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The Psychology of Music Performance Anxiety
Abstract
Abstract Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? What are the factors that produce such vastly different performance experiences? Why have consummate artists like Frederic Chopin, Sergei Rachmaninoff, Pablo Cassals, Tatiana Troyanos, and Barbra Streisand experienced such intense music performance anxiety? This is a disorder that can affect musicians across a range of genres and of all standards. Some of the 'cures' musicians resort to can be harmful to their health and detrimental to their playing. This book is an exposition of music performance anxiety. It draws on a range of disciplines including psychology, philosophy, phenomenology, psychoanalysis, and performance theory in order to explain the many facets of music performance anxiety that have emerged in the empirical and clinical literature. It identifies some unifying guiding principles that will enhance our understanding of the condition and guides in the development of effective treatments. The book provides a detailed conceptual framework for the study of music performance anxiety and a review of the empirical and clinical research on the anxiety disorders. In addition, it presents a thorough analysis of the concepts related to music performance anxiety, its epidemiology, and theories and therapies that may be useful in understanding and treating the condition. The voices of musicians are clearly heard throughout the book and in the final two chapters, we hear directly from musicians about how they experience it and what they do to manage it.
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“It is proposed that in SAD (of which MPA can be considered a circumscribed subtype), individuals engage in avoidance of psychological and emotional experiences that occur in the context of social situations (Eifert and Forsyth, 2005) and these avoidance behaviors interfere with values-guided action (Kocovski et al., 2013).”
From Examining a Group Acceptance and Commitment Therapy Intervention for Music Performance Anxiety in Student Vocalists (2020) · cites this paper as Kenny, 2011
In the citing paper
“Many young musicians report developing maladaptive coping, such as substance use, which can impact their wellbeing and career (Kenny, 2011; Braden et al., 2015)”
From Examining a Group Acceptance and Commitment Therapy Intervention for Music Performance Anxiety in Student Vocalists (2020) · cites this paper as Kenny, 2011
In the citing paper
“Currently, CBT with exposure has the strongest research support as an MPA treatment (Kenny, 2011).”
From Piloting a New Model for Treating Music Performance Anxiety: Training a Singing Teacher to Use Acceptance and Commitment Coaching With a Student (2020) · cites this paper as Kenny, 2011
In the citing paper
“Unfortunately, they are contraindicated for vocalists, woodwind and brass instrumentalists, and musicians with breathing disorders like asthma due to their constriction of the airways (Kenny, 2011)”
From Piloting a New Model for Treating Music Performance Anxiety: Training a Singing Teacher to Use Acceptance and Commitment Coaching With a Student (2020) · cites this paper as Kenny, 2011
In the citing paper
“For example, CBT plus exposure therapy is considered best practice for MPA according to research supporting its efficacy (see Kenny, 2011)”
From Piloting a New Model for Treating Music Performance Anxiety: Training a Singing Teacher to Use Acceptance and Commitment Coaching With a Student (2020) · cites this paper as Kenny, 2011
In the citing paper
“Therefore, leading MPA researchers argue CBT with exposure is considered best practice for MPA (Kenny, 2011).”
From Acceptance and commitment therapy for the treatment of music performance anxiety: A pilot study with student vocalists (2017) · cites this paper as Kenny, 2011
In the citing paper
“Students with comorbid anxiety disorders were not excluded, as MPA commonly co-occurs with other anxiety disorders and may even be part of those disorders, i.e., Social Phobia, Panic Disorder (Kenny, 2011).”
From Acceptance and commitment therapy for the treatment of music performance anxiety: A pilot study with student vocalists (2017) · cites this paper as Kenny, 2011
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“…developing it, some of which include perfectionism, being female, age younger than 30, being classically trained (Mor et al., 1995; Sinden, 1999; Kenny, 2011; Kenny et al., 2012; Papageorgi et al., 2013), MPA is simultaneously occurring at a cultural level, in that it reliably occurs in…”
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Metadata
- Authors
- Kenny, D.
- Corresponding author
- Kenny, Dianna
- ORCID
- Kenny, Dianna
- Venue
- Oxford University Press eBooks
- Publisher
- Oxford University Press
- Published
- 2011-06-01
- OpenAlex
- W217580096
- Cited by
- 525
- References
- 0
- Citations by year
- 2026: 53 · 2025: 44 · 2024: 49 · 2023: 47 · 2022: 45 · 2021: 57 · 2020: 46 · 2019: 31 · 2018: 33 · 2017: 22 · 2016: 28 · 2015: 18 · 2014: 21 · 2013: 19 · 2012: 10
- FWCI
- 128.22
- Type
- book
- Language
- en
- Open access
- closed
- Locations
- Oxford University Press eBooks (publishedVersion)
- Topics
- Social Sciences › Arts and Humanities › Music › Diverse Music Education Insights
- Health Sciences › Medicine › Rehabilitation › Musicians’ Health and Performance
- Social Sciences › Psychology › Social Psychology › Music Therapy and Health
- Keywords
- music performance anxiety, public performance, musicians, anxiety disorders, performance theory, phenomenology, psychoanalysis, anxiety treatment, conceptual framework
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