Page 100 - How to Shine on Stage

are helpful or harmful to performance. Hanin (2007) distinguishes be-
tween positive emotional states (relaxed, pleasant, carefree) and nega-
tive emotional states (tense, angry, wild). Both can function positively or
negatively.
Emotion self-regulation has been linked to the Individual Zone of
Optimal Performance (IZOF) in sports by Robazza and Montse C. Ruiz
(2018). Recognizing both aspects is highly important in music. When we
98 talk about the emotions involved in musical performance, we are mostly
talking about stage fright or performance anxiety. Similarly, most stud-
ies on emotion regulation in musical performance have focused on the
regulation of performance anxiety (Khodabandeh et al., 2021).
Only a pilot study has been conducted regarding musical perfor-
How to Shine on Stage mance in relation to the IZOF model, namely in pianists (Yao, 2016). It
confirmed that the IZOF is also applicable to music performance, as it
helps musicians to recognize the states within/outside the optimal per-
formance zone. The IZOF model is based on a retrospective method
which allows an individual to recall previous own performances and re-
port on the corresponding sensations during these performances (Ha-
nin, 1986; 1989). The retrospective results are used to measure and
determine the optimal performance zone of the individual performer.
Once this zone is determined, the quality of future performance can be
predicted based on the emotional and physical states of the individual.
Knowing one’s own optimal performance zone helps one cultivate the
optimal physical and psychological state for one’s own optimal perfor-
mance (Yao, 2016).

2.2.4. Thoughts
Our beliefs, viewpoints, and mindset regarding performance form the
foundation for the regulation of our pre-performance thoughts. The
physical and emotional manifestations of pre-performance excitement
are directed towards success or failure as a result of the interpretation of
what is felt. If a musician attributes a positive role to felt sensations, this
means that they are aware of how they can harness what they feel phys-
ically and emotionally to optimize their performance, which enables
them to move towards musical success and to accept their experiencing
of performance-related sensations as a challenge. If, however, these sen-
sations are attributed a negative role and are perceived as a threat, then
the musician is moving towards musical failure. A common occurrence
at the thought level is catastrophizing: anticipation of all the negative
things that could potentially happen in a performance. These often-irra-