Detta arbetes syfte är att fördjupa kunskapen om den mentala förberedelsens betydelse inför musikaliska framträdanden bland konstmusikaliska blåsmusiker. Genom att undersöka hur professionella musiker agerar mentalt före, under och efter konserter är avsikten att isolera framgångsrika tankemönster och mentala strategier. I sökandet efter tidigare forskning och böcker fann jag att inte mycket forskning bedrivits på området. Jag har läst och sammanfattat ett antal böcker om vad nervositet beror på, samt olika mentala strategier för att hantera problematiken. Därefter har jag med kvalitativ intervju som metod intervjuat fyra professionella blåsmusiker i den konstmusikaliska genren.Ingen av de intervjuade ansåg sig använda några speciella mentala knep. Musikerna har i huvudsak lärt sig själva hur de ska förbereda sig på det mentala planet. Dock fann jag tydliga likheter mellan de tankar informanterna begagnade sig av inför musikaliska framträdanden, och de mentala strategier som presenteras i litteraturen på området.Studien är inte tillräckligt omfattande för att dra några generella slutsatser på området. Den visar dock på att mental förberedelse inte måste vara något främmande eller ”hokus-pokus” utan handlar om att tänka tankar som främjar individens musikaliska förhållningssätt. Den mentala förberedelsen är dessutom så välintegrerad i musikerns dagliga övande att det ibland kan vara svårt att skilja dem åt. / This work aims to increase knowledge of the mental preparation before important musical performances amongst art musical wind musicians. By examining how professional musicians operate mentally before, during and after the concerts, the intention is to isolate successful thought patterns and mental strategies. In the search for previous research and books, I discovered that little research has been conducted in this particular area. I have read and summarized a number of books that discuss the nature of being nervous, and various strategies that can be applied to deal with nervousness.Proceeding, while using the qualitative interview as a method, I interviewed four professional wind musicians in the art musical genre.None of those interviewed claimed to use any special mental tricks. The musicians have essentially taught themselves how to prepare on a mental level. However, I found a clear parallel between the thoughts respondents took advantage of before the musical performances, and the psychological strategies presented in the literature in the field.3The study is not extensive enough to draw any general conclusions in the field, yet indicates that mental preparation is not to be viewed as something alien, but rather a strategy in promoting the individual's musical approach. The mental preparation is so well integrated into the musician's daily practicing that it can sometimes be difficult to distinguish between them.

<p>Denna uppsats syftar till att få insikt i hur några högskolestuderande på klassisk gitarr och klassiskt piano som spelar solo upplever en konsertsituation. Huvudfrågorna har varit: Vad känner de? Har de några problem/svårigheter och i så fall hur beskriver de upplevelsen av detta? Detta har undersökts genom kvalitativa intervjuer med fem musikhögskolestudenter. Resultatet visar på att samtliga informanter upplever att de delvis påverkas negativt av nervositet i samband med en konsert. Nervositeten yttrar sig bland annat genom "fjärilar i magen", svettningar och negativa tankar innan konserten som handlar om att man inte är tillräckligt förberedd, att det kommer gå dåligt och att man skall spela fel. Under en konsert upplever de att de ibland har svårt att behålla koncentrationen och tankar på annat än musiken får fokus, t.ex. vilka som lyssnar, vad publiken tycker eller vad de skall äta till kvällsmat. Endast en av de fem intervjuade uttryckte att hon kände någon sorts glädje innan ett framträdande.</p> / <p>The purpose of this study is to investigate how university music students, playing classical guitar and classical piano, feel about a public performance. The main questions have been: What do they feel? Do they experience any difficulties and if so, how do they describe this? This has been examined by five interviews with music students at a university in Sweden.The results highlight that all of the informants feel that they are affected in a negative way by their nervousness. Signs of nervousness are butterflies in one's stomach, perspiration and negative thoughts prior to the actual concert situation. Those symptoms may deal with the idea of not being adequately prepared, a disastrous performance in general or simply playing wrong notes.During a performance they occasionally find it hard to stay concentrated, and thoughts about other things tend to get more focus: who is listening, what the audience will think or perhaps something as irrelevant as what the performer wants to eat for supper. Only one of the informants expressed that she felt a certain type of positive excitement about getting on stage before a concert.</p>

Denna uppsats syftar till att få insikt i hur några högskolestuderande på klassisk gitarr och klassiskt piano som spelar solo upplever en konsertsituation. Huvudfrågorna har varit: Vad känner de? Har de några problem/svårigheter och i så fall hur beskriver de upplevelsen av detta? Detta har undersökts genom kvalitativa intervjuer med fem musikhögskolestudenter. Resultatet visar på att samtliga informanter upplever att de delvis påverkas negativt av nervositet i samband med en konsert. Nervositeten yttrar sig bland annat genom "fjärilar i magen", svettningar och negativa tankar innan konserten som handlar om att man inte är tillräckligt förberedd, att det kommer gå dåligt och att man skall spela fel. Under en konsert upplever de att de ibland har svårt att behålla koncentrationen och tankar på annat än musiken får fokus, t.ex. vilka som lyssnar, vad publiken tycker eller vad de skall äta till kvällsmat. Endast en av de fem intervjuade uttryckte att hon kände någon sorts glädje innan ett framträdande. / The purpose of this study is to investigate how university music students, playing classical guitar and classical piano, feel about a public performance. The main questions have been: What do they feel? Do they experience any difficulties and if so, how do they describe this? This has been examined by five interviews with music students at a university in Sweden.The results highlight that all of the informants feel that they are affected in a negative way by their nervousness. Signs of nervousness are butterflies in one's stomach, perspiration and negative thoughts prior to the actual concert situation. Those symptoms may deal with the idea of not being adequately prepared, a disastrous performance in general or simply playing wrong notes.During a performance they occasionally find it hard to stay concentrated, and thoughts about other things tend to get more focus: who is listening, what the audience will think or perhaps something as irrelevant as what the performer wants to eat for supper. Only one of the informants expressed that she felt a certain type of positive excitement about getting on stage before a concert.

The purpose of our study is to find out how teachers can help their students to learn how to managestage fright. By interviewing high school teachers and high school students and also observe one oftheir classes, we wanted to find out how they think about the causes of stage fright and what youcan do to relieve it. We also wanted to find out how teachers are working to teach students how todeal with stage fright, and how they think that you also could work. As a teacher of music, among other things, the task is to assess and rate the students performancesin music. Several components are based on the students' courage to play on his or her instrument infront of other people. Those who suffer from stage fright find this in many cases hard, which bothinhibit the student's development and hampers the assessment for the teacher. It is assumed, however, implicit in the curriculum of music that stage fright does not exist or that students have thetools to manage it. We want our work to provide an input into how teachers in high school can work with stage frightwith their students and we believe that teachers in other subjects also can use this. There is some research on how to deal with stage fright as a musician, but a lot comes from thesport which for a long time has studied how to perform best under pressure. The results of our studyshow that stage fright can be caused by several things, and that there are also several ways to learn how to manage it. For example, to be well prepared and gain greater self-awareness. Much is basedon strengthening self-esteem and make sure the teacher sees each student's needs. But theinterviewed teachers also feel that they lack skills and education in the area, and they base their thoughts only on their own empirical data.

In addition to the written report, my debut album The Light of Christmas is included in this Master thesis. The album was released 15th. November 2014 and it was a success. I worked as an artist and as a producer in this album project. The album consists of thirteen songs. It includes three different Ave Maria songs from Schubert, Bach-Gounod and Caccini and other Mary songs in Finnish (Kalliokoski, Reger) and in Swedish (Hahn). I also recorded traditional Finnish Christmas songs. The written report of this thesis describes the most important part of this project, the production of the CD from the beginning till the end. The artistic self-esteem is also in focus. My instrument, voice, is in me. It develops all the time. It is never the same. I needed to accept this fact and believe in my skills as a professional singer. I am a mentally stronger singer today than I was a year ago. I believe in what I am doing and I also believe in my future as a professional singer. The feedback from my album supported me as an artist and in my career. / <p>Appendice;</p><p>Bilaga: 1 CD - The Light of Christmas</p>

Dette prosjektet følger min egen innstudering av et krevende musikkstykke for solo- fiolin, for å se det i sammenheng med en offentlig konsertopptreden. Formålet er at jeg skal spille avspent og med mer tilstedeværelse, dette ved å ta de rette valgene i innstuderingen. Tidligere erfaringer med konsertsituasjonen har gitt meg dårlige opplevelser preget av nervøsitet. Å jobbe mer strukturert i innstuderingen viste seg å ha positiv effekt på min fremførelse, og jeg tror denne studien vil være til hjelp for andre med liknende utfordringer. / This project follows my learning process of a difficult piece of music for solo-violin, to find its correlation with a public concert performance. The purpose is to play relaxed and with more presence, by taking the correct choices in the process of learning. Previous reviews of the concert situation shows bad experiences, with nervousness. Working with a more systematic learning process had positive impact on my performance, and I think this study may help other people with similar challenges.

This work is a discussion between myself and a couple of different professionals in the opera industry about stage fright, the importance of preparing and the positives and negative with preparing in different ways. The essay explains the different types of auditions with focus on auditions for scholarships and how to adapt to the statutes of the scholarship without losing your artistry. It ends with a recollection of my five latest large auditions, how they went and my reflections on the result versus my preparations. They also conclude how I can work specifically moving forward since the results were vastly different with the different levels of preparation.

Detta arbete syftar till att fördjupa kunskapen om hur violin- och violalärare kan arbeta för att ge sina elever som utövar klassik musik möjlighet att minimera stress och nervositet i samband med provspelning och konserttillfälle. I bakgrundskapitlet presenteras orsaker till samt förebyggande åtgärder för att hantera stress. Dessutom redogörs för musikdidaktiska perspektiv på instrumentalundervisning. Studien har genomförts med kvalitativ intervju som metod. Fyra lärare och musiker har intervjuats. Resultatet i studien styrker tidigare forskning då flera teman är likartade. Dock framkommer nya infallsvinklar på orsaker till stress i resultatet. En av de mer avgörande anledningarna till studenters ökade stressfaktor tydliggörs som avsaknad av mental och praktisk förberedelse. Elevens brist på att se inlärning i en långsiktig process med en utvecklingskurva som inte alltid går parallellt med förväntningarna är en annan orsak som enligt resultatet kan leda till ökad stress. I den förebyggande stresshanteringen betonas vikten av den praktiska förberedelsen som innefattande tekniskt hantverk, övningsmetodik samt att öva på konsertvana inom ramen för gemensam lektion. Vikten av att vara mentalt förberedd för situationen understryks ha betydelse i den förebyggande stresshanteringen. / The purpose of this study is to develop an understanding in how violin teachers can work to provide their students the opportunity to minimize stress and anxiety related to auditions and concerts. In the previous research presented in the background, clear causes and preventive measures to deal with and prevent stress are described. The quantitative interview was the method of the study. Four musicians and teachers were interviewed. The previous research is confirmed by the result that is described in themes by the informants. However, new perspectives on the causes of stress are outlined in the result. One of the more important reasons for an increased stress factor in students is clarified as the absence of mental and practical preparation. A lack in regarding learning as a long term process on behalf of the students, which does not always run parallel with expectations, may lead to increased stress. The importance of the practical preparation includes technical craftsmanship, practice methods, and to practice the concert experience. The importance of being mentally prepared for the situation is a preventive action against stress. The mental preparation before the concert situation, can include relatively simple things like knowing how the room looks like, and that the student has created an image of the audience. Practice in entering the stage, in addition to a presentation approach, are also important factors in reducing stress.

No description available.

Syftet med denna studie är att undersöka om mental träning kan vara till hjälp för att minska nervositet vid musikaliska framträdanden samt öka medvetenhet kring kroppen och det mentala. I bakgrundskapitlet förklaras vad mental träning är, relevanta begrepp,  tidigare forskning inom området samt det valda perspektiv för studien. Sedan förklars den valda dokumenteringen, loggbok och ljudinspelning, det specifika mentala träningsprogram beskrivs samt när och var det har utförst. Analysen påvisar att stress och oro upplevs, i början av studien handlar det om yttrefaktorer som tid, lokal, omgivning. Senare i studien minskar oro och stress dock förskjuts den till prestation inom skola och instrumentspel. Specifika upplevelser och reaktioner beskrivs, både kroppsliga och mentala. Till sist påvisas det om den mentala träningens påverkan på musicerande. I diskussions delen problematiseras ljudinspelning och den valda loggboksstruktureringen. Sedan diskuteras även föskjutningen av oro och stressn som sker under studien, solo jämfört med orkester samt medvetenheten kring kropp och det mentala. / The purpose of this study is to investigate whether mental training can be helpful in reducing nervousness in musical performances as well as raising awareness about the body and the mental. The background chapter explains what mental training is, relevant concepts, previous research in the field and the chosen perspective for the study. Then the selected documentation, logbook and audio recording are explained, the specific mental training program is described as well as when and where it has been performed. The analysis shows that stress and anxiety are experienced, at the beginning of the study it is about surface factors such as time, local, environment. Later in the study, anxiety and stress decreases, however, it is shifted to performance in school and instrumental games. Specific experiences and reactions are described, both bodily and mental. Finally, it is demonstrated about the influence of mental training on music making. In the discussion section, audio recording and the selected logbook structure are problematic. Then we also discuss the shifting of the anxiety and stress that occurs during the study, solo compared to the orchestra as well as awareness of the body and the mental.