Page 91 - How to Shine on Stage

physiology, kinesiology) as well as various Eastern philosophies. In the
study of BMC, one learns about one’s body systems, such as cells, skele-
ton, ligaments and muscles, organs, endocrine system, nervous system,
body fluids, fascia, fat, and skin. One also learns about the dynamics of
perception; breathing and vocalization; and integration of the mind and
body. The BMC method is also taught at the Academy of Music of the
University of Ljubljana and is led by Dr. Ilonka Pucihar.
Central to all these methods is that they approach the pursuit of
overall well-being by focusing on achieving physical well-being, which 89
is in turn reflected in emotional and mental well-being (Hartley, 1995).

2.2.3 Emotions

2.2.3.1 Positive and Negative Emotions During
Performance
Musical performance triggers a wide range of emotions; from those that
we experience as positive to those that we experience as negative. With
regard to emotions in performance, we need to focus on both the valence
(positive, negative) and the intensity of the emotions (weak, strong). Com- Direct Factors of Musical Performance Success
pared to other types of performance (e.g. sports, surgery, piloting, etc.)
where the content of the performance itself never holds much inherent
emotional charge, the content itself in music performance is emotionally
charged. Specifically, the character of a piece contains a variety of emo-
tional content which the musician must be able to relive and, through
their expression in performance, convey to the audience as convincingly
as possible. Here lies a similarity with dancers and actors, whose perfor-
mances also reflect strong emotions. Such performances pose a paradox-
ical challenge, since they require of the performers to simultaneously
surrender to their emotions in order to convey the message as convinc-
ingly as possible, while not becoming overwhelmed by them, and to con-
trol their own pre-performance excitement. Thus, musical performance
entails a double emotional burden: the performers have to balance the
emotions that arise from the music itself and their own emotions that
arise when they perform.
Frequently, a broad spectrum of positive and negative emotions
of varying intensities emerges before, during, and/or after the perfor-
mance. The musician is excited to take to the stage, anticipating the
course of the performance, but at the same time fearful of mistakes, sur-
prised by unpredictable factors on stage, ashamed, disappointed, and
guilt ridden if they do not manage to perform the piece to the best of
their skills and abilities.