Longstanding research has demonstrated the prevalence of physical (e.g., playing-related musculoskeletal disorders) and psychological ill-health (e.g., music performance anxiety, rumination, impostor syndrome) in musicians, though recovery has rarely been addressed in the literature. Recovery is a restorative process that facilitates a return to psychophysiological balance. It is essential in preventing physical and psychological fatigue, and dysfunctional overtraining, which can lead to burnout and injury. Recovery, therefore, plays an important role for optimal performance gains, endurance, and sustainability in music careers. Applied research informed by occupational health and sports sciences to examine music performance training has been gaining popularity. While recent developments in screening and educational programs to identify early signs and prevent the manifestation of ill-health symptoms are a step forward in supporting musicians’ health, there is still little understanding in the literature in defining concepts, dimensions, and strategies of recovery as a routine and crucial part of music performance training.We consulted Google Scholar, ERIC, PsycInfo, and Scopus to search for definitions, models, and studies on recovery in occupational psychology and sport sciences. We further explored the references in key sources to conduct an exploratory review on the topic. We identified several models of stress-recovery that can provide frameworks for understanding antecedents and outcomes of recovery in music performance training. Stress-recovery models (e.g., the Job Demand-Resource Model, the Demand-Induced Strain Compensation Model with Recovery Extension, the Stressor-Detachment Model, the Overtraining Risks and Outcomes Model) posit that demands and stressors experienced at work can invoke multidimensional (physiological, psychological, and behavioural) responses, and that on-the-job resources and off job recovery can buffer the multidimensional responses.In this presentation, we will address the following topics that emerged from the review: music students’ demands; job resources and recovery strategies at and away from work; and the need for regular engagement in recovery strategies to buffer the detrimental effects of exposure to stressors. Finally, we will reflect on sociocultural and contextual influences in the demands, stressors, and recovery strategies.Our presentation brings new insights on recovery as an important element of music performance routines and training. Our discussion on recovery concepts, dimensions, and strategies can act as a catalyst for conversations for culture change where healthy and sustainable careers are prioritized, rather than perpetuating a culture of presenteeism and overtraining. Contextualizing music students’ demands and resources through the lens of recovery research can inform pedagogy, educational policy, and the design of new research studies.