Do Elite Performers “Zone Out” or “Zone In” for Optimal Performance?

Have you ever been in front of a large group of people (without your instrument), and suddenly couldn’t figure out what to do with your hands?

In your pockets? Behind your back? On your hips? At your sides? Nothing feels particularly natural, once you start thinking about something you’ve never thought about.

The same thing can happen on stage too – and also with our thinking.

What do I think about while waiting off-stage? What about right before I play the first note, which is a tricky 10th in 5th position? The position of my thumb? What the orchestra is up to? Strawberry cheesecake and fluffy bunny rabbits?

As a kid, I remember experimenting with various thoughts and types of thinking. I remember one concert where I thought about He-Man episodes while playing. I also tried thinking about what I’d do after the performance. Or look around at the audience and see what they were up to (which in hindsight was probably a little weird for the audience).

I’m not sure if it led to the most compelling performances ever, but it was certainly better than fretting about the difficult section coming up, or dwelling on the notes I just played out of tune.

So was this the key to performing optimally under pressure?

To do all the prep work in advance, and then zone out in performance, so our body can do what we’ve trained it to do without interference from our mind?

Psychological strategies of elite marathon runners

In the 1970’s William Morgan and Michael Pollock studied marathoners to see if there were any key psychological differences separating the elite runners from the non-elite. They found that the sub-elite runners engaged in more “dissociative” thoughts – like the scenery, singing a song in their head, writing letters to friends, or events from their childhood – in an attempt to distance themselves from the pain, fatigue, and/or boredom.

The elite runners on the other hand, did the opposite, engaging in more “associative” thoughts. Specifically, they paid close attention to how they felt – scanning for tension or pain, actively working to reduce tense areas, remaining physically relaxed, monitoring energy expenditure, and thinking about their pace or race strategy.

Psychological strategies of Ironman triathletes

psychological characteristics of expert triathletes

More recently, a team of Canadian researchers conducted a study of ultra-endurance triathletes to see what differences there might be in the thought processes of expert, middle-of-the-pack, and back-of-the-pack triathletes during competition.

In particular, they were curious to learn more about their thinking during 14 key points during an Ironman triathlon.1

Key points such as (1) the pre-race setup, (2) right before the start of the swim, (3) the start of the swim, (4) approaching the end of the swim, (5) the transition from swim to bike, (6) the start of the bike portion of the race, (7) being passed during the bike part, (8) passing an opponent during the bike part, etc.

You’ll notice that the key points tend to be (a) the phase before the start of a new segment or a transition from one segment to the next, (b) the start of a new segment of the race, and (c) the specific moment when something good or bad happens during a segment, and (d) the moments approaching the ends of each segment.

Fascinating, no?

Because the most critical moments in a musical performance or audition tend to be the same sorts of moments:  (a) waiting offstage or “in the wings” before it’s time to perform, (b) the start of the piece and any transitions between movements, other pieces, or excerpts in an audition, (c) when we make a mistake or totally nail something, and (d) when we see the end of the piece or excerpt in sight – especially important when things are going well and we don’t want to jinx things.

Three types of thoughts

21 ultra-endurance triathletes participated in the study, and were separated into three groups based on previous race times.

  1. Expert group (finishing times below 9.5 hours).
  2. Mid-pack group (average finishing time of 12.5 hours).
  3. Back-pack group (finishing times over 14 hours).

Through a structured interview protocol, the researchers gathered data on what the triathletes remember thinking during these key moments in previous races.

293 specific thoughts were identified through this process, and fell into three main groups:

1. Passive thoughts

Defined as “cognition dealing with emotions or feelings associated with the segment.” These are thoughts that just pop into our heads, and aren’t particularly relevant or helpful to performing better.

For instance, a mid-pack athlete reported “A feeling of sort of nervousness, excitement, anticipation, that kind of thing.” before the race. 

2. Active thoughts

Defined as “specific, purposeful action that focused on responses to situations currently being experienced.” These are the helpful, task-relevant, performance-enhancing thoughts.

One expert said “I’ve got a list of things, kind of a routine that I go through…like warming up, stretching, making sure my gear is all done. I just go through it the same way for every race.”

3. Proactive thoughts

Defined as “thoughts that were focused on how to perform in upcoming [segments].” Not so relevant to musical performances, but absolutely relevant, and performance-enhancing for a triathlete.

Another expert said “During the last 5 km of the bike I like to quickly go through the transition in my head, so that I remember where I’m going and when I get there I’m not panicked and it’s nothing new.”

The key difference

As predicted, there were indeed significant differences in the thoughts that expert, mid-pack, and back-pack athletes engaged in during each segment.

Overall, 98% of experts’ thoughts were active or proactive and performance-relevant. Compare that to mid-pack and back-pack athletes, whose thoughts were active/proactive and performance-relevant only 65% and 57% of the time.

About 30% of thoughts reported by mid and back-pack athletes were passive. One mid-pack athlete described their thoughts prior to the race as “It’s almost as if I’m not there, it’s the physical body going through the motions…kind of floating above, observing but not really partaking in anything at that stage.”

And about 15% of the back-pack group’s thoughts were not even related to performing better in the race. One back-pack athlete said that during the swim to bike transition, “Everyone’s high fiving you, and it’s pretty good. I focus on high fiving people. I really do.”

Takeaways

So it seems the optimal mindset for peak performance is not some mindless, spaced-out, zombie-like mental state populated by thoughts and images of a cartoon character riding on a giant green cat with confidence issues2, but conversely, an active and intensely focused one – specific to the demands of the task at hand.

In sight-reading for instance, that would mean reading slightly ahead. If performing in a small ensemble, leading, listening, or blending/matching styles with your partners. If playing tennis, counting the number of times you see the Penn logo as the ball spins towards you.

The intensity, duration, and specificity of this kind of focus is not normal – and not likely to happen by accident on the day of a big performance. We spend tons of time making sure our piece is memorized, and the trickiest spots polished, so it makes sense that for best results, we should ensure that our mental gameplan is planned, practiced, and rehearsed in advance as well!

Many musicians go about this sort of practice in different ways. How do you go about practicing or strengthening this kind of focus in advance of performances? And have you found any exercises (or games?) that seem to help your students develop and hone this kind of focus in advance of their performances too?

Footnotes

  1. Just FYI, here are the differences in distances between a regular triathlon and an Ironman triathlon: Swim (1.5k vs. 3.8k), Bike (40k vs. 180.2k), Run (10k vs. 42.2k). Or in miles: Swim (.93mile vs. 2.4mile), Bike (25mile vs. 112mile), Run (6.2mile vs. 26.2mile – yup, that’s a full marathon).
  2. Yeah, this 80’s pop-culture reference won’t make any sense unless you watch this.

Ack! After Countless Hours of Practice,
Why Are Performances Still so Hit or Miss?

It’s not a talent issue. And that rush of adrenaline and emotional roller coaster you experience before performances is totally normal too.

Performing at the upper ranges of your ability under pressure is a unique skill – one that requires specific mental skills, and perhaps a few other tweaks in your approach to practicing too. Elite athletes have been learning these techniques for decades; if nerves and self-doubt have been recurring obstacles in your performances, I’d like to help you do the same.

Click below to learn more about Beyond Practicing – a home-study course where you’ll explore the 6 skills that are characteristic of top performers. And learn how you can develop these into strengths of your own. And begin to see tangible improvements in your playing that transfer to the stage.

Comments

5 Responses

  1. I attended a masterclass where the artist talked about how he goes through the entire piece he will be performing in his mind, and if he does it correctly, it should take him the exact amount of time to do this as it does to play it. I have since worked on that kind of mental prep before each performance and feel that I have a greater command of the performance.

    Another thing I do, is before I perform, I play through the piece three times. The first time, I take away any pressure from my mind to perform perfectly. I usually make silly mistakes, (not purposely) or I won’t nail a tricky passage the way I want to. Then I take a moment, think about what I want to change and go through the piece again. I’m focused on my goal, and try to execute the ‘plan’ I just identified. Once I finish that time through, I note anything else I’d like to have mastery on and go through it one final time before the performance. I expect this to be my finest playing and I engage my mind in how I’m going to think through all of the piece. This strategy has also worked really well for me.

  2. yep. when i first read this post, it didn’t seem to make any sense to me. in other words, i couldn’t see how this could have a practical application for me. and then, after a couple of nights’ sleep, it suddenly dawned on me that it made no sense to me because i’ve been pretty much OBLIVIOUS to the whole concept of such preparation, both right before and during a performance.

    so now i’m thinking that perhaps if i really try to evolve a plan for such mental preparation (bits and pieces here and there along the way), it might make it easier for me to stay focused and energized through a whole program (lasting 35-45 minutes). it’s not as much of a problem for me when playing in front of an audience (although i do notice myself running out of steam about halfway down the turnpike), because the presence of an audience is very much a good energizing force all by itself. but in the practice room, with nobody there but the four walls, i’ve been finding it difficult to make it all the way through a full practice run, playing the instrument, without stopping in the middle to take a break, nap, or whatever.

    maybe i’ll be able to evolve some kind of mini-marathoner’s roadmap that will keep me going. i hope i hope.

    if this works i’ll buy Noa a beer the next time i’m in NYC.

  3. I find that if I think ahead to the approaching tricky bit, I can nail it. I have to do it every time and not let my mind wander if I want it to come out right.

  4. Great post. It’s interesting to read that elite performers tend to think about and monitor specific aspects of their performance before, during and afterward. I remember a turning point when I stopped “turning off” during practice and performances and began focusing more on the task at hand. I think it related most to practicing songs and exercises with increasing difficulty. For example, as a drummer much of what I practice is intended to increase coordination between limbs (what we often call “independence” in the drum world – please check out Thomas Lang or Marco Minnemann for great examples of this interesting playing style). In order to improve my independence I often practice non-musical exercises that involve playing multiple ostensibly unrelated rhythms between limbs (for example playing eighth notes in a paradiddle sticking between the left foot and left hand while playing eighth notes in a double stroke pattern between the right foot and right hand). Because these exercises can be quite challenging, I often can’t focus on anything but what I’m doing. For example, I’ll concentrate on the feel of my sticks in my hands, the feel of my feet on the pedals, and the relationship between the various polyrhythms I may be playing. I even find myself considering the amount of pressure my buttcheeks are placing on the throne as I’m trying to keep my balance! Anyway, I’m nowhere near an “elite” performer, but I can definitely agree that as I’ve begun to actively focus on what I’m doing I’ve not only greatly improved, but I’ve also decreased the time it takes to improve at whatever I’m working on!

    Thanks for this very enlightening article!

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