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. . SPORTS MEDICINE : SPORTS PSYCHOLOGY : MUSIC: When Practice Alone Isn't Enough . . When Practice Alone Isn't Enough By CORINNA DA FONSECA-WOLLHEIM SEPTEMBER 29, 2011 Wall Street Journal http://online.wsj.com/article/ SB10001424052970204831304576594742187531546.html . A shorter URL for the above link: . http://tinyurl.com/44we5yb . . Noa Kageyama is in the business of bulletproofing, but his work does not involve Kevlar vests or polycarbonate. The performance psychologist runs a consultancy, ProMind Coaching, whose clients include Olympic athletes and CEOs. His mentor and business partner, Don Greene, is a former champion diver and Green Beret, whose specialties including teaching principles of sports psychology to SWAT team members. But the battlefield Mr. Kageyama is most interested in is the music world. On his blog, The Bulletproof Musician, he takes principles developed to toughen up tennis pros and uses them to help musicians cope with the intense pressure of solo performance. Last month, he joined the faculty of the Juilliard School. . Performance psychologists are invited into music departments nation-wide, as educators recognize the need to prepare musicians for the competitive, high-stakes world of classical music. In the past, performance anxiety was rarely discussed; if anything, it was seen as a Darwinian way of separating those fit for a solo career from those doomed to teach. Today, performance psychologists advertise their services as coaches, not shrinks, providing musicians the same concrete tools and drills offered athletes and CEOs. . Mr. Kageyama is himself an accomplished violinist. He remembers his mother arranging lessons for him with master teacher Shinichi Suzuki when he was still in kindergarten in his native Japan. Later, he boarded weekly flights from Columbus, Ohio, to New York to attend precollege lessons at Juilliard. He knows first-hand how hard musicians work in the practice roomand how that alone does not prepare for the stress of solo performance. . "Given the sacrifice we put in, it's intensely frustrating to get up on stage and not have what you know to be capable of come out," he says. "And it's even worse when you don't know why." His job, he says, is not so much focused on anxiety as on "taking people who are already great and helping them be great under pressure." . Andrea Levine contacted Mr. Kageyama in late 2009 after she had performed poorly in recent auditions. The Louisville Orchestra in Kentucky, where Ms. Levine is the principal clarinetist, was in financial straits, its future uncertain. "Each audition was like a do-or-die situation," she says. Over a series of Skype conferences and phone consultations with Mr. Kageyama, she developed a program of centering and confidence-building exercises. In her next set of auditions, she reached the final round each time. One led to her current one-year stint with the Colorado Symphony during a leave of absence from the Louisville Orchestra. . . The complete article may be read at the URL above. . . 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