Alper Şakalar, Leyla BEKENSİR
Musical performance is strictly dependent on the performer’s level of cognitive and psychological readiness, as well as their technical skill. In vocal training, the fact that the instrument is the performer’s body itself makes the effects of music performance anxiety (MPA) more visible from somatic and technical perspectives. The aim of this research is to examine in depth the relationship between vocal students’ music theory knowledge and the vocal performance anxiety they exhibit, through the subjective experiences of the performers. The study was conducted using the phenomenology design, one of the qualitative research methods. The study group consists of 24 vocal students studying at the undergraduate level in state conservatories in Turkey, determined by the criterion sampling method. Data were collected through a 10-question semi-structured interview form and analyzed using the content analysis technique.The findings obtained from the research were gathered under four main themes: restorative safety provided by cognitive mastery, the mathematical ground of technical competence within the ensemble, social anxiety created by the perception of inadequacy, and the process of transition from imitation (mimesis) to autonomy. Participants defined music theory and analysis skills as a “cognitive map” that eliminates uncertainty on stage and a “safety belt” that engages during moments of error. As a result of the research, it was determined that as theoretical background increases, the student moves away from imitating the instructor’s voice and transforms into an autonomous interpreter who has mastered the architectural structure of the work; this transformation serves as a critical psychological lever in managing performance anxiety. In this context, it is recommended that theoretical courses in music pedagogy be structured in a more integrated manner with the vocal curriculum and presented as a strategy for stage resilience.