Today we have the distinct pleasure of talking with Noa Kageyama, whose website and podcast The Bulletproof Musician is known as the leading source for the most up-to-date research-based insights and strategies for practice and performance in music. He tackles topics like deliberate practice, accelerated learning, stage fright, and recovering from mistakes, and does so not only as a musician himself but as an expert in the fields of music and sports psychology.
Noa started in music as a toddler and went on to study at Julliard - but as you’ll learn in this conversation, that seemingly straight-line path to professional musician success suddenly paused at that point and took a fascinating new direction which led to Noa’s success today as a respected expert in the psychology of performance in music.
In this conversation we talk about:
• The connection between “practice mode” and “performance mode”.
• What you should be thinking about during a performance.
• The third area alongside practice and performing where Noa gained new insights that transformed his enjoyment of his musical life.
The team here at Musical U, we are all massive fans of The Bulletproof Musician and we’re often resharing Noa’s articles and episodes, so we’ve been really looking forward to having him join us here on the podcast and it lived up to all expectations.
There are a ton of potential mindset breakthroughs waiting for you in this episode - enjoy! And don’t forget we love to hear from you at musicalitypodcast.com/hello
any time you particularly enjoy an episode or have thoughts to share. So do let me know what you thought of this one, at muscialitypodcast.com/hello
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Full Show Notes and Transcript: Episode 132
Links and Resources
• The Bulletproof Musician
• TED Talk: How I climbed a 3,000-foot vertical clif…
• TED Talk: The transformative power of classical mu…
• Full interview with Shawn Johnson on Freakonomics
• This Is Your Brain on Music
, by Daniel Levitin
• Interview with Mark Kosower, principal cellist of …
• ”Beyond Practicing” course
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