Abstract
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.
Highlights
In order to establish and maintain a successful performance career, musicians need to deal with challenges such as coping with the consequences of early specialization, social isolation, practice volume, identity foreclosure, teacher relationships, burnout, injury, psychological pressure, and perfectionism (Pecen et al, 2016)
The reason for seeking out a particular coping source and how such behaviors might differ depending on where performers are on their developmental pathway. Does their level of expertise seem to have an impact over time, for instance? In short, what is the broader context of a coping behavior that was applied? This is important to inform contextual awareness when using such insight for future practical application in learning environments. Reflecting these issues and the relevance of addressing the issue in context, this study aimed to explore pre-elite, transitioning elite and elite performers’ experienced challenges, employed coping behaviors and sources, impactful beliefs, preferences for support and emergent qualitative differences between groups
This study aimed to explore pre-elite, transitioning elite, and elite performers’ experienced challenges, employed coping behaviors and sources, impactful beliefs, preferences for support and emergent qualitative differences between groups
Summary
In order to establish and maintain a successful performance career, musicians need to deal with challenges such as coping with the consequences of early specialization, social isolation, practice volume, identity foreclosure, teacher relationships, burnout, injury, psychological pressure, and perfectionism (Pecen et al, 2016). Other prevalent conditions include psychopathology, musculoskeletal and neuromuscular overuse, irregular work, and sleep schedules (for a review see Kenny and Ackermann, 2009), poor health habits (e.g., Panebianco-Warrens et al, 2014), Performers’ Experiences of Psychological Challenges mood and anxiety-related disorders, and, music performance anxiety (MPA; for a review, see Kenny, 2011) In response to these health and psychological issues, music students have reported turning to peers and teachers for advice rather than to medical professionals (Williamon and Thompson, 2006). Musical learning environments have focused on selecting “talent” and relying on practice and expert instruction to enable progress This model, does not address the multifaceted aspects of talent development and as a result, does not optimally equip performers for the demands of today’s music industry (see Pecen et al, 2016). The additional characteristics of creativity, spontaneity, and flexibility have been reported in musicians, (Talbot-Honeck and Orlick, 1998)
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