Page 106 - How to Shine on Stage

a task instead of on oneself (“decentering”), and supports the skill of ac-
cepting one’s own mistakes and one’s current level of artistry. Such ac-
ceptance is the result of learning about the functioning of the mind and
body and developing compassion for oneself (Neff, 2003).
In music, mindfulness meditation is the most frequently reported
strategy for achieving the optimal performance state. Numerous studies
have confirmed the usefulness of mindfulness practice in musical perfor-
104 mance (Chang et al., 2004; Hall Carlson, 2019; Lin et al., 2008; Moore,
2013; Shaw et al., 2020; Shorey, 2020).
Virginia Anne Farnsworth-Grodd and Linda Cameron (2013) found
that music students whose mindfulness is more expressed as a trait are
better able to cope with pre- performance thoughts and emotions. Fur-
How to Shine on Stage mindfulness has a positive effect on self-awareness and negative mood in
ther, Raquel Rodríguez-Carvajalet et al. (2017) report that dispositional

music students. As to the performance anxiety, it has been observed that
a stronger dispositional mindfulness in musicians lowers their level of
performance anxiety (Diaz, 2018). Steyn et al. (2016) have demonstrat-
ed that mindfulness practice for musicians with performance anxiety im-
proves their mental well-being. This aligns with the research confirming
the impact of mindfulness practice on the increase of well-being, positive
emotions, and life satisfaction, as well as on the development of mindful-
ness as a trait, and the reduction of stress and depression (Hribar, 2012).
Gallagher (2020) discusses mindful performance, stressing that the
optimal performance requires higher states of consciousness which al-
low the performer to calm their mind and focus exclusively on their per-
formance. His definition of performance mindfulness corresponds to
the presence of some dimensions of performance flow, namely the fu-
sion of attention with activity, complete focus on the task, and loss of
self-awareness.

Cognitive Restructuring
This is the stage where the perceived situational aspects are identified
and interpreted according to the performer’s knowledge and experience.
The meanings given to these perceived situational aspects evoke particu-
lar emotional responses. For example, the thought “They are already
here” can cause fear or delight, depending on the musician’s subjective
interpretation of this statement. The technique of cognitive reinterpre-
tation enables one to change one’s assessment of a situation and one’s
ability to cope with it. It facilitates reconsideration of the causes and con-
sequences of the experience of emotions, and the recognition of common