All performance nerves articles – Page 2
-
Focus8 ways to combat negative thoughts on stage
How to banish your inner demons from The Strad's Archive
-
Premium ❘ FocusThe secrets of violinist Dorothy DeLay's teaching methods
Violinist Piet Koornhof witnessed Dorothy DeLay's extraordinary teaching skills as one of her students at the Juilliard School in New York. In 2001 he analysed what made her method so successful
-
Premium ❘ FeatureMe and my teacher: Dan Styffe and Gary Karr
The double bass virtuoso taught Styffe how to control the pressures of the world outside the teaching studio
-
FeatureAsk the Experts: should players separate technique and musicality in practice?
A violinist asks if players should separate technique and musicality when preparing a piece for a performance, and if there is a strategy that can help combat performance nerves
-
BlogsThe 5 steps to natural stage presence
Cellist and workshop leader Ruth Phillips explains how yoga and meditation liberated her from the prison of stage fright
-
Focus10 views on the benefits of slow practice
Debate on how best to harness slow practice from The Strad Archive
-
BlogsPlaying the violin places constant strain on the body, yet we leave posture to chance
A holistic approach to teaching should treat healthy body position as seriously as scales and etudes
-
Blogs6 mindfulness techniques for music teachers
Mindfulness is an invaluable tool for teaching students how to concentrate on-stage, improve awareness in the practice room, play pain-free, and move on from disappointing auditions or performance experiences, writes Dr. Travis Baird
-
Blogs9 ways for musicians to think like top athletes
Carole Talbot-Honeck earned her Masters degree from The University of Ottawa studying the psychological prerequisites for optimal musical performance. Here, she outlines a number of sporting attitudes, which are of equal value to musicians
-
FocusConquering performance nerves: starting well and keeping tempo on track
Brian Hodges answers student questions on coping with stage fright
-
BlogsConquering performance nerves: sweaty hands, losing bow grip
Brian Hodges answers student questions on coping with stage fright
-
BlogsBecoming a better and happier musician through mindfulness and yoga
Violinists Elena Urioste and Melissa White’s musical lives have been transformed by yoga, finding both body and mind freer and more resilient against the rigours of life as a professional musician
-
ArticleHow I manage my nerves on stage: violist Tabea Zimmermann
The German violist reflects on managing self-doubt, concentrating on the positive and breathing
-
BlogsConquering performance nerves: staying focused on stage
Brian Hodges and Diana Allan answer student questions on coping with stage fright
-
FocusIs popping pills the sure way to beat performance nerves?
In this article from The Strad August 2010, Catherine Nelson talks to musicians and medical experts about the risks and benefits of using beta-blockers to overcome performance anxiety, and why their use is still such a sensitive subject
-
BlogsHow do I overcome the fear of not being good enough?
Brian Hodges and Diana Allan answer student questions on coping with stage fright
-
BlogsConquering performance nerves: how can I become more comfortable during lessons?
Brian Hodges and Diana Allan answer student questions on coping with stage fright
-
Blogs5 things you need to succeed as a musician
Northwestern University viola professor Helen Callus describes the combination of skills necessary to succeed as a musician - talent being just one in a mixture of abilities
-
ArticleShould orchestral musicians be fearful of their conductor?
Explore more Featured Stories like this in The Strad Playing Hub People would still have nervous twitches when they came to certain passages because the conductor was such a tyrant and so mean spirited. Ten years later they still had a physical reaction.' Conductors and orchestral musicians speak about ...
-
DebateInstrumental teachers should discourage competition among their students
It's worth managing pressures in the early stages of a musician's development, argues Naomi Yandell
- Previous Page
- Page1
- Page2
- Page3
- Page4
- Next Page