Mental Preparation for Piano Performance Using Principles of Aikido

Thesis (D.M.A.)--University of Washington, 2016-05

University of Washington ABSTRACT Mental Preparation for Piano Performance Using Principles of Aikido Harumi Makiyama Chair of the Supervisory Committee: Professor Craig Sheppard School of Music Although much has been written about Music Performance Anxiety (MPA), very few of its many definitions and treatments can be holistically applied. Indeed, there is only limited reference to MPA in the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders [DMS-IV TR (text revision)].[1] Broadly speaking, “MPA is considered a product of the interaction between fearful thought, autonomic arousal, and behavioral responses to a perceived threat,”[2] a “debilitating stress that has probably been around for as long as there have been musicians.”[3] For these reasons, this thesis looks for answers in ancient wisdom, the Shinto[4] and Zen bases of the Japanese martial art of Aikido, which directly translates to “The Way of Harmony,” for an innovative step-by-step approach to literally take the mental and physical violence out of MPA. Aikido is the refinement of a centuries-old quest to effectively deal with perceived internal and external threats - fear, anxiety, and ego - in an effort to reach a Zen state of awareness through its practice in everyday life. This holistic approach to the unification of mind and body through training is a way of disconnecting the threat of MPA to achieve optimal musical performance.  [1] Myron Ross Thurber, “Effects of Heart-rate Variability Biofeedback Training and Emotional Regulation on Music Performance Anxiety,” (dissertation, University of North Texas, 2006), 1, quoting P. G. Salmon, “A psychological perspective on musical performance anxiety: a review of the literature,” Medical Problems of Performing Artists, 5(1) (March 1990), 2-11. [2] Ibid. [3] Myron Ross Thurber, “Effects of Heart-rate Variability Biofeedback Training and Emotional Regulation on Music Performance Anxiety,” (dissertation, University of North Texas, 2006), 1, quoting Brodsky, W., “Music performance anxiety reconceptualized: A critique of current research practices and findings,” Medical Problems of Performing Artists, 11 (3) (September 1996): 88-98., D. B. Clark, & W. S. Agras, “The assessment and treatment of performance anxiety in musicians,” The American Journal of Psychiatry, 148 (5) (May 1991): 598-605., W. J. Cox & J. Kenardy, “Performance anxiety, social phobia, and setting effects in instrumental music students,” Journal of Anxiety Disorders, 7 (1993): 49-60., M. Fishbein, S. E. Middlestadt, V. Ottati, S. Straus & A. Ellis, “Medical problems among ICSOM musicians: Overview of a national survey,” Medical Problems of Performing Artists, 3 (1) (1988): 1-8., A. M. McGinnis & L. S. Milling, “Psychological treatment of musical performance anxiety: Current status and future directions,” Psychotherapy: Theory, Research, Practice, Training, 42 (3) (2005): 357-373., E. A. Plaut, “Psychotherapy of performance anxiety,” Medical Problems of Performing Artists, 5 (3) (March 1990): 58-63., J. Sareen & M. Stein, “A review of the epidemiology and approaches to the treatment of social anxiety disorders,” Drugs, 59 (3) (March 2000): 497-509., and A. Steptoe, “Negative emotions in music making: The problem of performance anxiety,” in P. N. Justin & J. A. Sloboda, eds., Music and emotion: theory and research (New York: Oxford University Press, 2001). [4] Shinto ("the way of the Kami") is the name of the formal state religion of Japan that was first used in the 6th century C.E., although the roots of the religion go back to at least the 6th century B.C.E. Shinto has no founder, no official sacred texts, and no formalized system of doctrine. Shinto has been formative in developing uniquely Japanese attitudes and sensitivities, creating a distinct Japanese consciousness. Belief in kami—sacred or divine beings, although also understood to be spiritual essences—is one of the foundations of Shinto. Shinto understands that the kami not only exist as spiritual beings, but also in nature; they are within mountains, trees, rivers, and even geographical regions. In this sense, the kami are not like the all-powerful divine beings found in Western religion, but the abstract creative forces in nature. Related to the kami is the understanding that the Shinto followers are supposed to live in harmony and peaceful coexistence with both nature and other human beings. This has enabled Shinto to exist in harmony with other religious traditions. As the foundation for Japanese culture, Shinto has also played a significant role in the political realm. For centuries, Shinto religious festivals and ceremonies have become indistinguishable from the affairs of the government. http://www.patheos.com/Library/Shinto