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Guest post by Dr. Elizabeth Brooker

Music Performance Anxiety (MPA) is a widespread problem. It affects musicians of any age, instrument, level of expertise, professional and amateur musicians alike. It can be a crippling experience for anyone who suffers, turning a performance into a nightmare. Promising and talented musicians have given up the idea of professional careers because of MPA. In fact research has shown that over 60% of performing musicians are afflicted with this.

This phenomenon not only affects musicians but also individuals in other fields of performance. It’s a feeling of being ‘in the spotlight’ or ‘on show’ in what is deemed to be a threatening situation. Of course up to a point anxiety can be a good thing, it can focus the mind and enhance the performance; however when cognitive anxiety becomes uncontrollable (catastrophising, imagining the worst possible scenario) it can have devastating effects.

It is said that a small amount of anxiety focuses the mind, but a large amount paralyses it. The mind affects the body, and a whole raft of unwanted physiological and somatic symptoms can occur when performance anxiety sets in, such as palpitations, heart racing, sweating, shaking/trembling, loss of focus and a feeling of being out of control. I know from first-hand experience what performance anxiety is like as in the past I could feel physically sick before a piano performance; and over the years of teaching both piano and singing have noticed how some of my students have also suffered from anxiety in performance.

A large amount of research over the last 40 years has focused on MPA, yet the problem still exists. Therefore you may wonder why MPA is still so prevalent! I believe that the reason for this is that the majority of investigative research has looked at the effectiveness of interventions that focus on the conscious mind. Cognitive Behavioural Therapy (CBT) is the main therapy in vogue at the present time. I would argue that the nature of this therapy, which focuses only on the conscious mind, does not get to the root cause of the problem only dealing with the presenting or surface issues.

I qualified as a Cognitive Hypnotherapist (CH) and Eye Movement Desensitisation and Reprocessing (EMDR) practitioner several years before my PhD research and adopted these therapies in my private practice. I noticed how beneficial these were for the rapid and long-lasting treatment of anxiety. Both therapies have the potential to reduce anxiety quickly and effectively and this is sustainable over time. The protocols and procedures are designed to desensitise and reprocess dysfunctional cognitions, emotions, and memories linked to past and present negative experiences: the underlying unconscious processes that an individual may not actually be aware of that can be maintaining the problem.

CH changes the memory and meaning of distressing events by reducing the perception of threat, and also the somatic symptoms of anxiety associated with the event (threat). Hypnosis dates back over 200 years as an area of scientific research and clinical practice and is used to bring about positive change in a wide variety of psychological conditions. EMDR used initially in the treatment of post-traumatic stress disorder has expanded widely over the last ten years now treating a wide range of pathological conditions, including anxiety disorders and associative problems. It has also been used for enhancement of performance in the arts.

Having noted these positive effects in private practice I wanted to test the therapies from a scientific standpoint. My thesis therefore focused on cognitive anxiety (specifically relating to pianists) and the role of the unconscious mind in maintaining and exacerbating the problem of MPA. It is the first clinical outcome study to compare two psychotherapies, CH and EMDR, for the reduction of MPA. Investigating the efficacy of these therapies therefore became the primary focus of my research.

The procedure and method of my research into MPA is given in brief below.

Pilot Study

The therapies were tested initially in a pilot study of six Grade 8 pianists from the University of Leeds and Leeds College of Music. All were suffering from MPA to a lesser or greater extent. Baseline measures of state and trait anxiety were first taken. State anxiety is the anxiety that someone can experience when performing (it has been described by one of my students as ‘feeling like a rabbit when caught in headlights’) and trait anxiety is an individual’s generic level of anxiety. The cognitive, physiological and behavioural aspects of anxiety were also tested before and after application of the therapies. Students played the same Bach Prelude and Fugue in two small concert performances. After the first performance participants were randomly assigned to either a therapy or control group. In the period between the concerts the therapy groups received 2 one-hour sessions of either CH or EMDR.

The results of the pilot study showed a significant decrease in state anxiety at the second performance post-therapy in both the CH and EMDR groups but not in the control group.

Main Study

Having tested the effects of the therapies in a pilot study I then continued the research with a much larger sample of 46 advanced pianists. (Students were from the Universities of Leeds and Sheffield and Leeds College of Music). The main study basically followed the same procedures as the pilot study but with participants choosing their own repertoire. In this study self-report questionnaires were also completed by the students prior to each performance. These gave personal insights into thoughts and feelings experienced in both performances and showed that cognitive perception of performance relates directly to the physiological symptoms experienced, and to the performance outcome.

The results of the main study demonstrated that after only two therapy sessions there was a substantial decrease in state anxiety in both therapy groups, but not in the control group. This resulted in fewer physiological symptoms and greater enhancement of performance in the therapy groups. Also the general level of anxiety (the trait level) decreased substantially below baseline levels in the EMDR group.

This research highlighted a number of important issues. The findings suggest that CH and EMDR have an important contribution to make to our understanding and treatment of MPA and the role of the unconscious mind. It demonstrated the effectiveness of the therapies in both significantly reducing MPA and enhancing performance outcome after only two therapy sessions. There is also evidence that EMDR decreases an individual’s trait level of anxiety, which can be interpreted as a change in personality. Given the importance of these results it is suggested that clinical studies now be conducted comparing cognitive behavioural therapy (CBT) with CH and EMDR. The effectiveness of each therapy can be assessed as well as the number of sessions required to bring about a beneficial result. Research has shown that CBT often requires 10 or more sessions, with sometimes little positive change as the outcome. Furthermore a comparison of the cost-effectiveness of CH and EMDR with CBT should be undertaken given the beneficial effects of CH and EMDR after only two sessions.

For those interested in looking at my research in greater depth I give a list of my publications below:

Brooker, E. (2015). Music performance anxiety: An investigation into the efficacy of cognitive hypnotherapy and eye movement desensitisation and reprocessing when applied to Grade 8 pianists. Doctoral dissertation eThesis, University of Leeds. Retrieved from http://ethesis,whiterose.ac.uk/12130.

Brooker, E. (2018). Music performance anxiety: A clinical outcome study into the effects of cognitive hypnotherapy and eye movement desensitisation and reprocessing in advanced pianists. Psychology of Music, 46(1, 107-124).

Brooker, E. (2019). Transforming Performance Anxiety Treatment Using Cognitive Hypnotherapy and EMDR. London and New York: Routledge. ISBN: 978-1-138-61493-2 (hbk) ISBN: 978-0-367-60676-3 (pbk, 2020).

Brooker, E. (2019). Cognitive hypnotherapy and EMDR. The longitudinal effects on trait anxiety and music performance in advanced pianists. Advances in Complementary and Alternative Medicine. 2019; 5(4); acam.000616.

Brooker, E. (2020). Cognitive Hypnotherapy. In C. Mordeniz (Ed.), Hypnotherapy and Hypnosis (pp.103-117). IntechOpen: London, UK. http://.doi.org/10.5772/intechopen.83045.

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Guest post by Adrian Ainsworth

I’m writing this piece on the birth date of my favourite composer, Schubert. Here’s to you, Franz. Has Schubert always been my favourite composer? No, not at all. I first got seriously into classical music through choral works, so from the outset Byrd and Pärt were vying for my affections. I found opera through Adams, Strauss and Wagner. When I realised that art song was the area of classical music that probably spoke to me the most, Schubert – perhaps inevitably – stole my heart. And once that led me onto his works for piano, that was it.

For now. He may no longer be with us, but that’s no excuse for getting complacent.

In a few weeks’ time, if the stars and technology allow, I’m due to take part in a podcast which usually focuses more on rock music. From listening to previous episodes, I know that the presenters – in the twin spirits of mischief and genuine enquiry – always ask guests to name the ‘greatest album ever made’. It’s a brilliantly, deliberately impossible question – the answer almost incidental, the interest lying in the reasons the guests give, the agony in making the choice and … crucially, their insistence on mentioning a few ‘runners-up’ as well. The other contenders, the ‘bubbling unders’… every bit as important a part of the story as the ‘winner’. I’m already having exquisite nightmares about it.

Lately I’ve been wondering why we choose to rank artistic endeavours in this way. There is clearly something innately competitive about we humans, presumably going back to our primitive hunting eras, but these days we have sport and business to take care of that impulse. You’d think we would keep the arts to one side as a refuge from all that. Especially since so many competitions in the industry – from Eurovision to the Oscars – are undertaken with the appropriate ironic self-awareness. The key word there is ‘industry’, I suppose: I can forgive a great deal of awards ceremonies and magazine polls if they provide the opportunity to raise the profile or – in other, less coy, words – generate more sales for musicians I admire.

This is something we try to do at ArtMuseLondon, of course. I chose my 20 ‘favourite discs’ from last year a few weeks ago, on this site. (And I’d done similar on my personal blog in previous years too.) It was difficult enough just choosing the 20 titles as a group, and I abandoned any idea of ranking them in a league table from top to bottom, more or less at the outset of the process. Instead, all 20 of them hold ‘first equal’, if you like, and I listed them alphabetically.

Why fall at the final hurdle? One answer is another question: well, what was I doing it for? I accept that the number of choices has to be finite, or the article would soon become a book. But after fixing that number – 20 – there is no sense to me that those titles are in competition. I wholeheartedly recommend them all, and want the artists who made them to reach more listeners, to do well. I hope people will identify from my descriptions what they might like, or better still, try out something that sounds completely new.

It also avoids the futile gesture of pitting different genres against each other. Even if you could say that the solo classical piano CD in your left hand is ‘better’ than the African jazz one in your right – what would be the point? Especially if you’re talking to someone who mostly listens to heavy metal.

But this preoccupation with whether A is ‘better’ than B is all-pervasive. It would be easy to make huge – and I mean huge – generalisations about where these attitudes really lie. Is it just ‘blokes’? There’s no point pretending that ‘mansplainers’, who make decrees about what it is and isn’t ok to like, don’t exist: of course they do. Is it just ‘geeks’? Most of us who are into any kind of current, creative endeavour will have encountered ‘fandom’, and seen how easily that can become gatekeeping, let alone something even more toxic.

But really, it’s in all of us. We’re a race of judges: you only have to look at the dominance of reality TV and the overwhelming number of shows that force an element of competition into anything. Singing. Dancing. Cakes. Pottery. Sewing. Grooming pets. For pity’s sake. Why do we do this to ourselves?

Some friends of mine offered some valuable thoughts on our rank impulses, if you will. One suggested that it is actually about our own parameters more than anything – it gives us a sense of order, helps us clarify our thinking and to some extent define ourselves: these are my likes and dislikes. Another speculated that it assists our search for validation, that we are looking for ways to reinforce our own opinions, whether in agreement or opposition to what we read.

I think these ideas are almost certainly both true: they may be coming from different angles but they highlight the fact that it’s all about us. Articles featuring lists or charts, or programmes with judging panels do so well, because we all want to see if we agree or disagree. It’s not about the people on stage, it’s about the argument we’re having in the bar. Those being listed or judged almost become bystanders in the process.

There is real harm lurking in this. Star ratings give me the chills, for a start. Why provide a review and then add an instant visual summary that, if anything, will save some the ‘bother’ of reading further? They are just bait, particularly for one-star ambulance-chasers. Ranking also links into that inescapable topic of ‘elitism’ that tends to haunt classical music. It isn’t just about numbers. Take, for example, that dreaded term ‘reference recording’ – that is, a version of a classical work that stands as a benchmark, on a pedestal until a better version knocks it off. It may have had its roots in practicality – people couldn’t go out and buy every recording of a work, so which should they choose? – but with streaming services there’s no longer any need for that. We can try before we buy.

It isn’t too much to suggest that this is also relevant to another hot topic: kindness. One thing that broadly sets classical music apart from most other genres is that, by and large, lots of different people record versions of many of the same pieces. This is an open invitation to compare and contrast: but is it necessary? Do we need to tell an enthusiastic performer that their version may be returned to occasionally but that it’s only around sixth in the pantheon? It might as well be Blur vs Oasis, for all that it helps. Many people who find classical music after following other genres are focused on artists, rather than composers, or musical forms. They need freedom to explore and settle on their own favourites, not follow someone else’s prescription. I’m encouraged by the increasing currency the term ‘album’ seems to be finding in classical music, rather than ‘recording’: to find musicians you admire who follow their own instincts, select a range of repertoire and take you on that journey with them is a great thing.

I’ve come to believe that to truly, successfully place the artists back in the spotlight, we need to take the ranking out of it and consign league tables and ‘best ever’ charts to the bin. My end-of-year round-up, I sincerely hope, is just that: 20 discs I think you should hear. No ‘number 1’, offering an excuse to disregard the other 19. No ‘number 20’ which, on some kind of mystically malicious scale, is measurably worse than the 19 above it. We, the writers, step back, and let the musicians find their own space.

Adrian Ainsworth is, by day, a copywriter specialising in plain language communications about finance and benefits. However, he spends the rest of the time consuming as much music, live or recorded, as possible – then writing about it, often on Specs, his slightly erratic ‘cultural diary’ containing thought pieces, performance and exhibition write-ups, playlists, and even a spot of light photography. He has a particular interest in art song and opera… and a general interest in everything else. Adrian is a reviewer for ArtMuseLondon and a regular guest writer for The Cross-Eyed Pianist

Twitter @Adrian_Specs

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Who or what inspired you to take up composing, and pursue a career in music?

I started playing the piano when I was very young – always by ear to begin with – and it wasn’t long before I started to pick out my own tunes on the keys. It felt very natural. I’d probably be horrified if I heard those stumblings now, but the seed was definitely sown. So it was always music from the get-go. I had some lucky breaks with television scoring soon after I left university, and it was then that I realized that I might be able to write music and pay the bills!

Who or what were the most significant influences on your musical life and career as a composer?

I was lucky enough to have a wonderful music teacher at school – the sort of chap who thought nothing of involving the entire school in an epic performance of Britten’s Noye’s Fludde. (I was in charge of the percussion section, and our trip to Woolworths to go through their entire mug collection for the ‘slung mugs’ raindrops is a lasting memory.) Without his encouragement I wouldn’t have gone to Cambridge – and, as is so often the case, I can trace the rest of my musical career from that wonderful springboard.

What have been the greatest challenges/frustrations of your career so far?

Even if you know it’s the only thing you want to do, starting out as a musician (or any creative artist) is, as we all know, really hard. It’s even more difficult now, especially given the times we’re living through. And to have those pressures, both creative and practical, while trying to stay true to your strengths and not compromise can be daunting. The greatest challenges so far – usually involving being some considerable distance outside my musical comfort zone – have nearly always produced new and inspiring ideas. The greatest frustrations? When you find yourself in a creative cul-de-sac (for any number of reasons) and you have to find a way out because there’s a deadline looming.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

I’ve been lucky enough to work with so many wonderful musicians and artists over the years, and when you’re able to write music knowing who’s going to play it or sing it, it can be inspirational. When you can tailor a piece or a solo or a whole musical landscape to someone’s personality – quirks and all – then that’s the challenge and the pleasure rolled into one! And collaborating with new colleagues, as I’ve been doing recently, starts that journey again.

Of which works are you most proud?

I’ve written quite a lot of music for youth ensembles, and seeing the fun and sense of accomplishment they give to children of all ages and from every walk of life is wonderful. It’s instant communication, and it’s very special.

How would you characterise your compositional language?

With each new commission I’m nearly always asked to come up with some “good tunes”, so that’s a bit of a giveaway. I’m not a particular fan of the ‘accessible’ description, but I’ve always written in a melodic, tonal style which, it seems, still resonates with a lot of people. I’m the first to admit that the style of my concert pieces owes a lot to my media work, and I’m not trying to create two different worlds. It’s a dramatic language that, for me, crosses over.

How do you work?

When I first started out everything was written at the piano. But, inevitably, the process now is initial sketches at the piano (with a trusty pencil) before going over to the computer and scoring from there – a familiar story for so many composers. When I worked a lot in television I treated the job as a 9 to 5 operation, almost literally. It was the only way to get so much music written in such a short space of time. Concert commissions are more forgiving, but I find I still need the pressure of a deadline. Adrenalin is a wonderful creative tool!

Who are your favourite musicians/composers?

There are so many that the list would go on forever. And tomorrow I’d probably give you a completely different list. Working with Lang Lang and Joshua Bell was extraordinary – their musicianship is awe-inspiring – and can I give a shout-out to my great-aunt, the pianist Dame Myra Hess? If you know some of the history of the National Gallery’s lunchtime concerts during the Second World War you will know what an extraordinary woman she was. Composers? All over the place – Elgar, Walton, Mahler, Fauré, John Williams, Tallis, Sondheim….

What do you feel needs to be done to grow and maintain classical music’s audiences?

It goes without saying that the question has a poignancy today that we couldn’t imagine a year ago. To get back to where we were would be a major achievement, and embracing the new audience who have turned to ‘classical’ music as a source of comfort during these unprecedented times is hugely important.

As a composer, what is your definition of success?

If you can start with a blank page (or computer screen) and create music that connects with a listener on any level, whether for a few moments or a lifetime, that’s success.

The Way of Light – The Music of Nigel Hess is released on 5 February on the Orchid Classics Label
Nigel Hess has had considerable success in the film and television world (Campion, Maigret, Wycliffe, Dangerfield, Hetty Wainthropp Investigates, Badger and Ladies in Lavender). This new album concentrates on music he wrote for the concert hall.

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Practicing is like being in a riptide – your view of the beach is different every time and on each re-entry to the beach, you notice different or new details.

Practicing is the musician’s day-to-day work and when done well it is undertaken with the focus and concentration of an elite athlete to achieve the necessary technical and artistic facility to perform complex repertoire.

As a child, learning the piano from around the age of 5, I found practising something of a chore: the same piece of music faced me each day on the music desk of the piano, the same tedious exercises to be finessed to please my teacher at the next lesson. At that time I didn’t receive any suggestions from my piano teacher as to how to practice productively. Instead, I engaged in fairly mindless repetitions.

It was only as I matured as a musician that I began to understand the significance of deep, thoughtful practice, and how this approach would shape and secure the music I was learning. This was more than demonstrated to me when I returned to the piano in my late 30s after an absence of some 20 years and I revisited some of the repertoire I had learnt and enjoyed as a teenager; it was quite evident which pieces had been practiced more carefully for these were the ones whose notes and phrases still felt familiar under the fingers, and were the pieces most easily revived. It was a very clear indication that the body does not forget, such is the power of procedural (or muscle) memory.

Practicing should never feel like a chore. One should approach each practice session with an open, curious mind and a sense of excitement and adventure, to start each session with the thought “what can I do today that’s different?”. It’s a constant process of self-critique, reflection and adjustment. Practicing is like being in a riptide – your view of the beach is different every time and on each re-entry to the beach, you notice different or new details.

Music is complex, multi-faceted and rich in detail. For this reason, in our practicing we must be alert to its many subtleties, its highlights and its shadows. Each practice session should be, amongst other things, an exercise in revealing another facet of the music. Paradoxically, this becomes more difficult the better one knows the music: familiarity with the architecture, the organisation of the notes on the stave, the sound and feel of the music, and our physical and emotional responses to it can lead to complacency and then details are overlooked. At this point, we are deeply embedded in the music, undoubtedly a good place to be. Now we must step back, to view the beach from a distance, with new eyes and the benefit of experience, and look again at the music.

It’s remarkable how many details can be missed and how taking a long view can reinvigorate our practicing and breathe renewed life and colour into our music.

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