Embracing Music Performance Anxiety

Three Coaching Approaches for Reframing Anxiety as an Asset

Photo by Dave Worfel

First you sense a coolness in the air, followed by building winds and a low rumbling of thunder. Then, the flashes of light.

What do you feel - is it fear, anxiety, or excitement?

Anxiety is well known for being an inhibitor to performance and achievement. However, Suzuki (2022), in her book Good Anxiety, and Dennis-Tiwary (2022) in her book Future Tense, share how moderate anxiety can be harnessed and utilized to our benefit by reframing negative energy as positive.

Photo by Erin Wehr

Most of my sailing friends on Lake Michigan have at some time been caught in sheets of rain, hurling winds, lightning strikes, and rolling waves, a situation that can cause you to question both your own strength and the strength of your boat. When I am caught in a storm, or unexpected high wind and waves, anxiety sets in. But in place of fear, I become hyper focused and less aware of physical discomfort. The elevated arousal state gives me the boost of confidence, energy, and stamina to manage the challenges until the weather passes. Meek (2021) summarizes how anxiety can help us in difficult situations by increasing motivation, preparation, and attention, all of which I experience when sailing through a difficult weather pattern, and continue to work on for experiencing in music performance.

Motivation (Strack et. al., 2017) can be hindered by anxiety as fear can bring on a fight or flight sensation. In flight interpretation of anxiety one runs away from the threat. In a music performance there is an option to not show up and an option in performance to just walk away. This option of flight opens the perceived need to be prepared to run. On a sailboat in a storm, however, there is nowhere to run and no option for flight. The perceived need is to stay and fight to get through the storm, and the result is going into a mode of taking action. I have seen this “fight” energy in musicians as well. In particular, I find fight exemplified in some forms of jazz improvisation such as in a “cutting contest”.

Preparation (Wirtz et. al., 2019) for an event or performance can be delayed or avoided due to anxious thought, and it is not uncommon for musicians with anxieties to procrastinate preparation for a performance. Anxiety can be reframed as excitement if a performance is connected to meaning and purpose, and if one believes that their preparation will lead to success where success is clearly defined. As a sailor, when faced with an oncoming storm, anxiety creates the impetus to shorten sail, close the hatches, put on safety gear, and take other precautions that allow for passengers and vessel to make it through the storm. Without the belief that the preparations will lead to success there is no motivation to prepare, and anxiety may not be successfully reframed. This belief of future success, also known as self-efficacy (Bandura, 1997) is needed for anxiety to be reframed. Similarly in music, if one is unsure of how to define success, or not confident that their practice will lead to success, then an avoidance behavior may set in. Reframing anxious thought for motivation and preparation requires first a sufficient skill level and confidence based on an understanding of what success looks like.

Attention and focus (Kaleńska-Rodzaj, 2020) can be limited by anxiety, however reframing anxiety can increase attention and focus for heightening learning and performing experiences. Anxiety from dangerous weather brings on a hyper focused attention for reading the wind changes, wave height, wave direction, and the vessel response. In normal conditions one might become chilled as the air cools or tired from managing a boat in tense conditions. But, when bad weather sets in, I sail and surf down waves, controlling the roll of the boat in extremely dangerous conditions. I have done so without noticing being cold, tired, or uncomfortable, for hours. The anxiety experienced in a music performance has similar potential, to promote a deeper focus that increases learning, heightens skill level, and increases perceived energy and stamina. Creating practice situations for purposely heightening anxiety can increase practice effectiveness and build efficacy for performing with a reframed version of anxiety.

Music Performance Anxiety as a Cultural Construct

Fear is in every musician's repertoire, but is better known by the term music performance anxiety. Even though musical expression and musical understanding are basic and valuable elements of the human experience. American culture tends to promote the belief that there are those who make music (aka those with musical “talent”) and those who just listen to music (aka those not given the gift of musical “talent”). These beliefs are rooted in a Western European ideal that music is a talent and/or gift that only some are blessed with in contrast to an understanding of music as a learned and developed skill accessible to all humans (Collins, 2013). These beliefs are further complicated by advancing technologies in recording, editing, and sound manipulation creating a false sense of “perfection” in music performance. Then, add a competitive focus in school music programs that promotes winning (such as in auditions and contests) over individual musical development and creativity, often at a cost of teaching to the strongest and/or those with more access to individual instruction while leaving behind those with little to no access to music listening, music making, and music instruction in the home. The concept of “those who can and those who can’t” in music can be extended to race and gender in musical styles (Dibben, 2002) such as “girls can’t play jazz” or “white guys can’t rap”. Music is such a part of our identity formation during our development that these cultural understandings of musicianship become a part of us through our language (Jäncke, 2012). Thoughts and feelings become attached to our vocabulary, and may reinforce what we believe that we can or can’t do, should or shouldn’t listen to, and be or not be good at (Hayes & Sanford, 2014). O'Neill (2002) describes the perceptions of one’s own music performance success in the now, past, and future as being related to a sense of control over negative emotions including anxiety.

The result is an environment for any music maker, singer or instrumentalist, to have the weight of judgment, and expectation of perfection, as constant threats that contribute to anxiety for music making.

Music Performance Anxiety as a Threat to Wellbeing

In spite of music-making being considered as a contributor to positive wellbeing (Ascenso et al., 2017; Boyce-Tillman, 2000; Perkins & Williamon, 2014; Pothoulaki, MacDonald, & Flowers, 2012; Västfjäll, Juslin, & Hartig, 2012), professional musicians and music students may deal with pain, focal dystonia, psychological stress, substance abuse, and music performance anxiety (MPA) (Matei, et al., 2018). Both professional musicians (James, 1997, 1998; Kenny et al., 2012, 2016) and music students (Kaspersen & Gotestam, 2002; Kenny et. al,. 2012; Matei et al., 2018, Miller & Chesky, 2004, Osborne et al. 2014, Patston, 2014; Tamborrino, 2001; Williamon & Thompson, 2006) may deal with MPA as part of their music making. Ascenso et al. (2017) consider MPA as a widespread phenomenon that is integral to the profiling of musicians’ wellbeing.

In reports of professional musicians, researchers identify a significant pattern of anxiety, depression and health behaviors at levels that warrant attention, possibly through work-related health and safety programs (Kenny & Ackerman, 2013; Kenny, Driscoll, & Ackerman, 2016). However, such health programs would be difficult to design and administer as research has demonstrated only modest responses to MPA treatments (Kenny & Osborne, 2006). A systematic review of psychological and pharmacological treatments for MPA did not identify any conclusions as to effective treatments for MPA (Kenny, 2006), and a health education program for musicians put in place at a music conservatory did not successfully help students to manage MPA (Matei, et al., 2018). It should be noted that the health education program put in place for the study only included one lecture on music performance anxiety, and the students reported MPA as a consistent concern. Such cursory attempts at addressing music performance anxiety might be an indicator for how we are either not really taking seriously the need and want for assistance in dealing with MPA in music schools, and/or we do not yet have an option for effective programs to assist musicians with MPA.

Music Performance Anxiety as an Individual Construct

Music performance anxiety (MPA) is a complicated issue of musicians related to both nature and nurture, but also related to individual and personal thoughts, experiences, emotions, and behaviors (Kenny, 2011; Matei, et al., 2018; Papageorgi, 2022). Anxiety, though wide-spread, is individual in nature and based on personal experiences, and may call for a humanistic, person-centered approach for management, meaning that there isn’t one solution, or one pill, or one practice that will work for everyone. Rather, as each individual's background and experiences have contributed to their own anxiety, one must approach managing their own anxiety in a way that addresses their own individual needs.

Kashdan and Biswas-Diener (2014) suggest that an increasing level of anxiety disorders may be related to our arrival in an age of comfort, where we tend to avoid any feelings of discomfort. Through an evolving need to be comfortable we have developed a fear of any negative emotional reactions making us unable to manage these emotional states. The researchers also suggest that we have a tendency to avoid pleasure due to a fear of wasting time, or of being perceived by others as focusing too much on ourselves.

Kashdan and Biswas-Diener (2014) also suggest that anxiety is underappreciated as a resource. Our emotions, including fear, help us to assess and improve. Doubt can help motivate, frustration makes us aware of needed reassessment, and both can help us reassess our goals. Not enough anxiety could suggest that an activity lacks the appropriate level of challenge, stimulation, and interest, while too much anxiety could be debilitating, overwhelming, and paralyzing, providing a warning that giving up may be warranted and a reassessment necessary. Learning to have anxious feelings, and how to direct and learn from them, rather than succumb to them, should be considered as an approach to managing MPA.

A Person-centered Approach to Managing Music Performance Anxiety - Three Perspectives

A third wave (Hayes & Hofmann, 2017), evidence-based approach has been identified in cognitive behavioral therapy representing person-centered and process-based care (Gregory & Levy, 2013). A core concept of this third wave thinking is that negative emotions, such as anxiety, are an important part of the whole person and need to be noticed and experienced by the person. Eliminating anxiety is not considered realistic, and instead one can learn to notice it, redefine it, and then use it in order to learn, practice, grow, and perform.

Included here are outlines of three third wave approaches for consideration of inclusion in coaching programs for music performance anxiety: 1) Mental contrasting and the WOOP approach (Brodersen & Oettingen, 2017; Oettingen, 2015), 2) Seeing the Upside of Your Downside Kashdan and Biswas-Diener (2014), and 3) Acceptance and Commitment Theory (ACT) with a foundation in Relational Frame Theory (RFT) (Hayes & Hofmann, 2017; Hayes & Sanford, 2014).

Mental Contrasting and the WOOP Model

Oettingen’s (2015) mental contrasting model involves focusing on the difficult steps, or the difficult reality, to achieving a goal in place of fantasizing or visualizing the positive end result. Brodersen & Oettingen (2017) found that such mental contrasting can reduce anxiety, and lists four steps including 1) wish, 2) outcome, 3) obstacle, and 4) plan; and is referred to as WOOP. The "W" is a wish to achieve something, such as being able to play a particular musical work. The first "O" is for outcome, something you really want that is associated with the wish. Perhaps it is winning an audition. The second "O" relates to obstacles. Here one searches for the internal obstacles that hold you back and prevent you from achieving your wish. It may be that you aren't practicing effectively, or perhaps you are stuck and not moving forward. Anxiety may be present here. This part of the process needs time and thought. Once you can identify your obstacle(s), you create a plan "P" to overcome your obstacle. This might look like designing a warm-up procedure that methodically addresses a difficult passage, or taking steps to relate differently to your anxiety in ways offered by other approaches.

Anxiety as an Asset

Kashdan and Biswas-Diener (2014) suggest that anger, guilt, and anxiety can be perceived as strengths rather than as a neurosis, which can aid in the management of anxiety. It is not uncommon to hear angry outbursts of practicing musicians alone in practice rooms, most often directed at themselves out of frustration with some skill development issue. These outbursts might begin with an explitive followed by, "Why can't I get that right?" Kashdan and Biswas-Diener suggest that this anger can be redirected as a courage enhancer through redirecting the energy of the emotion towards developing courage. Sometimes comments are less angry and more pointed to self such as, "I am such a failure, I'll never get this," which sounds more like guilt. Kashdan and Biswas-Diener suggest that this guilt can also be redirected, and in the case of a practicing musician, used as motivation to plan regular and focused practice sessions.

Brooks (2014) found that redefining anxiety as excitement was associated with an increase in pitch accuracy in Karaoke singers. Kashdan and Biswas-Diener (2014) suggest redirecting anxiety as an alert button instead of a panic button. They report anxiety as having potential to heighten perception, amplify vision, improve sight for distance, amplify and bring clarity to hearing, improve problem solving, and drive motivation for success. Anxious people tend to identify and fix mistakes before they become too big to manage, find solutions to problems, and share solutions with others. Mistakes are part of creativity and innovation, and anxiety helps us reign in and fix mistakes before they become problematic. Managing performance anxiety is less of trying to reduce anxiety, and more of understanding anxiety and reframing anxiety as a beneficial emotion that can help us focus our attention, our thinking, and our behavior towards our goals, including how we define our goals.

Acceptance and Commitment Therapy (ACT) as a Coaching Model

Strategies for redirecting anger, guilt, and anxiety include self-talk and simple messages that help create an opportunity mind-set (Kashdan and Biswas-Diener, 2014), of which can be easily practiced by a musician either in a practice room or while waiting to enter a stage for performance. A more involved process of redirecting our emotions can be found in acceptance and commitment therapy (ACT) also known as acceptance and commitment training (ACT) (Hayes, Strosahl, & Wilson, 2012) which involves redefining anxiety as a strength and changing how one relates to the language of anxiety.

Relational Frame Theory (RFT) and Acceptance and Commitment Therapy (ACT) provide a framework based on psychological flexibility and openness to being in the moment, for the purpose of pursuing life paths that are meaningful (Hayes & Hofmann, 2017; Hayes & Sanford, 2014). ACT theorists believe that a meaningful life can come from accepting that which is out of our personal control, and taking action on that which improves and enriches your life. As a process ACT involves the development of skills for developing psychological flexibility (Kasdan & Harris, 2013). The psychological flexibility model, sometimes referred to as the hexaflex, involves 6 core processes divided in two groups: 1) the mindfulness acceptance processes of self as context, defusion, and acceptance, and 2) the commitment behavioral acceptance processes of flexibile attention to the present moment, values, and commited action. Relational Frame Theory (RFT) underlies the theory by explaining how our emotions and behaviors are connected in how we construct vocabulary. The core processes involve: 1) defusion, separating oneself from the context of language, 2) making room to experience thoughts, words, and feelings without being hooked by them, 3) to practice and correct for overattachment to thoughts and feelings, 4) to come back to the present moment, 5) to tap into values, and 6) link values to actions (Hayes, Strosahl, & Wilson, 2012). Some small-scale work has been published on ACT and musicians. Juncos & Markman (2016) find ACT to show promise in helping musicians with MPA in a single case study of MPA with a violinist, and Juncos et al. (2017) found similar findings with a group of vocalists. Mindfulness studies are also starting to show relationships between self-reported meditation practice and self-reported performance anxiety (Diaz, 2018).

Acceptance and Commitment Therapy (ACT) is a process, a new way of thinking, and with practice, a new way of relating to musical study and performance. Optimal performance requires some anxiety, and sometimes other emotions with negative connotations as well, to create meaningful and optimal performances. Relearning how to relate to anxiety latent words and thoughts through RFT and ACT may be the answer to free those stuck by anxiety in their music making activities.

ACT, however, is not a one time session or presentation, or a quick fix pill, and it seems that many are still searching for quick and easy answers as demonstrated by semester long well-being programs for musicians that devote only one lecture to performance anxiety. What is exciting is that, unlike taking a pill that depletes emotion from your performance, working through ACT brings out more of who you really are as a whole person, with much more to communicate and offer to a performance.

These third wave approaches as applied to Music Performance Anxiety offer process oriented approaches to move towards experiencing anxiety and other emotions in a positive way while being and sharing our whole self. These approaches share a similar vantage point in that the process is led by the person doing the work with the coach assisting only as a guide. Through the coaching process one develops a personal approach to managing and utilizing anxiety with tools to be utilized for reaching personal goals.

Bill’s Thoughts…

I have always had some level of anxiety when I give music performances. Anxiety symptoms for me show up as shakiness, shortness of breath, rapid heart rate, etc.  Meanwhile, my mind goes to all of the could’ve, would’ve, and should’ve thoughts. I used to just keep trying to push the anxiety down. As I became more experienced and began addressing my anxiety, I learned that I needed to be OK with, and even embrace my anxiety. I began to realize that the anxiety was energy that I could either let control me, or I could shift that energy and use it to my benefit in performance. I still have anxiety that comes up, but I can now use that energy for my benefit, and it makes for a more exciting performance!

Activities:

Try applying a small goal for each of the activities below to find your best fit. (Note that ACT is not included in the activities and is better utilized in a personal coaching environment.) Write your answers and reflections in your journal and share any experiences in the comments that you believe might Be helpful to others.

1. Think of something small that you have to do, or believe that you should do, but have been putting off due to a feeling of discomfort or anxiety associated with the task. Then apply the WOOP model and j record your progress.

   1. W Write down your wish for what you want to achieve.

   2. O Then write down the outcome that your wish would contribute to.

   3. O Next write down the obstacles that you perceive to be in your way.

   4. P Now write down a plan for managing the obstacles. Activity 2 below might be helpful as you plan.

   5. Put the plan in motion and record your activities and reflection in your journal.

2. Think of something small that you have to do, or believe that you should do, but have been putting off due to a feeling of discomfort or anxiety associated with the task. Then reflect on the following and record your thoughts and progress in your journal.

   1. Write down something in the past that made you anxious, but that you did anyway. Then reflect and write around 5 (or more) unexpected positive outcomes that came out of the experience. If you get stuck, do a gratitude exercise found here for creating openness.

   2. Then write down something on your mind that you need to do, but have been putting off due to anxiety or negative feelings. Write around 5 (or more) potential positive outcomes that could come about from following through on this task, and the possible impact on your life or the lives of others.

   3. Describe in writing the anxious thoughts and behaviors you associate with the task, then for each, reframe how the thought/behavior can serve to help you complete your task. Often this involves noticing the extra energy from the elevated physiological state and redirecting that energy into heightened attention, focus, and/or clarity for completing the task.

3. Choose 2-3 of your top five individual strengths from the VIA. Find information on taking the VIA here. Write these in your journal.

   1. Think of something small that you have to do, or believe that you should do, but have been putting off due to a feeling of discomfort or anxiety associated with the task. Record your thoughts and progress in your journal.

   2. Then, consider mental or physical steps that you can you can design to utilize each of those strengths from your VIA to redirect, manage, and/or take on the negative feelings or anxiety associated with the task. Write these in your journal.

   3. Choose one or more of these strengths activities to put into action. Write your reflection in your journal.

      Remember that managing and redirecting anxious behaviors is a process that takes time, attention, and practice. Reward yourself for small successes and journal about your experiences to encourage and document growth.

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