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We should be very careful in thinking about whether we’re working on the right problems. If we don’t, that ties into the problem that we don’t have experimental evidence that could move us forward. We're trying to develop theories that we use to find out which are good experiments to make, and these are the experiments that we build.   We build particle detectors and try to find dark matter; we build larger colliders in the hope of producing new particles; we shoot satellites into orbit and try to look back into the early universe, and we do that because we hope there’s something new to find there. We think there is because we have some idea from the theories that we’ve been working on that this would be something good to probe. If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.

I’m still asking myself the same question that I asked myself ten years ago: "What is going on in my community?" I work in the foundations of physics, and I see a lot of strange things happening there. When I look at the papers that are being published, many of them seem to be produced simply because papers have to be produced. They don’t move us forward in any significant way. I get the impression that people are working on them not so much because it’s what they’re interested in but because they have to produce outcomes in a short amount of time. They sit on short-term positions and have short-term contracts, and papers must be produced.

The field that I mostly work in is the foundations of physics, which is, roughly speaking, composed of cosmology, the foundations of quantum mechanics, high-energy particle physics, and quantum gravity. It’s a peculiar field because there hasn’t been new data for almost four decades, since we established the Standard Model of particle physics. There has been, of course, the Higgs particle that was discovered at the LHC in 2012, and there have been some additions to the Standard Model, but there has not been a great new paradigm change, as Kuhn would have put it. We’re still using the same techniques, and we’re still working with the same theories as we did in the 1970s.

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Barlow (1988, 2000, 2002) argued that panic attacks, which he called “false alarms,” arise in response to stressful life events (such as music performance) in people who experience high levels of general anxiety.

Chang-Arana, Á. M., Kenny, D. T., & Burga-León, A. A. (2018). Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure. Psychology of Music, 46(4), 551–567. https://doi.org/10.1177/0305735617717618

Cohen, S., & Bodner, E. (2019). The relationship between flow and music performance anxiety amongst professional classical orchestral musicians. Psychology of Music, 47(3), 420–435. https://doi.org/10.1177/0305735618754689

In conclusion, the current study provides evidence that professional classical orchestral musicians experience flow and that there is a significant negative relationship between flow and MPA amongst professional classical orchestral musicians, thereby supporting the suggestion that developing techniques for facilitating flow may provide a useful tool for helping to reduce MPA.

An elephant in the room” refers to an obvious problem that remains unmentioned and is suffered silently. Music education has many such ‘elephants’ in its classrooms, and music teacher educators often seem resigned to working around them or worry about confronting them. Others are in collusion with these ‘elephants.’

This problem stems from the elephantine belief that a music educator must first and foremost be a good musician and that such training is sufficient to being a good teacher.

Primary and secondary appraisals formed theoretically consistent and reliable evaluations of threat and challenge. Secondary appraisals were significantly lower for students who viewed the performance as a threat. Students who viewed the performance as a challenge reported significantly less cognitive anxiety and higher self-confidence. Findings indicate that the PAM is a brief and reliable measure of cognitive appraisals that trigger precompetitive emotions of anxiety and confidence which can be used to identify those performers who could benefit from pre-performance intervention strategies to manage performance stress.

Music performance anxiety (MPA) can be controlled when musicians cognitively restructure their own thoughts and feelings about their performance by anticipating symptoms of anxiety and turning them to constructive use

The cognitive interpretation, or appraisal, of an initial emotional response, such as fear, exerts a proximal influence on performance

Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.

Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.

The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age