According to recent studies, classical musicians experience higher levels of anxiety and depression than the general population due to various factors, including performance pressure and anxiety, self-doubt, fear of failure, PTSD, occupational stressors, job insecurity, social phobia, isolation, financial instability, and personal sacrifice. However, there's a lack of research exploring the psychological processes underlying this issue specifically within Classical musicians.

This study will analyze the character of Nina Sayers in Darren Aronofsky’s film ‘Black Swan’ to explain the experiences of Classical musicians. Nina represents individuals who undergo the intense pressure and expectations in the competitive society of art and shows a development of adulthood identity construction in a career pursuit in art that classical musicians may identify with. Using a Freudian approach of id (unconsciousness), ego (reality), and superego (consciousness), this study will examine Nina’s mental and physical health issues and apply this analysis to classical musicians to explore how their own pursuit of professionalism and pressure to succeed may impact their mental well-being.

This analysis suggests that classical musicians may benefit from a greater understanding of the unconscious mental process to identify patterns of thinking and behavior that may contribute to mental health issues, the recognition of ambivalence, for instance, in paradoxically experiencing music as a stressor and therapeutic simultaneously, the childhood origins of adult personality in long-term isolated practicing environment, and the role of mental representations in social behavior. This could help them develop a more constructive musical identity and career rooted in passion rather than external pressures.

Etudes of Frédérec Chopin (1810 - 1849) epitomize the fusion of musical depth and technical intricacy, elevating the etude genre from mere mechanical exercises to artistic masterpieces. 

The first set Op. 10 (composed in 1829-1832, published in 1833, dedicated to Franz Liszt), reflects Chopin’s youthful energy; they are innovative in spirit, and even ‘peculiar’ to borrow his own words. Although it’s not explicitly stated, the virtual polyphonic and counterpoint writing in these Etudes reflects Chopin’s admiration for J.S Bach.

Op. 10 No. 5, 8, 9, 10, and 11 are virtuosic yet optimistic and cheerful in moods (even the minor etude No. 9 is not overly serious), perhaps reflecting Chopin’s inspiration from or impression of Paganini. At times, Chopin explores and creates diverse characteristics using rhythm, articulation or particular textures. No. 10 is a great example of a narrative quality with a witty hemiola, foreshadowing his later etude set, Op. 25. No. 11 exudes true elegance, representing Romantic delicacy. 

No. 1, 2, 5, and 6 were composed in 1830; The arpeggios in No. 1 and chromatic scales in No. 2 appear to reflect Chopin’s consciousness of etude tradition in didactic aspects, while No. 6 looks forward in nature. In No. 6, the regular, chromatic intervallic patterns in the left hand are somewhat enigmatic, signifying Chopin’s innovative musical expansion, perhaps anticipating his Prelude Op. 28 No. 2. Chopin chose C minor for No. 12 and C# minor for No. 4 to convey passionate intensity. 

Op. 25 (composed in 1835) is dedicated to Marie d’Agoult, and written in an even more avant-garde style, completely deviating from an exercise/didactic aspect. The treatment of the entire set is akin to a narrative. If No. 1 and No. 2 have preludial quality to the set, No. 10 through No. 12 serves as the denouement, a grand finale.  

The rhythmic elements in No. 3, 4, and 5 are diverse and vibrant, featuring recurring melodic motifs. The famous No. 6, 8, 10 are often referred to as ‘the third, the eighth, the octave’ respectively. The music in these pieces is, however, transcends mere intervallic exploration; the true melody of No. 6, in fact, lies in the left hand, circling around and never deviating the center ‘G sharp.’ No. 8 and No. 9 are in warm keys: D flat and G flat majors, and the music exudes nothing but elegance and grace as if gently mocking pianists’ technical challenges in dealing with the eights and the jumping chords. 

No. 5 and No. 10 are Chopin’s distinctive and Romantic treatment of the tripartite form, in which the B or the middle section departs completely from the A section, introducing the new materials, a characteristic seen in his nocturnes, ballades, and several sonata movements. 

Etude in A flat Major, Op. 25, No. 1 "Aeolian Harp"

Etude in A flat Major, Op, 10, No. 10

Etude in A minor, Op. 10, No. 2

Etude in A minor, Op. 25, No. 4

Etude in B Minor, Op. 25, No. 10

Etude in G flat Major, Op. 10, No. 5 “Black Keys”

Etude in G flat Major, Op. 25, No. 9 “Butterfly”

Etude in F Major, Op. 10, No. 8

Etude in C sharp Minor, Op. 25, No. 7

Etude in C Minor, Op. 10, No. 12 “Revolutionary Étude”

Etude in D flat Major, Op. 25, No. 8

Etude in C Major, Op. 10, No. 7

Etude in F Major, Op. 25, No. 3

Etude in E flat Major, Op. 10, No. 11

Etude in E Minor, Op. 25, No. 5

Etude in C sharp Minor, Op. 10, No. 4

Etude in F Minor, Op. 25, No. 2

Etude in F Minor, Op. 10, No. 9

Etude in G sharp Minor, Op. 25, No. 6

Etude in E Minor, Op. 10, No. 6

Etude in E Major, Op. 10, No. 3 “Tristesse”

Etude in C Major, Op. 10, No. 1

Etude in A Minor, Op. 25, No 11 “Winter Wind”

Etude in C Minor, Op. 25, No. 12