This pilot study evaluated the effectiveness of a treatment approach for musical performance anxiety that combined progressive muscle relaxation, cognitive therapy, and temperature biofeedback training. Twelve competent pianists who complained of debilitating performance anxiety were randomly assigned to a treatment group; and eight subjects were placed on a wait-list control group. Following a six-week programme of group therapy, signifi- cant differences between pre- and post-measurements were observed for the treatment group in performance anxiety, and trait anxiety. The results suggest that it is possible to lower debilitating stage fright in performance- anxious musicians through a cognitive-behavioural treatment approach.

Performance anxiety, or stage fright, is anxiety aroused about potential mishaps in performance that expose feared inadequacies before an audience and which evoke feelings of embarrassment and humiliation. For affected musicians, performance anxiety can be emotionally devastating, as their career choice in music may be terminated or severely compromised. This paper focuses on the cognitive and psychodynamic literature about music performance anxiety, with the emphasis that for treatment "one size does not fit all." It reviews the factors underlying performance anxiety and those factors which can exacerbate the condition in musicians. The two major clinical treatment modalities within contemporary psychology, cognitive behavior therapy (CBT) and psychodynamic treatments, are reviewed. While there are more empirical studies of CBT in various populations in the literature, until recently there was an indifference to empirical research by psychodynamic investigators. However, meta-analyses show strong efficacy for psychodynamic psychotherapy (in various disorders, not specifically music performance anxiety), but also that the benefits of psychodynamic psychotherapy may endure longer and increase with time.

Two disciplines, psychoanalysis and music, are synthesized here with an eye to the origins and vicissitudes of shame and guilt as seen in the emotional disintegration of the eponymous heroine of Donizetti's opera Lucia di Lammermoor. Lucia's affects and her intrapsychic and interpersonal dynamics are heard in the music itself. A psychoanalytic and musical analysis of the opera, taking Lucia's dynamics as a quasi-substitute for clinical material, illuminates the intersections between certain theoretical aspects of the two disciplines. Both manifest and latent themes are expressed through the music of Donizetti's score.

Although much has been written about Mozart's relationship with his father Leopold, this paper focuses on his relationship with his mother, Anna Maria. While on a journey with Mozart to Paris in 1778, Anna Marie became ill and died on July 3. Mozart's Piano Sonata in A Minor, K. 310, composed that summer, is invoked to illustrate how his mental life is represented in his music. Conceptualizing music itself as a point of entry into affective processes, the paper suggests that the formal properties of Mozart's A Minor Piano Sonata open for the listener an aural road to the unconscious on which music and psychoanalysis inform one another.

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