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The Intersection of Music and Psychology: An Interview with Lisa Chisolm of Master Performing

Canadian Bassoonist and Coach

Canadian Bassoonist and Coach

As I manage a busy summer season in upstate Western NY with the Chautauqua Symphony Orchestra, I wanted to take a little time to share what some other amazing people are doing in the fields of music, medicine, movement, the brain, and more.  This week, I have an interview with Canadian Bassoonist and performance coach Lisa Chisholm of Master Performing, who began her career exclusively as an orchestral bassoonist, and has since branched out, while still retaining a performance career.  

KM: Tell us a little about your varied career these days -how did you get where you are today, in terms of your multiple degrees in music performance, as well as psychology and counseling.

LC: I studied music at McGill and at Juilliard, and have enjoyed 20 (egads!) years of a variety of freelancing and full time orchestral positions. Today, I am equal parts performer and coach. As an aside, I find this very helpful - it's important to be able to relate to clients on the level of having experienced elite preparation and performance, and I do often hear that feedback from clients. There is so much about sports psychology that translates nicely and directly into the performing arts, but so much that does -not- translate quite so directly. Filtering it all through the lens of a seasoned artist has proven to be, in my opinion, a wonderful combination.

The question of how I came to develop a parallel career with the Master Performing curriculum is a great one! Originally, I went in search of consumer-grade sport/performance material in order to bring more Olympic-level consistency to my own auditions. However, in my search, I found that there was a great lack of relevant and/or high quality consumer-grade material available, so I decided to go right to the root of the material, academically - so, I went to school when nobody was looking! I pretty quickly realized that there was a vital piece of curriculum that I wished I had had in my own training, and that I wanted to bring to other performing artists. That is why/how I developed my Master Performing program.

It's important to note, I am still as active as ever as a performer, by the way. Sometimes people assume that I have left playing in order to coach - quite untrue! One aspect of my coaching that I feel is vital is the fact that I am still very much on the stage, and am constantly filtering sport/performance psychology through the lens of a performing artist. I'll never stop playing; it is so much a part of who I am - and I also think it adds a vital dimension to my coaching.

KM: I can totally relate to that with my own dual career life.  What is the intersection between psychology and music, and how has learning more about the brain/mind/body connection changed your life and music making? 

LC: Wow, that question could take an all-afternoon chat -- and it would be a great one!!!! I think what I love the most is the idea that "psychology" is "the study of the brain/mind".... Often in a colloquial sense, people think of psychology strictly in the therapy/counselling sense, and often associate it all with stereotypical "problems", anxiety, depression, "seeing a shrink", etc. All these things are of course part of the field; but not to be overlooked is the part of psychology that is about how our mind learns, processes, recalls, executes... all these things that help us as performers! How to better acquire (learn) our material - memorize better, execute a passage more smoothly..How to be more efficient at practicing. How to handle distracting thoughts or occurrences during a performance; focus and distraction control. How our minds process the worlds around us and how we behave/perform. All these tools of excellence in preparation and consistency in performance - that is all psychology!  It is tremendously exciting to catalogue all this great stuff together into batches of information that is relevant to a high-level performer.

On this note, the Master Performing curriculum is a mix of sport and performance psychology, social psychology, the psychology of learning and memory, delivered through a coaching approach rooted in the approaches of positive, narrative, cognitive, behavioural, and solution-focused schools of thought. 

What I love most on a personal level is how EASY it has made things for me. As all performers know, a wonderful side effect of teaching and coaching others is that is brings clarity to that area in your own skill set. So it's a cute little triangle, that I originally sought out this information for my own betterment, instantly realized I wanted to collate it all together and bring it to other artists, and in the process of delivering it to other artists, presto-change-o, there is a degree of ease in my own preparation and performance that I am very happy about. Talk about win-win! :-)

KM: In terms of your client base, who do you primarily work with right now?

LC: In the performing arts, I work with approximately 50%-50% actors - musicians, and some dancers. (But presently mainly actors and musicians.) 

KM: What can working with you do for musicians, and how might they get started?  

LC: Working with me will make you smarter! Better-looking! You'll get more dates!!!! (*KIDDING!!!*)  Seriously though... Working with me, my goal is to educate performers on the mechanisms and concepts at play when we are getting in our own way, and to equip artists with a variety of tools which they can apply at the right moment. I feel very strongly that You Are The World Expert on You, and the best approach in terms of lasting improvement is a psycho-educational approach, where you learn the mechanisms at play in your own world, and can learn how to create a more efficient and effective performance approach for yourself. 

I am fairly no-nonsense and practical/tactical. I teach as much factual, evidence-based material as I can find. I avoid pseudo-science and soup-du-jour tactics, and I encourage critical thinking. I always want an artist to understand -why- they might employ a certain strategy for themselves, because what may work beautifully for you this week, might not work so well for you next week. I want you to have knowledge and tools to reach for in order to develop your own best approach for consistency. We are ever-changing and unpredictable in our vulnerabilities, and there will never be a one-size-fits-all answer. I am very wary of any approach which says, "Here are your X-number of steps and here is just what you should say/do pre-performance."

My workshop curriculum is loooooong. Presently 19 hours long. This is the best way to get all the foundational information and concepts. After that, 1-1 coaching is the best way to tailor those to the individual - we come up with strategies together that the artists will use for themselves.

KM: What are some of your upcoming projects or events?  

LC: Funny you should ask, particularly on the heels of that last question. :-)  Actually, very soon, in Boston I am hosting a 5-day intensive workshop from 7-11 August. It will cover the full Master Performing curriculum as well as some drills and "road-testing" of the skills. Here is the link to that:

KM: Any last words/things you'd like to add?

LC: Kayleigh, you have asked some great questions! Thank you so much for having me as a guest. If I would add anything, it would be how delighted I am to be a part of this field, in a time where the performing arts field is really beginning to recognize that what we ask of our minds and bodies in performance is truly Olympic - and yet typically we have only had training on our artistic craft, and not the auxiliary areas necessary for prime performance. I am so thrilled to hear of schools which are beginning to incorporate this material into their curriculum, and practitioners who are bringing complementary physical and mental pieces of the puzzle to the artistic field. Outside of this interview, we spoke about Body Mapping - that is one great example! I would describe Body Mapping as "functional anatomy awareness for performing artists". Did anyone teach me about me rotator cuff and my ulna and radius when I was in school? No. Did I use my rotator cuff and ulna and radius 10 hours a day while practicing, reed-making, carrying my instrument, etc? Yes! When I think of it, how can we NOT be teaching this in conservatories?!? We're asking Olympic level duties of our bodies, and yet how many of us know how our arms and hands are put together?  Same goes for the mental preparation. So, I am so pleased to be here at a time that I would consider "the forefront". I hope that in 10-15 years, this material will be commonplace in artistic training institutions, and that we will all look back and marvel at this stage.

KM: Thanks so much, Lisa!

For more about Lisa and Master Performing, visit

"Composed" Reviewed: First Reactions and Insights

This week, the documentary, “Composed,” receives its formal premiere in New York City, with a panel of professionals to discuss the film afterwards, including the filmmaker, John Beder.  I had the opportunity to preview the film earlier this week and offer up my first insights as a reviewer prior to the public viewing.  Let me preface this by saying that I am a biased reviewer- I’ve been interested in this project since its inception, and as a professional musician who makes the bulk of my income from performances and auditions, the issues addressed in this documentary are absolutely pertinent to my daily life, and that of my colleagues and friends.  That being said, “Composed” started as an inquiry into performance anxiety and beta-blocker usage amongst classical musicians, and as a finished product, explores richer and more complex issues about the nature of performance, internal pressures, music education models, and more.  

The film opens with different musicians sharing why they love music and when they first remember classical music as a child.  With contributions from Eugene Izotov, Christoph Eschenbach, Brant Taylor, William Short, and others, there is a foundational understanding that classical music is a profound art form that we all care deeply about and that holds deep meaning for us.  From there, the narrative shifts to reveal that musicians often get profoundly nervous about performing because of the great responsibility the art demands, the great technical and musical challenges at hand, and the incredible competition for employment. Throughout the documentary, we observe a group of five young musicians take auditions, practice, and address their own personal struggles with performance anxiety.  Interwoven throughout that narrative is a commentary from a series of different professionals, from symphonic musicians to medical professionals, performance coaches and instructors in other disciplines.  Drawing insights from many of the highest level musicians in the field, as well as those in psychology yields a product with rich insights, not only about the complexity of performance anxiety, but also the challenging nature of performance, musical study, and practice.

The challenges of auditions are explained early in the film, not only the rigors of preparation, but also the day itself, from warmup room to the actual audition.  One interesting comment from Leonard Slatkin, music director of the Detroit Symphony Orchestra, really hit home.  “(Auditions) It’s fair, but is it right?” He was speaking in regards to the many substitute musicians who repeatedly take the DSO auditions, and never win, despite being a first call sub or playing one year contracts.  “They’re good enough to play in the symphony, but not good enough at taking auditions.”  Others discuss the few minutes of an audition, in which a candidate has no room to be nervous but simply must perform at optimal levels, despite overwhelming odds against them.  Although film crews are not permitted to actually film an audition, the documentary does follow some of the musicians’ trips, pre audition preparation, transportation, and immediate post audition responses.  As a side note, I have to applaud these musicians for being vulnerable about their experiences and willingness to have someone film their pre and post audition processes.


The middle portion of the documentary examines the sympathetic nervous system, the role of eustress and stress, as well as the role that beta blockers plays in affecting the nervous system.  Rarely discussed until recently, beta-blockers are often used to help manage the physiological consequences of stage fright.  The unanimous conclusion of those interviewed was that beta-blockers can help performers play their best, but will not help them perform better than they normally would.  Jennifer Montone, Principal horn of Philadelphia reiterates how a bedrock foundation of practice and strong mental preparation is most important, which was something echoed by many others throughout the film, including Dr. Noa Kageyama of the Bulletproof Musician.  

The remainder of the film examines different ways of changing the way we as a musical community handle performance anxiety, from changing the way we train in schools and conservatories, to creating a more open dialogue about performance issues.  One quote from Nathan Cole, associate concertmaster of the Los Angeles Philharmonic, stood out to me.  “I’m a performer, violinist, but I’m also a person.  Violin doesn’t define me.”  It can be so easy as a performer to tie audition or performance success with larger self-worth (or lack thereof).   Gerald Klickstein, music educator and author of “the Musician’s Way,” proposes a different model of education in which students have access to a much wider spectrum of teachers, not only their private instrumental instructor, but a sports/performance psychologist or coach, body awareness teacher, and more.  The film ends with different musicians offering their perspectives on how there is no one right way to tackle performance anxiety, and that opening the dialogue about these issues is the first step to addressing the issue in a greater way.


The film is a nuanced examination of the pressures and stresses of professional music-making, but also weaves in kernels of musical wisdom throughout for both musician and non-musician audiences.  Drawing interviews from other 60 musicians, totaling 120 hours of footage, John Beder managed to edit the interviews into a cohesive and engaging narrative.  Footage of orchestras, soloists, and chamber ensembles is interspersed throughout the film, maintaining the connection between the art form and the challenge at hand.  Despite the sheer volume of interviews, the documentary is just short of 80 minutes.  One look at the number of interviews reveals that there are many fantastic insights that simply didn’t make it into the film, and I wish there was a way to see more of those interviews.  I can fully appreciate the amount of editing and observation needed to whittle down 120 hours of material into 1.2 hours, and Beder surely has many other gems of insight that didn’t make it in there.  

I don’t have many criticisms for the film: there have been few attempts to document classical music from the perspective of a filmmaker that is also a musician, and even fewer ventures into performance anxiety.  This film has the power to connect the musical community over a shared experience, but also promote a greater dialogue about these issues and usage of the many resources that are available to the modern musician.  By and large, the film does not take a negative or condemning stance to beta-blocker usage, and I would’ve liked to hear from musicians for whom they do not work, or whom feel that they play worse with them.  I would have also been curious to hear more from musicians about when (if at all) they use them, whether they use them for auditions and performances, or exclusively auditions, or never.  Yet, it took immense courage to approach professional musicians and encourage them to talk about these issues, and even more courage for those who spoke openly about their own issues and remedies.  That, in itself, is a landmark achievement which is truly astonishing.  Although this is a film about musicians, it would have relevance to non musical audiences as well, as it reveals the complexity and pressures of the classical music art form.  With the wide range of interviewees as well as the profound insights about performance and music itself, every classical musician should see this.

The film premieres October 19th, 8 PM, and for more information, visit

It’s Finally Showtime for Documentary on Performance Anxiety, “Composed”

If you’re a regular reader of this blog, you’ll know that I’ve been connected with John Beder and the documentary, “Composed,” since its inception almost two years ago.  “Composed” is a documentary that explores performance anxiety in professional classical musicians, a topic that has historically been ignored.  

Through the lens of professional classical musicians, Composed explores the many ways we experience and can address performance anxiety. Faced with the judgment of peers, audience, conductors, and worst of all themselves, these musicians spend years trying to understand and overcome the physical and mental manifestations of their anxiety. Through their stories, we learn valuable lessons learned over a lifetime of professional performance; and we find that we are not alone in our quest to overcome the fear of failure and embarrassment. For anyone wanting to feel strength over fear and compassion over judgment, or simply seeking a closer look at anxiety and what makes us tick, Composed opens the door to a world of high stakes, high pressure, and peak performing. -John Beder on "Composed

John Beder presenting at the most recent ICSOM conference in Washington, D.C.

John Beder presenting at the most recent ICSOM conference in Washington, D.C.

 We were initially connected by a mutual friend from Boston, and I’ve been truly amazed at what John has accomplished since our first interview in the winter of 2015.  This month, “Composed” hits the road with its American showings at a series of different music colleges and venues, including New York City, Philadelphia, Indianapolis, Los Angeles, San Francisco, and many more.  With 61 interviews completed, and over 120 hours of footage collected, this project has extended far beyond what John or I had expected in our initial interview.  The documentary began its funding as a kickstarter campaign with a $4500 initial investment, and John and his wife used personal funds to finish the project.  He additionally initiated the 2015 Musicians' Health Survey through ICSOM, collecting statistical data on professional musicians and performance anxiety, and spoke at the most recent ICSOM conference this summer.

  The first public showing occurred this past week at the New England Conservatory in Boston, MA (my alma mater!), and received an overwhelmingly positive response from both students and faculty.  Rachel Roberts, Director of Entrepreneurial Musicians at New England Conservatory, wrote, “The film ‘Composed’ addresses the topic of performance anxiety in a comprehensive and approachable way. The story-telling and personal narratives woven throughout the film showcase how this topic impacts nearly every musician, as well as suggests a variety of individual and different strategies to help overcome the issue. Most importantly, this film begins a public conversation around a topic that has too often been buried from artistic practice. This film should be required viewing at every music school!”  

Vanessa Mulvey, Body Mapping® Instructor at New England Conservatory wrote, "Composed captured so many of the experiences I have been through in my musical career.  It was comforting to realize one is not alone in this journey and to see the different paths available to change the way one responds to performance anxiety!  There is a light at the end of the tunnel.  Thank you, John!"

    I also contacted John for his initial feedback about the initial premiere, and he wrote back, “ We had a great response on Tuesday and I was relieved to finally show a group of strangers our entire film. It’s weird how even as people continue to compliment the work I struggle with the same self doubt musicians often describe. Regardless of my inner voice I heard compliment after compliment about how impactful it was. I was particularly moved by the panel’s reaction to seeing it and how much they related to the stories we share.”  

This week’s premiere in New York City on Wednesday will feature a panel of notable music educators and thinkers including John Beder, Dr. Noa Kageyama, Gerald Klickstein, and Philadelphia Orchestra Principal French Horn, Jennifer Montone for discussion after the screening.

For more information on the documentary, including showings and bookings, visit the website You can also connect with John on twitter and Facebook @composeddocumentary.


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Beta-Blockers, Performance Anxiety, and the Results of the Musicians' Health Survey with John Beder

In the last year, John Beder has not only interviewed many classical musicians about their experiences with performance anxiety and beta-blockers, but also drafted his search into a cohesive survey for ICSOM (The International Conference for Symphony Orchestra Musicians), which has not addressed musicians and performance anxiety in almost 30 years.  On Wednesday, almost a year after initially launching his Musicians' Health Survey and reviewing the data, John shared his findings at the 2016 ICSOM conference in Washington D.C.  

K: With those who were comfortable discussing their beta blocker usage, how did they impact their performances, auditions, or other circumstances?

J: Throughout the project many of the musicians we talked to about beta-blockers heard about them as the “easiest" and “quickest" way to address performance anxiety. Fast and easy of course sounds perfect when so much time is already consumed by all the other demands of the profession. While we spoke with many people who had positive things to say about the use of beta blockers, many of the musicians we spoke to about beta blockers had a nuanced view of their application. They spoke about them as complimenting a diversity of methods for addressing performance anxiety, rather than using beta blockers to get around more traditional methods of performance preparation.

Many had spent a significant amount of time studying how to perform more confidently on stage, beyond the technical and musical demands of performing. Ultimately, beta blockers are not for everyone, and are certainly not a replacement for preparation or some sort of panacea for performance anxiety. This, I think, is the most important take away from any discussion around beta-blockers: that they are a part of a larger conversation about performance skills which is missing from many of our music education programs.

K: For those who don't use them, how do they manage their performance anxiety?

J: Many of the musicians we spoke to who had not tried beta blockers also invested a significant amount of time figuring out how to address performance anxiety. Many used mindfulness techniques and meditation, while others borrowed from sports psychology with things like heart monitors, biofeedback machines, and breathing exercises. We try to talk about as many of these as possible in the film in addition to beta blockers but with the impressive quantity of approaches we only had time to focus on a few of the most practiced. It’s interesting to note as well that the conversations never started with “I don’t get nervous” since every single person we talked to expressed experiences and instances of performance anxiety. 

K: Tell me about the Musicians' Health Survey that you launched a year ago and your findings since then.

J:  It’s been a year now since we distributed the study (2015 Musicians’ Health Survey) to ICSOM and it has been wonderful to see participation from orchestras around the country. A total of 447 musicians responded and some of the results are being shared at this year’s ICSOM conference in Washington DC. Professor Williamon with the Royal College of Music in London is still working on the formal analysis but much of what we learned will be discussed and presented at this year’s conference. 

Some interesting initial data I can share about the survey is that in 1987 women made up 34% of the respondents whereas our study reported 48% women to 52% men. Today’s classical musician also reported better than average health and there was major increase in physical exercise as a method to address performance anxiety. In 1987 61% of musicians reported regular exercise and in 2015, 68% reported regular exercise. As a means for addressing performance anxiety, however, exercise was used by 17% in 1987 and 74% in 2015, a striking increase. 

With regard to beta-blockers, the study shows that 72% of ICSOM musicians have tried using beta blockers for performance anxiety. Out of that group, 90% said they would consider using them for auditions, 74% would consider them for solo or featured performances, and 36% would consider them for orchestra performances. By comparison, in 1987 a reported 27% of ICSOM musicians had tried beta-blockers, representing a significant uptick (45%) over the last 28 years. Also in 1987 of those who’d tried beta-blockers 72% said they would use them for auditions while only 4% would use them for orchestra performances compared to today’s 36%.

Some other popular methods musicians reported trying included more experience (87%), eating bananas (54%), meditation (49%), and performance psychology (44%).

K: How do the survey and your findings factor into your work with the documentary and your work in Musicians' performance health?

J: The 2015 Musicians’ Health Survey is really just the start of a bigger conversation we hope to have with our film Composed. We can’t encourage musicians enough to explore performance skills outside of the notes on the page. Musicians are too often left feeling isolated in their struggle with performance anxiety despite the fact that 98% of ICSOM musicians report having experienced it at some point. The statistics here and ones to follow will likely prompt conversations about the beta blockers alone but our goal is not to adjudicate on the use of beta blockers, rather to promote an environment where talking about performance anxiety is accepted and encouraged as part of what it means to be a performer.

*In Fishbein et al. (1987) Senza Sordino

K: Thanks- I look forward to hearing more about this survey and new findings as the documentary moves towards completion!

Composed will begin a US tour starting October 2016. For more information please visit or email

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