In her
introduction, the author writes:
“Musicians,
knowing that their work demands a high standard of
neuromuscular co-ordination, are well aware that mind
and spirit can only express themselves by means of
bodily movements … too many musicians still suppose that
all that is needed to maintain good co-ordination
throughout a demanding career is plenty of practice at
their instrument. This unfortunate misunderstanding
leads, too often, to artistic frustration and to
ill-health.”
Elizabeth describes her own gradual realisation that her
difficulties and pain were caused by what she was
‘doing’ and that she eventually found help from an
Alexander teacher. She cites Alexander’s own
problem-solving in the light of the relevance this has
to all who practise the art of ‘performance’. It is a
universal fact that we can think and act at the same
time but that most of the time we act without thinking,
which may lead to many problems in activities such as
sport or being a musician, so why not learn how to know
what we are doing while we do it?
There
follows a section with advice for each instrument, in
which the main postural or physical problems are
discussed individually. The author is herself a
violinist, and the section on the violin is more
detailed than those of the other instruments. Elizabeth
is cautious with her comments on instruments she doesn’t
play and gives credit to teachers of those instruments
for their advice and research as well as adding her own
thoughts. The list of instruments includes all the
common orchestral instruments (except the viola –
presumably being considered a large-sized violin!) –
Violin, Cello, Double-Bass, Flute, Oboe, Clarinet,
Bassoon. Brass instruments are grouped under one
heading. Percussion, Voice, Piano, Chairs (we all use
them!) and Conducting conclude this section of the book.
In the
section Performance
Anxiety, aspects of nervousness are touched upon
from many angles. It closes with a letter Elizabeth
wrote to a pianist discussing kinaesthetic memory,
directions, new habits and the chance to experiment.
In
Support and Balance
the main text is written on the right-hand page with
relevant comments on the left page. There are many
titles – e.g. Head and hands, Some worries and
objections, Preventive orders in sequence. Much that is
of fundamental importance to a player is discussed again
in detail with references to
Mind and Muscle
and explanations on the left-hand page. This chapter
includes many personal experiences with special mention
of use of arms and hands away from the body.
The short
essay entitled
Intermezzo acts as a preface to some accounts, in
chronological order, of Elizabeth’s experiences
introducing the Technique into the education of
musicians. The first letter she wrote about the
importance of the Technique appeared in
Medical World in
1966. Since then she has had influence on the Musicians’
Union, many music colleges, particularly the RCM and
GSMD, and led countless courses for various educational
associations. She cites many case histories drawn from
her own experience with these events, which make
fascinating and instructive reading for musicians.
In 40 years
of teaching, Elizabeth has seen many institutions
offering courses. Some have frankly not done enough and
she writes: “of course the very existence of the British
Performing Arts Medicine Trust ... bears witness to the
fact that we haven’t made nearly enough progress in
convincing the world that ‘use affects functioning’.”
However,
there are now many musicians who have also trained as
Alexander teachers. The RCM offers Alexander Technique
as part of its degree course, and the Manchester
Alexander Technique Training School has close links with
the Royal Northern College of Music and, as the author
quotes from the MATTS prospectus, “aims to make a
contribution towards the distinct placing for the
Alexander Technique in the wider field of personal
health and performance studies.”
In the last
section, Finale,
the emphasis is on the importance of the role of the
music teacher who “is in a privileged and highly
responsible position of having a one-to-one relationship
with the pupil. ... Essentially the pupil is learning to
learn, which is a skill for the whole of life.” There is
a compelling story of a boy who learnt the violin as a
child and became a lawyer when grown-up. He claimed that
it was learning the violin that taught him to
‘concentrate’.
Elizabeth’s
two penetrating and deeply personal books are
inseparable. Mind,
Muscle and Music follows on seamlessly from the
previous book. It was the author’s intention to write
for musicians in an easily understood style, and this
has been achieved. There are certain repetitions, but in
the field of the Alexander Technique one cannot rely on
an understanding of the issues the first time! There is
practical advice for all instrumentalists, historical
material, and a wealth of stories to illustrate many
circumstances, many drawn from autobiographical sources.
The ultimate message is one of optimism and of hope for
the future!
