Product Description

The study of classical music, voice, and their performance have been the subject of many books and magazine articles. Many of these writings discuss the rules of etiquette, protocol, and musical style with regard to performance of musical works in the orchestral and vocal field. However, very few have touched on the role of the unconscious in music performance.

There are both positive and negative aspects of the role of the unconscious in the performance of music. The positive aspects result in a joyous, memorable performance, and the negative aspects result in a disastrous, uncomfortable experience for both the audience, and even more so, for the performer. When performers cannot display their musical talent to their highest level of ability in front of an audience, it is most likely that they are suffering from performance anxiety, more commonly known as stage fright.

There are underlying psychological reasons for the condition of stage fright and its potentially devastating effects. These reasons can also be described in physiological and biochemical terms. We will discuss present medical and other solutions to this problem.

All of the case histories found in this book are composites derived from many performers in the field of music including those in the operatic and vocal field. Any resemblance to any one particular living or deceased individual is unintended and is purely coincidental.

The book also gives examples of great performers from the orchestral world, who had no stage fright at all, particularly the legendary members of the Chicago Symphony Brass Section, led by Adolph Herseth and including Arnold Jacobs, as well as William Scarlett. The fact that these great performers had no stage fright whatsoever is analyzed and examined.

Included in this work are color photos, other illustrations, an index, a glossary of helpful terms, and an extensive bibliography of all the sources used to research this text.

Although this book uses examples from the field of classical music, the concepts presented within are useful to anyone who has suffered from, or is interested in, the phenomenon of stage fright.

Product Details

• Amazon Sales Rank: #512243 in Books
• Published on: 2003-09
• Original language: English
• Number of items: 1
• Binding: Paperback
• 102 pages

Features

• ISBN13: 9780974393414
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Customer Reviews

practically useless
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.

This is one of the best books that I have ever read.
Michael I Goode's book Stage Fright is one of the most helpful books that I have ever read. I have read many self help, spiritual, and inspirational books for many years. I rate this book with The Inner Game of Tennis by W. Timothy Gallway for its insight as to how the mind works. I have read Mr. Goode's book several times, and each time I feel as if I have learned more and more. I have recommended it to almost everyone that I encounter. I almost feel like a sales agent for Stage Fright. Many people that I have mentioned Stage Fright to say that they already have read it and it is great! This book should be in everyone's own personal library no matter what their occupation. There are several of us out there that have these issues discussed in Stage Fright no matter what we do for a living. I have used Mr. Goode's techniques for myself and for my students with much success. I would like to thank Mr. Goode for writing this life changing book!

Bravo!! A must read for all teachers!!
Thank you so much for the research you've done through your book! Your research has completely changed my teaching "bed side manner." This very detailed information has been the key ingredient to making sure I stay circumspect in my assessment of issues related to stress.

This research completely illustrates the need to teach our students holistically with view past the symptoms.

I am finding the meat of your research to be all the impetus I needed to say what I always wanted to these students...

I teach completely differently having read your book.

I simply cannot say thank you enough!

Patrick Sheridan
www.PatrickSheridan.com
World-renowned tuba soloist
Founder, Institute for Performance Success (www.performancesuccess.org)