Page 112 - How to Shine on Stage

orders and addictions develop as a result of the stressful nature of the
music profession. Ostwald (1987) and Ostwald and Avery (1991) have
presented a number of case studies of such disorders and suggested ade-
quate treatment methods.
Parasuraman and Nachman (1987) had 65 orchestra members com-
plete a questionnaire concerning the importance of various factors in
commitment to the orchestra and involvement in the music profession.
110 The predominant factors of commitment to the orchestra were higher
age, and the conductor’s consideration and support. The main determi-
nants of professional involvement were full-time, regular employment,
and individual involvement in work. Stress has reduced both types of
involvement and prompted strong thoughts about quitting. The rec-
How to Shine on Stage improvement of the conductor-musician relationship, and the strength-
ommended actions to reduce stress were organizational interventions,

ening of work commitment.
Special symphonic orchestra advisors have emerged to assist in
managing various stress factors within orchestras. Their expertise en-
compasses resolving conflicts in the conductor-musician relationship,
addressing disputes among different orchestral sections, alleviating dis-
satisfaction with the programme director, and navigating situations
where orchestra members are considering accepting alternative job of-
fers (Gabrielsson, 2012).
Even pop musicians perceive their lives as highly stressful. In addi-
tion to performance anxiety, they identify the following stress factors: too
much work, sleep deprivation, strenuous travel (touring), social isolation
during touring, tension between professional obligations and social en-
gagements, occupational insecurity, fear of competition combined with
feelings of self-doubt and depression, conflicts with other band members,
managers and record companies, and drug addiction (Raeburn, 1987).
Lastly, let’s turn our attention to the experience of stress in music
academy students. Interestingly, very little research has been produced
in this area. The focus of most of them has been on the main stress-
or, performance anxiety, with a noticeable shift towards examining flow
and psychological well-being in the last few years.
Wesner et al. (1990) reported that 21% of music students at the Uni-
versity of Iowa School of Music experienced noticeable pre- performance
stress, 40% experienced moderate stress, 9% of students often avoided
performance opportunities due to anxiety, and 15% of students sought
professional help. Music students reported performance anxiety, over-