Dr Margaret Osborne is a postdoctoral research fellow in the Melbourne Conservatorium of Music, and teaching specialist in the Melbourne School of Psychological Sciences at The University of Melbourne. She graduated with a PhD from the Sydney Conservatorium of Music at the University of Sydney in which she investigated the phenomenology and treatment of music performance anxiety in adolescents. Margaret is also a registered psychologist, occupational rehabilitation and careers counsellor, and past-President of the Australian Society for Performing Arts Healthcare.
Margaret’s work specialises in performance science and psychology. As a result of her research and professional practice, Margaret is passionate about assisting people to manage anxiety, build confidence, enhance performance, and develop emotional resilience. She works with Professor Gary McPherson and colleagues at the University of New South Wales, Indiana University Jacobs School of Music and the Royal College of Music on an ARC Discovery Project which examines motivation and practice quality in musicians who are undertaking advanced training in music performance. In addition, she conducts her own research and teaching in psychological strategies to manage performance anxiety and enhance performance potential in musicians and athletes. In 2016 she helped establish IgniteLab, a careers and entrepreneurship initiative which supports Melbourne Conservatorium of Music students to build 21st century careers.
Key research questions:
How can performance psychology support the optimal training and execution of performance skills?
How can we improve the health and well-being of musicians?
How can we integrate theoretical and therapeutic research in the cognitive, behavioural and neuroscientific domains to formulate best-practice methods to reduce debilitating anxiety and maximise performance potential?
I am happy to supervise RHD students who have research interests in the following areas: • How can we integrate theoretical and therapeutic research in the cognitive, behavioural and neuroscientific domains to formulate best-practice methods to reduce debilitating anxiety and maximise performance potential? • How can performance psychology support the optimal training and execution of performance skills? • How can we improve the health and wellbeing of musicians? • How can we use knowledge of the benefits of music training to support new music educational programmes in schools?