“Like athletes, musicians undergo rigorous training, but the health infrastructure supporting them is underdeveloped,” says UP’s Prof Clorinda Panebianco. Her research in music psychology is paving the way for change.

Professor Clorinda Panebianco’s research is shaping the future of music psychology in South Africa with her work that addresses an often-overlooked aspect of the performing arts: the physical and mental health risks that musicians face throughout their careers.

From repetitive strain injuries to performance anxiety, Prof Panebianco, a professor of Musicology at the University of Pretoria’s (UP) School of the Arts, has made it her mission to highlight these challenges and advocate for systemic change.

“Like athletes, musicians undergo rigorous training and performance pressures, yet the health and safety infrastructure supporting them is far less developed, particularly in South Africa,” she explains.

Her studies reveal that South African music students and professionals face physical challenges such as musculoskeletal disorders, vocal strain and noise-induced hearing loss, alongside mental health issues like performance anxiety and occupational stress. To address these gaps, Prof Panebianco designed and teaches a compulsory occupational health and well-being module for first-year music students at UP.

“Health education in the performing arts is essential to inform students about potential playing-related health risks and equip them with strategies for injury prevention and long-term wellness,” she says.

Her work recently earned her a National Research Foundation (NRF) rating, which she describes as both a validation of her dedication and a milestone for music psychology as an emerging field.

“I highly value this NRF rating, not only as recognition of my dedication and contributions over the years, but also as a milestone for the field of music psychology, which is gaining prominence as an emerging area of research in South Africa,” she says. “This rating affirms the significance of my work and underscores the potential of this discipline to address critical questions about human interaction with music. While I still consider myself an early-career researcher, with nearly 15 years of experience, this recognition encourages me to continue advancing the field and supporting its growth within the South African academic context. Moreover, it motivates me to continue striving to advance music psychology, with a particular focus on the health and well-being of performing artists – a vital area where there is still much to be researched and achieved.”

Prof Panebianco’s journey into academia began with a detour. Due to an oversight in relation to her high school subject choices, she didn’t qualify for direct university entrance. However, she forged her own path.

“I didn’t initially qualify for university entrance. So, I began my studies with a diploma course in the music department at Stellenbosch University, completing a Licentiate in Music Teaching (L.M.O.).”

She went on to earn a Bachelor of Music (BMus), majoring in piano and oboe, followed by postgraduate studies at UP, which culminated in a Doctor of Music (DMus) in 2001. She was in her forties when she discovered her true calling in music psychology.

“In high school, I dreamed of becoming a concert pianist, but this shifted during university when I began playing the oboe,” Prof Panebianco recalls. “Not only did I experience incredible joy in making music with others, but I also discovered that teaching brought me a profound sense of fulfilment and satisfaction.

“I went on to pursue postgraduate studies in historical and analytical musicology at UP. Then, in my mid-40s, I discovered my true calling: music psychology. This interdisciplinary field, which bridges psychology, medicine, philosophy, musicology and education, has allowed me to combine my love for both the arts and the sciences, and to make a meaningful impact on the lives of musicians and students alike.”

Prof Panebianco describes herself as a lifelong learner and says her greatest joy comes from her students.

“Without a doubt, the most rewarding and energising aspect of my work is the magical interaction that happens through the mutual exchange of knowledge with my students, whether in instrumental lessons, lectures, classes or during supervision. On a broader level, I thoroughly enjoy being part of an academic community where I can indulge my passion for learning and explore new ideas through research. Academia is profoundly humbling; no matter how much expertise one gains, there is always more to learn and discover. This inspires me because the journey of learning never ends, and there is so much joy in embracing the continuous pursuit of knowledge.

“My advice to anyone interested in entering music psychology is to start by connecting with others in the field – networking is invaluable. I would be thrilled to expand our community of researchers who are passionate about this field, so do make contact.

“For students, I recommend taking courses in music psychology, which are available at UP, UNISA and through various international universities online. These courses provide a strong foundation and introduce key research methods and theories. I believe there is much potential for music psychology research, especially in creating real-world impacts… It is a growing field in South Africa with plenty of room for innovation and new ideas.”