Music performance anxiety (MPA), perfectionism, depression, and other psychological

disorders are common among classical violinists and classical musicians more broadly. This thesis

examines how established Classical Violin Pedagogy (CVP) approaches (from use of notation and

improvisation to informal learning and group practice) may be linked to such issues and the

components of ‘Musical Wellbeing’ (MW).

In addition to a hermeneutic literature review, the thesis analyses dominant violin pedagogies

through the lens of psychological models – Self-Determination Theory (Ryan & Deci) and Positive

Psychology’s PERMA model (Seligman) – alongside existing research into musicians’ mental health

and existing pedagogical practices. A mixed-methods approach, comprising a statistical survey of

violinists (n = 150) and a reflexive autoethnographic account investigates how varied learning modes

affect psychological outcomes.

Findings indicate that CVP often fails to meet basic psychological needs as defined by SDT

and PERMA. A moderate tendency toward MPA and perfectionistic thinking was evident among

respondents, with perfectionism confirmed as strongly predictive of MPA. Varied learning modes

were rarely reported (only 31% had engaged in improvisation), limiting correlations to MW and

reflecting their continued neglect within CVP. Notably, respondents whose teachers regularly

demonstrated passages for imitation reported significantly lower Self-Oriented Perfectionism. Those

who felt their conservatoire experience fostered creativity and enjoyment also reported lower MPA

and perfectionism. These findings suggest that structural omissions within CVP – termed here as

‘knowledge gaps’ – may contribute to long-term wellbeing challenges.

The thesis proposes a revised pedagogical model aligned with contemporary wellbeing

frameworks. Emphasising autonomy-supportive practices, it reframes MW as the presence of positive

psychological drivers. Positioned as both preventative intervention – through a re-examination of

‘ways of knowing’ (Goldman) – and enriching, with eudaimonia at the centre, it holds implications

for curriculum design, instrumental teacher training, and the wider discourse on mental health in

music education.