Performance Anxiety

Do you ever get performance anxiety? At this time of inactivity in the musical world, would you like to think about this common problem?
My doctoral research has led me to a thought-provoking conclusion:
Your performance anxiety is a new and interesting musician trying to get out! Instead of making it go away, can we use it to help performance?
In a session with me, we will try to find out how your performance anxiety can transform you as a musician. We can work WITH your performance anxiety to find out what it means for you. We won’t suppress any symptoms, we will bring them out, play with them, take them on a ride to find their hidden message - a message that could help you be the musician you always wanted to be! Performance anxiety can be the key to your artistic development.
I am a professional French horn player with 30 years experience.

Art (Digital)
Art (Visual)
Skills: Teaching, listening, performance, play.
1 to 1 lesson
Group lesson
Instrumental / Vocal
Chamber / Band
Orchestral / Choral
Composition / Theory
How to Connect:
Google Hangouts/Meet
Extra info: Tested by research! My PhD uses concepts of anxiety from psychoanalysis and existentialism in order to develop a new conception for music performance anxiety that: • Explains the reasons for particular symptoms; • Suggests ways for using performance anxiety to improve performance; • Respects the history, resilience and embodied wisdom of the musician who has performance anxiety. The research then tested the conception in coaching musicians with performance anxiety and in my own performance.
Examples of work: A violinist felt she was making a rough sound. I suggested making it more so. After initial reluctance, the greater contact with the string used to make it rougher transformed the tone into something she had always hoped for - rich and expressive - but had long given up hoping to achieve. I was working with an oboist once who had a wobble in her sound. However hard she tried she couldn’t make the wobble go away. I asked her to put the wobble into her whole body. What was it like to be the whole wobble. We tried this playing and not playing. She really put herself into it, shaking her whole body. It was fun, releasing. Then she stopped and played a note on the oboe. Guess what? It was perfectly straight. Controlled, easy, a good sound. The wobble was the thing that needed to happen. She needed to loosen up, to shake. It was no good resisting it - that just made the need for it all the more. Something in her knew it was the right thing, and it was going to get the message across somehow. Her head thought it knew better of course. “My note must not wobble”. And that thought was the thing stopping the transformation that was trying to happen.
Degree(s)/Training: BSc (York) in Physics, 30 years professional performing experience, PhD (Guildhall) in music performance anxiety (pending minor corrections, currently)
Language(s): English
Hours of operation & Timezone: UK

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