Assisting music students in managing stress, perfectionism, and performance anxietyThis presentation reviews research in three interrelated areas of human psychology as the basis for pedagogical application in the music teaching studio: stress, perfectionism, and performance anxiety; each of the co-presenters will focus on one of these interrelated areas. Examining the evolution of stress theory yields a clear definition of stress, the factors that precipitate it, and the variety of responses to it.“Stress” as applied to human biology and psychology is a relatively recent concept and one that continues to evolve. At the same time, the word has entered the general lexicon with many different and sometimes conflicting meanings. A review of the development of the current understanding of both acute and chronic stress reveals a gradual clarification of the processes involved with both. Particularly helpful is the separating of these processes into those steps that (1) precede stress, (2) activate a state of stress, and (3) culminate as responses to stress, which may be beneficial (eustress or “good stress”) as well as detrimental (distress). Distinguishing these steps provides a theoretical framework to link perfectionism and music performance anxiety (MPA) with stress: perfectionism as a potential stressor and MPA as a potential stress response.Perfectionism is often categorized as positive perfectionism (striving for high standards) or negative perfectionism (reaching for an unrealistic level of perfection). A third alternative is “striving for excellence,” a term that encourages music students to exert their best efforts without the pressure of reaching for an unattainable goal.Just mentioning the term performance anxiety can cause extreme distress for some students, leaving them with little choice between mitigating it, tolerating it, or avoiding it altogether. “Performance pressure” is a more neutral term which teachers can use when students are in preparation, well before a performance takes place. This proactive approach can help students anticipate performances as challenges rather than threats, providing greater incentive for more thorough and effective practicing.The co-presenters will recommend numerous examples of practical applications in addition to expanding music teachers’ working vocabulary.· Proactively discuss stress and performance pressure/anxiety during lessons and studio classes, not waiting for students to bring these topics up, no matter what age or level.· Address the development of performance skills early, from the very first lesson.· Use practice journals that use affirmations as a tool to help students track stress, pressure, and utilization of methods like peak performance training.· Incorporate training in performance pressure into the practice room, music studio, and elsewhere.· Help students foster a growth mindset by building on each performance as a learning experience.The presentation will conclude by summarizing how expanding teachers’ working vocabulary regarding stress, perfectionism, and performance anxiety to also include “eustress,” “striving for excellence,” and “performance pressure” can lead students of all ages and levels to find greater fulfillment and joy in practicing and performance.(Note: although submitted as a panel presentation, a fifty-minute session would be preferable.)