evaluation and performance anxiety in music study.pdf

8/12/2019 Evaluation and Performance anxiety in music study.pdf

1/4

music and evaluation

Evaluation and Performance nxiety in Music StudyBy Nancy Mitchell

Abstract:Formany music students per-formance anxiety is an all too commonexperience. This anxiety is often morepronouncedin evaluativesettings asstu-dents areatuare of the higher stakes at-tached to the performance. This articleexplores some of the reasons for per-formance anxiety and thecharacteristicsof evaluations that make anxiety morelikely. It concludes w ith som e practicalsuggestionsfor helping students m anageanxiety so that theycan achieve theirfullpotential even when being evaluatedFor many musicians of all ages and levelsof experience, performance anxietyisan alltoo common experience (Brugues,2011,p.102; Boucher & Ryan, 2011, p. 330).While anxiety can occur in any perform-ance setting, it is often heightened in eval-uative situations. In some cases, students'experiences with anxiety can be so trau-matizing that the overall experience of per-forming and of being evaluated becomes anegativeone.Whiletest anxietyiscommonin all fields, the personal vulnerability thatis involved in an artistic performance caneasily increase stresslevels.Thisarticle willexplore the connection between evaluationand anxiety and will offer some practicalsuggestions for helpitig studetits who arestruggling with anxiety.

Performance anxiety is the psycho-logical, physiological, and behaviouralreaction to stressful situations, such aspublic performances and tests. In the caseof music study, conservatory exams, ju-ries,playing tests, and other types of per-formances include both a public and anevaluative aspect, making these kinds ofevents particularly anxiety-inducing. Inaddition to the internal pressure studentsmight feel to get a good result, there isthe external pressure of having an audi-

ence who will also know if the studenthas succeeded or failed. Unlike a writtentest, where students usually have the op-portunity to consider their responses andchange or modify them if necessary, amusic performance affords only one op-portunity for students to demonstratewha t they can d o. An effective perform-ance must be not only correct, but alsocreative, emotional, and communicative(Davidson, Pitts, CCorreia,2001 ,p .54).It is this expressive element that often be-comes particularly difficult to conveywhen one is experiencing high levels ofanxiety.

Performance anxiety often increaseswhen the student attaches a high level ofimportance to the results of the evalua-tion (Yoshie, Kudo , Mu rakos hi, & Oh t-suki, 2009, p. 117). For some students,the results of evaluative performancesform the basis for their sense of identityas a musician. Students might considerthemselves to be competent musiciansbecause they have won competitions orachieved first class hon ours designationson conservatory exams. Evaluation alsoshapes the course of many students' mu-sical educations (Tye, 20 04 , p. 3), as it isthe gate through which students mustpass in o rder to earn course credits, passconservatory grades, or win places in en-sembles and courses of higher study. saresult, students experience considerablepressure to make sure that they performat their best when it coun ts. Studentswho have made large investments of timeand energy in succeeding in evaluationswill likely experience significant disap-pointment if they experience failure. Thefailure becomes even more devastating ifit changes the future course of the stu-dent's involvement in music.

For some students, particularly

those who are extensively involved inmusic study, it is not only their identityas tiiusicians that is at stake when theyperfortn, but also their overall sense ofself-worth. Students who identifystrongly as musicians can easily feel thatthey are somehow less if they performpoorly on an evaluation or receive a re-sult that was lower than expected. Whena student is anticipating a potential blowto his or her self-worth and self-esteem,he or she is likely to experience high lev-els of anxiety leading up to and d uring aperformance (Sinden, 1999).

Because of the high stakes attachedto the results of some evaluative per-formances, the adjudicator occupies avery elevated position (Abel c Larkin1990,p. 1 72; Brotons, 1 994, p. 63). It ishis or her responsibility to assess, in avery limited amount of time, whether ornot the student has met the requirementsto win the competition or pass the exam.The marks and ranks assigned by adju-dicators are often viewed as being moreobjective and more valid than self-as-sessment or assessment by the student'sregular teacher, making evaluative per-formances much more stressful for stu-dents than playing for their teachers orperforming in recitals for an audience offamily and friends. Students prepare forevaluative performances with the adjudi-cator in mind, trying to anticipate whathe or she will want to hear (Davidson &Scutt, 1999, p. 83). While some criteriaare easy enough to predict (correct notesand rhythms, confident memorization),the final mark or rank can be influencedby many factors, some not even musical(Bergee & Platt, 2003 , p. 350; Ryan,Wapnick, Lacaille & Darrow, 2006, p.569).This lack of predictability can pres-ent a concern, as studen ts are m ore likely

32 FALL 2 11


2/4

to become anxious if they feel that theoutcome of the evaluation is outside oftheir control.The quality of a performance can beaffected in various way s by anxiety. Forstudents who only experience mild nerv-ousness, performance anxiety can actu-ally increase the quality of theperformance, as the adrenaline results ina heightened focus. The performance be-comes more vibrant and more excitingfor both the musician and the audiencethan it would be if that nervous energywere absent. However, for o ther students,performance anxiety can be debilitating(Sinden, 199 9). Students w ho experiencestrong physical symptom s, such as shak-ing, nausea, or dry mouth, or negativeemotions such as fear or hopelessness,can have great difficulty focusing on themusic they are about to perform. Notonly do the symptoms themselves detractfrom the performance, but the sense ofthe loss of control increases the level ofanxiety. The vicious circle of anxiety.

are adequate for the task (Cziksentmiha-lyi, 99 ).In situations w here the teacheris conducting the evaluation him- o r her-self (for example, in a school classroom),it is extremely helpful for students to begiven clear instructions regarding the cri-teria and methods of evaluation that willbe employed. Adequate practice time andguidance regarding effective practicestrategies are also important. Teacherscan also provide examples of perform-ances that they would rate highly, al-though this approach should be usedwith some caution so that students do notfeel that they have to imitate a p articularperformance in order to be successful.

Many of the above strategies arealso effective when the student is prepar-ing for an evaluation to be conducted byan outside adjudicator. However, it ismore difficult for students and theirteachers to predict exactly what the ad-judicator will be hoping to hear. Teach-ers can glean as much information aspossible through thorough readings of

I listened today w ith d ifferent ears. I foundmusic I never heard before. An d I created musicI never knew I had.symptoms, loss ofcontrol,and more anx-iety can make the act of performing ex-tremely difficult or even traumatizing.Since anxiety can negatively impact theresults of an evaluation and since the ex-perience of anxiety itself can have a pro-found impact on how students view theiroverall experience of learning music(Kenny, 2010), it is important for teach-ers to be able to help their students dealwith anxiety. Many strategies can pro-vide effective short-term relief of anxiety,such as visualizing success, gradual de-sensitization to the stressful situation, orbreathing and relaxation techniques.However, these will not necessarily ad-dress the root causes of students' anxietysurrounding evaluation. While studentswith severe performance anxiety couldbenefit from the expertise of a trainedpsychologist who could implement treat-ments such as Cognitive Behaviour Ther-apy (Nagel, 2010 ,p. 4 ),there are w aysthat teachers can also help to m itigate thenegative effects of performance anxietyon their students.Imparting a sense of control to thestudent is imperative in helping to as-suage anxiety. Students wh o feel well-pre-pared for the evaluation will be morelikely to approach the performance withconfidence, as they k now that their skills

syllabi, through attending workshopsand through conversations with col-leagues, in addition to relying on theirown experience as students. No matterhow well-prepared the student is, the re-sults of the performance can never bepredicted with certainty. Because thefinal evaluation is outside the student'scontro l, having intrinsic goals such as en-joyment and expression can help stu-dents feel a sense of satisfaction even ifthe mark or rank turns out to be lessthan they had hoped (Lacaille, Koestner, Gaudreau, 2007, p. 252).Perhaps the most important thingteachers can do to help students dealwith anxiety is to foster students' senseof self-worth apart from results. Thismeans first ofallthat teachers must valuetheir students for reasons other than per-formance. Teachers who are confident intheir own abilities are musicians and ed-ucators do not need to depend on theirstudents results for personal validationor for reputation building (Tye, 2004, p.9).However, the pressure to achieve doesnot come only from teachers. In somefamilies, there is a strong expectationthat the student gets top results in everyevaluation (M acArthur, 2008). Some stu-dents are able to cope with this stress,but for others, it can be overwhelming.While teachers cannot change the dy-

namics of the families in which their stu-dents live, they can still have a positiveimpact on students' stress levels by em-phasizing hard work and improvementover one-time results and enjoyment overhigh-stakes performances. Providing asafe, nurturing classroom or studio envi-ronment in which failure is seen as anopportunity for growth can help studentsachieve a more balanced view of them-selves and their music studies (Bartel andCameron, 2004).

While performance anxiety is a verycommon experience for music students,and is often exacerbated by evaluative sit-uations, it does not need to be debilitat-ing. Teachers can offer their studentspractical short-term solutions to makeanxiety more m anageable. However, evenmore important is helping students de-velop confidence in their performing abil-ities through thorough preparation.Above all else, students need to knowthat they will be accepted and valued re-gardless of the results they achieve. Thissecurity can help them approach per-formances with confidence and enjoy-ment as they share their musical ideas inperformance, even if the performance isbeing evaluated.ReferencesAbel, J. L., Ur kin , K. T. (199 0). Anticipation of

per formance among music ians: Physiologica larousal,confidence, and state-anxiery. Psychologyof Musk JS , 171-182.Bartel, L. Cam eron , L. (200 4). From dilemm as to

exper ience : Shaping the condi t ions of lea rning.In L. Bartel (ed.) Questioning the Music Educa-tion Paradigm, (pp. 39-61) . Water loo, O nta r io :Canadian Music Educa tors Assoc ia t ion.Bergee, M. J. , Platt, M. C. (200 3). Influence of se-lected variables on solo and small-ensemble fes-tival ratings. Journal of Research in MusicEducation, SI{4 , 342-353.

Boucher, H. and Ryan, CA . (2011) . Per formancestress and the very young music ian.Journal ofResearch in Music Education, 5S(4), 329-345.Brotons, M. (1994). Effects of performing conditionson music performance anxiety and performancequality. younjij/o/^MMs/i: Therapy, 31(1) , 6 3 - 8 1 .Brugues, A.O. (2011). Music per formance anxie ty -part 1. A review of its epidem iology. MedicalProblems of Performing Artists, 26(2) , 102-105 .

Cziksentmiha iyi , Miha ly (1991) .Flow: The psychol-og y of optimal experience. Ne w York: HarperPerennial Modern Classics.Davidson, J. W., Pitts, S. E., and Correia, J. S. (2001).

Reconciling technical and expressive elements inmusical instrument teaching: working with chil-dren, youma/o^Aesifcefic Education, 3.^3 , 51-62.Davidson,J Scutt.S. (1999). Instrumental teachingwith exams in mind: a case study investigatingteacher, s tudent and parent in te rac t ions before ,dur ing and a f te r a music examina t ion. BritishJournal of Music Education, 16 ( 1 ) , 7 9 - 9 5 .Kenny, D.T. (2010 ). The role of negative emotion s inperforman ce anxiety. In P. N. Juslin an d J. A.SIo-boda (eds.) Handbook of music and emotion:Theory, research, applications, (pp. 425-451) .New Y ork, NY, US: Oxfo rd University Press.

Lacaille, N., Koestner, R., and Gau dreau , P. (200 7).On the value of intrinsic rather than traditionalachievement goa ls : A shor t- te rm prospec t ivestudy. International Journal of Music Education,25 (3) , 245-257.

CANAD IAN MUSIC EDUCATOR / MUSICIEN DUCATEUR AU CANADA 33


3/4

by lames H ill s ] . Chalmers Doane A powerful music method for students of ll ages. A proven and affordable classroom music solution.Includ es popular,classical,folk and w orld music.Ukulele in the Classroom is a three-volume series featuringcarefully crafted arrangements from around the world, worksby great classical composers, and p opular songs.Pleas^ vis it www.uku le le in thec lassro om.com for FREElessons and other additional resources. Purchase online atMfww .empiremu sic.ca OR ask at your local music store.

Th eseries a s awhole is impressive it s innovative it s im gin tivea n d itshows th e resultsofc refulediting.Dr. C a m Trowsdale Professor Emeritus of

Visual and Performing Arts in Education,University of British Columbia

Empire MusicSince 1948, the choice of Music Educators for a broadselection of instruments and a wide range of books. Visitwww.enipiremu5ic.ca to see our complete selection or call1 8 663 5979for your FREE catalogue.

MacA rthur , L. J . (2008) . The drive to strive: Exploring the experiences ofelite-level adolescent artistic performers. Unpublished doc tora l disser ta -t ion. Univers i ty of Toron to, Ca nada .

Nag el, J.J. (2010 ). Treatm ent of music performance anxiety via psych ologi-cal appr oach es: A review of selected CBT and psych odyn amic li terature .Medical Prohlems of Performing Artists, 25( 4 ) , 145 - 148 .

Ryan , C , Wapnick, J. , Lacaille, N. , Darro w, A. (200 6). The effects of var-ious physical characteristics of high-level performers on adjuilica tors' per-formance ratings. Psychology of Music, 341,4),5 5 9 - 5 7 2 .

S inden, L. M. (19 99) . Music performan ce a nxiety: Contributions of perfec-tionism, coping style, self-efficacy, and self esteem. Unpublished Ph.Ddissertation. University of Arizona.

y e J . K. -C. (2004) . A survey of the current status an d practices of pianoteachers in Penang. Malaysia: Preparation for the practical piano exami-nations ofthe Associated Board ofthe Royal Schools of Music, London.Unpublished D .M.A. disse r ta t ion. Univers ity of South Carol ina , Co lum-bia, South Carolina, United States of America.

Yoshie , M. , Kudo, K. , Murakosh i , T. , and O htsuk i , T. (2009) . Music per-formance an xiety in skilled pianists: effects of social-evaluative perform-ance situation on subjective, autonomie, and electromyographic reactionsExperimental Brain Research, 199 2), 117- 126 .

N a n c y M i t c h e l l is a P h . D . c a n d i d a t e i n th e M u s i c E d u c a t i o n d e p a r t m e n t a t t h e U n i -v e r s i ty o t T o r o n t o , w h e r e s h e is c o n d u c t i n g r e s e a rc h i n t o h o w p i a n o s t u d e n t s e x -p e r i e n c e p a r t i c i p a t i n g i n e v a l u a t i v e p e r f o r m a n c e s . H e r t e a c h i n g e x p e r i e n c ei n c lu d e s b o t h p r i v a te p i a n o t e a c h i n g a n d e l e m e n t a r y v o c a l a n d i n s t r u m e n t a l m u s ic .S h e h o l d s a M , M u s , d e g r e e f r o m t h e U n i v e r s it y o f T o r o n t o , B ,M u s , a n d B , E d , d e -g r e e s f r o m M c G i l l U n i v e r s i t y a n d a P e r f o r m e r s A , R ,C , T i n p i a n o f r o m t h e R o y a lC o n s e r v a t o r y o f M u s i c ,

CMEA/ACME Corporate Membershelp to sup port music educ ation across Canada.

Please visit the Corporate Members page on the CMEA/ACME web site for a complete listinghttp://ww w.cm ea.ca/c omp onen t/conte nt/article/17 6). For more information on the benefits ofbecoming a Corporate Member, please contact David Gueulette at dgueulette.aiashbury.ca.

Corporate Member ProfileCanadian Choral Centre Inc,Canadian Choral Centre Inc., established in 1984, is a mail-order print music retailer located in Winnipeg, Manitoba. Servingmusicians throughout Canada, they specialize in choral music and music education publications. They deal with all majorpublishers, offer US par pricing, free bulk shipping on eligible orders, and efficient order fills. Online (www.canadianchoral-

centre.com) or Toll Free (800-665-8995) telephone ordering is available.Judy Pringle, PresidentEmail: [email protected]: www.canadianchoralcentre.comBreezin' Thru TheoryJean McKen, Author and Co-FounderEmail: [email protected]: ww w.breezinthrutheory.comLong McQ uad e Ltd.Mark Delia Torre, Educational Services ManagerEmail: [email protected] Site: w ww.long-mcquade.com

34 FALL 2011


4/4

evaluation and performance anxiety in music study.pdf

Documents