Abstract
Music Performance Anxiety (MPA) is a complex phenomenon associated with continuous apprehension toward musical performances. Manifestations of MPA may result in somatic, behavioral, or cognitive symptoms. With as many as 50% of musicians reporting MPA symptoms severe enough to interfere with the quality of their performances (Kenny, 2011), it is apparent that the continued research into this phenomenon could benefit the affected population. Research has identified a number of underlying causes for the development of MPA, including biological, cognitive, environmental, and behavioral factors. Similarly, several studies have explored the effectiveness of various treatments in reducing the experiences of MPA for affected individuals. In her book Music Performance Anxiety: A Comprehensive Update of the Literature, Brugués (2019) has collated and analyzed a range of studies investigating the MPA phenomenon, its potential developmental triggers, and treatments, thus, providing an efficient resource from which educators, researchers, and inquisitive performers can access findings from MPA research.
Brugués (2019) analyzes literature relevant to the MPA phenomenon classified by epidemiology (e.g., child, adolescent, instrumental, and singing populations), methodological approaches, intervention (e.g., behavioral, cognitive, and drug interventions), and concept—how and why MPA occurs. Throughout the publication, the relationships between differences in age, gender, and performance conditions in the experiences of MPA are explored. In addition, predictors of MPA, its correlations with other anxiety disorders, and various coping strategies are discussed. Overall, this review analyzes 171 related studies, their similarities and differences are discussed, and further research recommendations are posited.
Brugués (2019) appears to approach MPA from a clinical perspective. Her principal argument revolves around the essentiality of the correct use of the term “Performance Anxiety” rather than “stage fright” to differentiate between clinical and non-clinical diagnoses of performance anxiety symptoms. She argues that while the term “stage fright” refers to a normal state experienced by 80% of the population during live performance, “Performance Anxiety” is a “pathological disorder and necessitates treatment.” Furthermore, Brugués applies Evidence-Based Medicine (EBM) criteria throughout her analysis, consequently suggesting that due to its clinical nature, studies should meet EBM (or similar) quality standards to assist or direct treatment of MPA for patients.
This book succeeds in providing an efficient reference text to which current and future researchers, performers, and educators can refer to gain an, at least, initial overview of MPA literature. Each subsection of research is initiated with a table detailing the reference information for the included studies, their EBM evaluation, and criteria. Following this, each of the studies are displayed on another table which identifies the study type/design, methods used, and the conclusions drawn from the study. These tables ensure that readers, including any future researchers, have an immediate resource from which to identify and assess studies relevant to their area of interest. Furthermore, the use of EBM criteria to classify the assessed studies illuminates areas for further research within each subsection. Brugués contributes to the identified research gaps with additional personal recommendations in most subsections. Finally, the various scales utilized throughout the analyzed studies are reported in the conclusion of the book. This provides a detailed overview of potential measurement tools that might be used in future studies.
One aspect of the book that could be improved would be to (a) detail the inclusion criteria by which studies were incorporated in the analysis and (b) describe which research techniques were implemented to locate these studies (e.g., what keywords were used in searches and which online search platforms—if any—were used). It would also be beneficial for the author to have further defined the parameters for each section or subsection. A simple paragraph at the start of each section detailing the research parameters and inclusion criteria would provide greater clarity for the reader. In addition, the book unfortunately contains several grammatical and spelling errors which distract from the text and potentially undermine the quality of the work.
In conclusion, Music Performance Anxiety: Comprehensive Update of the Literature is a well-researched book which offers an efficient introduction to publications relating to MPA. This book comprises a succinct compilation of studies which have investigated the effect and experience of MPA for specific populations, the efficiency of MPA treatments. The book also highlights potential vulnerable traits that may lead to the development of MPA in musicians. Moreover, this book offers MPA researchers, performance practitioners, and educators an accessible resource from which to better understand the phenomenon of MPA.
In terms of her background, Dr Ariadna Ortiz Brugués is a medical doctor (dermatologist) and violinist. She graduated her medical studies at Harvard Medical School, attained a degree in Violin at the Conservatorio de Música de Sevilla, and completed her PhD in MPA at the Albert-Ludwigs Universität Freiburg in Germany. She also graduated from the conservatory of Music Manuel Castillo and the Academia de Estudios Orquestales Barenboim-Said. In addition, Dr Brugués is a member of the World Doctors Orchestra. The diversity in her academic training, coupled with her experiences as a musical practitioner, has led to her contributing to scientific publications on subjects relating to both medical issues and music performing anxiety.
