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Books on the topic 'Music performance anxiety'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

Kenny, Dianna T. The psychology of music performance anxiety. Oxford: Oxford University Press, 2011.

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2

illustrator, Papp Lisa, ed. Facing my music. Austin, TX: Steck-Vaughn, 2003.

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3

Irving, Dorothy. Yrke: Musiker : tankar kring musikkommunikation. Stockholm: Rikskonserter, 1987.

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4

Anxiety and musical performance: On playing the piano from memory. New York: Da Capo Press, 1985.

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5

T︠S︡ypin, G. M. St︠s︡enicheskoe volnenie: I drugie aspekty psikhologii ispolnitelʹskoĭ dei︠a︡telʹnosti. Moskva: Muzyka, 2010.

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6

Persson, Roland S. Psyke, stress och konstnärlig frihet: En ansats till en yrkesmusikalisk psykosomatik. Stockholm: KMH Förlaget, 1996.

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7

Paul, Salmon. Notes from the green room: Coping with stress and anxiety in musical performance. San Francisco, Calif: Jossey-Bass, 1998.

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8

G, Meyer Robert, ed. Notes from the green room: Coping with stress and anxiety in musical performance. New York: Lexington Books, 1992.

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9

Hogan, Claire. Music performance anxiety, social phobia & Eysenck's personality dimensions : extra-introversion and neuroticism-stability. (s.l: The Author), 2000.

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10

McAllister, Lesley Sisterhen. The balanced musician: Integrating mind and body for peak performance. Lanham, Md: Scarecrow Press, 2013.

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11

1952-, Barsocchini Peter, ed. Poetry in motion. New York: Disney Press, 2007.

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12

Greene, Don. Audition success: An Olympic sports psychologist teaches performing artists how to win. New York, N.Y: ProMind Music, 1998.

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13

Audition success: An Olympic sports psychologist teaches performing artists how to win. New York: Routledge, 2001.

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14

Hendricks, Karin S., 1971- author and Smith, Tawnya D., 1970- author, eds. Performance anxiety strategies: A musician's guide to managing stage fright. 2017.

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15

Music from the Inside Out. Troubador Publishing, 2012.

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16

Tomlinson, Charlotte. Music from the Inside Out: A Musician's Guide to Freeing Performance. Troubador Publishing Limited, 2012.

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17

Lampenfieber und Angst bei ausuebenden Musikern: Kritische Uebersicht ueber die Forschung. Peter Lang Publishing, 2003.

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18

Nagel, Julie Jaffee. Managing stage fright: A guide for musicians and music teachers. 2017.

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19

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2017.

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20

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2017.

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21

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2017.

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22

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2017.

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23

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2017.

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24

Greene, Don. Performance Success: Performing Your Best under Pressure. Taylor & Francis Group, 2012.

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25

Kelly, Erin Esther. Testing the reliability of a survey of musical performance anxiety in children. 1994.

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26

Performance Success : Performing Your Best Under Pressure (Theatre Arts). Routledge, 2001.

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27

McPherson, Gary E., ed. The Oxford Handbook of Music Performance, Volume 2. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190058869.001.0001.

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Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct parts: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The part dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and musical activities in people with disabilities, performance anxiety, diseases and health risks in instrumentalists, hearing and voice, and finally, a discussion of how to promote a healthy related lifestyle. The first six chapters of the Science part cover the basic science underlying the operation of wind, brass, string instruments, and the piano, and two chapters covering the solo voice and vocal ensembles. The final two chapters explain digital musical instruments and the practical issues that researchers and performers face when using motion capture technology to study movement during musical performances. The four chapters of the Innovations part address the types of technological and social and wellbeing innovations that are reshaping how musicians conceive their performances in the twenty-first century.
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28

McPherson, Gary E., ed. The Oxford Handbook of Music Performance, Volume 2. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190058869.001.0001.

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Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct parts: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The part dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and musical activities in people with disabilities, performance anxiety, diseases and health risks in instrumentalists, hearing and voice, and finally, a discussion of how to promote a healthy related lifestyle. The first six chapters of the Science part cover the basic science underlying the operation of wind, brass, string instruments, and the piano, and two chapters covering the solo voice and vocal ensembles. The final two chapters explain digital musical instruments and the practical issues that researchers and performers face when using motion capture technology to study movement during musical performances. The four chapters of the Innovations part address the types of technological and social and wellbeing innovations that are reshaping how musicians conceive their performances in the twenty-first century.
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29

Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.

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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.
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30

Juncos, David G., and Elvire de Paiva e. Pona. ACT for Musicians: A Guide for Using Acceptance and Commitment Training to Enhance Performance, Overcome Performance Anxiety, and Improve Well-Being. Universal Publishers, 2022.

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31

Spielman, Helen. A flute in my refrigerator: Celebrating a life in music. 2013.

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32

H, Cox Richard. Managing Your Head and Body so You Can Become a Good Musician : The Psychology of Musical Competence: A Student Musician's Field-Guide to Performance and Freedom from Performance Anxiety. Resource Publications (OR), 2010.

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33

Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars. University of Chicago Press, 2018.

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34

Stark, David, ed. The Performance Complex. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861669.001.0001.

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What’s valuable? Market competition provides one kind of answer. Competitions offer another. On one side, competition is an ongoing and seemingly endless process of pricings; on the other, competitions are discrete and bounded in time and location, with entry rules, judges, scores, and prizes. This book examines what happens when ever more activities in domains of everyday life are evaluated and experienced in terms of performance metrics. Unlike organized competitions, such systems are ceaseless and without formal entry. Instead of producing resolutions, their scorings create addictions. To understand these developments, this book explores discrete contests (architectural competitions, international music competitions, and world press photo competitions); shows how the continuous updating of rankings is both a device for navigating the social world and an engine of anxiety; and examines the production of such anxiety in settings ranging from the pedagogy of performance in business schools to struggling musicians coping with new performance metrics in online platforms. In the performance society, networks of observation—in which all are performing and keeping score—are entangled with a system of emotionally charged preoccupations with one’s positioning within the rankings. From the bedroom to the boardroom, pharmaceutical companies and management consultants promise enhanced performance. This assemblage of metrics, networks, and their attendant emotional pathologies is herein regarded as the performance complex.
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35

Greene, Don. Audition Success : An Olympic Sports Psychologist Teaches Performing Artists How to Win. Promind Music, 1998.

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36

Greene, Don. Audition Success (A Theatre Arts Book). Theatre Arts Book, 2001.

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37

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.
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38

Greene, Don. Audition Success. Taylor & Francis Group, 2015.

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39

Greene, Don. Audition Success. Taylor & Francis Group, 2015.

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40

Greene, Don. Audition Success. Taylor & Francis Group, 2015.

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41

Greene, Don. Audition Success. Taylor & Francis Group, 2015.

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42

Hammel, Alice M., and Ryan M. Hourigan. Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.001.0001.

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A practical guide & reference manual, Teaching Music to Students with Special Needs addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an up-to-date section of resources and technology information.
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43

Kenny, Dianna T. Optimizing physical and psychological health in performing musicians. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0036.

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Performing musicians face a number of physical, social, and psychological challenges that must be mastered if their musical career is to be both rewarding and sustainable. However, musicians are at high risk of physical and psychological strain and injury in the execution of their art. Physical and psychological stressors exert reciprocal and synergistic effects on the musician, and careful analysis of the intrinsic characteristics of the performer and the extrinsic demands on the musician must be made in order to develop appropriate interventions. This article provides an overview of the risks and challenges facing musicians, with the aim of developing awareness and understanding of how to prevent and manage these challenges. It is divided into two sections: physical challenges and psychological challenges, focusing on music-performance anxiety. Each section outlines the key issues and then provides an overview of evidence-based treatment.
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