The main focus of this article is on performance anxiety and stage fright in musicians, seen through the lens of biographical research. In short, biographical research deals with research into learning, taking as point of departure that important learning always needs to be understood in relation to the biography of the learner (Alheit 2009, p. 116). Within biographical learning people can act as their own change agents. This article discusses biographical findings on musicians’ generic leadership when coping with profession-related health issues and the transformative and transitional learning evolving from this.
In the first half of the 20th century, the individual life course was largely determined by ‘standard biographies’ (Du Bois-Reymond, 1998; Meijers & Wesselingh, 1999) whereby identity – the story individuals tell themselves and share with others about the meaning of their lives (Meijers & Lengelle, 2012) – was constructed on the basis of socially prescribed ‘master narratives’ (Davies & Harré, 1990) or ‘grand narratives’ (Lyotard, 1984). This pattern changed in the second half of the 20th century with the advent of secularization, the lifting of socio-political barriers, growing prosperity and mobility and the resulting increase in possible choices. The ‘prescriptive power’ of these narratives became increasingly contested, especially by young people, resulting in a growing individualization of society (Bauman, 2001; Giddens, 1991). For most people, this movement towards individualization was not problematic as long as the ever-growing prosperity made it possible to have a second or third chance to make new choices. However, society soon became a risk society (Beck, 1992). LinkedIn: https://www.linkedin.com/in/reinekke-lengelle-phd-767a4322/
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