Schemata in Musicians: Recognizing Psychological Patterns and Strengthening Self-Competence
- Dr. Teresa Wenhart
- 2 days ago
- 9 min read
Just as music is built from structures and harmonies—like the blues progression—people also have patterns in their emotions, thoughts, and behaviors. By reflecting on and constructively working with these long-standing patterns in experience, communication, and action, we can not only enhance academic and career success but also improve quality of life and relationships—both professionally and personally. This article explores the most common psychological patterns (schemata) in musicians and how schema work can help identify and transform them.
All content on this blog has been created with great care and dedication. It is based on solid training, years of professional experience, and thoughtful reflection. If you use any of it in your own work, I appreciate a source reference – it supports transparency and fosters professional exchange within our network.
Of course, you’re also welcome to consult AI – though its interpretations tend to be a little less nuanced (even if it now sometimes refers back to this blog).
Inner Conflicts in a Musician’s Life—Do You Know That Feeling?
You were supposed to practice for your next project—but suddenly you feel more drawn to the lake or to the bookshelf that desperately needs organizing. Yet a part of you knows exactly: it would make more sense to start practicing now.
Or you firmly resolve to stay calm on stage. But even the smallest mistake throws you off, and you ruminate on negative thoughts for minutes—or even hours. You might feel anger when someone criticizes you during rehearsal, even though you rationally know that staying composed would be better for your career and relationships in the long run. Or you avoid expressing your needs openly—out of fear of rejection. And when you do speak up, your fear seems to be confirmed.
Every musician knows these inner conflicts. Although we usually act competently in daily life, under stress we repeatedly fall into the same patterns. In German, we call this acting “nach Schema F.” These recurring reactions are no coincidence—they are tied to our blind spots: deeply ingrained patterns from our past that are still automatically triggered today.
What Are Schemata?
Schemas are deeply ingrained patterns of experience, thinking, feeling, and behavior. They develop from biological predispositions, formative social experiences (for example, repeatedly unmet basic needs in childhood and adolescence), and psychological factors.
In other words, they are the patterns of experience, thought, and behavior—including physical patterns such as tension, movement, and coordination—that we learned in the past. Originally, these patterns were adaptive—they helped us cope with the circumstances at the time. Today, however, they can become limiting: under stress or in new, unfamiliar situations (for example, on stage, while traveling, or under social pressure), these patterns often emerge automatically.
Why does this happen? Because the brain operates in an energy-saving mode. It rapidly compares current situations with past experiences and activates familiar emotional, cognitive, and physical responses. As a result, we risk getting stuck in old patterns—even if they no longer serve us. In music, as in life, this means we instinctively rely on familiar structures, even when they no longer benefit us.
Schemata in Musicians
During my current CAS studies in Cello Performance, I repeatedly noticed how strongly certain patterns of thoughts, feelings, and behaviors influence me. In these moments, I was reminded of schema therapy by Jeffrey Young (1993), which I had already encountered during my psychology studies. Schema work has also become more present in the wider public—for example, through the Swiss podcast Beziehungskosmos.
From this connection between personal experience and psychological knowledge arose the idea to pursue specialized training in schema coaching. I was convinced that this approach could be particularly valuable for musicians, as it makes complex internal processes understandable and accessible. Even a single schema consultation or workshop can initiate noticeable changes through self-reflection and sustainably strengthen self-competence. This assumption was confirmed in initial pilot projects: both individual coaching sessions and a workshop at the Zurich University of the Arts (ZHdK), as well as a workshop for scholarship holders of the Studienstiftung des Deutschen Volkes, led to consistently positive experiences and feedback.
The founder of schema theory, Young (1993), described 18 early maladaptive schemas. From my practical experience, certain of these schemas appear more frequently in professional musicians than others:
Trigger Warning: Simply reading the following typical patterns can often evoke uncomfortable associations or feelings, as the schemas may be subtly triggered. You may also notice internal resistance or self-criticism toward some of the information (an unconscious form of avoidance). This is completely normal! 🙂
Again: everyone has schemas, and we often recognize ourselves in several of them—though to varying degrees. Personality traits are always distributed along a continuum and come with both advantages and disadvantages.
Unrelenting Standards / Hypercriticalness:
Conviction that only technical perfection and flawless performances are acceptable. The feeling that without top-level musical achievement, one will be neither respected nor valued in the ensemble or in the music scene. The fear of losing parental love if mistakes occur, since from the child’s perspective the parents often made great sacrifices for their musical education—sacrifices the child feels indebted for.
Paradoxically, this schema often also develops through excessive praise of the “gifted child,” who repeatedly experiences that love and recognition are granted only through achievement—and that they diminish or disappear when the child “performs” less well.
Defectiveness / Shame:
Musicians with this schema are deeply convinced that they are not good enough—neither as artists nor as human beings. They perceive themselves as untalented or unmusical and chronically unappreciated as a whole person—feelings that are especially intensified by public performances, negative reviews, or rejections at auditions. The sense of never being able to meet the artistic or technical standards expected by conductors, colleagues, or audiences dominates their self-image. They hold the belief that they are failing both musically and personally, and that they are not living up to the investments made by their family or sponsors (this aspect is often unconscious or repressed).
Failure:
Conviction of never being able to meet the artistic or technical standards expected by conductors, colleagues, or audiences. The feeling of failing both musically and personally, and of not living up to the investments made by family or sponsors. This is often reinforced by early failures, to which the environment responded with inappropriate personal criticism, shaming, exclusion, or the instillation of guilt. These musicians feel like outsiders who will never belong to the “elite” of the music world—no matter how hard they try.
Mistrust / Abuse:
This pattern often brings particular burdens, as it frequently arises from the hierarchical structures of classical music education. Musicians with this schema accept humiliating treatment, being shouted at, or unfair criticism by conductors, teachers, or established musicians as “normal” or even as necessary for their development. Alternatively, they suspect everywhere that others will betray, deceive, or punish them. They tend to normalize inappropriate treatment or feel responsible for it, and they develop excessive adaptation to hierarchical structures and/or have great difficulty trusting that others mean well with them. This pattern is often reinforced by authoritarian music pedagogy or experiences of family violence in childhood.
Punitiveness:
The belief that only through strict self-discipline, endless practice hours, and self-criticism can musical excellence be achieved. The conviction that leniency or self-compassion leads to artistic mediocrity. Often shaped by strict music teachers and parents who controlled, monitored, or judged performance and learning through punishment or the rationing of rewards and praise.
Negativity / Pessimism:
The conviction that one will not succeed anyway (the performance, the exam, the audition, the competition), accompanied by a sense of helplessness and fatalism. Often linked to a persistent feeling in everyday life that something bad might happen. Shaped by repeated failures, losses, or misfortunes within the family. These beliefs are sometimes verbally expressed by parents or teachers toward students—unconsciously intended to protect their own self-image against the potential “failure” of the student/child (see also: Unrelenting Standards, Failure, and Defectiveness/Shame).
Approval-Seeking / Recognition-Seeking:
The identity of these musicians is entirely tied to external validation. They display an intense striving for standing ovations, positive reviews, or praise from authority figures. Their musical actions are often shaped by heightened efforts to attract attention through especially expressive playing, risky interpretations, or provocative behavior. This frequently appears in subtler forms as constant preoccupation with reviews about themselves, streaming numbers, follower counts, likes, and similar measures. Without regular external affirmation, their self-esteem is severely shaken, leading to a cycle of intensified efforts to gain attention.
Self-Sacrifice:
Neglect of health, relationships, and other areas of life in favor of endless hours of practice. The conviction of owing these sacrifices to music, the ensemble, or to parents/teachers. The feeling that personal needs would be selfish in comparison to the “higher” art or to devotion to the ensemble—combined with the fear of no longer belonging or of losing one’s “value.” At times, this is also linked to the grandiose belief of being almost divinely called through one’s talent (hence the term “child prodigy”) and therefore obligated to sacrifice oneself for this vocation. This self-sacrifice is often glorified as a virtue but, in the long run, leads to burnout, social isolation, and physical ailments.
Subjugation:
Excessive adaptation to the hierarchical structures in orchestras or jazz ensembles. Fear of expressing one’s own musical ideas or interpretations in order not to stand out. Unquestioning obedience to conductors or bandleaders, even when instructions are questionable. The fear of expressing personal musical ideas or interpretations leads to automatic compliance, even under doubtful circumstances. This pattern is often shaped by music teachers and a family environment that systematically suppressed alternative ideas, personal opinions, self-expression, and the development of an independent personality.
Social Isolation / Alienation:
Often few contacts outside the music world, as life revolves entirely around rehearsals, performances, and practice. Difficulties in forming genuine friendships with people who appreciate them not only as musicians but as whole persons. This is often shaped by a lack of integration in everyday school life—for example, due to frequent absences caused by concert tours—and by missing relationships with peers, since interactions from an early age were predominantly with adults (teachers, managers, conductors, etc.)—the child was not allowed to simply be a child. Frequently, there is an underlying belief held by parents and/or teachers that the (prodigy) child is destined for higher things because of their talent (see Entitlement/Grandiosity), and that spending time with “ordinary” children would be inappropriate or even a waste of time in terms of talent development. The musical identity dominates so strongly that other needs and aspects of the personality are neglected or even split off.
Entitlement / Grandiosity:
The music world often oscillates between intense admiration and sharp criticism, which can contribute to fluctuating self-images. People with this pattern swing between feeling exceptional and experiencing deep self-doubt. Early recognition of talent, intensive support, or labels such as “child prodigy” can lead to the belief that one is “special” or superior to others because of their abilities. However, this self-assessment can quickly turn into shame and doubt in the face of criticism or setbacks. Sometimes, a certain distance also develops toward “less musical” people or other areas of life that seem less significant compared to music. The expectation of automatically receiving recognition or preferential treatment due to musical abilities can create tensions in interpersonal relationships.
Insufficient Self-Control / Impulsivity:
Difficulties in organizing practice times, lateness to rehearsals, and unreliable preparation of repertoire. Problems with emotional regulation in the face of performance anxiety, criticism, or competitive pressure, which can lead to outbursts of anger or breakdowns. Here, it is important to distinguish between schema-related and neurodivergent causes: schema-related self-control problems arise from the patterns described above—strong emotional reactions to criticism lead to outbursts or breakdowns, procrastination in practicing stems from fear of imperfection, or poorly organized daily routines emerge as a form of rebellion against excessive control demands experienced in childhood.
Neurodivergence (ADHD, autism), on the other hand, can lead to organizational difficulties independently of schemas. Musicians with ADHD may struggle with time management and attention regulation during practice, while autistic musicians may have difficulties with unpredictable rehearsal schedules or sensory overload in loud ensembles. It is important to note that neurodivergent traits should not automatically be pathologized—they can even bring musical strengths, such as intense focus or exceptional auditory skills. The problems often arise only through interaction with the traditionally structured frameworks of classical music education, which leave little room for individual needs.
Schema Coaching: Working on One’s Own Patterns
The good news: there are structured methods for working constructively with these patterns. Schema coaching (based on Young’s Schema Theory, 1993) integrates various psychological approaches and is known in German-speaking countries as Schemaarbeit.
In coaching or workshops, the focus is on:
recognizing one’s own patterns,
understanding their origin and function, and
practicing new, healthier ways of responding and acting.
This fosters greater flexibility, self-determination, and calm—both on stage and in everyday life.
Why Schema Work Is Especially Important for Musicians
Ideally, everyone in training would engage more with their own personal issues, since each person brings their own sensitive spots and patterns. The earlier we recognize these, the easier it is to develop alternatives. This self-awareness is particularly important for those who bear responsibility for others: teachers, musicians in leadership positions, and also parents. For psychological, counseling, or therapeutic professionals, this kind of self-exploration is even mandatory and significantly more extensive.
Since today’s students are tomorrow’s teachers, colleagues, and parents, this represents a crucial leverage point. If we begin schema work already during training, it can improve long-term individual well-being, the collective climate in ensembles and music schools, and artistic quality.
According to the broaden-and-build effect, we know that positive emotions expand the range of possible actions and build resources. This applies to music students just as much as to entire orchestras and ensembles.
Outlook
As in jazz, schema work expands our repertoire: alongside the familiar blues patterns, we learn new harmonies and structures—modal jazz, Latin rhythms, or free improvisation. The more diverse our patterns become, the more flexible, authentic, and expressive our playing—and our lives—can be.
Read More:
(Schemata in Musicians)
Interview mit der Deutschen Orchestervereinigung Unisono: https://uni-sono.org/wp-content/uploads/2024/11/2024-11-28-Huebsch-im-Interview-mit-HIldebrandt-und-Wenhardt-2024.pdf
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, Schema-focussed Therapy and Schema-Coaching 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
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