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This article describes the development of a music practice microanalysis protocol that is based on the three-phase model of self-regulated learning (i.e., Forethought, Performance, and Self-Reflection). Up until now, most studies on music practice have tended to focus on behavioural aspects. The expanded view presented here outlines a technique for mapping the types of behaviours (actions), cognition (thoughts), and affect (feelings) that can help focus musicians’ practice. To explain the technique, we describe the practice of two first year Bachelor of Music students studying at a prominent university music school who are compared at three time points across one semester as they prepare an étude for a performance exam. These case studies demonstrate two broadly contrasting self-regulated learning profiles of how microanalysis can be used to cue students to think about what they are doing and then reflect critically on the strategies they can use to improve their playing. As a technique, microanalysis can inform educational interventions aimed at breaking the cycle of habits that typify musical practice by encouraging musicians to become more behaviourally, metacognitively, and motivationally involved in their own learning.

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A B S T R AC T Aversive performance incidents play a role in the development of some anxiety disorders. The role of sensitizing experiences in the development of music performance anxiety (MPA) in adolescent music students has not yet been explored. Two-hundred-and-ninety-eight music students were asked to provide written descriptions of their worst performance, what happened and how they felt, specifying their age at the time, audience members, and any events that occurred subsequent to the performance. Descriptions were scored according to six domains: situational and behavioural factors, affective, cognitive and somatic symptoms of anxiety, and outcome. Scores were summed to provide a linear scale that was compared with self-reported MPA and standardized trait anxiety scores. MPA was best predicted by trait anxiety and gender. The presence of negative cognitions in the worst experience descriptions improved the prediction of MPA over trait anxiety and gender alone. None of the other factors added to the prediction. Females reported more emotional distress than males and had significantly higher total scores. These findings confirm patterns found in adult performers and across other forms of performance anxiety in children (e.g., test anxiety). This study highlights cognitions as an important element to address in the treatment of MPA in young musicians. K E Y W O R D S : adolescents, cognitions, gender, trait anxiety, treatment Psychology of Music Psychology of Music

Background: Students with a strong sense of competence in musical skills and control over their physical and psychological well-being enhance their capacity to exceed their average level of performance and achieve an optimal or peak performance. Musicians transferring from the rehearsal studio to a concert performance demonstrate significant increases in heart rate and physical tension, which may or may not have a detrimental effect on their performance depending on whether they interpret those physiological symptoms as facilitating or debilitating to their performance. Negative, catastrophic interpretations feed debilitating performance anxiety, which is a significant occupational health issue for a high proportion of professional musicians as well as those training for a professional career in music performance. Method: In early 2013, music students at the Melbourne Conservatorium of Music participated in two lectures and a master class in performance psychology techniques to achieve performance success, supplemented by a workbook of 11 strategies for audition and performance success for musicians. Topics included channeling performance energy, developing confidence, improving self-talk, learning and memorizing music, mental rehearsal, building courage, recovering from mistakes, dealing with adversity, and becoming mentally tough.