Customer Reviews

Stage Fright in Music Performance and Its Relationship to the Unconscious

5 star:		(13)
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1 star:		(3)

 

 

If you need to be convinced your stage fright is caused by unresolved conflicts from childhood, then this book might do something for you. For me, the anecdotal cases discussed by the author were blatantly obvious problems. I can not believe that all cases of stage fright boil down to the few simplistic examples given. In one case, I wondered how a person with the mean childhood described could play music at all.
There is a lengthy and repetitive discussion of some physiological information about the chemicals released in the body during an attack of anxiety. Knowing the name of the chemicals making me miserable is not very useful. What I want to hear is what to do about it, and this book offers no specific techniques for handling the problem.
Generalized suggestions are put forth about consulting psychologists (you could read a book just on how to avoid useless practitioners in that field), doing yoga, meditation, or Rolfing (ditto). Curiously, the Alexander technique is not mentioned. The author suggests working on one's personal performance anxiety could take years, and generalizes profusely in this vein. I think this might be realistic, but not encouraging unless one needs a push toward consulting a shrink or a professional coach. Not everyone has deep-seated problems requiring a therapist.
There are other books available that offer some useful things you can try to mitigate or eliminate performance anxiety.

Michael's book covers new aspects concerning stage freight. His clear and concise explanations demystify a confusing and frustrating component for most who perform. His book points out the importance of supportive mental perspectives for ourselves and our students. It is vital to understand the role our mind and previous experiences play in performing. As an active performer and someone who is helping to train future teachers, I find Michael's ideas and perspective very helpful to myself and my students.

Michael Lanier
University of West Georgia

This young man's book and website [...] deserve your SERIOUS perusal.

Mike Goode's research and willingness to share his experiences are invaluable to performers who suffer from performance anxiety as well as teachers who must assist their students with coping with it.

Even those who are assisting students with taking standardized tests (such as SAT, MCAS, ACT, etc) and those preparing business presentations may find this to be helpful, since performance anxiety is not limited to the performing arts.

I highly recommend that you check out his website, and buy his book! (It will get lots of use if you are a teacher, whether of music, drama, dance or speech!)

A VERY INFORMATIVE BOOK 5 -stars

I have learned a lot from Michael Goode's book about stage fright. He really goes in to detail about what happens
when you get performance anxiety and has very interesting stories about what happens to people who have it.

I have gained a lot of insight from this book and highly recommend it to anyone. It is a great resource book on the
topic.

This investigation of stage fright points out how powerful and potentially devestating it can be.

Michael has studied the basic science of the biochemical, psychological and physiological causes of stage fright to frame the problem in a scientifically accurate way.

He then briefly introduces some of his professional experience in slight disagreement with one of the previously accepted analysis of quality. p.33

Various documented ideas and methods of overcoming stage fright are introduced.

Sadly, these ideas and techniques are rarely taught or studied as a part of most musical training.

The first is the idea of being as a child at play. This is a very powerful tool. Watch a child at play. Their performance is at a very high level with little or no thought of obstacles. This idea is the most fundamental in reframing one's mind.

Then after mechanical achievment can come the idea of focusing on the emotional message and story of the music itself. This is the begining of having your soul in your music. As Michael says on page 41:"its something that becomes quite thrilling"...
As his teacher, Bud Herseth said: "Man alive, what a kick this is!"

This is the transition from mechanical playing to spiritual ecstacy. Many call it paradise! Only the great musical artists have learned this rare tool and Michael gives you the knowledge of this gift in just a few pages. Read it again and again and again, then do it! Michael's book is worth at least a hundred thousand times its weight in flawless diamonds.

BRAVO!!! BRAVO!!! BRAVO!!!

This book was very disappointing for me. I didn't learn any new strategies for coping and I'm debating whether I really should keep it in my library. But then again I'm not 100% certain my issues are stage fright since I get the dizzy spells in other situations and have a heart rhythm issues. All I know is that doctors are clueless about musicians and all they want to do is prescribe medicine. He doesn't explore the physical causes. There is so much more he could have explored in this book.

The issues I have struggled with drove me away from the goal of being a professional symphony musician. I worked extremely hard and this hit me in my 20s after graduate school. The symptoms first hit me in other situations before it hit me on stage and the fear of the symptoms is part of the issue. One thing I do know is that exposure to certain perfumes will send my heart racing like mad and that is not something I want to have on stage. Please revise this book and give more details and strategies. People who buy a book like this are seeking solutions.

As a professional musician and educator trained in psychology, I find this book VERY well written, insightful, and relatable. I have read this book many times, and each time find new pieces of information I can use - whether performing on stage, talking in front of a large group of people, or participating in any event that can cause anxiety. Mr. Goode is an expert in his field, and the way he weaves together psychology and music is natural, yet ingenious. This book is a must read for anyone who has trouble finding the courage to perform in any type of setting. This is also a great book for educators wanting to help students with performance anxiety. Bravo!

In "Stage Fright," Michael Goode provides an entertaining and informative integration of the psychology and physiology underlying performance anxiety. This is a highly readable resource that should provide reassurance and direction to the many performers who suffer from this disorder.

Even though I never really felt I had stage fright I would get more anxious then I would like to admit before a big performance. This book gave me some very good insight into what may cause the anxiety and some extremely helpful tips to help solve the problem.

Recommended to anyone who has anxiety problems and wants to know they are not alone and there are things they can do to help solve the problems.

The Stage Fright book has helped me to be a more thoughtful teacher to my young students. The stories in the book illustrate the many ways that students, young and old deal with inner turmoil and anxieties as they try to perform.

This is a good book to start with as an artist starts down the path of unraveling the demons of our unconscious that prevent many of us from performing at our best.