997.

This book is full of theories to use in overcoming performance anxiety. Throughout the book, the author uses a number of study case individuals in order to clearly convey his ideas. Philosophies such as mental imagery, task relevant thinking, positive thinking, setting specific goals, and taking the challenge of performing are topics explained in great detail. He also talks about the life of the performer and the proper nutrition to help in performing better. Roland gives advice on how to manage a chamber group, and tips on how to get ready psychologically as a group for a successful performance.

Samama, Ans. Muscle Control for Musicians. Bohn, Scheltema & Holkema, Utrecht, 1981.

This book is a great guide in learning how to use our bodies while playing any instrument. The author believes that musicians are subjected to more than mental and intellectual strain. Playing an instrument involves a great deal of physical effort. The author believes that it is important for a musician to avoid using muscles which are not needed. This book is full of stretching exercises, as well as advice on how to properly breath, sit, and stand while playing an instrument. There are also a lot of pictures, which are helpful in understanding how to correctly follow the exercise instruction.

Schneiderman, Barbara. Confident Music Performance. MMB Music, Inc., St. Louis, 1997.

The author of this book is a pianist, teacher and humanist who is against quick fixes in relieving performance anxiety. Her book provides a rational and eminently workable program of personal exploration and discovery. Having a healthy attitude toward performance is a skill which can be learned through imaginative and consistent synthesis of technical and emotional work. This book provides a whole system of preparation for performance that engages the mind, emotions, imagination, physique, and aesthetic. The confidence is improved with the learning process itself.

Sinclair, Kevin. "Musicians and Performance Anxiety." http://ezinearticles.com/?Musicians-and-Performance-Anxiety&id=368257

This internet article defines what performance anxiety is, and then gives tips on how to manage anxiety. The tips cover: Self assessment; exposure to
performances; adequate preparation; managing anxiety during performance; and what to do after a performance.

Thaut, Michael H., Davis B. Williams. "The Influence of Subject-Selected versus Experimenter-Chosen Music on Affect, Anxiety, and Relaxation." Journal of Music Therapy, XXX (4) 1993, 210-223.

This study is an investigation to assess the effect of subject-selected and experiment-chosen music on affect, anxiety and relaxation. Music used for the study consisted of subject-selected music and experiment-chosen music that was composed with the purpose to relieve tension and increase relaxation. The result proved that the release of tension was achieved in all the different conditions.

Triplett, Robert. Stage Fright, Letting it Work for You. Nelson-Hall, Chicago, 1985

This book is written for a wide audience. Even though this book addresses on a broad spectrum of professional peformers-speakers, musicians, athletes, actors, or dancers, its message speaks to performers in the widest context: lawyers addressing the court, executives facing difficult board meetings, salespersons presenting new products, etc… This book is organized into two major sections. Part one explains the process in which stage fright is experienced by performers, and presents working hypothesis of the way in which it is transformed. Part two is focused on the number of techniques that will aid the performer in the transformation process. The appendix of this book explains how well balanced
nutrition helps in reducing stage fright.

Tuck, Sarah, Julia Vasques, Kathrin Kucharski, Karla Harby. "Beta Blockers and Performance Anxiety in Musicians." http://www.ethanwiner.com/BetaBlox.html

This article reveals a lot about the following questions: What are beta blockers? Do I need to see a doctor before taking them? What kind of problems are beta blockers good for? Are beta blockers safe? Do beta blockers cause addiction? Will beta blockers help my performance? How many musicians use beta blockers? How does the music community view the use of beta blockers for performance anxiety? What other approaches are helpful for dealing with performance anxiety?

Whitaker, Charlotte Sibley, Donald Ray Tanner. But I Played it Perfectly in the Practice Room! United Press of America, Inc. London, 1987.

The title of this book was chosen because the authors themselves pedagogues had heard this phrase countless times throughout their teaching. The purpose of this book was to convert performance tension into performance energy. This book which is accompanied with audio tapes will help the reader learn to retrain their mental and bodily responses in stressful situations.

Woolfolk, Robert L., Frank C. Richardson. Stress, Sanity, & Survival. A Signet Book, New American Library. New York, 1978.

This book offers concrete help in dealing with stressful situations. It provides an effective program for coping with stress. Even though the purpose of the book is to use a variety of approaches in reducing stress in the everyday life, it could be of great value to any musician that wants to improve their confidence as a performer.