MPA4. Beyond the Individual: The Social and Environmental Factors of Music Performance Anxiety

In the previous post, we explored how individual traits (such as personality and cognitive tendencies) can contribute to music performance anxiety (MPA). However, MPA does not exist in isolation within a performer’s mind. Social and environmental factors play an equally significant role in shaping a musician’s experience of anxiety on stage. This post examines how external influences, including audience dynamics, social expectations, and performance settings, impact the intensity of MPA.

The Role of Audience Presence and Perception

It is well established that performing in front of an audience can dramatically heighten anxiety levels (Fancourt et al., 2015). The mere presence of an audience, even when supportive, can create a pressure-filled environment where musicians feel scrutinized. This effect is further intensified when performers interpret audience reactions—whether real or imagined—as critical.

Theories such as Zajonc’s (1965) Social Facilitation Theory suggest that the presence of an audience enhances performance in well-rehearsed tasks but impairs performance in complex or new tasks. This means that for musicians who are still mastering a piece, an audience can exacerbate performance difficulties. Furthermore, Clark and Wells’ (1995) cognitive model of social anxiety posits that individuals with high social anxiety are more likely to engage in self-focused attention during performances, heightening their perception of scrutiny and negative evaluation.

Social Expectations and Cultural Pressure

Performance anxiety is not merely a psychological phenomenon, it is also deeply embedded in cultural and societal expectations. Classical musicians, for example, often operate within a culture that prioritizes technical precision and historical fidelity, leading to a fear of making mistakes (Kenny, 2011). Similarly, competitive environments, such as conservatories and professional auditions, can foster an atmosphere where anxiety is amplified due to high stakes and peer comparison (Williamon & Thompson, 2006).

For musicians who derive their self-worth from external validation, societal expectations can be particularly burdensome. Studies have shown that performers who base their self-esteem on achievement are more susceptible to MPA (Papageorgi et al., 2010). In contrast, those who adopt a growth mindset—viewing mistakes as learning opportunities—tend to experience lower levels of performance-related stress (Dweck, 2006).

Performance Setting and Environmental Triggers

The physical setting of a performance can also influence MPA levels. Factors such as lighting, stage layout, acoustics, and even temperature can affect how comfortable a musician feels on stage. Additionally, the format of the performance (whether it is a solo recital, chamber music setting, or a large ensemble concert) can determine the intensity of anxiety experienced (Biasutti & Concina, 2014).

For instance, solo performances often induce higher levels of anxiety compared to ensemble performances due to the lack of shared responsibility. Conversely, ensemble settings may introduce social anxiety related to peer judgment, particularly in hierarchical musical groups where musicians are concerned about how they are perceived by their colleagues and conductors (Spahn et al., 2016).

Mitigating Social and Environmental Influences

Understanding the external factors that contribute to MPA allows for the development of targeted strategies to manage anxiety. Some effective approaches include:

Cognitive Reframing: Encouraging musicians to shift their focus from perceived judgment to personal artistic expression.
Gradual Exposure: Practicing in increasingly high-pressure environments to desensitize the performer to audience presence.
Environmental Control: Making adjustments to performance settings (such as stage positioning or pre-performance routines) to increase comfort and reduce stress.
Social Support Networks: Building a supportive community of mentors, peers, and coaches who foster a constructive rather than critical performance environment.

Looking Ahead

While individual traits and environmental factors both play crucial roles in MPA, the interplay between these elements is complex. The final post in this series will examine how interventions (ranging from cognitive-behavioral strategies to performance coaching) can help musicians manage and ultimately thrive despite performance anxiety.

References

Biasutti, M., & Concina, E. (2014). The role of coping strategies in predicting music performance anxiety. Musicae Scientiae, 18(2), 189-202.
Clark, D. M., & Wells, A. (1995). A cognitive model of social phobia. Social phobia: Diagnosis, assessment, and treatment, 69-93.
Dweck, C. S. (2006). Mindset: The new psychology of success. Random House.
Fancourt, D., Williamon, A., Carvalho, L. A., Steptoe, A., & Dow, R. (2015). The psychoneuroimmunology of music: Modulation of psychological state and immune response. Annals of the New York Academy of Sciences, 1337(1), 193-201.
Kenny, D. T. (2011). The psychology of music performance anxiety. Oxford University Press.
Papageorgi, I., Hallam, S., & Welch, G. (2010). A conceptual framework for understanding performance anxiety in musicians. Psychology of Music, 38(1), 3-25.
Spahn, C., Strukely, S., & Lehmann, A. (2016). Health conditions, attitudes towards study, and attitudes towards health and performance anxiety among music students. Medical Problems of Performing Artists, 31(1), 37-43.
Williamon, A., & Thompson, S. (2006). Awareness and incidence of health problems among conservatoire students. Psychology of Music, 34(4), 411-430.
Zajonc, R. B. (1965). Social facilitation. Science, 149(3681), 269-274.

Anna Harrison - Violinist