Exploring the thoughts and focus of attention of elite musicians under pressure

Buma, Lori A.; Bakker, Frank C.; Oudejans, Raôul R. D.

doi:10.1177/0305735613517285

Cited by 20 publications

(42 citation statements)

References 37 publications

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“…Reflecting the importance of the aforementioned psychosocial skills as key determinants of success, it is important to examine the coping behaviors and sources of support utilized by performers of different levels of expertise. For instance, given that some research suggests that there may be qualitative differences between pre-elites and expert performers with regards to focus during performance (Buma et al, 2015 ; Oudejans et al, 2017 ), it is relevant to examine the coping experiences of this cohort across the performance pathway.…”

Section: Introductionmentioning

confidence: 99%

“It's Your Problem. Deal with It.” Performers' Experiences of Psychological Challenges in Music

2018

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Musicians need to deal with a range of challenges during their performance career and in response to these have reported a number of conditions that impact on their performance. Although social support from peers and teachers has been identified as part of the process of dealing with these challenges, little is understood about musicians' coping methods, beliefs and their attitudes toward support. Therefore, this study aimed to explore (a) performers' previous experiences of psychological challenges, (b) the types of support they used and, (c) how this might inform future support programs in learning environments. Fifteen interviews were conducted with pre-elite (n = 5) transitioning elite (n = 3) and established elite performers (n = 7) in order to elicit data on psychological challenges, coping, beliefs and preferences for support. Inductive content analysis suggested that elite performers in this sample reported positive health habits, philosophical views of performance, health and life, positive anxiety reappraisal, and use of various psychological strategies, albeit without being explicitly aware of it. The need for various professional skills (e.g., communication, business, self-management, and organizational skills) was emphasized by all participants. Transition into conservatoire was marked by severe psychological challenges, disorders and trauma. Primary sources of support included friends, family and self-help literature. Professional help was predominantly sought for physical problems. The impact of teachers was paramount, yet securing good teachers was considered a matter of "luck." The most negative aspects recounted included abusive teachers, unsupportive environments, social comparison, competition, and disillusionment after entering the profession. Participants believed that talent could be developed and also valued wellbeing in relation to performance. Positive effects of late specialization on social development and professional skills were also mentioned. Implications and suggestions are discussed.

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Section: Introductionmentioning

confidence: 99%

“It's Your Problem. Deal with It.” Performers' Experiences of Psychological Challenges in Music

2018

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“…Similarly, students emphasised using simulation training in combination with mental preparation strategies. Indeed, recent research has shown that elite musicians under high-stress performance scenarios particularly focus on positive thinking and self-talk in order to build up sufficient performance confidence (Buma, Bakker, & Oudejans, 2015). During mental rehearsal, musicians are encouraged to apply aural, visual and kinaesthetic visualisation, as well as cognitive and motivational strategies (emotional regulation) that are believed to lead to a performance sensation similar to a real (and ideal) performance (Connolly & Williamon, 2004).…”

Section: Discussionmentioning

confidence: 99%

Musicians’ perceptions and experiences of using simulation training to develop performance skills

Aufegger

Perkins

Wasley

et al. 2016

Psychology of Music

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Simulation has been applied as a tool for learning and training in sports, psychology and medicine for some time, but its current use and potential for training musicians is less well understood. The aim of this study was to explore musicians' perceptions and experiences of using simulated performance environments. Nine conservatory students performed in two simulations, each with interactive virtual elements and vivid environmental cues: a recital with a virtual audience and an audition with virtual judges. Qualitative data were collected through a focus group interview and written reflective commentaries. Thematic analysis highlighted the musicians' experiences in terms of (1) their anticipation of using the simulations, (2) the process of performing in the simulations, (3) the usefulness of simulation as a tool for developing performance skills and (4) ways of improving simulation training. The results show that while simulation was new to the musicians and individual levels of immersion differed, the musicians saw benefits in the approach for developing, experimenting with and enhancing their performance skills. Specifically, the musicians emphasised the importance of framing the simulation experience with plausible procedures leading to and following on from the performance, and they recognised the potential for combining simulation with complementary training techniques. expertise, learning, perception, performance, practice, simulation, qualitative Current performance training often strives to deliver a holistic framework that enhances musicians' performance confidence and creates a positive performance experience (Liertz, 2007). Some of the most innovative approaches directly address aspects such as musicians' Keywords

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“…Musicians report to focus on breathing frequently and to have respirationrelated thoughts (e.g. "Breathe out") when playing under pressure (Buma et al, 2015;Oudejans et al, 2017). Focus on physical aspects, including breathing, is rated important by the musicians to maintain a high level of performance (Buma et al, 2015).…”

Section: Limitations and Outlookmentioning

confidence: 99%

Respiratory Variability, Sighing, Anxiety, and Breathing Symptoms in Low- and High-Anxious Music Students Before and After Performing

et al. 2020

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Music performance anxiety (MPA) is a major problem for music students. It is largely unknown whether music students who experience high or low anxiety differ in their respiratory responses to performance situations and whether these co-vary with selfreported anxiety, tension, and breathing symptoms. Affective processes influence dynamic respiratory regulation in ways that are reflected in measures of respiratory variability and sighing. This study had two goals. First, we determined how measures of respiratory variability, sighing, self-reported anxiety, tension, and breathing symptoms vary as a function of the performance situation (practice vs. public performance), performance phase (pre-performance vs. post-performance), and the general MPA level of music students. Second, we analyzed to what extent self-reported anxiety, tension, and breathing symptoms co-vary with the respiratory responses. The participants were 65 university music students. We assessed their anxiety, tension, and breathing symptoms with Likert scales and recorded their respiration with the LifeShirt system during a practice performance and a public performance. For the 10-min periods before and after each performance, we computed number of sighs, coefficients of variation (CVs, a measure of total variability), autocorrelations at one breath lag (ARs(1), a measure of non-random variability) and means of minute ventilation (V' E), tidal volume (V T), inspiration time (T I), and expiration time (T E). CVs and sighing were greater whereas AR(1) of V' E was lower in the public session than in the practice session. The effect of the performance situation on CVs and sighing was larger for high-MPA than for low-MPA participants. Higher MPA levels were associated with lower CVs. At the within-individual level, anxiety, tension, and breathing symptoms were associated with deeper and slower breathing, greater CVs, lower AR(1) of V' E , and more sighing. We conclude that respiratory variability and sighing are sensitive to the performance situation and to musicians' general MPA level. Moreover, anxiety, tension, breathing

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Exploring the thoughts and focus of attention of elite musicians under pressure

Cited by 20 publications

References 37 publications

“It's Your Problem. Deal with It.” Performers' Experiences of Psychological Challenges in Music

“It's Your Problem. Deal with It.” Performers' Experiences of Psychological Challenges in Music

Musicians’ perceptions and experiences of using simulation training to develop performance skills

Respiratory Variability, Sighing, Anxiety, and Breathing Symptoms in Low- and High-Anxious Music Students Before and After Performing

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