MENC: The National Association for Music Education

Stress in the Lives of Music Students

Author(s): David J. Sternbach
Source: Music Educators Journal, Vol. 94, No. 3 (Jan., 2008), pp. 42-48
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: https://www.jstor.org/stable/4623690
Accessed: 16-10-2019 15:23 UTC

REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/4623690?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Sage Publications, Inc., MENC: The National Association for Music Education are
collaborating with JSTOR to digitize, preserve and extend access to Music Educators Journal

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
 Stress in the Lives of
Music Students
By David J. Sternbach

States.' As far back as 1991, Donald Millar,

here is increasing recognition
then director of the National Institute for
today that professional musi-
Occupational Safety and Health (NIOSH),
cians aren't the only ones vul-
nerable to performance-related
stated, "Stress is the emerging health issue of
injuries and high levels the
of '90s."2 Since that time, NIOSH has
stress. College-age music students andteamed
even with the American Psychological
students in middle and high school are Association
expe- and others to sponsor the Work,
Stress, and Health series of conferences
riencing many of the same types of overuse
that address psychological as well as
syndromes and similar levels of performance
anxiety. physical costs of work-related stress (see
Indeed, many aspects of musical activities www.apa.org/pi/work/wsh.html).
are probably more stressful for a student than In this article, I will look at stress in the
they are for an accomplished professional. lives of music students from several perspec-
Students may find practicing more taxing tives. After a review of issues that music
mentally and emotionally than professional students have in common with other young
musicians do. The mastery of complex skills people, I will examine stress factors unique
To help your takes years of hard work, requiring patience to music students. Finally, I will suggest
students reduce and a capacity for delayed gratification. strategies teachers can use to provide more
Lessons and rehearsals mean hearing a lot of psychological support for students dealing
criticism. And then, performing may carry with these issues, whether at the secondary
stress, address more emotional challenge for students who school or college level.
have not yet fully consolidated their tech- My approach to these issues stems from
the ways they nique or developed the kind of confidence my experiences, first as a professional per-
in their abilities that professional musicians former for many years, then as a private stu-
critique their rely on. dio and classroom teacher, and finally as a
We should be concerned about the long- psychotherapist with more than twenty years
practice and term effects of elevated stress in students.experience working with musicians. When I
Stress is widely recognized in the medical was a performer, my colleagues and I had
prepare for and occupational health communities as somehow
a learned to walk on stage and han-
contributing and even a causal factor in dle all our stage fright, but none of us talked
performance. about how we did it, because I don't think
the major illnesses and diseases in the United

DavidJ. Sternbach is research director at the Center for Arts and Wellness in the College of

Visual and Performing Arts at George Mason University in Fairfax, Virginia. He can be
reached at dsternba@gmu.edu.
42 MUSIC EDUCATORS JOURNAL JANUARY 2008

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
any of us really knew. Performance anxiety or
stage fright (I use the terms interchangeably)
was not discussed, studied, understood, or
addressed.

Later, as a teacher, I saw that not only did

I not know how to teach my students about
handling stage fright, I could not find reliable
information on handling stress and stage
fright for musicians. Certainly some teachers
could help students, but there was no consis-
tency in approaches that could be objectively
tested and verified. This eventually led me to
take a clinical degree. At least in the field of
psychotherapy, there were discussions about
anxieties, phobias, and avoidance, and there e

were reliable clinical interventions to help

x
Y
u

people with these problems. qX

Then in 2001 I joined George Mason O

University in Fairfax, Virginia, to create

health promotion education for music
students. Wellness Practices for Musicians, a
Understanding the psychological response to performance anxiety can
required course for all music education and
give music educators some behavioral-based teaching ideas to use with
performance majors, offers information on their students.
risk factors associated with making music
and provides training in prevention models
for avoiding overuse difficulties and regulat- Young people are also constantly faced
ing stage fright. Following are some of the with decisions about drugs, alcohol, and
approaches I have found useful in helping illegal use of prescription medications, as
students better regulate their anxieties and well as choices about sexual activity. None of
retain their composure under the pressure of these issues is going away any time soon.
performance. As adolescents, students also are develop-
ing their character style, which will in
How Music Students Are Like good measure determine how they deal
Everyone Else with relationships throughout their lives.
Pressures on all students-including Relationships are the key to insight and
music students-in our schools seem to be growth, and interactions with peers are vital
constantly increasing. Each year theretoisthe development of social and sexual iden-
more to be learned as the body of knowledge
tity in the teenage years. This is a time when
grows exponentially. Given the increased
friendships and loyalties form and when con-
flicts arise and must be dealt with. This is the
competition for college placement, many
high school students are taking more
time for falling in and out of infatuations, for
experiencing loss and disappointments, and
Advanced Placement classes, increasing their
extracurricular activities, and taking partfor
in learning how to accommodate to many
team sports and volunteer activities to different
beef personality types. From all this, we
up their resumes. Educators and writers have
develop flexibility and social resilience.
been concerned about this for a long time.There is now abundant evidence from the
Edward Fiske wrote about the rising pressure
fields of social psychology and neuroscience
on students competing for colleges more
to support the theory that we are hard-wired
than ten years ago.3 for social interactions. From the simple logic

WWW, MEN C .0,RG 43

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
of our interdependence, long recog- second chances. So they practice, and students who relish all the challenges
nized in our species4, to current they practice harder-under the in their music studies and school-
research by Martin Seligman, we know pressure of ever-increasing technical work, and for these young people,
the powerful role that social transac- standards and a push for faster skill stress is just another word for fun.
tions play in the maintenance of a acquisition. The subjects of this discussion are
healthy personality.5 Even though the student years are a those students who don't look like
In the field of neuroscience, the time for developing social skills, it they're having fun, who seem to dis-
work by Daniel Siegel on interperson- remains a fact of life that music stu- play excessive seriousness, even
al neurobiology helps clarify how we dents improve by practicing in isola- urgency, in the way they approach
can not only comprehend but literally tion, away from others. Moreover, the music. Appearances can be deceptive;
experience the feelings of others.6 concentration and focus required in a high-achieving student who is an
There is now solid, research-based evi- developing technique can tend to pro- asset to your program might be doing
dence of a biological basis for emo- mote introversion in those students just fine, or he or she might be one of
tional connectedness, rapport, and who are already inclined to this style.those students who is working per-
empathy, and for the interactions and By contrast, other students generallyhaps a bit too hard. And, when these
understanding between people that have more occasions for social inter- students are practicing, they may be
validate our experience of ourselves.7 action through school activities, and too hard on themselves emotionally.
those who are athletes have opportu-
How Music Students Are nities for team bonding. Where Teachers Can Make a
Different Isolation isn't the only issue associ- Difference
While music students have the ated with practicing. Excessive criti- What can teachers do to help?
same class loads and the same social
cism heard by young people canFirst, hard as it is, accept that music
travel with them into the practicemeans less to most of our students
stresses as other students, they also
have their music activities-the hours room in the form of too much self- than it does to us. We know the values
they spend practicing, taking lessons, criticism. "What is said to us about us,of dedication, practice, and commit-
traveling for lessons, perhaps takingwe begin to say to ourselves," goes an ment to music studies. Most of our
part in additional select ensembles-old psychological maxim. There canstudents, however, are not going to be
all leaving little time for play and be an overly self-critical attitude in a professionals; they enjoy music and
relaxation. Furthermore, music stu-young person that develops longit has a place in their lives, but we
dents may not be as well-conditionedbefore the first music lessons. A toxic don't need them to take it as seriously
physically, if their investment in musicfamily style in which there is a lot of as we do.
comes at the expense of being blaming can be a strong predisposing In The Perfect Wrong Note, William
involved in sports and physical train- factor; in such an environment, even Westney talks about how valuable it
ing, perhaps making them moreaccidents are perceived as avoidable, can be for students to get over feeling
susceptible to strain associated withand therefore someone is to blame. intimidated by trying to get it all right,
practicing. Generally these are families in whichloosen up, and best of all, have a few
Music students are also engaged in there is a low tolerance for frustration
laughs when they blow a passage.9
the additional challenge of trying to Certainly one very direct way for
and a high level of indignation about
balance personal life with their music life in general.8 music teachers to help ease their stu-
activities, an issue that begins for Excessive self-criticism in practic-dents' stress is by cultivating a relaxed,
some at a very young age and is a con- humorous, and extroverted style in
ing can be a predisposing factor for
stant challenge through high school performance anxiety, just as much asensemble rehearsals and lessons. This
and college. For many people, the act can provide some needed balance and
faulty technique or inadequate techni-
of juggling personal life and work life cal preparation are factors. Harsh,help compensate for the inwardly
really only begins in adulthood when judgmental self-critiquing can become focused, intense concentration that
they enter the workforce. By then, making music demands.
a basic operating style in dealing with
they have had more time to consoli- frustrations, especially with all the There are many issues in students'
date their egos and their social confi- lives beyond the teacher's ability to
challenges involved in learning to sing
dence, as opposed to those music stu- change, everything from academic
or play an instrument. Musicians are
dents coping with this challenge at far pressures in school to popularity
taught to be highly self-responsible.
younger ages when the ego is less Something in the music isn't quiteissues. We cannot remove every stres-
formed. right? Go back and practice harder.
sor for them, and we should not try.
Music students, along with young But this same trait can make musi- But it may be helpful to understand a
dancers and actors, share all the com- cians vulnerable to self-blame even bit more about the nature of stress.
mon stressors of school and everyday when circumstances in a performance Most researchers and psychologists
life that affect everyone, and then are outside the performer's control. have long since agreed on the positive
walk out on stage to face the terrors of Do all of our young music studentsvalue of moderate stress. Hans Selye1o
live performance. On that stage, they and Richard Lazarus make a clear dis-
experience these pressures at the same
want to get it right; any mistakes are tinction between bad stress and good
levels? Of course not. There are plen-
exposed to everyone, and there are no stress. Lazarus coined the terms
ty of well-adjusted, solidly grounded

44 MUSIC EDUCATORS JOURNAL - JANUARY 2008

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
eustress and distress to distinguish that they are capable of learning dif-who become so anxious about hearing
between positive challenges that ferent, more positive ways of thinking criticism that they do what I call
strengthen the system, and excessive and feeling. Moreover, this is not just"defensive practicing"-based on the
challenges that weaken it."1 about feeling more relaxed in the assumption that "if I get it perfect,
Hans Selye defined stress, or more practice room; it is about enhancing
maybe I won't be criticized."
specifically, the Generalized Adapt- performance. Research studies vali- When students practice in a defen-
ation Response (GAR), as "the non- date what sports psychologists likesive frame of mind, it may be because
specific result of any demand upon James Loehr and others teach, that they anticipate that they will hear crit-
the body, be the effect mental or positive emotional states are associat- icism, no matter what they accom-
somatic."12 The GAR has three stages: ed with increased physical efficiencyplish. From there, it's not much of a
the initial reaction, then alarm or and endurance, more rapid learning,
stretch for sensitive students to begin
arousal, then adaptation if the chal- better retention, and enhanced to see everything they do as lacking or
lenge is manageable or exhaustion if performance.14 suboptimal. This is not the most
the demand is overwhelming.
For example, student A enjoys
practicing and playing music for a
teacher with whom she is quite com- Excessive self-criticism in
fortable. She is in adaptation, and has
a well-regulated stress level. Her
practicing can be a predisposing
arousal is enjoyable; she looks for- factorfor performance anxiety.
ward to lessons. Meanwhile, student B
dreads practicing because criticisms Students who think the only way
promising ego state if the idea is to
always seem harsh, no matter how have performances with creativity,
they can make progress is with harsh
hard he practices. To the extent he engagement, and passion.
self-judgment can benefit from learn-
feels helpless, he has a high stress ing what sports psychologists teach What people practice is what they
level. One solution for Student B
athletes, namely that accurate assess-get; if they practice in distressed emo-
might be to find a more congenial
ment does not require a judgmental tional states, they become very good at
teacher; another might be for some-
style, let alone harsh self-criticism."5those states. That kind of thinking
one to help him alter the way he The
han-goal is discernment without judg- drives out curiosity, experimentation,
dles criticism. ment. For those who think that anxi- risk taking, and creatively pushing
Researchers tell us that at the start ety is an unavoidable price to pay for past the edge of "accurate" to discover
of the stress reaction, positive excite- a good performance, the research says new possibilities.
ment and anxiety feel similar physi-that a positive performing attitude is The three questions are designed to
cally. Students can easily interpret the considered an essential ingredient inshift students' thinking away from
physical sensations as anxiety. Theyreaching peak levels of performance.16 negative self-critiquing. When a
need to know it's okay to feel someWe want students to realize that there teacher asks a student to say what
edge before a performance-some-is delight in taking on challengewent right-or variations of that, such
times a lot of edge. Performing can be and experiencing the sizzle when a as "What did you enjoy? What are you
a lot more appealing when there is theperformance suddenly takes off andproud of? What thrilled you? What is
excitement of eager anticipation. This soars. special about how you did that?"-the
information might be all that students student may at first be stumped. But
with modest levels of stage fright need Directing Students to a New
persist, and soon enough most stu-
to hear. Approach dents figure out that they are going to
Students also need to know that a How can music teachers apply be asked to say something positive
situation that has been stressful for these concepts about stress and about their work every time they fin-
them in the past need not always be relearned
so responses? Here is a set of ish something. They will need to be
in the future. Recent findings in brain
three questions I find very effective in thinking about that when practicing,
mapping and neuroscience now pro- helping students rethink their especially if their teacher instructs
vide scientifically validated proof approach
of to learning music. them to make notes after each practice
our human potential for change. This " What just went right? session about what went well and to
research has turned on its head the " What might you do differently bring in those notes.
next time?
traditional view that personality styles In response to the next question,
0 What would you like from me? when students are invited to discuss
are essentially fixed throughout life.'3
Researchers use the term neuroplastic-Picture it: there is the band, or the what they plan on doing differently
ity to describe the almost infinite
individual student, waiting to have next time, a teacher might be very
you tell them what went wrong andsurprised to know how aware
capacity of the brain to reorganize
what
thought patterns and functions, and to needs fixing. The problem herestudents are of what's going on in their
do so throughout life. is not in your helpful corrections, own singing and playing. This ques-
What this means to students who delivered in a kindly and easy manner. tion can elicit some surprisingly
The problem is with those studentsintelligent feedback.
are habitually hard on themselves is
WWW. MEN C. 0 RG 45

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
 The third question-"What would
Re sour e so]n Musicia ' L 1 [tes and?1tMeIntal1 I h [ I H l t h you like from me?"-is about stimu-
lating a proactive style in learning,
about having students learn to ask
By Robert H.Woody, an associate professor of music education at the
for what they need with precision
University of Nebraska-Lincoln. He can be reached at rwoody2@unl.edu.
and clarity. It also puts the burden
of the learning process on the
Book Chapters on Performance Anxiety
student, where it should be. Why
* Lehmann,Andreas C.,John A. Sloboda, and Robert H.Woody."Managing should a teacher work harder than
Performance Anxiety" In Psychology for Musicians: Understanding andAcquiring the students?
the Skills, 14-162. NewYork: Oxford University Press, 2007.
The three-question technique
* Wilson, Glenn D., and David Roland. "Performance Anxiety." In The works for both one-on-one lessons
Science and Psychology of Music Performance: Creative Strategies for Teaching
and ensemble rehearsals, where it can
and Learning, edited by Richard Parncutt and Gary E. McPherson, 47-61.
be equally effective. A conductor
New York: Oxford University Press, 2002.
might stop a rehearsal anywhere, not
to critique but to invite comments
Book Chapters on Musicians' Health
from the students about what they
* Brandfonbrener,Alice G., and James M. Kjelland."Music Medicine." In The
liked in the music, how their parts
Science and Psychology of Music Performance: Creative Strategies for Teaching
went, and what they liked just then
and Learning, edited by Richard Parncutt and Gary E. McPherson, 83-96.
about the performance of other sec-
New York: Oxford University Press, 2002.
tions in the ensemble. The ground
* Chesky, Kris, George Kondraske, Miriam Henoch, John Hipple, and
rules are simple: only positive feed-
Bernard Rubin. "Musicians' Health." In The New Handbook of Research on
back is accepted. This works better for
Music Teaching and Learning, edited by Richard Colwell and Carol
students high school and older;
Richardson, 1023-39. New York: Oxford University Press, 2002.
younger students are less articulate
* Sternbach, David."Musicians:A Neglected Working Population in Crisis."
and shyer, so it works for them in pri-
In Organizational Risk Factors for Stress, edited by Steven L. Sauter and vate lessons but less so in ensembles.
Lawrence R. Murphy, 283-302. Washington, DC: American Psychological
Teachers might wonder, "When do
Association, 1995.
students hear the needed corrections
and feedback?" The answer psycholo-
Books on Performance That Address Health Aspects
gists offer is that students, like every-
* Rosset i Llobet, Jaume, and George Odam. The Musician's Body: A Main-
body else, are more likely to be
tenance Manual for Peak Performance. Aldershot, UK: Ashgate, 2007.
receptive to helpful corrections given
* Williamon, Aaron. Musical Excellence: Strategies and Techniques to Enhance
in the positive environment that is
Performance. Oxford, UK: Oxford University Press, 2004.
created when they hear supportive
comments first.
Articles on Musicians' Mental Health
* Raeburn, Susan D."Psychological Issues and Treatment Strategies in Popular
Addressing Performance
Musicians: A Review: Part I." Medical Problems of Performing Artists 14,
Anxiety
no. 4 (1999): 171-79.
Young people benefit from expo-
* Raeburn, Susan D. "Psychological Issues and Treatment Strategiesin
sure to measured challenges that
Popular Musicians: A Review: Part 2." Medical Problems of Performing
develop their capacity to handle
Artists 15, no. 1 (2000): 6-17.
stress. But there are few things as
stressful as stage fright or performance
Online Resources for Helping Musicians
anxiety. It is here that music students
* MusiCares for Music People at www.grammy.com/musicares. Organiza-
are confronted with a type of stress
tion set up by the Recording Academy (the Grammys) to help music
that can prove overwhelming.
people in need.
There can be many causes for stage
* NuCi's Space at www.nuci.org. Organization offering resources for musi-
fright. A student may arrive late for a
cians dealing with depression and other mental and physical health issues.
concert, anxious about being late, and
breathless-not a promising way to
dive into a program. Then there are
Notice that "What might youin, do "Enough! I don't recall askingother
youfactors: fatigue, anxieties unre-
to tell us both that you're an idiotlated
differently next time?" is a value-neu- forto performing, or a particular
missing high E"
tral question; it doesn't ask for better, anxiety, such as worrying about who
cleaner, finer, or more this, more that. is in the audience or whether this
Employing these two questions can
This encourages students to develop
helpastudents begin to shift their think-
audition is good enough for a scholar-
ing style in practicing, and this ship.
more objective style of discernment can Environmental stressors also
without judgment. Some reminders go a long way toward changing their abound: a hall is too hot, too cold, or
emotional
may be required from time to time, as environment for the better.too drafty; the air conditioning is noisy;

46 MUSIC EDUCATORS JOURNAL JANUARY 2008

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
or one player cannot hear another as a giving busy music teachers somepowerful and positive image of them-
critical entrance approaches. And behavioral-based teaching ideas to use selves performing, they will find it
there are anxieties arising from the with their students right away. a very good antidote to nervous
performance itself: a conductor's beat There are two basic premises. First,anticipation.
is unclear; half the band plays the stage fright involves a fear of being Teaching students the value of cul-
repeat, the other half plows on, and judged, and also a fear of the conse-tivating a positive performing state is
the piece is falling apart; a player gets quences of failing to meet others'teaching them a life skill. We want
lost, loses the count, and has no idea expectations, as well as our own.them to think about keeping the sizzle
when to come in; and then of course, Whatever can be done to help a while easing off on the anxiety. When
the classic and most frequent-inade- student reduce that anxiety, and instudents get a handle on the truly
quate preparation. particular, to address the adolescentimposing challenge of stage fright,
Performance anxiety can be trig- tendency to envision dire outcomes,chances are that this learning will help
gered by a single train wreck on stage will help. Second, assuming there is a them through a lot of other aspects of
or by an accumulation of small insults connection between what goes on intheir lives, too.
to the emerging ego that eventually the practice room and what happens
prove too much for some young peo- onstage, helping stressed-out students Nurturing a Positive Attitude
ple to tolerate-sometimes by a com- reevaluate how they practice is Although the study of music can be
bination of both. This type of anxiety critical. greatly rewarding for young people, it
is generally regarded by psychologists My own experience working withis not without physical and emotional
as social discomfort, defined as "a professionals and students has shownrisks. Music educators can help by
marked fear of social or performance that reevaluating psychological habits giving young musicians tools to help
situations in which embarrassment in practicing has been a most effective them avoid overuse problems and
approach in helping musicians resolve cope with performance anxieties.
may occur."17 The kind of stage fright
their stage fright. A practice room can Here are three objectives for teach-
we are concerned about is a particular
type: fearful imaginings that arise be a hazardous place for students who ers to include along with objectives
despite perfectly good preparation hard on themselves.18
are for students to develop technical con-
entirely adequate to the performing To help students achieve a desired trol and artistic development:
task. It is unrealistic, exaggerated performing state, teachers can use the 0 Cultivate healthy physical prac-
apprehension, imagining things that technique of guided imagery. The first tice habits to avoid cumulative over-
are actually highly unlikely. step is to help a student become more use pain and injuries.
There are probably as many differ- relaxed, using any of the approaches 0 Cultivate objective self-evalua-
ent ways of helping students with on relaxation that are familiar tion by employing discernment with-
(Herbert Benson's "The Relaxation
stage fright as there are different ways out judgment.
Response" includes some good sug-
of experiencing it, even though from N Cultivate a positive performing
the outside, one person's stage fright
gestionslg9). Invite the student to recall state by practicing it regularly.
may look like another's. No one a specific image of a time when he or Students' well-being need not take
she experienced an enjoyable per- second place to the pursuit of excel-
approach is the right way. It is better
that there are many differentforming state. It might have been in a lence in performance; in fact, nurtur-
approaches; the more there are, the concert or in an entirely different set- ing the healthy performer is a comple-
ting. Then, instruct the student to
more likely we are to find one that will mentary goal.
fit a particular student. build up that memory by purposefully The suggestions offered here can be
revisiting it. Systematically recalling integrated into a larger context of
Many strategies used today to com-
experiences reinforces them; they thinking about practicing, rehearsing,
bat stage fright focus on the physical
response, so they include relaxationbecome more vivid and can be more and performing. They offer the possi-
techniques, biofeedback, use of beta-
readily evoked. bility of a new and more inclusive par-
blocker drugs, and Alexander and Next, suggest that the student prac-
adigm in music education.
Feldenkrais postural and movement tice evoking this desired state at the
reeducation. There are advocates for start of a practice session. This is Notes
a
yoga and for exercise and strengthtechnique that professional golfers 1. Gwendolyn Puryear Keita and
use. They work on their shots, but
training. The premise is that the better Steven L. Sauter, eds., Work and Well-
conditioned a young person is, thethey also sit quietly and recall their Being: An Agenda for the 1990s
more likely he or she will be able tomost breathtaking shots. When do(Washington, DC: American Psychologi-
tolerate the elevated heartbeat that
they need this? Right after they hit cal
a Association, 1992); James Campbell
usually accompanies any performancebad shot. Rather than brooding on theQuick, Lawrence R. Murphy, and JosephJ.
situation. shot that's over, they evoke the image
Hurrell, eds., Stress and Well-Being at Work
While each of these approachesof a terrific shot, using that to restore
(Washington, DC: American Psychologi-
offers something of value, the focustheir morale, get back into a positivecal Association, 1992).
in this article is on understanding performing mentality, and clear their 2. J. Donald Millar, foreword to
and counteracting the psychologicalminds for the next shot. When stu- Proposed National Strategies for the
response to performance anxiety,dents can learn to quickly evokePrevention
a of Leading Work-Related Diseases

W.WW. MEN C. ORG 47

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms
and Injuries: Psychological Disorders 14. Peter Desberg, No More Butterflies: Carmona, Peac4ful Mind: Using Mindful-
(Washington, DC: U.S. Department of Overcoming Stage Fright, Shyness, Interviewness & Cognitive Behavioral Psychology to
Health and Human Services, National Anxiety, & Fear of Public Speaking Overcome Depression (New York: New
Institute for Occupational Safety and (Oakland, CA. New Harbinger, 1996);Harbinger Publications, 2004).
Health, 1989), iii. Jerry L. Fletcher, Patterns of High 16. James Loehr, Toughness Training for
3. Edward B. Fiske, "Competition and Performance (San Francisco: Berrett-Life (New York: Penguin, 1993); Porter
Pressure to Perform Cited: Americans Hit Koehler, 1993); James Loehr, Stress for and Foster, The Mental Athlete; Fletcher,
the Books," International Herald Tribune, Success (New York: Three Rivers Press,High Performance; Orlick, In Pursuit of
February 13, 1996. 1997); Terry Orlick, In Pursuit of Excellence.

4. Trigent Burrow, Science and Man's Excellence: How to Win in Sport and Life 17. Allen Frances and Michael B. First,
Behavior (New York: Knopf Press, 1952). through Mental Training, 3rd ed. Your Mental Health: A Layman's Guide to the
5. Martin Seligman, Authentic (Champaign IL: Leisure Press, 2000); KayPsychiatrist's Bible (New York: Scribner,
Happiness (New York: Free Press, 2002). Porter and Judy Foster, The Mental Athlete 1998).
6. Daniel J. Siegel, The Developing (New York: Ballantine Books, 1986). 18. David J. Sternbach, "Warning: Your
Mind: Toward a Neurobiology of 15. Timothy Galwey, Inner Tennis: Play-Practice Room May Be Hazardous to Your
Interpersonal Experience (New York: W W ing the Game (New York: Random House, Health," International Musician 101, no. 7
Norton, 1999); Daniel J. Siegel, The 1976); James Loehr, The New Toughness (January 2002), 16.
Mindful Brain: Reflection and Attunement in Training for Sports (New York: Penguin, 19. Herbert Benson, The Relaxation
the Cultivation of Well-Being (New York: 1994); John R. McQuaid and Paula Response (New York: Murrow, 1975). E
W W Norton, 2007).
7. Daniel Goleman Emotional Intell-

igence (New York: Bantam Books, 1994);

Siegel, The Developing Mind; Siegel, The
Mindful Brain.
8. Albert Ellis, Overcoming Destructive
Beliefs, Feelings, and Behaviors: New
Directions for Rational Emotive Behavior
Therapy (New York: Albert Ellis Institute,
1997); Susan Forward, Toxic Parents (New
York: Bantam, 1989).
9. William Westney, The Perfect Wrong
Note: Learning to Trust Your Musical Self
Holy Names University,

KODALI.-
(Cambridge: Amadeus, 2003).
10. Hans Selye, The Stress of Life (New overlooking San Fran-

York: McGraw-Hill, 1956). cisco Bay, offers one of

11. Richard Lazarus, Emotion and the finest graduate music
Adaptation (New York: Oxford University
education programs in the
Press, 1991), 29-31.
12. Hans Seyle, "History and Status of country. Hungarian master

the Stress Concept," in Handbook of Stress, teachers join experienced

2nd ed., ed. Leo Goldberger and Schlomo American faculty in the
Breznitz, 7-17 (New York: Free Press,
teaching of students in the
1982, 1993), 7.
MM in Music Education
13. Daniel Amen, Change Your Brain,
Change Your Life (New York: Three Rivers degree program. Classes
Press, 1998); Sharon Begley and Jeffrey begin with the HNU
Schwartz, The Mind and the Brain: Neural
Kodaly Summer Institute,
Plasticity and the Power of Mental Force
(New York: HarperCollins, 2002); Sharon July 7-26, 2008.
* $6,500 Kodiily Fellowships available for 2008-2009
Begley, Train Your Mind, Change Your Brain Study in other OAKE-
* Application deadline for MM degree: May 1, 2008
(New York: Ballantine, 2007); Steven endorsed courses may be
Koslow, ed., The Neuroscience of Mental
The HNU Kodily Center receives more requests for transferable.
Health, II (Rockville, MD: U.S. Department graduates than we can fill. For more information, please
of Health and Human Services, National visit http://www.hnu.edu/academics/gmusicmm.html.
Institutes of Health, 1995); John Ratey, A For more information:
User's Guide to the Brain (New York: Anne Laskey,
HOLY NAMES UNIVERSITY
Vintage Books, 2002); Richard Restak, Director, Koddly Center
3500 Mountain Boulevard
Mozart's Brain and the Fighter Pilot: laskey @hnu.edu;
Oakland, California 94619 510.436.1234
Unleashing Your Brain's Potential (New
York: Three Rivers Press, 2001).

48 MUSIC EDUCATORS JOURNAL - JANUARY 2008

This content downloaded from 161.53.226.35 on Wed, 16 Oct 2019 15:23:06 UTC
All use subject to https://about.jstor.org/terms