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- All Subjects: Performance anxiety
Description
The aim of this paper is to empower musicians with the knowledge and tools to address the challenges of music performance anxiety (MPA) with confidence and efficacy. Three evidence-based concepts will be examined, beginning with neuroplasticity, which is the brain’s capacity to change both structurally and functionally. It is thus in a constant state of evolution. On the functional side, evidence demonstrates that it is possible for individuals to change the way they think in order to provide more positive outcomes in music performance. Secondly, existing literature on the cognitive side of learning and optimal performance will be examined; particularly, flow theory of Mihaly Csikszentmihalyi (1975) and Carol Dweck’s mindset theory (2006). Finally, a review of sports psychology research on mental imagery will be provided. For each area of research, I will suggest strategies with which musicians may incorporate these theories in their own practice and performance in order to develop a growth mindset, alter their negative thought patterns, and overcome MPA, achieving their optimal performance level.
ContributorsLee, Kah Yan (Author) / McLin, Katherine (Thesis advisor) / Norton, Kay (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2022
Description
Students afflicted with music performance anxiety (MPA) can greatly benefit from guidance and mentorship from a music teacher with whom they have established trust, however there exists a knowledge gap between the development and manifestations of MPA, and how it can be overcome in order to prepare the student for success as a performer. It is my purpose with this guide to inform musicians, including students and teachers, about MPA, common coping methods, and outside resources where pedagogues, students, and even professionals can find further guidance. This document is designed to aid music students and teachers in their individual research on the topic. The first section provides necessary background information on MPA and concepts of gender, identity, and personality. A discussion of the results of an experimental protocol that surveyed double reed musicians about their experiences with performance anxiety comprises the second section. An annotated bibliography, listing other resources including self-help books, personal accounts, and scientific studies, is contained in the final section of this guide. Because of the relative absence of research done on the correlation between MPA and specific identity traits including personality, self-image, and gender, it was necessary to incorporate more generalized sources relating to the topic. The annotations offer a more comprehensive approach to understanding and overcoming MPA. This work is not meant to be all-inclusive; rather, its purpose is to act as a basic guide.
ContributorsMacKenzie, Kate, D.M.A (Author) / Micklich, Albie (Thesis advisor) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
Description
The notion that a singer’s voice is an expression of their personality serves as the catalyst for an examination of the relationship between the continuum of introversion and extraversion, and the pathologies of muscle tension dysphonia, vocal nodules, and performance anxiety. This paper begins with a brief introduction defining extraversion and introversion, followed by a review of personality studies identifying opera singers as primarily extraverted. Definitions of vocal nodules and muscle tension dysphonia are then given along with a list of recommended therapies. These elements tie in with two studies in speech pathology that suggest that behaviors of extraversion contribute to the development of vocal nodules, and behaviors of introversion contribute to muscle tension dysphonia and a higher laryngeal placement. Performance anxiety is shown to compound the behaviors that lead to vocal pathologies in singers. Additional therapies are recommended to address anxiety management in vocal lessons. Finally, since personality factors that contribute to vocal pathology are psychological, it is recommended that voice teachers refer their students to a psychotherapist for proper treatment.
ContributorsCurtis, Paul Josef (Author) / Norton, Kay (Thesis advisor) / Hawkins, Gordon (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2017