Psychological Basic Needs of Musicians – Between Self-Esteem, Belonging, and Emotional Expression
- Dr. Teresa Wenhart
- 7 days ago
- 4 min read
Musicians often face high performance pressure, which can easily throw central psychological needs—such as self-worth, belonging, and emotional expression—out of balance. In this article, I explore how these psychological basic needs of musicians shape a musician’s life, the conflicts that can arise in the profession, and why maintaining balance is crucial for well-being and artistic freedom. Learn practical ways to recognize and meet your basic needs to reduce stress and make music more fulfilling.
Musicians love what they do. And yet, many of them experience chronic stress, inner conflicts, loneliness, or the feeling of having lost themselves somewhere along the way. A key to understanding this often lies not in a lack of technique or discipline, but in unmet or unbalanced basic needs.
In psychology, there are various theories about basic needs. Depending on the research group, five, six, or even more needs are described. In this article, I refer to the model of Jeffrey Young, the founder of Schema Therapy, who identified five core childhood needs (Young, 2003). These five needs remain highly relevant in adulthood—especially in the profession of musicians.
The Five Psychological Basic Needs According to Young
Young describes the following five core needs:
Secure attachment and belonging
Experience of autonomy, identity, and competence
Free expression of emotions and needs
Play, fun, and spontaneity
Healthy boundaries and control
No one is without a “need” for any of these areas. Differences mainly appear in which needs are particularly strong, which are preferentially satisfied, and which are currently or chronically unmet. This depends on both (neuro)biological predispositions, biographical experiences—especially during childhood and adolescence—and the current life situation.
Unmet basic needs are often involved in the development of maladaptive schemas. Recognizing and adequately meeting one’s own (wounded) core needs is an essential part of schema coaching.
See also: Schemata in Musicians: Reflecting Psychological Patterns and Strengthening Self-Competence
Psychological Basic Needs of Musicians – and Which Ones Are Particularly Often an Issue
Musicians often operate within highly individual professional structures: early performance evaluation, competition, public visibility, close physical connection to their own performance, and often insecure working conditions. Depending on the field—music education, solo careers, orchestras, chamber music, jazz, or pop—different core needs are either addressed or neglected.
The Need for Competence and Identity – Often Overemphasized
For many musicians, the second core need is particularly prominent:
"I can do something well – therefore, I am valuable."
From an early age, many experience:
Praise for talent
Recognition for achievements
Attention for competition results
This becomes especially evident at conservatories: who has won which competitions, who has secured which position or engagement, is highlighted. Competence and performance become central anchors of identity.
The problem doesn’t lie in the need itself – but arises when recognition, belonging, or self-worth are tied almost exclusively to performance.
Balancing Friendship and Competition Among Musicians
Many musicians enter into competition with one another at a very early stage—often with people who are also close friends. Competitions, auditions, and performances can unintentionally put other psychological core needs of musicians at risk:
Attachment and belonging
Free emotional expression
Playfulness and lightness
Those who lose or “don’t win” often experience self-doubt, shame, or withdrawal. These feelings can strain friendships—even though friendship should ideally be a space free from comparison.
In addition:
High workloads, travel, and role juggling (teaching, orchestra, freelance work, personal projects) often leave little room for relationships outside the music world. Friendships then mostly develop within the professional context—and are therefore often tied to performance, availability, or usefulness.
Recognition Is Not the Same as Belonging
A particularly sensitive issue in the life of musicians (but also in many other professions and contexts where performance is expected):
Recognition for achievement is easily mistaken for genuine belonging or love.
Applause, praise, fans, or positive feedback feel good—but they cannot replace a relationship in which you are:
Allowed to be vulnerable
Accepted even with mistakes
Valued independently of success
Many musicians unconsciously learn early on:
"I receive attention when I achieve something."
Over time, this can lead to emotional closeness and self-worth being tied to conditions—and to passing this pattern on unconsciously.
Autonomy vs. Control – A Classic Orchestral Conflict
Another common area of tension involves the need for autonomy in conflict with control and boundaries.
Especially in orchestras:
Strict schedules
Clear hierarchies
Conducting
Uniform clothing
Fixed seating arrangements
Synchronized movements
All of this provides structure and security—but can also lead to a chronic feeling of lost autonomy. Deviations are quickly experienced as mistakes or as signs of not belonging.
In contrast, chamber music or jazz often offers more freedom:
Collaborative negotiation
Spontaneous interpretation
Improvisation
Immediate self-expression
It’s no coincidence that some musicians find these formats more vibrant or “nourishing,” while others find them unsettling. Personality plays a significant role here as well.
Balancing Core Needs Individually
None of the five core needs is inherently “good” or “bad.” Problems only arise when certain needs are chronically overemphasized or suppressed.
Boundaries provide security – but can feel restricting
Autonomy fosters identity – but can lead to isolation
Emotional expression is important – but requires consideration
Competence strengthens self-worth – but should not replace everything
Health, well-being, and artistic freedom emerge where these needs achieve a manageable, lived balance.
Conclusion & Self-Reflection
One of the most important questions to reflect on is:
Which core need is currently overfulfilled for me—and which one is being neglected?
And further:
How can I satisfy this need outside of pure performance?
Where do I need more boundaries—and where more freedom?
Where am I confusing recognition with belonging?
Engaging with these questions is a crucial step toward greater well-being, less stress, less conflicts with others, and a healthier life as a musician.
Read More:
(Schemata among Musicians)
Interview with the Deutschen Orchestervereinigung Unisono: https://uni-sono.org/wp-content/uploads/2024/11/2024-11-28-Huebsch-im-Interview-mit-HIldebrandt-und-Wenhardt-2024.pdf
Own research:
Wenhart, T. & Hildebrandt, H. (2025). Music Students' Psychological Profiles: Unveiling Three Coping Clusters Using Schema Mode Inventory. Frontiers in Psychology, 16, 1673100. https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2025.1673100/full
Wenhart T. Mental Stark, psychisch gesund - Konzeption von Schema-Workshops für Musiker:innen und Musiklehrkräfte. 2024 DOI: 10.13140/RG.2.2.21773.51686
Sources:
(Schemata, Schematherapy and Schemacoaching in general)
Young, J.E., Klosko, J.S. & Weishaar, M.E. (2003) Schema Therapy: A practitioner’s guide. New York, NY: Guilford Press
Jacob, G., & Arntz, A. (2015). Schematherapie in der Praxis. Beltz
Handrock, A., Zahn, C. A., & Baumann, M. (2016). Schemaberatung, Schemacoaching, Schemakurzzeittherapie. Beltz
