What every musician needs to know about the body

what every musician needs to know about the body

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This item: What Every Musician Needs to Know About the Body:The Application of Body Mapping to Making Music by Barbara Conable Spiral-bound $ In Stock. Ships from and sold by tiktokdat.com What Every Musician Needs to Know about the Body: The Practical Application of Body Mapping and the Alexander Technique to Making Music: 1st (First) Edition: Barbara Conable, Benjamin Conable (Illustrator): tiktokdat.com: Books.

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Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Benjamin Conable. The practical application of Body Mapping and the Alexander Technique to making music. Body Mapping is the study of how our concepts of our bodies affect our experience and movement.

The Alexander Technique is a method for improving freedom and ease of movement and physical coordination. This book is bodh graphic presentation of ideas drawn from these two disciplines that is The practical application of Body Mapping and the Alexander Technique to making music.

This book is a graphic presentation of ideas drawn from these two disciplines that is of great benefit to music students and teachers and others. Get A Copy. Spiral-boundpages. More Details Edition Language. Friend Reviews. To see what your friends thought of this book, please sign up.

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Taught in universities, conservatories, and private studios worldwide, the What Every Musician Needs to Know About the Body? course helps prevent musicians’ injuries through increasing self-awareness, learning practical anatomy, and practicing efficient and dynamic movement. Body Mapping Educators are licensed through the Association for Body Mapping Education, a not-for-profit organization. What Every Musician Needs to Know About the Body:The Application of Body Mapping to Making Music: Conable, Barbara, Conable, Benjamin: Books - tiktokdat.com What Every Musician Needs to Know About the Body by David Nesmith This article first appeared in The Horn Call, The Journal of the International Horn Society (Volume XXIX, No. 4, August ) It is based on a presentation that was given at the Celebration ’99 IHS Symposium at Athens, Georgia.

The co-presenter was Barbara Conable. The presentation relied on many visual aids slides, video and anatomy models. It is suggested that the reader have at hand a detailed anatomy book for reference. See Resources at the end. Sound is Movement.

For every sound we can conceive, there is only one coordination of movements that creates it. If movement in our bodies is pinched or tense, our sounds will be pinched or tense. Conversely, if the movement is free and easy, our sounds will be free and easy. Much traditional training is learning technique, musicianship, and, more recently, the psychology of performing.

If the movement of playing is taught at all it often comes across intuitively, sometimes with physical misuse built in. This needs to change. The movement of playing needs to be taught directly as movement, and freedom of movement needs to be taught directly. How can we learn to free the movement of our bodies while playing?

There are two primary steps. This means we learn to actually feel the movement of our playing, for this movement is just as important as that of a dancer or athlete, though more subtle and refined. Along with sensitivity, discernment is needed to differentiate between various qualities of movement. And finally, we can cultivate responsiveness to the information observed in the body and choose a quality of movement that suits the music.

Sometimes simple attention is enough to solve problems. At other times, however, movement must be retrained. Body Mapping. One effective way to retrain movement is Body Mapping, as taught by Barbara Conable and other Andover Educators, including myself. If the Body Map is inaccurate or inadequate, movement is inefficient and even injury producing. Our Body Maps contain information about our structure, function, and size, and they simply govern our movement.

In other words, we move according to how we think we are structured rather than according to how we are actually structured. This creates stress on the true joint and limits the full range of movement. Learning the truth about the actual location of the joint of the jaw with the skull will free its movement. Body Maps need not be conscious, however.

By experience and effective modeling during their development, they have managed to maintain complete and accurate maps unconsciously. Musicians who do not move efficiently may benefit from correcting or enhancing their Body Maps by observing and imitating the natural movers whose Body Maps are good.

They may use an anatomy book to correct and refine their Maps. Seeing the truth of the structure is helpful. The remainder of this article is aimed at helping you become aware of your own Body Map, and providing opportunities for you to check it for inaccuracies or inadequacies that directly effect free breathing.

If you already breathe freely, then this information may help you identify and correct common mapping problems in your students. The Core of the Body and Places of Balance. Our freest movement and consequently our freest breathing will only be available to the degree that we are balanced. It is that place from which movement in any direction is easiest. We experience balance when we make full use of mechanical advantage: bone in right relationship to bone. Look at the illustration below.

Our bodies are organized around the spine. Two functions of the spine are to bear weight on the front half and protect the spinal cord in the back half. Many musicians have these functions confused and throw weight on the back half, which is one of the primary causes of lower back pain. The reality is that we are organized around our core support, the anterior, weight-bearing portion of the spine. Where the head rests on top of the spine is the first, and most important place of balance. Refer to an anatomy book and notice that this joint is right between the ears.

The distance from this joint to either the front of the skull or the back is nearly equal. If we believed incorrectly that the top of the spine was lower that this, for example, in line with the bottom of the jaw, then free movement of the upper cervical vertebrae would be restricted. The power of the Body Map would override reality with regard to movement. Correctly mapping this joint as up between the ears and freeing it liberates the structures of breathing, increases blood flow to and from the brain, and allows more communication within the nervous system.

If the neck muscles are tense, pulling the head off-balance on top of the spine, there is pressure on vital nerves. Pressure on nerves reduces sensation. Reliable sensation is what we want to recover. How do we free the neck and find balance? By intent, just like we sing a pitch. Now push it forward into a more collapsed posture. This can be compared to going sharp or flat with a pitch. Finally, allow your head to float back to a point somewhere in between where there is less effort, like bringing a note in tune.

Use a mirror for visual feedback. Be careful not to assume where balance is by placing your head in a certain way. The next place of balance is at the lumbar region of the spine.

This shortening and narrowing of the muscles puts pressure on the back half of the lumbar vertebrae. The lumbar vertebrae are very large and meant to bear weight down the front half, which is very central in the abdomen.

Being off-balance in the lumbar region directly affects free diaphragm movement and vital capacity. Our bodies divide in half upper half, lower half at the next place of balance, where the legs join the pelvis. Our weight is delivered down the front of the large lumbar vertebrae, down and out through the pelvic bones and into the massive joints on the outside of the pelvis. Some folks have these joints mapped up on the pelvic crest or inside the pelvis.

When sitting the only difference is that the legs simply swing up and out of the way while we deliver weight through our sit-bones into the chair.

Our weight is delivered into the knee, which is the joint below, and behind the kneecap. Many people move as if the joint is simply behind the kneecap and this causes pain. We have three options for movement at the knee: bent, locked, and balanced.

If so, then you may be sending your weight as if down a tight calf and into the heel. This common mis-mapping of the lower leg sends the body off balance backwards. The weight-bearing lower leg bone is at the front of the leg.

Our weight is meant to deliver through this bone to the ankle at the apex of the arch. When we allow this to happen our feet support us like tripods, each foot delivering the weight down and back to the heel, and outward to each side of the ball of the foot.

Then, being mindful of all the places of balance, ease into a more even weight distribution throughout your feet. The final place of balance is the arm structure over the torso. As we explore all the other balance points we can allow our arms to naturally hang over the torso, not pulled back nor rolled to the front. A freely-balanced arm structure allows the upper ribs more mobility and greater ease holding the horn.

Stand in front of a full-length mirror. Raise your arms above your head and slightly forward. Rise onto the balls of your feet. Find balance, being mindful of all the points. Knees should be balanced and soft. Now, gently lower your heels to the floor, bending at the ankles. Ease your weight into the heels until you feel it equally front and back. Lower your arms. Notice the degree to which you want to continue leaning back, putting more weight into the heels. Doing this observational exercise periodically will increase your awareness of balance.

If you are habitually pulled back off balance this may feel like you are leaning forward. Check the mirror. Try this with the horn. Breathing is Movement. There are three sources of trouble with breathing: a misunderstanding of the structures, a misunderstanding of the movement, and tension in muscles superficial to the breathing muscles.

Again, as you follow this discussion, it will be helpful if you have an anatomy book. Air enters and exits through the nose and mouth, where we begin to be awake to the sensations of breathing.

The air moves into the long pharynx. Note the distinction between throat and neck. The neck is the large group of muscles, which move the head, the throat, the smaller structures interior to it which speak, sing and swallow. You can feel the pharynx by swallowing.





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