Multi-modality and wellbeing in Classical Violin Pedagogy

Music performance anxiety (MPA), perfectionism, depression, and other psychologicaldisorders are common among classical violinists and classical musicians more broadly. This thesisexamines how established Classical Violin Pedagogy (CVP) approaches (from use of notation andimprovisation to informal learning and group practice) may be linked to such issues and thecomponents of ‘Musical Wellbeing’ (MW).In addition to a hermeneutic literature review, the thesis analyses dominant violin pedagogiesthrough the lens of psychological models – Self-Determination Theory (Ryan & Deci) and PositivePsychology’s PERMA model (Seligman) – alongside existing research into musicians’ mental healthand existing pedagogical practices. A mixed-methods approach, comprising a statistical survey ofviolinists (n = 150) and a reflexive autoethnographic account investigates how varied learning modesaffect psychological outcomes.Findings indicate that CVP often fails to meet basic psychological needs as defined by SDTand PERMA. A moderate tendency toward MPA and perfectionistic thinking was evident amongrespondents, with perfectionism confirmed as strongly predictive of MPA. Varied learning modeswere rarely reported (only 31% had engaged in improvisation), limiting correlations to MW andreflecting their continued neglect within CVP. Notably, respondents whose teachers regularlydemonstrated passages for imitation reported significantly lower Self-Oriented Perfectionism. Thosewho felt their conservatoire experience fostered creativity and enjoyment also reported lower MPAand perfectionism. These findings suggest that structural omissions within CVP – termed here as‘knowledge gaps’ – may contribute to long-term wellbeing challenges.The thesis proposes a revised pedagogical model aligned with contemporary wellbeingframeworks. Emphasising autonomy-supportive practices, it reframes MW as the presence of positivepsychological drivers. Positioned as both preventative intervention – through a re-examination of‘ways of knowing’ (Goldman) – and enriching, with eudaimonia at the centre, it holds implicationsfor curriculum design, instrumental teacher training, and the wider discourse on mental health inmusic education.