A Process Evaluation of a Performance Psychology Intervention for Transitioning Elite and Elite Musicians

Abstract

The present study presents a process evaluation of a performance psychology intervention for transitioning elite and elite musicians. The goal of the intervention was to provide participants with an amalgamation of evidence-informed principles, aimed to improve their quality of practice and performance preparation. The intervention consisted of an educational session followed by four workshops. In total, eight transitioning elite and seven elite musicians participated. Process measures included quantitative and qualitative workshop evaluations, monitoring logs, and semi-structured interviews. Overall, the intervention was evaluated positively by the participants. However, differences were present between the groups, with the elite musicians typically evaluating the intervention more favorably compared to the transitioning elites. Specific positive outcomes included an increased awareness and reexamining of current practice strategies, more structured and goal-directed practice, increased practice efficiency and focus, a more proactive approach to performances, and increased attention for the physical aspects of playing. Moreover, a number of contextual considerations and implementation challenges became evident. Important implications for performance psychology interventions and practitioners in music are discussed.

Practice and performance management strategies of emerging professional musicians in preparation for orchestra auditions

“…Such strategies also relate to the principle of planned disruptions , which might increase individuals’ resilience to pressure (Kegelaers et al, 2020). As such, future research might further examine how planned disruptions can be used to prepare for high-pressure musical performances (see also Kegelaers & Oudejans, 2020). Finally, substance use was mentioned as a performance management strategy.…”

Testing interventions for music performance under pressure: A randomized controlled study.

“…This is at odds with previous studies on choking under pressure in sports (Gröpel & Mesagno, 2019; Mesagno & Beckmann, 2017) and indicates that transferring sport-specific methods to music need not automatically bring the same benefits. It is likely that the interventions must be adjusted to the field of music before they can show performance-facilitating effects (Kegelaers & Oudejans, 2020). For example, the duration of left-hand dynamic handgrip could be shortened, or the intervention could be applied to musicians playing other instruments than violin and viola, as several participants in the dynamic handgrip group reported that the handgrip resulted in a stiff left hand and in turn affected their playing ability.…”

“…The less positive evaluation of the dynamic handgrip may be due to its unclear association with music. Whereas PPRs and goal-setting can be directly linked to music-related thoughts and behavior, such as when a PPR element involves music-relevant cues (Kinne, 2016; Osborne et al, 2014) or goal-setting is used to better structure music practice (Burwell & Shipton, 2013; Kegelaers & Oudejans, 2020), the dynamic handgrip does not focus on any music-related element and may thus appear less intuitive to musicians. Therefore, from an applied perspective, it seems essential to educate and convince musicians of the handgrip intervention mechanism and benefits when the musicians attempt to use it.…”

“…Although goal-setting is less effective when compared to PPRs and dynamic handgrip in sports (Gröpel & Mesagno, 2019), it is likely to be of great relevance in music performance, because musicians, unlike athletes, often report inadequate preparation for performance as a source of pressure (Kenny et al, 2014). Goal-setting has been previously included in programs that successfully improved psychological skills (Hatfield, 2016; Hatfield & Lemyre, 2016) and self-regulation in music practice (Burwell & Shipton, 2013; Kegelaers & Oudejans, 2020), but not yet as a choking intervention for musicians. Goal-setting was shown to help focus on task-relevant aspects and improve concentration (Hatfield, 2016), which might also translate to the attentional control needed to perform under pressure.…”

Entering the Live-Streaming Void and Emerging Victorious: Teaching Performance Psychology Under Pressure

“…Performance anxiety presents a substantial challenge to musicians' achievement of optimal performance, health, and well-being in educational and professional settings (Kenny & Ackermann, 2016;Osborne & McPherson, 2019). Evidence of psychological distress and compromised educational outcomes for music students in university settings International Journal on Innovations in Online Education 4(2) 2020 2377-9527/20/$35.00 © 2020 by Begell House, Inc. www.begellhouse.com (Ginsborg et al, 2012) has prompted pedagogues to introduce performance psychology teaching into conservatory curricula with promising results in traditional face-to-face (F2F) formats (Kegelaers & Oudejans, 2020;Osborne et al, 2014;Spahn et al, 2016). As the practice of blended and fully online teaching expands, studies have begun to emerge that explore methods and student perceptions toward teaching online.…”