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ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
"Play less and listen more" is the prevailing wisdom whenever two musical
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
ContributorsSmith, Brad (Author) / Campbell, Andrew (Thesis advisor) / Kopta, Anne (Committee member) / Oldani, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015