Schemata in Musicians: Reflecting Psychological Patterns and Strengthening Self-Competence

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.

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.

Important note in advance: The following descriptions are deliberately simplified and are intended to support the understanding of social dynamics – not to stigmatize musicians or the music world. Psychological patterns are normal personality traits found in all people and appear in similar forms across all professions. They only become problematic when they become inflexible and limit personal or professional development.

What Are Schemata?

Schemas are deeply rooted patterns of experience, thinking, feeling, and behavior.They develop from a combination of biological predisposition, formative social experiences (e.g., repeatedly unmet basic needs during childhood and adolescence), and psychological factors.

In essence, schemas are patterns of perception, thought, and behavior (including physical patterns such as tension, movement, and coordination) that we have learned in the past. These can be either adaptive (helpful) or maladaptive (less helpful).Maladaptive schemas form when basic psychological needs – such as connection, autonomy/control, healthy boundaries, self-esteem/appreciation, and spontaneity/joy – are repeatedly unmet.Originally, at the time they were formed, all of these patterns were adaptive – they helped us cope with the circumstances back then.But today, they can hold us back: under stress or in new, unfamiliar situations (e.g., on stage, while traveling, or under social pressure), these patterns often get triggered automatically.

Why? Because the brain operates in an energy-efficient way. It compares current situations with past experiences in a split second and activates familiar emotional, cognitive, and physical response patterns. As a result, we risk falling back into old habits – 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 support our growth or well-being.

At the end of this article, we’ll also explore how this may be related to or interact with neurodivergence (such as ADHD, autism, or high sensitivity).

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 Therapy – Young (1993) – described 18 early maladaptive schemas. So far, no one has described schemas specifically in musicians. From my experience, certain schemas tend to appear more frequently among professional musicians than others. Some schemas are quite similar, since they often develop under comparable conditions and therefore also frequently occur together. This in itself doesn’t necessarily mean anything.

Trigger warning: Simply reading the following typical patterns can often already lead to unpleasant associations or feelings, as the schemas may be latently triggered. An inner rejection or devaluation of certain information can also indicate that the schema might be an issue for you (unconscious avoidance). That’s normal! 🙂 If you are reading this as a parent or teacher, you might worry that you are somehow “to blame” for something, or as a child/student you might feel the urge to defend your parent/teacher. Neither is true: as adults we carry responsibility, but that does not automatically mean guilt (with the exception of actual offenses such as abuse or neglect). It is simply impossible for all needs of all people to always be met at the same time (e.g., attachment vs. autonomy).

Once again: Everyone has schemas – including parents and teachers – and we often recognize ourselves in several of them, though to different degrees. Personality traits are always distributed along a continuum and come with both advantages and disadvantages. Even if you recognize yourself strongly in several schemas, that does not mean you are “disturbed” or “pathological,” and it certainly doesn’t mean all "hop and malt is lost", as we say in Bavaria 🙂. This is not about black-and-white pigeonholing but about gradual, reflective self-awareness.

Unrelenting Standards / Hypercriticalness:

The conviction that only technical perfection and flawless performances are acceptable. The feeling that without first-class musical achievements, one will neither be respected nor valued in the ensemble or the music scene. The fear of losing parental love in case of mistakes—parents who, from the child’s perspective, often made great sacrifices for musical training and to whom one therefore “owes” something.

Paradoxically, this schema often also develops through excessive praise of the “gifted child,” who repeatedly experiences that love and recognition are only received through achievement—and are absent or reduced when performance is less strong. The feeling of never meeting the artistic or technical standards expected by conductors, colleagues, or the audience dominates their self-image.

Failure/defecetiveness:

The conviction of not being able to reach goals, of being inferior, less talented, or less intelligent. A tendency toward unconscious self-sabotage (e.g., procrastination). The feeling of failing both musically and personally and of not living up to the family’s or sponsors’ investments (this aspect is often unconscious or repressed). Frequently shaped by highly demanding caregivers and teachers, and reinforced by early failures that were met with inappropriate personal criticism, shaming, exclusion, or guilt induction. These musicians feel like outsiders who will never belong to the “elite” of the music world—no matter how hard they try.

Dependence / Incompetence

These musicians feel dependent on others and struggle to trust their own competence or make decisions independently. They learned early that others would take decisions away from them—or impose them—and that they would be controlled by caregivers. They avoid challenges, judgments, and independent choices out of fear of failure or disapproval. This is often shaped by parents and teachers who “know the right interpretation” or who fear the child might fail (and thus suffer, or damage the adult’s own image as a good parent/teacher). This schema is often linked to Unrelenting Standards and/or Failure.

Enmeshment / Underdeveloped Self:

Excessive closeness with family and caregivers, mutual dependency, and blurred boundaries. Often seen in musician families describing exceptional harmony, conflict avoidance, or solidarity, where unconditional availability is expected (the “perfect childhood”). Roles often become mixed: children feel responsible for parents, take on parental roles (parentification), while parents simultaneously foster dependence through overprotection, excessive promotion, control, or emotional demands (e.g., guilt induction). The development of individuality and a separate life is hindered. Decisions are always double-checked or made collectively, often presented as a “special bond” in the family. Common in families where caregivers manage the child’s career—or where the child is expected to financially support or raise the family’s status through musical success.

Defectiveness / Shame

Musicians with this schema are deeply convinced they are bad, unwanted, or unworthy as artists and as people. They perceive themselves as untalented or unmusical, and chronically inferior as a whole person. They compare themselves constantly with others, devalue themselves (both outwardly and inwardly), and experience frequent shame and guilt. They believe they fail musically and personally, and that it is their own fault—or that they owe others (e.g., family, sponsors). This pattern often develops from devaluation during public performances, poor reviews, audition rejections, bullying or social rejection, and emotionally demanding or punitive behavior in upbringing or musical pedagogy.

Mistrust / Abuse: 

This schema often carries a heavy burden, since it frequently stems from the hierarchical structures of classical music training. Musicians with this schema accept humiliating treatment, yelling, or unfair criticism by conductors, professors, or established musicians as “normal” or even necessary for their development. Alternatively, they may constantly suspect that others intend to betray, hurt, humiliate, “screw,” cheat, lie to, or punish them. They tend to normalize mistreatment (believing they deserve it) or feel responsible for it, leading to excessive adaptation to hierarchy and/or great difficulty trusting others’ goodwill. This schema is often reinforced by authoritarian music pedagogy or by experiences of family violence in childhood.

Social Isolation / Alienation: 

Often very few contacts outside the musical world, as life revolves entirely around rehearsals, performances, and practice. Difficulty forming genuine friendships with people who appreciate them as whole individuals, not only as musicians. They perceive themselves as fundamentally different and rejected (“loners”). Often shaped by poor integration at school (e.g., absences due to concert tours) and missing peer relationships due to early predominant interaction with adults (teachers, managers, conductors). The child was not allowed to be a child. Parents or teachers often carry an implicit belief that the (prodigy) child is destined for higher things (see Entitlement/Grandiosity) and that time with “ordinary” children would be inappropriate or a waste. Musical identity dominates so strongly that other needs or aspects of personality are neglected or split off. Can also result from bullying, humiliation, and exclusion, and may be reinforced by actual differences (e.g., neurodivergence, high sensitivity).

Punitiveness: 

The belief that only through strict (self-)discipline, endless practice, and (self-)criticism can musical excellence be achieved. Difficulty forgiving oneself or others for human mistakes, intolerance of imperfection, little empathy, and high moral standards. The conviction that leniency or (self-)compassion would lead to mediocrity. Frequently shaped by strict teachers or parents who controlled or evaluated performance, learning, or behavior through punishment (emotional/physical violence, withdrawal of love, silent treatment, exclusion) or rationed praise and rewards.

Negativity / Pessimism: 

The conviction that one will inevitably fail (the performance, the exam, the audition, the competition), accompanied by feelings of helplessness and fatalism. Often connected to a permanent sense that something bad might happen. Shaped by repeated failures, losses, or misfortunes in the family. Sometimes these beliefs were verbally reinforced by parents or teachers—with the unconscious aim of protecting their own self-image from 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 tied entirely to external validation. They show an intense drive for standing ovations, positive reviews, or praise from authority figures. Efforts to gain attention through particularly expressive playing, risky interpretations, or provocative behavior often shape their musical practice. This can also appear more subtly, e.g., through constant preoccupation with reviews, streaming numbers, followers, likes, etc. Without regular external validation, their self-esteem becomes destabilized, leading to a cycle of ever-increasing efforts to attract attention.

Self-Sacrifice: 

Neglect of health, relationships, and other life areas in favor of endless practice and sacrifice for others. The conviction that such sacrifices are owed to music, the ensemble, or parents/teachers. Difficulty saying no to projects or delegating responsibilities. Unconscious belief that sacrificing for others or for music makes one indispensable (self-esteem boost). The feeling that personal needs are selfish compared to the “higher” purpose of art or sacrifice for the ensemble—accompanied by the fear of losing belonging or value otherwise. Sometimes connected to the grandiose belief that one’s talent is “divine” (hence “child prodigy”) and demands sacrifice. Although often idealized as a virtue, this schema leads in the long run to burnout, social isolation, and health problems.

Subjugation: 

Excessive adaptation to hierarchical structures in orchestras or ensembles. Fear of expressing one’s own musical ideas or interpretations in order not to stand out. Unreflective obedience toward conductors or colleagues, even when their instructions are questionable, combined with the feeling that one’s own needs, ideas, or feelings have less legitimacy. Fear of punishment or revenge can lead to anticipatory obedience (people-pleasing). This schema is often shaped by teachers and families that systematically suppressed individuality, self-expression, or independent personality development.

Entitlement / Grandiosity: 

Early recognition of talent, intensive promotion, or treatment as a “child prodigy” can lead to the belief of being “special” or superior because of one’s gift. Sometimes this fosters a sense of distance toward “less musical” people or areas of life considered less important (see Social Isolation). The expectation that musical ability automatically grants recognition, privileges, or the right to dominate others may cause interpersonal tension. Such individuals often ignore deadlines and agreements, expect others to prioritize their schedules and needs, while lacking self-reflection and empathy for others. However, this self-perception can quickly collapse into shame and doubt when faced with criticism, setbacks, or others in the spotlight—often in combination with Defectiveness/Shame, Mistrust/Abuse, or Enmeshment. They oscillate between feeling extraordinary and experiencing deep self-doubt. Outwardly, this appears in low frustration tolerance, victim-playing, devaluation, dominance, control, and impulsive emotional reactions.

Insufficient Self-Control / Impulsivity: 

Difficulties organizing practice time, frequent lateness to rehearsals, disorganization, unreliable repertoire preparation, and little perseverance under performance demands. Problems with emotional regulation during stage fright, criticism, or competition pressure, leading to angry outbursts or breakdowns. Strong hedonistic tendencies and difficulty sticking with boring tasks or long-term goals. Often shaped by indulgent treatment by caregivers who spared the child unpleasant tasks, or by a sense of specialness (see Entitlement/Grandiosity).

Neurodivergence (ADHS, Autism)

Like temperament, neurodivergence can independently lead to difficulties—or increase the likelihood of developing certain schemas. Musicians with ADHD may struggle with time management, emotional impulsivity, and sustaining attention during practice, while musicians with autistic traits may find unpredictable rehearsal processes or sensory overload in loud ensembles particularly challenging.

It is important not to automatically pathologize neurodivergent traits—they can also bring musical strengths, such as intense focus or exceptional auditory perception. Difficulties often arise primarily in interaction with the traditionally rigid structures of classical music training, which leave little room for individual needs.

At the same time, it is equally important not to use self-diagnoses such as high sensitivity, ADHD, or autistic traits as an “excuse” that relieves one of responsibility for one’s own development. Often, at least some schema-driven patterns are also involved.

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 of us brings our own vulnerabilities and patterns—and the earlier we recognize them, the easier it becomes to develop alternatives. This self-awareness is especially important for those who carry responsibility for others: teachers, musicians in leadership roles, but also parents. Schemas are often unconsciously and unintentionally passed on to the next generation through social interaction (“transgenerational schemas”). For psychological, counseling, or therapeutic professionals, such self-exploration is even mandatory—and considerably more extensive.

Since today’s students are tomorrow’s teachers, colleagues, and parents, this is where a crucial lever lies. If we begin schema work already during training, it can, in the long run, enhance individual well-being, the collective climate in ensembles and institutions, as well as artistic quality.

In line with the broaden-and-build effect, we know that positive emotions and experiences expand our range of action and help build resources. This applies just as much to music students as to teachers and 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

https://www.teresawenhart.com/_files/ugd/ef9191_0e637c90faf74a43a19de9fb64a90191.pdf

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