Repeated stage exposure reduces music performance anxiety

Abstract

BackgroundHigh heart rate (HR) and restlessness are two important features of music performance anxiety (MPA). In a case report of a cellist suffering from this condition, we showed that HR and restlessness decreased after repeated live performances of the same musical excerpt, thereby positively modulating objective performance criteria and subjective components. Here, we largely replicate these results in a group of 18 string players reporting MPA.MethodsObjective measurement devices included a miniaturized electrocardiogram monitor and three 3-axis accelerometer loggers. Subjective measures included the Multidimensional Mental Health Questionnaire (MDBF) and a customized visual analogue scale (VAS) questionnaire for MPA. Non-artistic performance errors were assessed by music experts using a composite score for technical playing errors (i.e., intonation errors, omission of notes, and bowing noise). Data were collected from each study participant during three brief public solo performances of the same musical excerpt, with each performance occurring before a new audience on the same day.ResultsFrom the 1st to the 3rd performance, HR, VAS, and playing error scores decreased significantly. MDBF (RU scale) showed a significant increase in calmness from the 1st to the 3rd performance on stage. HR and RU, VAS, and RU, as well as bow acceleration and overall duration of playing correlated significantly across participants and performances.Discussion and conclusionWe conclude that repeated stage exposure significantly reduces HR as well as restlessness and playing errors linked to MPA. Public performances are still successful when HR is significantly higher than during rest periods. These results underscore the importance of stage training to become accustomed to realistic public self-exposure. Musicians – especially students – should consider this component of stage training as an integral part of their practice routine. Therefore, stage training can reduce MPA, promote better live performances and prevent stress-related mental disorders and physical injuries. These result from excessive self-exercise strategies common in musicians experiencing MPA. HR monitoring should be an integral part of evaluating the effectiveness of interventions for better MPA management and efficient performance training.

Effects of tailored interventions for anxiety management in choking-susceptible performing artists: a mixed-methods collective case study

“…There is recent evidence that repeated performance exposure can significantly reduce HR and anxiety-related non-artistic performance errors (Candia et al, 2023 ). Not having included control cases might be seen as a limitation for the quantitative analysis, yet we could not conceive of an adequate control condition for our extensive design.…”

It’s not a virus! Reconceptualizing and de-pathologizing music performance anxiety

“…'Mind' strategies include visualization, while 'muscle' strategies include physical relaxation techniques such as stretching, or Progressive Muscular Relaxation (PMR) (McGrath, 2012). Exposure therapy, whether real or virtual, involves repeated, or graded, exposure to the feared stimulus in the absence of danger, so as to overcome anxiety (Wardle, 1969;Appel, 1976;Kendrick et al, 1982;Sweeney and Horan, 1982;Kim, 2008;McGrath, 2012;Bissonnette et al, 2015;Zyl, 2021;Bellinger et al, 2023;Candia et al, 2023) While individually effective, the studies cannot be used in totality to form an evidence base as each study used entirely different treatment approaches: insight-relaxation, systematic desensitization, behavioral rehearsal, cue-controlled relaxation, breathing exercises, free improvisation, and virtual exposure therapy. Although individual studies report positive results, the heterogeneity of intervention modalities, assessment and outcome measures, and sampling strategies (too small/diverse) preclude firm conclusions regarding the efficacy of any one approach within behavioral interventions (Kenny, 2011;McGrath, 2012;Brugués, 2019).…”

“…Given the importance of coping with MPA in establishing and maintaining a successful performing career, you might think that it would be core business for music schools and conservatoires. Indeed, a few institutions have integrated empirically evaluated interventions into their curricula -see Candia et al (2023) and Spahn et al (2016) for notable examples. However, this is far from standard practiceresearch shows that teaching effective coping is not yet embedded in musical training (Pecen et al, 2016;Araújo et al, 2017) [As a comprehensive review of the field of music education is beyond the scope of this paper, please see the following sources for further discussion: Hildebrandt (2009), Hildebrandt andNübling (2004), andMazzarolo et al (2023)].…”