Knowing the audience: Music Performance Anxiety and other performance experiences of a primary school choir

Oct 15, 2026

Uploaded by Franzy

Research examines how an audience can shape musical performance, yet limited work focuses on primary school children. Using action research with a compulsory school choir, fifth- and sixth-class participants completed pre- and post-event surveys surrounding an eisteddfod and an Open Day concert. Results show children were more concerned when performing for a known audience, and repertoire and technique expectations intensified Music Performance Anxiety. Practical implications guide conductors on recognizing symptoms, selecting repertoire, and preparing young singers for audience expectations.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages6

Reading Time15 min

AccessFree to download

Abstract

Introduction and Background

Role of singing in education

Group singing and related well-being benefits

Music Performance Anxiety and its impact

Purpose of the Study

Method

Participants

Study setting and procedures

Knowing the audience: Music Performance Anxiety and other performance experiences of a primary school choir Michaela Miles Sydney Conservatorium of Music, The University of Sydney a u s t r a l i a n a s o c i e t y s f o r m u s i c m e d u c a t i o n e i n c o r p o r a t e d Abstract Research has shown that an audience can make a great difference to a musical performance but limited research has explored this with primary school-aged children. Using an action research study, participants from a primary school choir, students in fifth and sixth class formed into a choir through a compulsory singing programme, were surveyed to discover their experiences of performing for an audience. The study was completed during a busy period in the school calendar when participants competed in an eisteddfod and performed at the annual school Open Day concert. The events occurred three days apart and featured a performance of two pieces by the choir, the same repertoire being performed for both audiences. The eisteddfod audience included an adjudicator, eight competing choirs and their conductors, with family and friends from each choir also in attendance. The audience for the second performance, Open Day, was made up mostly of family, friends and other school students. This audience could be considered a known audience. Given the two different audiences, the opportunity to discover how the children felt was discovered through a survey prior to and after the events. Surprisingly, participants were more concerned about performing for a known audience, with 25% acknowledging this as difficult with only 9% indicating Music Performance Anxiety (MPA) about performing for an unknown audience. Further exploration suggested the audience expectations of repertoire and performance technique further influenced the choristers experience of MPA. Following this experience, data was collected prior to the annual Speech Night presentation, again for a known audience with repertoire expectations. Implications for conductors include understanding the sign and symptoms of MPA in students in their care, repertoire selection, preparing students for performances and assisting young singers to present to an audience rather than worry about the expectations of the audience. Keywords: school choir, Music Performance Anxiety, audience, repertoire Singing is an important component of education programmes from the Preparatory and Kindergarten levels through to the end of primary school. Barrett (2009) described the child’s musical engagement as “singer, song-maker, and musicmaker”(p. 116). As a child develops, singing can become a feature of much of the music learning students undertake in formal school settings“as the singing voice has traditionally been an accessible instrument for musical learning”(Hughes, 2008 p. 131). It is the accessibility of the voice that allows it to be a positive introduction to music. Through singing we can shape who we are personally, culturally and nationally (Durrant, 2005a; Welch, Himonides, Howard, & Brereton, 2004), musically, intellectually, physically, socially, emotionally and spiritually (Durrant, 2005a; Elliott, 1993; Welch, 1994). Singing can be considered a form of personal awareness and it has the added benefits of deep listening and well-being (Rao, 2005). Further research has investigated the benefits of singing in a group such as emotional balance, a feeling of freedom, being able to step away from problems of everyday life, positive emotional health, relaxation and enhanced mood (Davidson & Bailey, 2005; Davis, Unwin & Kenny, 2002). Given all the benefits of singing and membership of a choir, why then do some people experience Music Performance Anxiety (MPA)? Miles (2016) found MPA was highlighted and enhanced by repertoire,“I think that the choir already struggles a bit with performance anxiety and having that sort of pop people tend to get embarrassed and it doesn’t help during the

FAQs

Why does the study focus on audience effects for primary school choirs?

Audience presence can significantly affect musical performance, but research on how this operates with primary school-aged children is limited. The study specifically investigates children’s experiences when performing for different audiences.

What were the two different audiences studied in the choir performances?

One performance occurred at an eisteddfod with an adjudicator, competing choirs, and families/friends. The other was the school Open Day concert, mostly involving family, friends, and other school students, treated as a known audience.

What practical guidance does the study offer for conductors regarding MPA?

Conductors should recognize signs and symptoms of MPA, consider repertoire selection, prepare students for performances, and support young singers to present to the audience while reducing worry about audience expectations.

Oct 15, 2026

Uploaded by Franzy