Performance Preparation, Anxiety, and the Teacher. Experiences of Adolescent Pianists

Abstract

The purpose of this study was to examine the experiences of adolescent pianists in their private lessons and solo performances in regard to concert preparation and music performance anxiety (mpa). A particular focus was placed on the student-teacher relationship and the potential role of teachers in students’ preparation, experience, and anxiety in performance situations. 62 piano students completed questionnaires pertaining to their private lessons, teacher, and performance experiences, as well as two inventories—one pertaining to self-esteem and the other on music performance anxiety. Results indicate that self-esteem and practice are significant predictors of mpa, with self-esteem having the most notable effect. Almost half of the participants reported feeling nervous in their lessons at least some of the time. Most students noted that their teachers encourage them to perform; however, only half reported that their teachers address performance preparation issues. Less than half were reported to discuss memorization strategies or management of mpa with students, or to hold practice-performance classes. Implications for music educators and future research directions are discussed.

Children’s feelings about piano performances across a year of study

“…Certainly, age has been linked with performance anxiety in previous studies, although the results have been inconsistent (Salmon & et. al, 1989; Steptoe & Fiddler, 1987; van Kemenade et al, 1995; Wolfe, 1989) and previous studies have linked adolescence to a heighted experience of anxiety (Ryan, 2005; Ryan et al, 2021). It may be that the early stage of adolescence is also reflected in children’s feelings about performance.…”

“…Teachers may play a role in perpetuating some of the perfectionism and anxiety surrounding the performance experience. In studies by Ryan (2004) and Ryan et al (2021), it was evident that most young musicians are encouraged to perform but are not really taught how to do it. Practice performances are rare and most studio work focuses on perfecting the repertoire selections, with very limited instruction as to how to transfer playing skills into performing skills.…”

“…They allow children the opportunity to demonstrate the skills they have attained and to share a musical work with an audience. From a parent and educator standpoint, there appear to be tremendous benefits to the child musician with the development of self-esteem (Ryan et al, 2021), greater self-efficacy (Creech & Hallam, 2011), and increased social skills (Morin, 2014). However, the child’s perspective and interpretation of these events has been given little consideration in the research literature.…”

“…Indeed, teachers seem ill-equipped, though well-meaning, when faced with anxiety concerns of their students. Young musicians report being offered such advice as “Don’t worry,” “You’ll do fine,” and “Just breathe”—all positive comments, but which do little to actually support a student who is feeling anxious about an impending performance (Ryan et al, 2021). More often than not, students are simply told to “Practice More”—certainly important if not enough practice has been done to bring the piece to a high level of achievement; however, practice alone will not help a student to manage their feelings of anxiety.…”

A critical review of child perfectionism as it relates to music pedagogy

“…Papageorgi, 2006; J. Papageorgi, 2020; Patston & Osborne, 2016; Rae & McCambridge, 2004; Rothlisberger, 1992; Ryan, 1998, 1999, 2000, 2004, 2006; Ryan & Andrews, 2009, 2021; Ryan et al, 2021; Sarbescu & Dorgo, 2014). Indeed, researchers of one study suggested that it presents even earlier in preschool-age children (Boucher & Ryan, 2011) and may have both innate and developed components.…”