Klarinet Archive - Posting 000024.txt from 1995/02

From: Josias Associates <josassoc@-----.COM>
Subj: Re: Nerves (Further Response to Lori Grishams's Posting)
Date: Wed, 1 Feb 1995 17:54:17 -0500

On Mon, 30 Jan 1995, Ed Browning wrote:

> I am a firm believer that one very effective anxiety control method is active
> participation in the Toastmasters organization. The same mechanisms that
> interfere with ones music performance are at work in public speaking
> performances. The training and constant speaking situations of Toastmasters
> help curb those undesirable symptoms in your music performances. Very
> effective!
> Ed, ebrowning@-----.com
> Member: acmp-list@-----.EDU (Amature Chamber Music Players)
> klarinet@-----.bitnet (Clarinettist's Network)
> Jackson Symphony Orchestra
> Jackson French Quarter Dixieland Band

There seems to be logic behind Ed Browning's idea that developing poise
through active participation in public speaking should be a good way to
control music performance anxiety. However, while it may work for some
people, public speaking ability didn't work for me.

When I first started public solo performances of music, I had
already been something of an accomplished public speaker and was
convinced that my public-speaking poise would translate into playing
poise. What happened instead was that, in my initial solo performances,
public speaking skills notwithstanding, I had become something of a basket
case, with virtually uncontrollable nerves.

Over the years the problem was brought under control, but my
public-speaking experiences had nothing to do with it. Since I don't
have the proper psychological training, I can only guess why public
speakers don't always automatically become instantly poised and confident
solo music performers.

One theory is that presentations by public speakers tend to be
relatively unique and less subject to comparison (at least in the eyes
of the speaker) than a performance of a musical solo that has been
performed often by others in the past.

Many of the suggestions offered by other Klarinet correspondents
seem to make a lot of sense. Some relate to methods of visualization of the
audience as a body of friends or well wishers. Perhaps the Toastmasters'
Club can help in that area.

One of the suggestions that was posted supported experiences that
helped me. That suggestion was to perform frequently, such as
having preview performances for friends, neighbors, and relatives.
The more one performs in such friendly environments, the less one
tends to have anxiety problems.

Chamber-Music Workshops that provide daily public performance
outlets can be a big help. There are usually a number of kindred spirits
in attendance suffering from performance anxiety who assist each other with
little tips and discoveries of obvious things, like laying off coffee
before the performance.

Well-run music workshops, which have evolved from university
music school environments, seem to recognize the importance of the anxiety
factor, and their coaching staffs are often asked to be sensitive to players
who have not yet overcome their stage fears. The following is an excerpt
from a philosophy statement written in 1966 by Floyd Glende, founder of the
Workshop of the Humboldt State University, Arcata, California
(the prototype workshop that was to become a model for many others on the
west coast) in which the problem of performance anxiety is acknowledged
and recognized:

".........If one is to be a true chamber music lover, one would be
interested in listening to others perform. The workshop has afforded the
player such an opportunity through its daily programs -- when the
participants play for each other. Hearing each other not only increases
one's awareness of the literature, but helps to satisfy a need felt by
the performer. This need has certainly been recognized by the staff. The
individual wants to be heard -- regardless of frequent and often strong
nervous tension.........."

Connie

Conrad Josias
La Canada, California