Mental Focus in Music and Sports - What Musicians Can Learn from Ski Jumpers

Instrumental playing at a professional level is nothing less than high-performance athletics. Many aspects of ski jumping can be transferred to music. The four phases of a ski jump parallel the phases of many musical body movements. Additionally, the mental focus in music and sports shares similarities. Strategies from sports psychology that ski jumpers apply can also be beneficial for musicians.

Ski jumping fascinated me even as a child! As a teenager, I never missed a jump in the Four Hills Tournament, and in some years, I regularly tuned in to watch the rest of the season. I even dreamed of becoming a ski jumper and competing alongside the men. Unfortunately, women's ski jumping remains in the background to this day. Some male decision-makers even patronize the entire gender by claiming that the sport is too dangerous for women, suggesting, for example, that it could tear apart their uterus (Source: "Langer Anlauf," Süddeutsche Zeitung Magazin (Issue 51/2023)).

Admittedly, I probably wouldn't be brave enough for the jump from the hill. However, the physical forces and laws of the sport and the mental focus it requires still captivate me. Many aspects of ski jumping, in my opinion, are transferable to music: from a physiological and physical perspective, to instrumental technique, and from a psychological perspective, to mental preparation and stage presence.

The 4 Phases of a Ski Jump

The fascinating aspect of ski jumping is that it all comes down to that one moment! There is no 90-minute game time like in soccer, where you get more opportunities for a goal (aside from the excitement of penalty shootouts).

Therefore, ski jumpers prepare not only physically but also mentally for the jump hours in advance (see "Mental Strength & Focus").

Ski jumping has been studied under physical conditions in sports science for about 90 years. The first publication on the biomechanics of ski jumping dates back to 1927 by the Swiss researcher Reinhard Straumann.

As soon as a ski jumper is on the bar of the hill, the ski jump can be divided into 4 phases:

Figure from Elfmark et al., 2022: Graphical overview of a ski jump with the separate phases a ski jump is divided into. 1: Inrun, 2: take-off, 3: flight, 3.1: early flight, 3.2: Stable flight (steady glide), 3.3: landing preparation, 4: landing.

1.) Inrun: Depending on the length, steepness, and condition of the track, as well as physical aspects, the athlete accelerates to approximately 90 km/h at the end of the ski jump.

2.) Takeoff: For an optimal takeoff, it is crucial that the ski jumpers take off at the right moment, at the right speed, with maximum power, and at the correct angle.

3.) Flight: The initial flight height is significantly influenced by the previous two phases. Additionally, wind can contribute to more (updraft) or less (tailwind) distance or disturb the flight system turbulently. Through the V-shape of the skis and body posture, ski jumpers aim to maximize the utilization of physical forces.

4.) Landing: The landing concludes the jump and marks its distance. In ski jumping, besides distance, style points are also considered - essentially the aesthetics of the jump. Ski jumpers should land in the so-called "Telemark," where one leg is bent at a right angle, and the other is pushed backward. In very long jumps or challenging, unstable flight phases, jumpers often land with both legs parallel to avoid falling.

"Flight System" - Metaphor of Instrumental Playing

Instrumental playing at a professional level is nothing less than high-performance athletics. Similar to ski jumping and even more aesthetic sports such as gymnastics, figure skating, dressage, etc., it depends not only on (fine motor) technique, strength, and speed but also on the artistic impact of movements - for example, on the sound. In this context, the interaction of the musician's muscular and skeletal system during playing is comparable to the so-called "flight system" of a ski jumper.

Mental Imagery and "Flight system" in Shifting

Comparing the change of position on a string instrument to a ski jump certainly makes sense, and many teachers also use the term "jump." Personally, I always find it helpful to consider in which phase of the jump the system is unstable. The foundation is knowing where the takeoff is (starting pitch), where I want to go (target pitch, jump distance), and how I want to land there ("Telemark"). Both the approach and flight phases are significantly influenced physiologically and physically. Numerous individual movements must interact in the correct sequence to execute the jump correctly. The brain needs to learn this movement and store it as a motor program. Crucial for this process are - broadly speaking - two types of brain regions: the supplementary motor area (SMA) is responsible for planning and envisioning the movement. In motor centers such as the cerebellum and basal ganglia, the movement is generated. A stored motor program links imagination (SMA) with execution (cerebellum, basal ganglia). Just because the movement or sound is envisioned correctly does not necessarily mean it will be executed correctly. Repetition, breaks, and sleep are necessary for automating the motor program.

See also: Sleep - or why it is indispensable for musical success.

"Flight system" Sound Production

Recently, I realized that sound production with the bow on the cello is comparable to the phases of ski jumping. And this likely applies to sound production on any instrument because it also makes physical sense!

The approach corresponds to those movements before the bow touches the string or during bow changes before the preceding stroke. The "approach speed," with all its physical parameters (angles, arm weight, etc.), already plays a role. It is about creating the takeoff at the right place on the bow and string at the right time. This results in the initial vibration phase of the sound, significantly determining the subsequent tone quality. If the takeoff is too flat, too steep, too early, or too late, it is challenging for the skier or musician to correct. For the subsequent flight phase: the flight or sound system is stable when the air cushion under the skis or the friction between the bow and the string remains intact and does not break. Therefore, external disturbances (winds or, in music, faulty arm movements, changes in angles, etc., or sudden tempo or dynamic changes from fellow performers) must be compensated for. The landing is successful when the sound is ended at the right time, and the decay phase aligns with the artistic idea. Turbulence during the "flight" or excessive altitude or speed might lead to a failed "Telemark" on the cello or another instrument.

Judging Criteria - How Visual Aspects Influence Audience Perception

Even though aesthetics in music are intended to be generated through sound, the visual presentation significantly influences the audience's experience. A study by Tsay (2013), for instance, demonstrated that experienced, professional jury members could best identify the winners of an international piano competition when they only watched the video of the performance without sound (compared to sound alone and video with sound).

See also: Sight over Sound - Psychological Aspects in Evaluating Musical Performance

The result of the study is comparable to the ventriloquist effect (McGurk effect), an auditory illusion: people perceive spoken syllables differently when the spoken syllable does not match the lip movement; we then hear a combination of the heard syllable and the seen syllable.

Mental Focus in Music and Sports

During the television broadcast of ski jumping, there are often extended breaks when, for example, the winds are too dangerous for jumping. During these moments, ski jumpers are frequently shown engaging in both physical and mental preparation. They review the footage of their training jump with their coaches, perform some stretching or jumping exercises, or sit with closed eyes in the waiting area practicing breathing or relaxation exercises. Several jumpers also wait next to the bar on the hill when they are about to take their turn. During this time, they must avoid allowing thoughts of past failures, turbulence, or even falls to creep in, so as not to undermine their own confidence.

Mental preparation in ski jumping plays a crucial role in eliciting the best possible performance on the hill. Here are some strategies from sports psychology that ski jumpers employ and that can also be beneficial for musicians:

Visualization:

• Before the performance, vividly and positively imagine yourself playing on stage, interpreting the music, and interacting with the audience.

• Also, visualize potential challenges such as technical issues or stage fright and contemplate how you will handle them.

• See also: Choking under pressure and how to overcome it, as well as Stage Fright & Performance Anxiety - Immediate Physical, Psychological, and Sensory Measures

Positive Self-Talk:

• Develop positive keywords and phrases to build confidence and suppress negative thoughts.

• Focus on your musical strengths and successful past performances.

• See also: Stage Fright & Performance Anxiety - Immediate Physical, Psychological, and Sensory Measures

Breath Control & Relaxation Techniques:

• Practice breathing exercises to stabilize your breathing and reduce stress.

• Combine conscious breathing with relaxation techniques to stay calm in stressful moments.

• See also: Relaxation Exercise Before Concerts

Goal Setting and Focus:

• Set clear and realistic musical goals for each performance, whether they are interpretative goals or technical challenges.

• Focus on the current musical task during the performance and avoid distractions.

• See also: SMART - Psychologically Effective Goals

Emotional Control:

• Learn to manage emotions such as stage fright or uncertainty by using techniques like mindfulness or positive self-reflection.

• For recurring negative thoughts and feelings, visualize them as an animal that you lovingly set aside with its favorite treat until you can address them again (after the performance).

• See also: Positive Psychology for Musicians

Mental Resilience:

• Develop the ability to accept setbacks and recover quickly. Analyze musical challenges objectively and derive positive learning experiences from them.

• Consider pressure as an opportunity to showcase your musical abilities rather than a burden.

• See also: Resilience - Dealing with Crises & Setbacks

Social Support:

• Seek the exchange with musical mentors or other musicians to discuss your thoughts and emotions.

• A supportive musical environment can help alleviate pressure and strengthen confidence.

• See also: Appreciation - An Emotional and Musical Basic Need

Conclusion

Whether on the ski jump or the stage, the application of mental preparation strategies plays a crucial role for athletes and musicians to achieve their best performances and cope with challenges and setbacks. Particularly, the visualization and association of musical and athletic movements can also serve as a learning strategy or for mental rehearsal.

Sources & further reading

• Elfmark, O., Ettema, G., Jølstad, P., & Gilgien, M. (2022). Kinematic determination of the aerial phase in ski jumping. Sensors, 22(2), 540.

• Rosenblum, L. D., Schmuckler, M. A., & Johnson, J. A. (1997). The McGurk effect in infants. Perception & psychophysics, 59(3), 347-357.

• Tsay, C. J. (2013). Sight over sound in the judgment of music performance. Proceedings of the National Academy of Sciences, 110(36), 14580-14585.

• "Langer Anlauf", Süddeutsche Zeitung Magazin (Heft 51/2023),https://sz-magazin.sueddeutsche.de/sport/skispringen-frauen-sport-vierschanzentournee-93446?reduced=true

• "Flugbahnoptimierung" im Skispringen, TUM Institut für Biomechanik des Sports, https://www.technik-in-bayern.de/mehr-technik/sporttechnologie/flugbahnoptimierung

• Straumann, R. (1926). Vom Skiweitsprung und seiner Mechanik (1 Teil). Ski Jahrbuch des Schweizerischen SkiVerbandes, 20, 11–29 (in German).

• Straumann, R. (1927). Vom Skiweitsprung und seiner Mechanik (2 Teil). Ski Jahrbuch des Schweizerischen SkiVerbandes, 22, 34–64 (in German).