Cognitive processes in music performance anxiety.
Open accessAbstract
Music performance anxiety has been investigated either as a discrete phenomenon, or as a variant of social phobia. This study examined the theoretical adequacy of establishing music performance anxiety as a subtype of social phobia, using Rapee and Heimberg's (1997) model of anxiety in social-evaluative situations to account for the cognitions experienced by anxious individuals in solo musical performances. Similarities between the two phenomena in terms of important cognitive processes were revealed in a sample of 84 musicians. The two cognitive constructs in the model deemed to be critical to social phobia were also the only two constructs predicting music performance anxiety. It is concluded that social phobic models may provide a valid account of the cognitive processes occurring in music performance anxiety. These results are combined with additional epidemiological and etiological information in a cognitive conceptualisation of music performance anxiety.
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Under pressure, mindfulness-induced attentional re-anchoring can redirect focus from threat cues back to the musical task, mitigating threat-focused processing and automatic catastrophic responses.
“Specifically, under pressure, mindfulness-induced attentional re-anchoring can redirect focus from threat cues back to the musical task (Bishop et al., 2004), mitigating threat-focused processing (Eysenck et al., 2007) and automatic catastrophic responses (Osborne and Franklin, 2002).”
From Mindfulness- and acceptance-based interventions for music performance anxiety: a three-level meta-analysis of therapeutic effects, mechanisms, and boundary conditions (2026) · cites this paper as Osborne and Franklin, 2002
The Abstract (page not provided) associates music performance anxiety with catastrophising, and “Predictors of MPA” describes self-defeating thoughts that reinforce an anxiety cycle. These passages support the reference to catastrophic responses, but they do not establish that the responses are automatic or that mindfulness-induced re-anchoring mitigates them. (LLM, conf=0.82)
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“Specifically, under pressure, mindfulness-induced attentional re-anchoring can redirect focus from threat cues back to the musical task (Bishop et al., 2004), mitigating threat-focused processing (Eysenck et al., 2007) and automatic catastrophic responses (Osborne and Franklin, 2002).”
- Authors
- Osborne, M. S., & Franklin, J.
- Affiliations
- Macquarie University (AU)
- Venue
- Australian Journal of Psychology
- Publisher
- Informa UK Limited
- Published
- 2002-01-01
- Volume
- 54
- Issue
- 2
- Pages
- 86-93
- ISSN
- 0004-9530 (ISSN-L)
- 1742-9536
- OpenAlex
- W2092820830
- Cited by
- 119
- References
- 34
- Citations by year
- 2026: 6 · 2025: 6 · 2024: 10 · 2023: 8 · 2022: 6 · 2021: 10 · 2020: 5 · 2019: 6 · 2018: 11 · 2017: 8 · 2016: 2 · 2015: 6 · 2014: 5 · 2013: 3 · 2012: 4
- FWCI
- 2.40
- Type
- journal article
- Language
- en
- Open access
- bronze
- doi.org
- Licence
- Locations
- Australian Journal of Psychology (publishedVersion)
- Funders
- Macquarie University
- Topics
- Social Sciences › Psychology › Experimental and Cognitive Psychology › Anxiety, Depression, Psychometrics, Treatment, Cognitive Processes
- Social Sciences › Arts and Humanities › Music › Diverse Music Education Insights
- Health Sciences › Medicine › Rehabilitation › Musicians’ Health and Performance
- Keywords
- music performance anxiety, social anxiety disorder, cognitive processes, musicians, anxiety subtypes
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