Musical Performance Anxiety (MPA) encompasses a wide range of symptoms, from negative thought patterns to physical symptoms that can hinder a performance. A brief overview of what occurs in the body and mind when faced with pressure is presented here in order to understand what types of coping skills work best for young children and why.
When an individual faces a situation that prompts anxiety, adrenaline floods the bloodstream; this is where the “fight-or-flight” response originates. (see footnote 1) This surge of adrenaline can cause physical symptoms such as increased heart rate, shaking of the body, hands, and legs, perspiration, dizziness, muscle tension, dry mouth, sweaty palms, and nausea, along with a host of other symptoms. (see footnote 2) These symptoms call for the body to act, but for a musician in a performance setting, there is no physical outlet through which to act except through the playing of their instrument. In relation to the large amount of energy built up in the body, the act of performing requires a relatively small amount of exertion which must be highly controlled. Thus the buildup of adrenaline can create an excess of energy and unless the performer is educated on how to handle such an influx, the overabundance of adrenaline can surprise or overwhelm young performers, creating the potential to affect their performance. (see footnote 3)
Physical symptoms are not the only ones created by this adrenaline surge; this buildup of adrenaline can affect performers mentally by increasing the speed at which their minds operate. According to sport psychologist and Performance Mastery Trainer Dr. Don Greene, “the faster your mind goes, the less efficient your thoughts become. Before you know it, you're on the road to memory lapses, confusion, and major problems in focusing your attention.” (see footnote 4)
While some students become overwhelmed by the physical and cognitive symptoms that can be experienced due to an increased amount of adrenaline, others may suffer from the opposite problem: a diminished level of adrenaline before a performance, which can result in feeling sluggish both physically and mentally. For these students, small amounts of adrenaline can sometimes increase the quality of their performance. (see footnote 5) Thus, adrenaline has an powerful effect on performers: for those who experience a significant drop or surge in energy before a performance, it can inhibit the performance. Creating or managing the optimal level of adrenaline is the ultimate performance goal. It is vital for performers to know how to achieve this optimal level in order to be “in the zone,” as this is where people tend to perform at their best.
Young students who struggle with MPA may express it to their teachers through statements such as, “I play better in the practice room than I do in performance” or “when I perform in front of others, or for something that really matters, I choke.” In addition to the physical implications of such statements, these comments communicate something else of significance: a fear of failure, which is a cognitive struggle, something many young students face but may be unsure how to overcome. (see footnote 6) There is hope for these students; child development experts suggest that there is a critical window of opportunity to instill stress-related coping mechanisms in students while they are young that yield lifelong success. (see footnote 7) It should be noted that some students do not experience MPA. In cases where a teacher has not observed, or a student has not expressed symptoms of MPA, the discussion of the coping strategies presented later can still be effective, but the student might be better served by thinking of the strategies as ways in which to improve their mental practice rather than as exercises designed to overcome anxiety.
Up next is Part 4 of the series which tackles the topic of why teachers should address the topic of MPA with their students.
Please refer to Part 2 in this series to understand the working definition of MPA used in this series as well as Part 1 which includes a brief introduction to the series.
—Written by Jessica Koebbe, published August 2020.
1 Yu-Huei Su, Jerjunn Luh, Hsin-I Chen, Chao-Chen Lin, Miin-Jiun Liao, Heng-Shuen Chen “Effects of Using Relaxation Breathing Training to Reduce Music Performance Anxiety in 3rd to 6th Graders,” Medical Problems of Performing Artists, 25, no. 1 (2010): 81-86.
2 Ibid.
3 Don Greene, Performance Success: Performing Your Best Under Pressure (New York: Routledge, 2002), 17.
4 Ibid, 19.
5 Yu-Huei Su, Jerjunn Luh, Hsin-I Chen, Chao-Chen Lin, Miin-Jiun Liao, Heng-Shuen Chen “Effects of Using Relaxation Breathing Training to Reduce Music Performance Anxiety in 3rd to 6th Graders:” 81-86.
6 Helene Boucher and Charlene A. Ryan, “Performance Stress and the Very Young Musician” Journal of Research in Music Education: 329.
7 Pamela May, Child Development in Practice: Responsive Teaching and Learning from Birth to Five (New York: Routledge, 2011), 16-17.