Six Lessons on how to deal with performance anxiety. The guide is two parts Phase 1: Recital Music Practice Unit, Practice Strategies, How do musicians fix Mistakes for a Recital Performance?Practice Plan Lesson, Group Performance Preparation for Keyboard Classes; and Phase 2: Recital Preparation Unit Presentation & Concert Etiquette, Recital Class Preparations for Keyboard Classes, Concert Etiquette When Presenting a Prepared Piece, and additional resources: RUBRICS with emoji's, differentiated instruction list and a sample program template.
In The Musician's Way, veteran performer and educator Gerald Klickstein combines the latest research with his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Part I, Artful Practice, describes strategies to interpret and memorize compositions, fuel motivation, collaborate, and more. Part II, Fearless Performance, lifts the lid on the hidden causes of nervousness and shows how musicians can become confident performers. Part III, Lifelong Creativity, surveys tactics to prevent music-related injuries and equips musicians to tap their own innate creativity. Written in a conversational style, The Musician's Way presents an inclusive system for all instrumentalists and vocalists to advance their musical abilities and succeed as performing artists.
Suggests techniques for overcoming self-consciousness and improving musical performances, shares a variety of exercises, and includes advice on improving one's listening skills.
The world famous classic by the originator of the Alexander Technique, with a new perspective by Anthony Kingsley. Frederick Matthias Alexander was born in Tasmania in 1869. In his twenties, he became a professional reciter of dramatic pieces. After almost completely losing his voice he pioneered a method of improving the 'use' of his body musculature in all positions and movements and cured his vocal problems without medical aid. Alexander then realised that most people stood, sat and moved in a defective manner and that incorrect 'use of the self' might be the cause of much human suffering. He moved to London and established a school, publishing several books and achieving success, with recommendations from famous contemporaries such as Aldous Huxley and Sir Stafford Cripps. Alexander died in 1955 but his 'principle' lives on through the work of many teachers of his method.
Why is it that well-prepared, talented, hardworking, and intelligent performers find their performance and self-esteem undermined by the fear of memory slips, technique failures, and public humiliation? In Managing Stage Fright: A Guide for Musicians and Music Teachers, author Julie Jaffee Nagel unravels these mysteries, taking the reader on an intensive backstage tour of the anxious performer's emotions to explain why stage fright happens and what performers can do to increase their comfort in the glare of the spotlight. Examining the topic from her interdisciplinary educational, theoretical, clinical, and personal perspectives, Nagel uses the music teacher/student relationship as a model for understanding the performance anxiety that affects musicians and non-musicians alike. Shedding new light on how the performer's emotional life is connected to every other facet of their life, Managing Stage Fright encourages a deeper understanding of anxiety when performing. The guide offers strategies for achieving performance confidence, emphasizing the relevance of mental health in teaching and performing. Through the practices of self-awareness outlined in the book, Nagel demonstrates that it is possible and desirable for teachers to assist students in developing the coping skills and attitudes that will allow them to not feel overwhelmed and powerless when they experience strong anxiety. Each chapter contains insights that help teachers recognize the symptoms-obvious, subtle, and puzzling-of the emotional grip of stage fright, while offering practical guidelines that empower teachers to empower their students. The psychological concepts offered, when added to pedagogical techniques, are invaluable in music performance and in a variety of life situations since, after all, music lessons are life lessons.
Music performance anxiety has long frustrated the artistic community and, while tricks and folk remedies abound, a comprehensive plan to solve this problem has remained elusive. Accomplished violinist Casey McGrath combines her experiences with the research of Karin S. Hendricks and Tawnya D. Smith to provide a resource guide to the most current solutions and therapies, as well as educational applications, for both individual and classroom use. Divided by area of therapeutic interest, Performance Anxiety Strategies presents relevant and noteworthy research and insight into some of the most popular and many lesser-known therapies—including holistic, exposure, cognitive, behavioral, and medicinal treatments. Each chapter also features self-guided activities and exercises, words of wisdom from established performing artists and athletes, and suggestions for music teachers, as well as first-person narratives about the authors’ personal journeys with music performance anxiety both onstage and in the classroom. Including a wealth of offerings and approaches, this book is an invaluable resource for anyone who has ever experienced performance anxiety, from the aspiring classical musician to the garage band guitarist.
Performance Success teaches a set of skills so that a musician can be ready to go out and sing or play at his or her highest level, working with energies that might otherwise be wasted in unproductive ways. This is a book of skills and exercises, prepared by a master teacher.
(Book). Paul Harvard takes the techniques of modern actor training including the theories of Stanislavsky, Brecht, Meisner and Laban, amongst others and applies them to the fundamental component of musical theatre: singing. With dozens of exercises to put these theories into practice, and numerous examples from a broad range of musicals, the result is a comprehensive and rigorous acting course for those training in musical theatre or already performing, whether amateur or professional, to realise their potential and act better.
Over the past 16 years, new theories and models have emerged in the stress and anxiety knowledge base regarding the unique forms associated with performance. Existing theories have been applied in creative and helpful ways to better explicate relationships between stress and anxiety with performance. Recently, more sophisticated statistical strategies have been applied to data collected with performers, and additional, safe and expedient strategies for managing stress and anxiety have surfaced. Despite these new advances, the field has been lacking an up-to-date and practical text for undergraduate and graduate students in performing or performance-mentoring programs. Managing Performance Stress examines psychological and psychophysiological models and theories that explain causes of anxiety and stress. An easy-to-use reference work for athletes, musicians, dancers and actors as well as those who devise and conduct their training programs, the book presents exercises, coaching devices, and strategies for conquering stress and anxiety. It is an invaluable resource for those who are performers, will be performers, or who are preparing to mentor, coach or teach performers. The principles enunciated in Managing Performance Stress apply equally to the musician holding an oboe and the athlete holding a baseball bat. The issues explored and the theories, principles, models, hypotheses discussed all bear upon and clarify arousal, stress and anxiety related to artistic and sport performance, irrespective of its kind.
