News about Health / Nachrrichten über die Gesundheit

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

   

Music Training Speeds Up Brain Development in Children

By Assal Habibi

How does music training in early childhood help the developing brain?

Observing a pianist at a recital—converting musical notations into precisely timed finger movements on a piano—can be a powerful emotional experience.
As a researcher of neuroscience and a pianist myself, I understand that the mastering of this skill not only takes practice, but also requires complex coordination of many different brain regions.
Brain regions—that are responsible for our hearing, sight and movement abilities—engage in an amazing symphony to produce music. It takes coordinating both hands and communicating emotionally with other players and listeners to produce the magical effect. The combination of such demands is likely to influence brain structures and their functions.
In our lab, we want to understand whether music training during childhood improves brain functions for processing sound more generally. These functions are important for the development of language and reading skills.

Music training and brain

Over the past two decades, several investigators have reported differences in the brain and behavior of musicians compared to nonmusicians.
Music training has been found to be related to better language and mathematical skills, higher IQ and overall greater academic achievement. Also, differences between musicians and nonmusicians have been found in areas of the brain related to hearing and movement, among others.

Music training helps develop many other skills.

However, the interpretation of the findings remains unclear. For example, the differences reported between adult musicians and nonmusicians might be due to long-term intensive training or might result primarily from inherent biological factors, such as genetic makeup.
Or, as with many aspects of the nature-versus-nurture debate, the differences may well result from contributions of both environmental and biological factors.
One way to better understand the effects of music training on child development would be to study children before they start any music training and follow them systematically after, to see how their brain and behavior change in relation to their training.
It would involve including a comparison group, as all children change with age. The ideal comparison group would be children who participate in equally socially interactive but nonmusical training, such as sports. Follow-up assessments after their training would reveal how each group changes over time.

Impact of music training on child development

In 2012, our research group at the Brain and Creativity Institute at University of Southern California began a five-year study that did just that.
We began to investigate the effects of group-based music training in 80 children between ages six and seven. We have continued to follow them, to explore the effects of such training on their brain, cognitive, social and emotional development.
We started the study when one group of children were about to begin music training through the Youth Orchestra Los Angeles program. This free community-based music program was inspired by El Sistema, a music program that was started in Venezuela and proved to be “tranformative” in changing the lives of underprivileged children.
The second group of children were about to begin a sports training program with a community-based soccer program. They were not engaged in music training.
A third group of children were from public schools and community centers in the same areas of Los Angeles. All three groups of children were from equally underprivileged and ethnic minority communities of Los Angeles.
Each year, we meet every participant and their families at our institute for a testing period over the course of two to three days. During this visit, we measure language and memory abilities, capacity to process music and speech, and brain development of each child. We also conduct a detailed interview with their families.
At the beginning of the study, when children did not have any music or sports training, we found that the children in the music training group were not different from the children in the other two groups. Specifically, there were no differences in the brain’s intellectual, motor, musical and social measures between groups.

How our brain processes sound

The “auditory pathway” connects our ear to our brain to process sound. When we hear something, our eardrums receive it in the form of vibrations of air molecules. That is converted into a brain signal through a series of elegant mechanisms in the inner ear. That signal is then sent to the hearing area of the brain referred to as the “auditory cortex,” located near the sides of the brain.
Using different tasks, we measured how children’s brains register and process sound before taking part in their training and each year thereafter with a brain imaging technique called electroencephalography (EEG). This systematic investigation allowed us to track the maturation of the auditory pathway.
In one task, for example, we presented pairs of unfamiliar musical melodies to children while recording the signal from their brain, through EEG. The pairs of melodies were either identical or occasionally had tonal or rhythmic irregularities. We asked the children to identify whether the pairs were similar or different.
We checked how successfully children could detect whether the melody pairs were different and the corresponding brain responses to these occasional differences. That allowed us to measure how well the children’s brains were attuned to melody and rhythm. In general, the brain produces a specific response when detecting an unexpected change in a pattern of sound.

How music training develops the brain

After two years, the group of children who had undergone music training were more accurate at detecting changes in pitch when the melodies were different. All three groups of children were able to identify easily when the melodies were the same.

Children in the music group show a stronger brain response. (Photo: A Health Blog)

That indicated that children undergoing musical training were more attentive to the melodies. Children in the music group also had stronger brain response to differences in pitch compared to the children in the other groups. We also observed that musically trained children had faster development of the brain pathway responsible for encoding and processing sound.
Three years of this study remain. But these interim results are promising. They support previous findings on the positive impact of music training on brain development.
Our findings suggest that music training during childhood, even for a period as brief as two years, can accelerate brain development and sound processing. We believe that this may benefit language acquisition in children given that developing language and reading skills engage similar brain areas. This can particularly benefit at-risk children in low socioeconomic status neighborhoods who experience more difficulties with language development.
We hope that the findings from this study will not only lead to a better understanding of the benefits of musical training but also provide further insights into the social and psychological merits of music education for children in underserved communities.
Assal Habibi is a senior research associate at the University of Southern California – Dornsife College of Letters, Arts and Sciences.

 

                           -------------------------------- 

The Benefits of Playing Piano

THE PHYSICAL AND mental benefits of playing music have long been recognized. The piano, in particular, has been an unparalleled outlet for those seeking escape, creative expression, and simply fun and joy. Recent years have only seen more evidence of the benefits of piano come to light, linking music making to a healthy body, a healthy mind, and a healthy life.

Improve the body

Even though you’re sitting down, playing the piano is a workout all its own, and offers different physical and physiological advantages to players of all ages. For instance, regular piano playing sharpens fine motor skills and improves hand-eye coordination in the young and developing. Additional research has shown that group keyboard lessons for adults and seniors have a significant effect on increased levels of Human Growth Hormone — which slows the adverse effects of aging. Bringing music into your life is also proven to reduce anxiety, heart and respiratory rates, cardiac complications, and to lower blood pressure and increase immune response.

Sharpen the intellect

Piano practice also boosts cognitive and intellectual abilities, which is to say it makes you smarter and activates similar parts of the brain used in spatial reasoning and math. Studying piano has also been shown to amazingly improve memory — particularly verbal memory — and build good habits like focus and perseverance, diligence and creativity. Children who had a few years of piano study under their belts could remember twenty percent more vocabulary words than their peers. And childhood musicians are better equipped later in life to retain information from speeches and lectures. Playing piano has been shown to increase spatial-temporal ability, which figures heavily in math, science and engineering. Regular music practice at an early age can even make structural changes to the brain that stay with you for the rest of your life, making your brain more efficient both while playing and in extra-musical endeavors.

Children who had a few years of piano study under their belts could remember twenty percent more vocabulary words than their peers.

Calm the mind

Studies show that time spent at the keyboard improves mental health: people who make music experience less anxiety, loneliness, and depression. Playing piano has also been shown to be a great source of stress relief, and provides ample opportunities to bolster self-esteem. It is also a widely used form of therapy for Attention Deficit Disorder.

Lifelong health, healthy life

Playing the piano offers a plethora of health benefits that will supplement every part of your life. And that doesn’t even begin to consider the deep cultural network and historical tradition that you join as a piano player and owner. For two hundred years, the piano has been a staple of the home, bringing together families and friends and strengthening communities with the power of music: bring a piano into your home today.
Your local steinway dealer can do more than just help you find the perfect piano. They can guide you to the perfect piano teacher for your needs. Fill out the form below to connect with the most seasoned piano expert in your area, your local steinway dealer.

                  Steinway & Sons

                            ----------------------------- 

The secret of the prodigious memory of the musicians

Author Guest Author Date August 20, 2015
memory-musicians-piano


If any of you seen a symphony concert probably you have noticed that the soloists usually interpret whole pieces, some more than 20 minutes long, memory: hundreds of notes, all perfectly toned and engaged. Clearly, some musicians have an exceptional memory for songs they play. So ... the ability to recall hundreds of songs demand any special memory?

Most studies point to the fact that musicians have a better memory for words that people who have no relationship to music while there are other studies showing that musicians do not have a specific ability to recall information. How much it is true or false in these conclusions?

Thus, a team from the University of Manitoba in Canada investigated 36 students, of whom 15 had a mean age of 11.5 years and had a formal piano education at least one year.
Application of tests

Two tests were performed. At first the students listened to a list of 16 words chosen from different semantic categories. The list was presented five times, after each repetition young people should try to remember as many words as possible.

They subsequently filed another list with 16 different words that act as interference in relation to the above information. Then he asked to try to remember the 16 original words.

Thereupon the youth made a visual test that took them about 20 minutes and then asked them to remember, once again, the 16 original words but this time the memory would be obtained in two different ways: free form or through a test Multiple Choice.
The results

The musicians scored higher on all tests showing they had better memory for words that the other participants in the experiment, however ... not only have better verbal memory but also space and which subsequently filed them, instead of words, arrows 15 located in different positions.

In this case the musicians were also able to draw more reliably positions of the arrows.

Of course, researchers paid particular attention to the strategies that these young musicians used to improve your memory:

1. The non-musicians people trying to remember the words without any particular organization or strategy while trying musicians group words under similar categories and generalizing that facilitated memorization and recovery.

2. When working with images, those non-musicians is trying to describe the arrows with words such as "rotated 30 degrees to the right arrow" while the musicians were not trying to describe or verbalise but that stored what they saw in imagewise.

Thus, musicians from an early age, thanks to the musical training they receive, use different mnemonic strategies that allow them to group notes, words, images; seemingly random under general categories and more inclusionary

 El secreto de la memoria prodigiosa de los músicos

Author Autor Invitado Date 20 agosto, 2015
memoria-musicos-piano

Si alguno de ustedes ha visto un concierto sinfónico probablemente habrán notado que los solistas usualmente interpretan las piezas enteras, algunas de más de 20 minutos de duración, de memoria: cientos de notas, todas perfectamente entonadas y acopladas. Claramente, algunos músicos tienen una memoria excepcional para las canciones que interpretan. Entonces… ¿la habilidad para recordar cientos de canciones demanda algún tipo de memoria especial?

La mayoría de los estudios apuntan al hecho de que los músicos tienen una mejor memoria para las palabras que las personas que no tienen relación con la música mientras que existen otras investigaciones que afirman que los músicos no tienen una capacidad específica para recordar la información. ¿Cuánto hay de cierto o falso en estas conclusiones?

Así, un equipo de la Universidad de Manitoba en Canadá investigó a 36 estudiantes, de los cuales 15 tenían una edad media de 11.5 años y poseían una educación formal de piano de al menos un año de duración.
Realización de las pruebas

Se realizaron dos pruebas. En la primera los estudiantes escuchaban una lista de 16 palabras escogidas a partir de diferentes categorías semánticas. La lista fue presentada cinco veces, después de cada repetición los jóvenes debían intentar recordar la mayor cantidad de palabras posibles.

Posteriormente les presentaron otra lista con 16 palabras diferentes que actuarían como una interferencia en relación con la información anterior. Luego, se les pidió que intentaran recordar las 16 palabras originales.

Acto seguido los jóvenes hicieron un test visual que les llevó alrededor de 20 minutos y posteriormente les pidieron que recordaran, una vez más, las 16 palabras originales pero esta vez el recuerdo se obtendría de dos maneras diversas: de forma libre o a través de un examen de opción multiple.
Los Resultados

Los músicos obtuvieron mayores puntuaciones en todas las pruebas demostrando que tenían una mejor memoria para las palabras que el resto de los participantes en el experimento, sin embargo… no solo poseen una mejor memoria verbal sino también espacial ya que posteriormente les presentaron, en vez de palabras, 15 flechas ubicadas en diferentes posiciones.

En este caso los músicos también eran capaces de dibujar de manera más fidedigna las posiciones de las flechas.

Por supuesto, los investigadores prestaron particular atención a las estrategias que utilizaban estos jóvenes músicos para mejorar su memoria:

1. Las personas no-músicos intentaban recordar las palabras sin ninguna organización o estrategia en particular mientras que los músicos intentaban agrupar las palabras bajo categorías similares y generalizadoras que facilitaban su memorización y posterior recuperación.

2. Cuando se trabajaba con las imágenes, las personas no-músicos es intentaban describir las flechas con palabras, por ejemplo: “flecha girada 30 grados a la derecha” mientras que los músicos no intentaban describirlas ni verbalizarlas sino que almacenaban lo que veían en forma de imágenes.

Así, los músicos desde edades muy tempranas, y gracias al entrenamiento musical que reciben, utilizan diferentes estrategias mnémicas que les permiten agrupar notas, palabras, imágenes; aparentemente azarosas bajo categorías inclusoras y más generales.

                                     -----------------------------------

 Music and brain of children

Brain-child-musicaTocar a musical instrument strengthens connections between the two hemispheres of the brain in children, but only if they persistently practiced, Sience magazine notes.

According to a study released at the annual meeting of the Cognitive Neuroscience Society of the United States, dedicated to the research development of mind and brain, music practice strengthen neural connections, increasing by 25% the so-called corpus callosum, It is the part of the brain (consisting of a set of axons that connect the two hemispheres.

The corpus callosum in musicians

Already in 1995, the same author of this study, neurologist and neuroscientist Gottfried Schlaug found that professional musicians who started playing before 7 years of age had a thicker than normal corpus callosum.

No shortage of skeptics who then noted that the unusual size of the corpus callosum may be at the origin of musical ability and not the reverse, that is, that the musicians might have had from the beginning a more developed corpus callosum.

Now Schalug, who works at the Harvard Medical School in Boston, and colleagues Marie Forgeard and Ellen Winner, delBoston College, studied a total of 31 children using MRI. With this technology, analyzed the brains of children, first when they were six and then when they were nine years old.

Initial group of six children continued practicing with their instruments during those years at least two hours a week. The corpus callosum of these music students grew from six to nine years to 25% in relation to the overall size of the brain.

Improved coordination

However, in the case of children who also kept playing, but only between one and two hours a week or directly abandoned the practice, this growth of the corpus callosum was detected.

All participants in the experiment played the piano or violin, instruments that require the use of both hands.

 

Furthermore, each participant, researchers found that the increase in the corpus callosum was directly proportional to a non-musical performance test in which children were pressing sequences on a computer keyboard.

That is, the musical practice improves neural connections related to the coordination of movements of both hands.

Schlaug and his team continue to investigate these same children to see if the musical practice entail other benefits, such as improved memory and reasoning qualities.

Changing brains

 This is not the first research that indicates the effect of musical learning and practice in the infant brain. In a previous study by psychologists at McMaster University in Canada, learning effects of music on the sensitivity of children and their storage capacity compared.

Followed for two years to two groups of children aged between four and six years, it was demonstrated that participants in the group, which was taught music, had undergone a rapid maturation of the cortex cerebral.

Another interesting research done a few years ago showed moreover that professional musicians have more developed brain in the areas of it related to hearing, sight and physical agility.

It seems, therefore, that musical practice is beneficial for the brain, whether the corpus callosum, the cortex or brain regions associated with the senses of hearing and sight, as well as physical agility.

Previous research has been determined that there is a specific brain region for the musical sensitivity, but the music encompasses various brain areas, including some that are usually involved in other activities. We have also discovered that the active brain areas vary according to individual experience and musical training.

It is also known that music is closely related to human culture from its origins and musical practice helps students develop the brain and improve their academic skills 

 

 La Música y el cerebro de los niños

 Cerebro-infantil-musicaTocar un instrumento musical fortalece las conexiones entre los dos hemisferios del cerebro en niños, pero sólo si éstos practican de manera persistente, señala la revista Sience.

Según un estudio hecho público en el encuentro anual de la Cognitive Neuroscience Society de Estados Unidos, dedicada al desarrollo de la investigación de la mente y el cerebro, la práctica musical reforzaría las conexiones neuronales, aumentando en un 25% el llamado cuerpo calloso, que es la parte del cerebro (formada por un conjunto de axones que conecta los dos hemisferios cerebrales.
El cuerpo calloso en músicos

Ya en 1995, el mismo autor del presente estudio, el neurólogo y neurocientífico Gottfried Schlaug descubrió que los músicos profesionales que habían empezado a tocar antes de los 7 años de edad presentaban un cuerpo calloso más grueso de lo normal.

No faltaron escépticos que, entonces, señalaron que este tamaño inusual del cuerpo calloso podría estar en el origen de la capacidad musical y no a la inversa, es decir, que los músicos podrían haber tenido desde el principio un cuerpo calloso más desarrollado.

Ahora, Schalug, que trabaja en la Harvard Medical School de Boston, y sus colegas Marie Forgeard y Ellen Winner, delBoston College, han estudiado a un total de 31 niños utilizando imágenes de resonancia magnética. Con esta tecnología, analizaron los cerebros de los niños, primero cuando éstos tenían seis años y, posteriormente, cuando tenían nueve años de edad.

Del grupo inicial, seis niños siguieron practicando con sus instrumentos durante esos años al menos dos horas y media a la semana. El cuerpo calloso de estos estudiantes de música creció entre los seis y nueve años un 25% en relación con el tamaño global del cerebro.
Mejora de la coordinación

En cambio, en el caso de los niños que también siguieron tocando, pero sólo entre una y dos horas a la semana o que, directamente, abandonaron la práctica, no se detectó este crecimiento del cuerpo calloso.

Todos los participantes en el experimento tocaban el piano o el violín, instrumentos que precisan el uso de ambas manos.

Por otro lado, en cada participante, los investigadores descubrieron que el incremento en el cuerpo calloso era directamente proporcional al rendimiento en una prueba no musical en la que los niños presionaban secuencias en un teclado de ordenador.


Es decir, que la práctica musical mejora las conexiones neuronales relacionadas con la coordinación de los movimientos de las dos manos.

Schlaug y su equipo seguirán investigando a estos mismos niños para saber si la práctica musical conllevaría otros beneficios, como la mejora de la memoria o las cualidades de razonamiento.
Cerebros cambiantes

Esta investigación no es la primera que señala el efecto del aprendizaje y la práctica musical en el cerebro infantil. En otro estudio anterior, realizado por psicólogos de la Universidad McMaster de Canadá, se compararon los efectos del aprendizaje de la música sobre la sensibilidad de los niños y sobre su capacidad de memorización.

Con un seguimiento de dos años de duración a dos grupos de niños de edades comprendidas entre los cuatro y los seis años, se pudo demostrar que los participantes de uno de estos grupos, al que se le enseñó música, habían sufrido una maduración acelerada del córtex cerebral.

Otra interesante investigación realizada hace unos años demostró por otro lado que los músicos profesionales tienen el cerebro más desarrollado en las áreas de éste relacionadas con el oído, la vista y la agilidad física.

Todo parece indicar, por tanto, que la práctica musical es beneficiosa para el cerebro, ya se trate del cuerpo calloso, del córtex o de las regiones cerebrales relacionadas con los sentidos del oído y la vista, así como con la agilidad física.

Investigaciones anteriores han podido determinar que no existe en el cerebro una región específica para la sensibilidad musical, sino que la música abarca diversas áreas cerebrales, incluso algunas que normalmente están implicadas en otro tipo de actividad. También hemos descubierto que las áreas cerebrales activas varían según la experiencia individual y el entrenamiento musical.

Se sabe asimismo que la música está estrechamente relacionada con la cultura humana desde sus orígenes y que la práctica musical ayuda a los estudiantes a desarrollar el cerebro y a mejorar sus aptitudes académicas.

                       -----------------------------------------

The science of why music improves our memory and verbal intelligence

Learning the tuba can change your brain
By Amy Spray July 21
Amy Spray is a PhD student studying at the University of Liverpool in the department of psychological sciences.
The notion that musical training can have positive effects on cognitive functions other than music has long been a source of interest. Research first emerged at the beginning of the 20th century. Standardized assessments of IQ and musical ability suggested the two were correlated – and it was thought that participation in musical training could improve IQ.
Recently, research has shifted focus from effects on musical training on global intelligence and instead focuses on benefits to specific skills and tasks in individuals.
Musical training has shown to lead to improvements in a wide variety of different skills, including memory and spatial learning for example. In addition, language skills such as verbal memory, literacy and verbal intelligence have been shown to strongly benefit from musical training.
Musicians are also more adept at processing speech in environments where there are large amounts of background noise, possess a greater propensity for processing auditory signals that are in some way degraded and show an advantage over their musically naive counterparts when it comes to pitch detection in both music and language. Recent advances in technologies have also allowed researchers to probe into the neural (functional, structural and electrophysiological) underpinnings of these adaptations.
The brain responds
A new study, just published in the Proceedings of the National Academy of Sciences, aimed to assess neurodevelopment in adolescence and the impact that certain forms of experience, such as musical training, could have on this process.
Neuro-physiological methods were adopted to measure subcortical and cortical responses to speech in the brains of two groups of adolescents in a high school in the Chicago area. One group took part in group musical training and one group took part in a Junior Reserve Officer Training Corps program. Enrollment on to one of these two programs was part of the curriculum of the schools with which the lead researcher, Adam Tierney of Northwestern University, worked.
[A baffling medical puzzle: How a man’s trip to the dentist cost him the ability to form new memories]
The method allowed Tierney and his colleagues to assess how their participants’ brains encoded speech before and after three years of taking part in the two different types of training. Language skills were also assessed using a phonological awareness task – which included asking the adolescents to create a new word by dropping a syllable or unit of sound from a spoken word. They were also assessed using a phonological memory task, in which they had to repeat back lists of digits or non-English words, and a rapid naming task, where they had to read aloud a list of letters or digits as quickly and accurately as they could.
At adolescence the brain is not fully developed and specific areas are yet to mature, which makes this an interesting age to do these tests. The results showed that both groups made improvements in all of the language tasks, as would be expected over this period in their development – but, in addition, the degree of improvement was larger in the phonological awareness task for the group who had undergone musical training.
The methods used allowed the researchers to track the level of neural development present in the brains of the participants. Through this they were then able to measure the usual time course of changes that occurred at this stage in development and assess any alterations due to participation in either the music training, or officer training.
The researchers observed the normal brain development that occurs at this age in both groups. However, for those who participated in musical training the period of time during which regions of the brain responsible for auditory processing were developing was extended in comparison to those that did the officer training. The musically trained groups also showed an accelerated time course for reaching adult cortical development. The results therefore suggest that participation in musical training can accelerate brain development and that this can benefit literacy skills.
Music and language
Music could potentially function as a training ground for language skills and may potentially offer an effective, economical and enjoyable activity that could help improve language skills in children around the world if employed in schools. Giving adolescents musical training could help kick-start and accelerate maturation of their brains.
These advantages may also have potential to provide enhancements to a wider range of skills, such as learning a second language. The study suggests that musical training could help prolong the window of time in which the brain is developing and is able to deal with complex auditory input, which in turn could make second language learning more achievable to people who otherwise may struggle.
It is important to note however, that although musical training was shown to produce benefits for the phonological awareness language tasks, for the other two tests of phonological memory and rapid naming, no difference between the two groups of adolescents was found. This suggests that although musical training does have the potential to enhance some forms of language skills, there are areas that it does not improve.

                            _____________________________

          Music for a healthy brain

practice-musica

In this article José A. Rodríguez for Consumer Eroski we outline the benefits of music during childhood helps alternative connections forming in the brain of children. One factor that also allows to improve cognitive performance in other areas apart from the musical. In addition, recent research indicates that music lessons in childhood can become one of the best investments for the future health of the elderly brain and cognitive loss offset own aging.

Extensive research has shown that listening to music during childhood or receive music lessons has a significant positive effect for cognitive and social development of children. A study by scientists at the Northwester University, USA, showed that music training generates neuronal connections that improve other aspects of communication. For this reason, children who study music have a larger vocabulary and better readability.

Beneficial for the brain

But receiving a musical training during childhood can have benefits also many years later. According to an analysis by psychologists Medical Center of the University of Kansas (USA) and published by the American Psychiatric Association, receive music lessons in childhood helps the future elderly enjoy better cognitive functioning.

    The music studio helps create alternate connections in the brain that cancels own cognitive decline of aging

For this study, researchers distributed to 70 people between 60 and 83 years of age into three groups based on their musical experience. One group was the people who had not received any musical training. Another consisted of elderly who had begun to study music in childhood and had been trained for less than nine years. And in the third group were the elders who had studied music at least ten years.

All participants had a level of education and physical state of similar and had no signs of suffering from Alzheimer's disease. Moreover, those who had received some musical training had started studying music at the age of ten or so. Regarding the type of instruments, more than half had received piano lessons, while nearly a quarter of the participants had learned to play wind instruments. And several were formed on percussion.

brain-with-music

With music, a brain with more memory

Participants had to perform tests of cognitive performance. The researchers wanted to assess cognitive functions tend to decline with age and worsen when some form of dementia suffer.

Elders who had received some musical training performed better than those who had not. Also, people who had more years of musical education were the generally outperformed, especially in visual memory tests, in naming objects and cognitive flexibility (the ability of the mind to suit new information).

Brenda Hanna-Pladdy, lead author of the study, says, "make a musical activity throughout life is a challenging cognitive exercise that helps the brain to better face the problems of aging. Also, since the study of a musical instrument requires years of practice, certainly it favors the creation of alternative connections in the brain that cancels own cognitive decline of aging. "
For a healthy brain, the more years of musical education

In view of the results of this study you do not need to play an instrument lifetime to benefit from music lessons received during childhood.

Half of the research participants who had received musical training who did not practice for years. And good results obtained the same people who had been playing all his life. So, as researchers believe, it seems that are most important years of musical education received in childhood continue playing an instrument lifetime.
Other benefits of musical training during childhood

Beyond the increase in cognitive performance in various fields, learn music in childhood provides a number of other benefits to psychological and social level:

    It helps improve the ability to concentrate.
    children who play in bands or orchestras learn to work in teams, fostering values ​​such as cooperation and solidarity.
    music is a pleasurable activity that also can be very relaxing.
    studying a musical instrument builds self-esteem.

           Música para un cerebro saludable

practica-musica

En este articulo de José A. Rodríguez para Eroski Consumer nos detallan los beneficios de la  música durante la infancia ayuda a que se formen conexiones alternativas en el cerebro de los niños. Un factor que, además, permite que mejore el rendimiento cognitivo en otros ámbitos, aparte del musical. Además, una reciente investigación señala que las clases de música en la infancia pueden convertirse en una de las mejores inversiones para la salud cerebral del futuro anciano y compensar la pérdida cognitiva propia del envejecimiento.

Numerosas investigaciones han demostrado que escuchar música durante la infancia o recibir clases de música tiene un importante efecto positivo para el desarrollo cognitivo y social de los más pequeños. Un estudio realizado por científicos de la Universidad Northwester, en EE.UU., mostró que la formación musical genera conexiones neuronales que mejoran otros aspectos de la comunicación. Por este motivo, los niños que estudian música tienen un vocabulario más amplio y una mejor capacidad de lectura.


Beneficioso para el cerebro

Pero recibir una formación musical durante la infancia puede tener beneficios también muchos años después. Según un análisis realizado por psicólogos del Centro Médico de la Universidad de Kansas (EE.UU.), y publicado por la Asociación Americana de Psiquiatría, recibir clases de música en la infancia ayuda a que el futuro anciano disfrute de un mejor funcionamiento cognitivo.

    El estudio musical ayuda a crear conexiones alternativas en el cerebro que permiten compensar la pérdida cognitiva propia de la vejez

Para este estudio, los investigadores distribuyeron a 70 personas de entre 60 y 83 años de edad en tres grupos en función de su experiencia musical. Uno de los grupos era el de las personas que no habían recibido ningún tipo de formación musical. Otro estaba formado por mayores que habían empezado a estudiar música en la infancia y habían recibido formación durante menos de nueve años. Y en el tercer grupo estaban los ancianos que habían estudiado música como mínimo diez años.

Todos los participantes contaban un nivel de estudios y un estado de forma física similar y no tenían signos de sufrir la enfermedad de Alzheimer. Además, quienes habían recibido algún tipo de formación musical, habían empezado a estudiar música hacia los diez años de edad, aproximadamente. En cuanto al tipo de instrumentos, más de la mitad habían recibido clases de piano, mientras que casi una cuarta parte de los participantes habían aprendido a tocar instrumentos de viento. Y varios se habían formado en percusión.

cerebro-con-musica
Con música, un cerebro con más memoria

Los participantes tuvieron que realizar tests de rendimiento cognitivo. Los investigadores querían evaluar funciones cognitivas que suelen disminuir con la edad y que empeoran cuando se sufre algún tipo de demencia.

Los ancianos que había recibido algún tipo de formación musical obtuvieron mejores resultados que los que no la habían recibido. Asimismo, las personas que tenían más años de formación musical fueron las que, en general, obtuvieron mejores resultados, sobre todo, en las pruebas de memoria visual, en las de nombrar objetos y en flexibilidad cognitiva (la capacidad de la mente para adaptarse a la nueva información).

Brenda Hanna-Pladdy, autora principal del estudio, Señala : “realizar una actividad musical durante toda la vida es un ejercicio cognitivo estimulante que ayuda a que el cerebro se enfrente mejor a los problemas del envejecimiento. Asimismo, como el estudio de un instrumento musical requiere años de práctica, seguramente favorece la creación de conexiones alternativas en el cerebro que permiten compensar la pérdida cognitiva propia de la vejez”.
Para un cerebro sano, más años de educación musical

A la vista de los resultados de este estudio, no es necesario tocar un instrumento toda la vida para beneficiarse de las lecciones musicales recibidas durante la infancia.

La mitad de los participantes en la investigación que habían percibido una formación musical hacía años que no practicaban. Y obtuvieron los mismos buenos resultados que las personas que habían estado tocando toda su vida. Así que, como opinan los investigadores, parece ser que son más importantes los años de educación musical recibidos en la niñez que continuar tocando un instrumento toda la vida.
Otros beneficios de la formación musical durante la infancia

Más allá del aumento del rendimiento cognitivo en diversos ámbitos, aprender música durante la infancia ofrece otra serie de beneficios a nivel psicológico y social:

    ayuda a mejorar la capacidad de concentración.
    los niños que tocan en bandas u orquestas aprenden a trabajar en equipo, lo que fomenta valores como la cooperación y la solidaridad.
    la música es una actividad placentera que, además, puede ser muy relajante.
    estudiar un instrumento musical fortalece la autoestima.

             

 

                                            -------------------------------

NOTES FROM THE PIANIST'S BENCH, CHAPTER 2 OF BORIS BERMAN

Higinia Vallejo Sánchez

2. Technical
The "technical" from the Greek word techne, meaning "art". By this definition, the term encompasses the entire range of problems faced by an interpreter. Colloquially, however, the word is used more narrowly to define issues of speed and dexterity. Leaning by common usage, I will focus in this limited area along this chapter.

            I do not pretend to provide an exhaustive and definitive book about piano technique text. I doubt if you could write such a book. For starters, the individual physical constitution affects too many of the physical actions of a pianista.Así same, the technique is the result of musical tastes and ideals of the pianist's repertoire that you like and other factors. It is absurd to think that the combination of the different technical approaches of different pianists one can create a supertécnica nec plus ultra. And while such a "genetic engineering" possible, do you really would like to hear a piano Frankenstein that combines precision and control with the touch of Michelangeli young Ashkenazy speed and sensitivity of Lupu? Probably not, since the technique of every good interpreter is an inseparable part of his artistic personality and as Wilhlem Furtwängler said, "creates a standardized technique, in exchange, a standardized art."

            Of the many technical proposals, teachers generally emphasize one of the following three fundamental physical actions: 1) independent use of well articulated fingers; 2) rotational movements of the wrist or forearm, as well as attacks initiated with these body parts; 3) use of the weight of the forearm and upper arm as a source of physical activity of the pianist. Some teachers emphasize exclusively an action while underestimate the other two. In my opinion, it is equally wrong to exaggerate the importance of any of these points and ignore any of them. Actually, most of the movements of the pianists are combinations of two of these actions or even all of them.

            Old school, which advocated enabled fingers and absolute immobility of the hand, was well known for its insistence on practicing with a penny, which was supposed to lie still on the back of the hand of the pianist. Currently we not played this way because, besides producing a dry sound and uncompromising, you can create muscle tension and even injury. On the other hand, some teachers, especially those specializing in injury rehabilitation pianists, seeking to replace the entire activity of the fingers with rotating movements of large joints. This way of playing produces a weak sound, lacking coordination and precision. Although each of these proposals leads completely unsatisfactory results, the combination of these joint actions of the fingers with the flexibility and fluidity own wrist rotations leads, naturally, to the expressive performance and clean piano. Finally, the weight of large joints gives body to the sound often provides a release of tension that is always welcome. The replacement of the effort to the weight allows brief moments of relaxation that are very important for the pianist. However, relying on excess weight can also produce thick and heavy in interpretation.

            Although the combination of these elements seems to be indispensable, several considerations may influence the decision to rely primarily on one. Occasionally I had almost ideological discussions with fellow pianists whether a passage should be played mostly through fingers backed by greater coordination or vice versa. I think every pianist does what is natural and probably that in which greater emphasis was made during his early training. Some pianists have a better development of the fingers, while others depend on the major joints. The important point to remember is that these actions, despite being different, almost can never be separated from each other. In practice, the fingers are always aided by major joints. At the same time, the action of the hand or forearm should never be an excuse for hanging fingers liabilities as noodles fork.

Frequent and notably absent in technical discussions Methodist piano is considered to have the music performed. We talked about sound quality appropriate for Rachmaninov but not for Mozart (see previous chapter), or the fingering would be natural for Chopin but inappropriate for Beethoven (discussed later in the "Practice" section). Similarly, we should be prepared to use different repertoires appropriate for different technical approaches. Using the weight of the forearm would be appropriate for fast passages chord Rachmaninov, as we find in the Second Piano Concerto (eg. 2.1), but would be out of place in the final passage of the sonata of Beethoven op.2 n. 3 (Ex. 2.2), even when the material appears forte later in the movement. Regarding the example of the Prelude in G Major II Bach Well Tempered Clavier Book (eg. 2.3), I do not agree with the recommendation of Gyorgy Sandor touch using forearm rotation. From my point of view, the style of the piece requires clarity of articulation and the best way to get it is through the action of the fingers. On the other hand, the slight axial rotation would be very convenient in the opening of the Fantasy for Violin and Piano Schubert (eg. 2.4).

            Moderate lateral movement of the wrist along the contour of the melody line usually bring natural expressiveness to interpretation. I recommend this technique for the passage of the Fantasy in F minor by Chopin (eg. 2.5). In addition, a slight upward movement of the wrist at the end of each sentence will help create a not conclusive light sound. (Indeed, contrary to Sandor, I do not think the upward movement of the wrist should accompany the end of each sentence, nor think every musical phrase need to end gently.) However, if these small "loops" of the wrist were used in the beginning of the end of the Sixth Sonata by Prokofiev (eg. 2.6), the music would sound too "nice" too sweet, and would be deprived of his stubborn and obstinate character.

            I think two pillars form a good piano technique: call them "the principle of economy" and "extension principle". The "principle of economy" requires the pianist to be economical in his movements, not to use a larger portion of the body - finger, hand, forearm, arm when enough with a smaller one. Quoting William Newman, "For efficiency we use the minimum power lever that meets our needs." To be exact, this formula should address both the musical needs as technical. The principle of the Invention in F Major by Bach (eg. 2.7), for example, can easily just by touching fingers, but such an interpretation may sound too weak and poorly articulated. Similarly one may want to add a slight bouncing motion of the wrist to add more body and spirit to the sound.

            The "extension principle" needs to consider each of the different segments of our piano anatomy (finger, hand, forearm, arm) as a continuation of the adjoining parts, with each individual unit always ready to support and share the work with the others. Collaboration between these divisions is the key to effortless technique. To some this may seem contradictory with the "principle of economy". "Why ask some- -can I be concerned about the biggest parts of my body if I'm supposed to use the smallest?" In fact, even while wearing only the smaller joints, the pianist must develop the feeling providing silent support of the larger to the smaller joints, muscular sense of continuity of flow. Joints that are not involved in the interpretation should never tense; rather, they should be kept in a state of active relaxation, always ready to join the action.

            According to these two principles, we can discuss the functions of each joint, starting with the smallest. Before proceeding, however, I would like to address the issue of the position of the hand of the pianist and his whole body at the keyboard.

            In the early stages of learning to play the piano the position of the hands of the pianist and his general posture at the piano they get much attention. By working with a graduate student, piano teachers typically treat this issue in a more liberal way that our fellow rope, because playing the piano seems to allow considerable latitude in this area. In my teaching I prefer not to interfere unless you notice that the incorrect position of the student's hand blocking its interpretation (*). However, this does not have a definitive view on this issue. For me, the right way of the hand of a pianist is one that is also the innate physiologically, fingers naturally curved (as discussed in the previous chapter). Esipova described this position as that of "holding a ball" and coined the term "the main voutée" (the domed hand). I consider this position as the standard. Because the shape of the fingers may change slightly, depending on whether we want to use the fleshy tips of fingers or toes (see previous chapter), the hand assumes a slightly lower or higher position accordingly. Keep fingers straight overly creates tension in the palm of the hand and forearm and should be avoided.

            The seat height at the piano is determined by the position of the elbows, which should not be below the level of the keyboard to avoid putting too much weight to the touch. Sitting too low prevents the pianist use the weight of the upper body. (I am convinced that Glenn Gould was able to play the way we did not because of the way they sit abnormally low but in spite of it. It certainly has not worked so well for some of his emulators). In particular, people with a physical small may need every ounce of the weight of your upper body to produce a powerful, rich sound. On the other hand, sitting too high can invite superficially touched with fingers that can not reach the depth of the keys.

            The wrist should be placed to form more or less a straight line between the elbow and the knuckles. Keeping too low flow continuity muscular shoulder to fingertips is interrupted. Keeping too high carried fingers too close to the surface of the keys, interfering with the joint. However, slight changes in the wrist are often useful, inter alia, to prevent tension in the forearm.

            The fingers should be always active; this is essential for phrasing. More specifically, are the fingertips which must always be alert.

            All instrumentalist or singer must strive for clarity in the interpretation, and to each one or more parts of the body are responsible for phrasing. For singers, as well as for woodwind instrumentalists, these parts are the lips and tongue; for string players this is the right arm that connects the arc with the strings. For pianists, this function is carried out by the fingertips. In loud passages, when we use the forearm and upper arm to create a powerful sound, the fingertips give definition to the sound; without their contribution the sound may become too loud, unbearable, or wild. Soft passages, when the activity of the larger joints is low, the pads must stay as active as always. This technique can be compared to a stage whisper actor, which implies action of the lips and not of the vocal chords, to allow voice carry the words to the audience.

            A common mistake is to reduce the alertness of the fingertips when touched gently, creating an unclear sound. To correct this defect, I ask students to touch a stop in one long continuous diminuendo, making sure the tips of the fingers remain sensitive and alert also along the same.

            Sometimes I hear the view that the activity of the fingers is dangerous and cause injuries. I am convinced that this is a misconception. The finger technique is not only indispensable but is completely safe if properly practiced. First, the fingers often touch very superficially, without causing muscle fatigue at all. Any tension that appears during soft interpretations indicates that the position of a pianist or hand position is wrong and needs to be corrected. But even when a stronger action is required fingers, the pianist should not produce lifting the fingers vigorously and lowering them with power. Instead, I suggest keeping fingers at a distance above the keyboard and drop them, or dropping them. The acceleration of a falling finger gain enough strength allows for the time that can reach the keyboard. The image I use sometimes is: I do not get my fingers, they just live there, on the second floor. When the time comes to play, a finger is dropped while the already finishing touch is coming home. If I feel that the passage requires a more active joint, the fingers move up a floor. If I need less joint, I'll move one floor down.

            To develop the ability to hold your fingers on the keyboard at different distances, I recommend practicing scales while the fingers are placed (a) close to the keys, (b) within walking distance of the keys, and (c) a considerable distance from the keys. This exercise is not easy for students who are accustomed to feel the surface of the keys under his fingers all the time and are afraid of losing this direct contact. Experience difficulties in allowing fingers fall from above. Instead, break the movement into two parts, putting fingers in contact with the surface of a first key and stopping momentarily before lowering the key. Obviously, this does not get the goal. It takes time to overcome the "fear of heights" and allow the fingers collapse on the key without stopping at the surface.

            Depending on the loudness of the passage, the fingers need to be "glued" to the keys (as in the study of Chopin op.25 no.2 [Ej.2.8]), dropped slightly from a short distance (many passages of sonatas and Mozart concerts), or dropped rapidly from about one to one-half inch on (Brahms Concerto no.1 [Ej.2.9]) key. In the above example, the tempo is too fast for the pianist involving your hand or forearm; on the other hand, play the legato passage does not produce the required clarity and decisiveness. The solution is to play the passage with the (quasi pizzicato) staccato finger, making a pointed toward the pianist movement. Thus, the finger will be away from the key before that if you withdraw up. Other examples include the finger staccato principle of Prokofiev 7th Sonata (Ex. 2:10) and part of his left hand in the second movement of Beethoven op.31 no.3 (eg 2.11).

            (I believe the finger staccato an essential and effective technical mechanism, but the pianist needs to exercise great care when practical. The energetic dotted finger action can lead to overuse of the flexor muscles located on the inner side [flying] forearm . When a passage you learn with one hand, the pianist can put your other hand on the inner [lower] part of the forearm to ensure that every effort required to produce motion stippling is followed by a movement of relaxation of muscles.)

            One of the problems most frequently encountered is a defective action of the thumb. Except in special cases, when their weight is exploited even "held" (eg, in the third movement of Bartok's Sonata [2.12]), the thumb needs to play with the same ease as the other fingers to prevent unwanted accents. Some students do not seem to be aware that the thumb has several joints; use it as a stick to poke the key. Pianist need to realize how the phalanges of thumb work and be able to use. Thumb appropriate action is carried out easier if the normal position of the thumb is bent (as the form assumed when creating the letter O with the thumb and second finger). Often involuntary accents because it leads the pianist leaves "fall" his hand whenever the thumb strikes a key. This movement should avoid keeping the same height in the position of hand.

            In his role as a pivot to play scales and arpeggios, the thumb should not be pushed under the palm for its greater coordination, instead should be doubled starting with the smallest (Fig. 2.1). It is the tip of the thumb which introduces major joints when necessary, rather than the reverse. Whatever the functions that the thumb should make your place is on the keys, along with the rest of the fingers. It should not blurting out, below the level of the key, as seen in the way of playing some students (Fig. 2.2).

            The pianist must develop greater flexibility in the palm. Depending on the nature of the passage, the pianist made his hand is wider or narrower that is, expands or contrae- to help get soft during the passages in progress. In Study n.4 op.10 Chopin (Ex. 2.13), for example, the initial group of notes played with a relative extension of the hand to accommodate the next hop; the proximity of the next group of notes requires the hand shrinks to a narrow position. The hand is gradually widened in the next measure and even more in the next, coinciding with the change of texture. (The letters on the envelopes in Ex. 2.13 are the photographs of Fig. 2.3.)

            The expansion and contraction described above is closely connected with the concept of position, pianists term used to group multiple sounds mentally and physically. The hand becomes the guardian of the position and, depending on the position covers notes, it becomes more broad or narrow, expanded or contracted. Sometimes the position is wider than the hand can cover (for example, in the study of Chopin op.10 n.1); correspondingly, the hand is held in a fully open position, as if it were able to comprehend it all. Many passages in the music of Chopin require such large positions. This opening of the hand should not be confused with tight deployments, which should be minimized. Prolonged excessive and stretching is, in fact, a common cause of injury to the hand, but can be easily avoided if the actual stretch lasts a short time and if most or all of it is replaced by a free opening voltage Palm followed by a large jump or step.
            To play arpeggios or similar passages to study Chopin op.10 n.8 (Ex. 2.14), the pianist may wonder if jumping from one hand position to another or use the finger legato. Both solutions can give undesirable results. Jump sentiment may hinder legato and create accents on the first note of each position. On the other hand, the finger legato may require more twist of the wrist, which, in a fast tempo, rhythmic and dynamic creates imbalances and harms the flow. Advocate a compromise: keep the positions, but trying to connect. Study the passage in F major, begins turning the wrist as if to connect the thumb, which plays the last note of the first group, with the fourth finger, which introduces the new position. When you feel an additional twist of the wrist can damage the continuity of execution jumps.

            It is essential for the pianist develop flexibility in the wrist, able to make small, quick movements. It should be flexible and prepared to work smoothly in three different ways: rotation, performing horizontal displacements, and by vertical movements. The rotational movements are extremely useful, for example, in the execution of tremolos, trills, and textures as in Beethoven's First Concerto (Ej.2.15). When rotating elements (eg, the two notes tremolo) they are far apart or when you have to play very strong, forearm, wrist joins in the rotation movement. I can not, however, agree with the statement of Gyorgy Sandor: "Only the forearm and fingers are active; the upper arm and wrist are liabilities. The doll does not participate at all in the motion. "To me this just is not working.

            The horizontal wrist movements, which Josef Lhevinne called "hand bent" in response to the design of the melodic line, are very useful to support passages fingers. Lhevinne said: "Students often struggle with difficult passages and declare impossible, when a mere change of the position of the hand, such as raising or lowering the wrist or hand tilt laterally, would solve the problem." Such movements are important not only to ensure the balance of the fingers but work to support the inflection of the phrase.

            Sandor introduced the concept of setting movements of the wrist: when he says, fingers on the right hand touch on, the first to the fifth finger, wrist will make a corresponding to the correct alignment of each finger with the forearm muscles movement that they govern their work. I find this concept useful only if these movements are very delicate.

            The vertical movement of the wrist is essential to play octaves and chords. A well-trained doll is able to interpret a spectrum of movements, from a tremor noticeable to produce slightly brighter octaves repeatedly, until the strong rebound needed for the chords in the "Russian Dance" from Stravinsky's Petrouchka penalties. Naturally, in loud passages like this, he joins forces with the wrist and forearm fingers.

            Speaking of the "Russian Dance", I once had a student who touched as if a single solid bone from the elbow to the knuckles, and repeated chords were traded through extreme stress forearm like an act pure will. The student was lucky not to have developed muscle aches. The sound it produced, however, it was quite painful to hear. This form of play stems from his initial training, which focused almost exclusively on the fingers. Although he used his forearm to the chords and leaps, her wrist had been forgotten and was essentially undeveloped. Throughout our work the student was able to incorporate wrist movements in their interpretation of Petrouchka, resulting in a dramatic reduction in tension and in a much nicer sound.

            The change was not natural to him, because the wrist technique needs to be developed early in the life of pianist; It is much more difficult to meet later. A teacher can, nevertheless, help a student to relax physically seized. As a first step I ask the student to stand facing me. I hold three or four fingers of the student (never one) and carefully move the arm in several directions and in circle, insisting that the student relax your muscles completely and I trust her hand. This exercise helps students to discover "hinges" on several points: knuckles, wrist, elbow and shoulder. Having experienced the relaxation of these hinges, the student should not allow members are seizing on these joints. From here the pianist is working towards a delicate coordination of movements of various body parts, too detailed and physical efforts to be significantly described without a practical demonstration.

When a group of repeated chords (or octaves) is going to play at a fast tempo, as the section marked with a circle at the end of Ej.2.16, chords are usually played as if they were generated by a single physical drive in the first chord; They touch each other through a series of "bounces" from the wrist, like a pebble jumping over the surface of a pond. When one of the repeated chords or octaves weak form of the compass, as partners of repeated chords in the example of the Tchaikovsky Concerto no.1, the approach is the opposite: we play the first chord as if he were "on the road" second. In other words, the first chord is played on the keys deepening less than the second. When, with the second, the doll wears a finger to the deepest layer of the keys, forearm upward movement begins simultaneously "shock absorber."

Despite the strong and long passages of octaves are usually played with a fixed and inflexible wrist in an elevated position, occasional movements of the wrist can be very useful to prevent muscle tension.

One of the difficult elements of piano technique is the trill. There are two forms of touch: by the action of the fingers or through the rotation of the wrist. The pianist must master both techniques, although one of them is probably more natural for your physique. In cases of strong and prolonged trill, combining work of the fingers and wrist rotation seems prudent. The pianist must be able to perform a trill with two adjacent fingers, as well as fingering 1-3-2-3. Sometimes circumstances dictate the use of two non-adjacent fingers, and the pianist also must be prepared for this (1-5 and 2-5 are probably the only combinations that are never used).

The primary role of the elbow is to serve as a pivot, usually staying in the same position while helping hand to move across the keyboard. (When the hand has to jump a great distance, the elbow starts moving in a horizontal line parallel to the keyboard, both away from the pianist as approaching body.) The elbow also functions as a pivot for the forearm allowing you to move vertically. Only when the whole arm is involved in the interpretation of strong chords elbow participates in a downward motion, but should not fall below the keyboard. When the elbow does not take part in the action, you must remain in a position of "sympathetic neutrality", ready to participate when necessary. For soft passages played primarily with the fingers, elbow serves as a conduit for the tacit support arm.

Sometimes the concept of a "floating knee" can be useful. Imagine sitting in a bathtub with his hands on his knees as he filled with water. When the water level reaches the elbows, they begin to float. This feeling is particularly useful for another function frequently assumed by the elbow, a "buffer". When the pianist plays chords strong, elbow wrist shares with the role of absorbing shock and absorb excess force. (The image of the floating elbow is related to a pianist tied elbow described in the previous chapter parachute. The latter metaphor can be useful to make a rounder sound and adding air to it).

The position of the elbow must ensure that both the forearm and the upper arm are alert but free of tension. There must be some distance between the elbow and the side of the body pianist; Sometimes I ask students to feel the air between them. Moreover, keeping the elbow too far from the body (and therefore too high) can be tiring for the pianist. Another important role is to help the elbow to the wrist on the smooth execution of the movements of lateral adjustment described above. The elbow is moved in the same direction as the wrist by small and well-balanced movements.

Earlier I discussed the importance of using the weight of the arm to play chords. The weight of this increased leverage, brought from the top, produces a complete and unforced forte. Neuhaus eloquently about the mechanics to play the piano borrowing terms and symbols well known in physics: force (f), height (h), mass (m) and speed (v). To reformulate their conclusions, with which one can not disagree: the volume or force (f) is greater when we use a larger body acting part, with more mass (m) and speed (v) greater, to activate the key. Because speed is developed on the distance, the greater the distance traveled by hand, or height (h) from which descends, the greater the volume (f). Of course, you can achieve the same volume hand pushing against the keys, but the resulting sound can be uncomfortably forced.


In cases that require crossing hands, or when hands become very together, the pianist needs to choreograph your moves carefully. Hands should act in different horizontal planes, assuming a higher position for one of them. For large jumps forearms also travel on two parallel levels. The pianist must decide what is touching hands up and down what and where to exchange their positions. I recommend that the pianist make this decision to begin studying a piece, marking the score accordingly (indications are traditional Italian and sotto sopra) and practice these passages always in the same way. As regards such decisions on the positioning of the hands, I suggest that the hand that has the most significant part from a musical point or the more technically demanding to be assigned to the most comfortable position, leaving the other hand adjusted accordingly.

To be thorough, I should mention the diaphragm. This muscle separating the chest abdomen is important for the interpreter and regulating respiration. If the diaphragm is tense as a result of physical exertion or fright, the pianist oxygen supply becomes limited, which may adversely affect the musical phrasing and its general welfare. Make a few deep breaths can help relax the diaphragm.

Observing how to play good pianists, one is impressed by the "smart" that seem their hands economical in his movements, anticipating the direction and shape of the next passage and composition of immediate chord. Such impression is that these pianists have the foresight necessary to make smoother transitions or jumps preparing for them as soon as possible. Many technical difficulties disappear or become less problematic if pianist can anticipate this. For example, if the next passage predominantly involves playing on the black keys, the pianist should move your hands to the black keys (taking it away from your body) in advance. (To make smooth transitions of the hand from the outside of the keyboard to the internal and vice versa, often slide my fingers over the keys). Anticipating a passage in a distant area of ​​the keyboard, a pianist should position their major joints and body shape to shorten the jump itself and can "distribute" fingers gently in the appropriate area of ​​the keyboard.

When the keypad activity moves from one record to another, the trunk of the pianist must not only join the movement but often must anticipate, moving ahead of the hands rather than follow them. Touching the second theme of the Scherzo no. 3 of Chopin (Ex. 2.18), any pianist will move to the right for the second half of the sentence. However, the transition will be much smoother and improve the musical continuity if the pianist made his move when it does not change the previous record but for double bar, while hands are still playing chords.

One of my first "revelations" came as my piano teacher pushed me to move my body to the right to accommodate an ascending passage (in fact she delivered a very strong boost to my left shoulder). I was surprised to discover that it was possible to play without both buttocks glued to the sidewalk. The pianist should also adjust the position of your body to give more space to the hand if it moves toward the center of the keyboard. If both hands have to touch on the central register, forearm or upper arm may feel tight by the proximity of the pianist body. Move your body slightly back help. If the hands touch at opposite ends of the keyboard, the body must lean slightly forward.

In many cases, skillful maneuvers pianist body can convert a botched interpretation of passages in an elegant cumbersome. I definitely do not advocate unnecessary turns on the piano, but I can not help commenting that pianists who sit at the piano as if made of stone make music that is just as hard.

Sometimes a seemingly trivial as when and where to focus their eyes pianists action can make a big difference. Working with a student who could not play the jumps cleanly in the Finale of Beethoven's Sonata op. 27 no. I, I insisted to move his eyes (and your head) in the direction of the next hop a little beyond his hands (at the times indicated in the score by asterisks). The difficulty magically disappeared.

In many cases, however, the eyes of the pianist are held in an area of ​​difficulty in the hand and can not help the other hand you find the right notes (or the pianist is busy watching either the principal or his fellow chamber music). To master several jumps involving both single notes and chords, you need to develop a sense of distance on the keyboard. (The pianists have it easier than the string players, which, without the aid of any visual brand must develop a feeling for the distance from the mast to find the notes). The blind keyboard knowledge is also a precondition for good sight reading, because it requires that the pianist is always looking to score and not their fingers. Consequently many pianists acquire the habit of sliding on the keyboard to find the right note by touch, so much as would a blind. This way of playing never produced a strong, safe interpretation, which only can be achieved by building an invisible bridge or arch between the notes. Neuhaus made this excellent comparison when he said that playing the piano "is the true realm of non-Euclidean geometry since, whatever he said Euclid, our first axiom says. The shortest path between two points is a curve" This is true someone who always has "crawled" by the keyboard will find this very risky advice and, trying for the first time, very likely start to fail notes. You will need to reconnect with the distances on the piano, remembering that are measured by arcs of curves rather than straight lines.

When playing chords, pianist improve your accuracy if, whenever possible, the fingers form the chord position while still in the air and fall on the notes like a hawk throwing on his prey. In the case of octaves, both extension of the hand as the right way of the thumb and the fifth (or fourth) finger need to be prepared in advance to ensure a clean execution.

The technique of a pianist is built with the help of a vast repertoire of training. To not be involved with teaching beginners, I'm not familiar with the material available for this group. For more advanced students certainly recommend studies of Czerny, Cramer, Clementi and Moszkowski before turning to Chopin, Liszt, Rachmaninov or Scriabin. Even students studying works of the latter composers can benefit from returning to the simplest studies of the first group if they have a weakness in technique (and few do not have any). In addition, they should not neglect exercises that are useful for treating an individual technical problem, as the uniformity of all fingers touching and independence of their action; strengthen weaker fingers (4 and 5); develop flexibility and strength of the wrist; or increase the elasticity of the hand and between fingers extensions. (Attempts to increase the independence of the fingers, including extensions should be done with the utmost caution; such pianistic efforts have ruined many careers, including those of Schumann and Scriabin).

The exercises have advantages over studies because they focus on a specific problem and seek a methodical and tireless repetition of the same formula in both hands (also recommend exercises transported to other keys). They are also much shorter than the studies and learn them requires time. Unfortunately they are usually pretty boring and devoid of any semblance of musical content. The pianist should, therefore, limit the time spent avoiding them hinder their musical development.

Among the numerous collections of exercises I am in favor of Brahms, Tausig and Hanon (Brahms exercises are unquestionably the most satisfying musically). Some of them well worth incorporate them into daily technical routine, which strongly recommend to all students. (Along with many other professional pianists, I have found that such routine is extremely useful for daily heating). In addition, throughout the history of the piano many pianists have integrated technically difficult passages of the "real" repertoire in its technical work. It may seem humiliating for individual preludes of Chopin or the Finale of the "Appassionata" to see them become a study, but the truth is they are not less useful than the technical repertoire "legitimate". Moreover, working with them is much more rewarding musically, and one ends up with familiar at least a fragment of a great work.

I build my daily technical routine from scales and arpeggios, which are the essential elements of the repertoire of the eighteenth and nineteenth centuries. Knowing them and taking fingering literally on the fingertips saves time to learn any of the compositions used. Instead of reinventing the wheel and decrypt the fingering for each new passage, in most cases and known pianist. Knowledge of fingering scales and arpeggios significantly facilitates reading view. An additional benefit of chord arpeggios in various investment is to strengthen the proper sense of harmony.

I'm used to playing scales and arpeggios as the learned during my school years in Moscow. Since the collapse of the Soviet Union, this technical regime no longer is still considered as the "secret weapon" of the Russian school. Many pianists trained in Russia, teaching throughout the world, have passed on to their students or have been referenced in the literature. Yet, students often ask me to show the "Russian torture", as they call it. These requests have led me to include it here.

All scales and arpeggios are played from each of the twelve tones, except the "long" arpeggios (see below), which are played only from the white keys. Beginning with a stop in parallel movement, played on four octaves both up and down, hands separate two octaves (it's easier to listen to a lack of unity). Minor scales played in three ways: harmonica (up and down), melody (up) and natural (down). Then I play the same scale in contrary motion, and in third, sixth and tenth, also over four octaves up and down. I follow the same procedure for the chromatic scales. Then come the double third, both diatonic and chromatic. For older chromatic and minor thirds, I give my favorite fingerings. The fingering of the major third is recommended by Anna Esipova; for minor thirds I use fingering Chopin, which was changed later in the nineteenth century to incorporate the second finger glissando. Exploring the scales touching both it concluded in parallel octaves diatonically as chromatically.

For arpeggio, I follow the pattern eleven chords, all based on the same major -tríada note, minor triad, major sixth chord, chord minor sixth, six to four larger, six to four minor, dominant seventh in root position three investments and diminished seventh chord. I touch on three types of arpeggios, "long", "short" and "broken" (omitting a note), in both parallel and contrary motion. (Note the emphasis, the purpose of which is to strengthen each finger.)

Naturally, one should not play all scales in a single day, even though the goal is ultimately to know them all. For my daily routine, I choose a "scale of the Day" and touch all forms, including all types of arpeggios based on the same note. Complete this takes me twenty to twenty five minutes.

As a practical one to study more important than practicing. Carelessly touching mechanically or with an ugly sound does more harm than good. Scales, arpeggios and other exercises should be practiced in various tempos using several dynamics (including crescendo and diminuendo) and different types of joint. The pianist should strive to achieve uniformity of interpretation, unit hands and a rounded tone. Placing scale and arpeggio play my fingers at different distances from the keyboard, as mentioned above.

Many teachers consider muscle relaxation as the most important facet of a good piano technique. May give rise to controversy, but I think you get a continuous state of relaxation is impossible and unnecessary. The pianist plays the piano not to relax but to perform a specific task that involves significant physical work. I can not conceive of a physical work being carried out without physical effort. The physical effort of the pianist will take no harmful consequences if not last long and is followed by a relaxing moment, however brief. At the same time, the pianist needs to stay alert and stored to generate tension in parts of the body not involved in enforcement, such as the neck, jaw, shoulder and facial muscles. In various ways, including facial grimacing or other mechanisms, this problem is familiar to many pianists, including some of the largest. Often it is a byproduct of the excitement of the action and identification of the pianist with the emotional stress of the music he plays. As Sandor observed, "Obviously, arousal and excitement can cause muscle strain and effort, but the conscious control of our touch mechanism should help reduce this effort and avoid interference with our technical processes." The tension that causes pain collateral several states unresolved issues with pianist technique or posture.

Pianists can find many passages difficult not because they are complex but they require a long and demanding effort. The strength necessary for such passages gradually acquired through frequent repetition and patient to rest, especially during the early stages of work breaks. "Gradually" it is the key word here. Forcing the muscles to work despite fatigue is the main cause of pain in the hands, forearms and shoulders. Is often crucial distribute work between different muscles. Small damping movements of the wrist or elbow can be very helpful in relieving stress.

Touching strongly prolonged spatially can be dangerous. Injuries can be avoided by distributing the load over a larger group of muscles. Another important way to handle such passages is to replace the weight of the forearm or upper arm stress when possible. Raise your hand, even for very short times, and allowed to fall freely gives the pianist a "free ride" at the expense of gravity. The resulting sound is much nicer than the one created by pushing his hand to the keyboard; besides the lift and drop you give your muscles a welcome respite. When a texture prevents this uprising continued legato hand, one must find a way to let the weight of the largest joints "pour" on the fingertips and, through them, on the keyboard.

Despite the importance of the technical work, it should never be undertaken without a musical goal in mind. Understanding the musical content of the passage helps pianist to find the right technical approach.



                       ---------------------------------------------------------------

Technique – a dangerous concept for musicians

Musicians should never prioritise intellect over feeling and physicality, wrote Herbert Whone 

Despite much broadening of opinion, there are still strange ideas current about what it takes to be a violinist. Naturally, in days of scientific precision and the cult of hi-fi canned music, technical perfection could be expected to be at the top of the list. And so it is, still. In the days of the idiosyncratic soloist, inaccuracies were accepted which have no part in today’s exacting standards, as all musicians know. Wrong notes and a caricatured style unashamedly revealed his fallibility and humanity, whereas today’s soloist has to be like a machine to be accepted in any way. There is, of course – and it has been said before – a grave danger in this current state of affairs. A young potential soloist concerned to acquire a ‘technique’ may do so given hours of dedicated work, but often his development is similar to a forced plant – the end is likely to be an acute vulnerability in undeveloped areas.
So often, a young player’s glorious light, having shone for a year or two, is suddenly extinguished, because he does not have sufficient sensitivity or general development on other levels to balance his impressive precision machine. His promise has not flowered. It is not surprising that the casualty rate in music is very high. To be a fine instrumentalist is a quest that involves the developing and balancing of human faculties, and it is really he, the player, who is the instrument, while the instrument he plays is an extension of him. A musical instrument, especially a stringed one, is the most sensitive mirror of himself a man can hope to find – frustrating and goading in the same breath, because a player is struggling only with himself. Whether consciously or unconsciously, his creative work is in essence a search for perfection. When a player complains of his instrument, ‘It’s not playing well today’, or ‘It won’t keep in tune’, the chances are it is he who is out of tune with himself – his despair, aggression, insensitivity, impetuosity – indeed, every negative and positive quality is entering his playing. The violin is only the scapegoat.
It is obvious from this that there must be as many ways of playing an instrument as there are players. As a man signs his personality in his written signature, in his art, gestures or his voice, so he signs himself irrevocably in the sound he elicits from his instrument. There is as little justice in music, as in the rest of life – some rare birds come into life with already developed talents and it needs only the smallest stimulus for them to unfold. Our few geniuses do not need to be taught, only nurtured or triggered off.
‘Why can’t I be as good as so-and-so?’ says a student to himself, looking enviously and despairingly at one more advanced than he, and to whom it appears so easy; and he struggles with himself, sometimes achieving advancement through his determination, and sometimes killing all development by his granite-like grip, depending on his nature. For the majority, the education, literally the out-leading of faculties in a harmonious balance, is a relatively slow and complex business, depending on the efficacy of the education and on the particular problems of the individual. Having said that, we must be clear that every player, even the genius, is unique: the past and present great players are all clearly identifiable, despite the tendency of recording techniques to level out tone and build it up to commercial requirements. The aura of the true human being is transmitted and felt most accurately in close proximity, where every characteristic use of bow or finger is infallibly registered.
How is it then that some players convey a sense of fulfilment, and others one of imbalance and inadequacy? Some, whether through an innate or an acquired balance of their faculties, are able to transcend any sense of struggle and become a vehicle for something other than themselves. This causes us to experience that marvellous sense of effortless play in a performance. It is also why language has adopted the expression ‘to play’ a musical instrument, as opposed to working it. We may also describe such a breakthrough by acknowledging that the spirit of the music is conveyed through him.
All human beings have the same basic make-up, so any player will inevitably cause resonances at some level in any given member of his audience. When the supra-human factor is involved, we have the phenomenon of a whole audience being ‘swept off its feet’ – an expression which suggests being taken off ground level into higher realms. A bridge has been made between the human and the divine – if for the moment we regard the divine as the highest potential that resides in a performer and in each member of his audience. The audience recognizes such an event – their mundane struggles have vicariously been transcended and art has come close to religion. Such a transformation of material, whether it be, in this case, the dead dots on a written page of music or the opposition of the instrument itself, is one of the functions of art. Through his own creative work a man ‘aspires’ to polarize spirit and matter in himself and, equally through the creative work of others he gains inspiration. Aspire and inspiration are both words concerning spirit, breath and hope, and in a world which has historically been nothing more than fluctuating eruptions of violence and hate (the signature of man’s errors) art, whatever its form, always breathed out hope and human despair.
What then are the parts of a player’s being which must be activated and balanced before he may become such avehicle and convey wholeness or holiness (the words have the same root) through his music. There are four parts. He has (i) a physical body capable at its best of extreme agility of  movement; (ii) an energy pool capable of the most violent expression; (iii) feelings capable of great sensitivity; and (iv) a thought machine capable of the most precise analysis.
Clearly, a player is not usually endowed with the same level of development in these four faculties, and each faculty has an enormous range of expression; for example, feeling in a player may range from an inhibited coldness to an expansive warmth. It is the imbalance of these which characterises, to some extent, his playing. We have all left a concert judging a player’s lack of feeling, imperfect technique, or his inadequate power. What has to be seen is that technique, as normally understood, is simply the rationalizing activity of the brain – only a part of the whole man; and that the art of playing the violin far exceeds the scope that these words suggest.
In saying this we must not underestimate technique; analysis from the head is obviously of great value, for, as ‘analysis’ indicates, its power is to loosen – to loosen, for example, knots in a problem. If we wish to produce the same sound over two notes in one bow stroke, reason tells us clearly to divide the bow into two parts. Similarly, all aspects of the mechanism of playing can be understood through cold analysis. Nevertheless, music is a live thing, a human experience, and thought processes only rationalize intrinsic life forces – they are the tip of the iceberg.
For example, the technique of walking has no need to be thought out – the body, for thousands of years has used its own wisdom, feeling its own balance and economy of movement. But we may rationalize it and understand it through the brain. Equally, breathing, in its rhythmic rising and falling, is an involuntary undirected activity, though it may be subject to analysis, for a particular purpose. In fact, reason, being the trade-mark of civilization and the scientific approach, has led man astray (especially in the West) into a schizophrenic state in which he has lost contact with the innate wisdom of the body, and has by virtue of this, committed many errors. He has unwittingly built up a dangerously unsound edifice, connected, particularly in the musician’s life, with the arch-enemy, fear. There is no doubt that where there is thought there is fear, as all musicians have experienced when facing an audience. Nor is there doubt that his fear, completing a vicious circle, gets in the way of the natural functioning of the body with its finely balanced harmony and economy.
So reason has a strange role. It must first of all deny its own validity as separate and supreme controller, accept its limitations, and refer to the pure wisdom of the body: only then, through understanding that wisdom, can it humbly proclaim the science it finds there. If we refer back to such first principles, and even before that to metaphysical principles, we are going back to roots which are the real origins of so-called ‘technique’ – and the same goes for all art forms, especially those physically orientated, such as ballet, judo, tight-rope walking, and more obviously, games like tennis and cricket. First principles are simple and powerful enough to cut through all later super-imposed errors, and cannot fail to be restorative when man is in difficulty. This is the reason why, some years ago, I had the temerity to call my first book The Simplicity of Playing the Violin.
It is not easy, of course, to explain such principles in words, for words are servants of thought, and we are advocating a living process. The violinist may ask himself, for example, how he contrives to stand on a moving bus without falling over, and relate this to lifting the bow from the string in any direction, with a control from the fingers comprising nothing but balance – an exercise in pure economy. He may ask whether, as he plays, the body feels and adopts gestures which have a natural correspondence with the form of the music, as in dancing, or whether the two are at variance, so hindering the perfect form. He may look at his breathing as it affects his body, and ask what connection it has with the grouping of notes into phrases. In all these instances, we are referring to a body wisdom. The head may try to understand, but the body has to be guided back to sense its own wisdom on a quite different level. It is the live pulsing in the body that gives music its interest, and its innate economy and balance that provide the real clues to technique.
And what of feeling in music? Here lie the unpredictable elements, the ever-changing expressions of the yearning human heart – not the province of the ordering mind. Again, though essentially indefinable, definition may be attempted. I have done that, tongue in cheek, in my writings. In portamento, vibrato, in the suspense at the climax and the low point of a phrase, in the variability of speed and dynamics, we are expressing a basic need in the human condition – a need to be free from the trap of classification and strict formal structurings. Such elements are a counter to the strictest form in our so-called classical music, and operate everywhere in the performance of music. They transcend the efforts of men to fetter each other by political or moral strait-jackets, and cannot be controlled by any amount of oppression. Fortunately, music is not a matter of manifestos, but of common human experience – an indestructible force towards universal harmony.
Needless to say, the guiding principles are not affirmed enough in the early stages of learning, so causing much frustration, and necessitating the undoing of later apparent technical virtuosity. Let us be clear that ‘difficulty’ is only the result of the super-imposition of mistaken concepts on universal truths, and the further we are from the source, the more we miss the mark – in anything. By analogy in music, a fundamental tone has within it harmonics or partials, all of which are caused by and are inherent in that fundamental. If a partial were put in place of the fundamental, it would give just partial knowledge. It is only when an idea separates itself too far from its root principles that error arises. Our aim, as violinists, is to reach back to roots and lay foundations for every aspect of playing. Without these, we are not true instruments of a universal power, and ‘technique’, as generally understood, remains a partial truth, ready to mislead the unwary.

------------------------------

Infographic piano lesson

 

 

 

----------------------------------

Enfermedad del músico

(Distonia Focal)

                ---------------------------------------  

HEALTH POSTURAL for pianistsBy Angel Murado Seine. Professor of piano in Granada, Spain.

The pianist Arcadi Volodos,

 "The profession of musician is, intellectually, physically and mentally, high performance work. The pressure, tension and stress tests, daily practice, analysis of musical structures, the concert activity and irregular hours at meals and sleep, leading to the musician to the limit of endurance. "

Natalia Gutman

(Cellist internationally)

 Health for a musician means first the physical, intellectual and spiritual well being when it comes to play an instrument. Without doubt, the profession of musician is a high performance activity in all its aspects: playing an instrument professionally represents a highly complex work. Good body health and thus the possibility to realize the ideal of action is elusive.

The piano posture practice, compared to other instruments, lies one of the most natural: you are sitting, leaning against the bench and legs (keeping these set well). Despite this apparent lack of problems lurking in every note the danger of every conceivable wrong positions from the tongue to the heel.

Here it applies the same law that in most disciplines: how easy is both the hardest. Interpreted in an artificial way is easy; do it in a natural way is the hard part.

To achieve this goal, there are three preconditions or golden rules of any musical performance which in practice are complementary. This triad was already made by the great master of the Russian school Heinrich Neuhaus (1988-1964) in his book Die Kunst des Klavierspielens (The art of piano):

- Naturalness.

- Relaxation.

- Freedom.

A natural body posture

Let's look first at the position at the piano. Your feet should be placed at the height of the pedals and their width approximately, always with heels on the floor. The knees should remain relaxed. The sitting position should be in the back half of the sidewalk and in a flexible position (allowing a large range of motion from the waist up). The height of the bench must be regulated so that the arm and forearm with hand built approximately a right angle to the keyboard.

The back should stand up to the highest point of the skull (popularly known as the crown). The neck should not be tilted forward, but slightly stretched. The shoulder girdle (clavicle, scapula, humerus) should be relaxed, leaving the lower blades, freely suspended, allowing arms to hang relaxed. The elbow remains inactive; follows the movement of the forearms and holds the balance through its center of gravity in the elbow joint. It serves as an aid to imagine a ball of lead in this joint for the right feeling.

The doll is ready for any side, uphill, downhill and elliptical motion and thus is responsible for the best position of the fingers on the keyboard. The hand remains forming a "cave" with palm. This position is easy to get to the next exercise: it is left to wander hand balance naturally. Without changing the position of the hand, placing the hand on the keyboard, it gives it the ideal position to play the piano. The arrangement of the fingers will, along the length of these, circular, elongated, but never with the last phalanx bent, but following the line of the second phalange. Never have your hand into a claw and thumb tend to hand, with the last phalanx slightly bent.

They have not always practiced these basic requirements of naturalness. In the nineteenth century the "poisonous pedagogy" also prevailed in the piano industry: students were put a book under each armpit and they put a coin on the back of his hand ... poor from that to which he is falling . With these methods and the like are intended to cancel the participation of the arm rest and even the pianist body, which inevitably led to deformations of use that kind of muscle caused problems and injuries in many cases. Such performance was even criticized in Spain in 1955 by Jaime Pahissa when he said:

"When I was a child piano she was taught according to the system of fixed position: the close fitting arm, hands always maintaining the horizontal position, only the fingers should move acting as hammers To master this technique had to spend years. and years practicing a series of exercises without any musical interest, were a physical martyrdom, and a spiritual bloating. cramping and arm muscles were wasting his taste in music, whose study was undertaken so excited "

Luckily there was another movement (along with a more elaborate piano literature) advising these three pillars: naturalness, relaxation and freedom. It is time that we can talk about the birth of modern piano technique. There was talk of tension and muscle relaxation, mechanical concepts as weight, inertia, hearing, memory.

Pedagogues as Deppe (1828-1890) and Breithaupt (1873-1945) followed this new fashion. Deppe specialized in the "injuries interpreter". Unfortunately they have gone their reflections on "the sufferings of the pianist's arm." She recounts her student Elisabeth Caland Deppe method in a series of writings in which highlights the importance of back muscles and shoulder blades with low center of gravity. This arms are released and the energy can flow freely to the fingertips.

Relaxation

Relaxation is the most important injury prevention means. Children find it easier to maintain the relaxation that many adults, as in the smaller this relaxation process is performed in an involuntary way, stadium should be maintained over the years.

For a musician should be a prerequisite for the power change within an instant of a state of stress or tension to one of relaxation.

As mentioned before, the ideal musician and specifically pianist, is that the current energy flow from the waist and back muscles to the fingertips without interruption. The main points of blocking this flow often the muscles of the neck, jaw, shoulder (when raised) .The wrist and thumb. There are especially recommended techniques like yoga or pilates, which are very beneficial to gain greater control and awareness of what muscles are being used at all times and if you are relaxed or not.

The fingertip is, in pianists, the only point of contact with the instrument. Until they reach the "burst of energy" to be transmitted to the keyboard, a mechanism that has nothing to do with pressure (as we did not press our weight on the chair when we sat down), but to support and convey the weight .

The most common problem among pianists is a stiff wrist. To avoid this rigidity recommend the following exercises:

We played five notes of a chord with the five fingers on the keyboard, on 5 correlative keys. The tips of the fingers are resting on the keyboard without pressure, using only the natural weight of the hand and arm. While maintaining the chord wrists move slowly up and down. The same movement is then repeated with the difference that instead of playing the chord of 5 notes, one note will sound (with a finger as support).

Also a note will sound, the key is kept pressed and this time wrist movements performed in a circle on the two possible directions (outward and inward) as widely as possible.

This exercise is to be aware of the range of the wrist, which is practically the executor and interpretive guide device.

Freedom

For Heinrich Neuhaus (1974), freedom is a "conscious necessity."

Each interpreter has its "natural" individual and requires its own freedom. There is more to see such large differences in how to sit, to move, in the posture of great pianists (Gould, Horowitz, Rubinstein, to give some examples).

The same applies in the case of hands, the basic differences in the way of being "built" cause a myriad of different positions; There are little hands that almost do not reach an octave but have developed a great technique when making a passage of octaves.

Every move is successful only if carried out freely.

The most sensitive member in the chain is the pianistic touch: there is nothing more personal than this pulsation. Every pianist has his own personal and unique by another pianist, from his mental and physical personality.

Breathing plays an important role also in freedom. This is both a means of expression. If flows naturally to the interpretation, it will help us achieve this freedom so dear; And it is also very important not to forget to breathe. It occurs more common than it seems literally to breathe leaving to get a difficult passage frequency. This will block our muscles, they receive less oxygen, will be tight, so concentration is lost and with it freedom.

Prevention

Everything said so far contributed in one way or another to get avoid injury.

A negative example of this is in Robert Schumann (1810-1856), which through a device for greater independence in the fingers is caused gridlock in hand and thus foiled a possible career as a pianist.

For solo pianists ambitions is not advisable to touch the key, the organ or typing because the mechanical pressing of the latter causes loss of sensation in the fingertips. For the key and organ, a stiff wrist is needed, just the opposite wrist pianist, who must remain fully elastic.

But should not overdo the opposite side. It is said that Walter Gieseking was working in his garden and gravel moving a morning concert, which Wilhelm Furtwangler (German conductor and composer) asked surprised if your hands do not suffer with the job. Gieseking responded: "Who is going to do otherwise?" And afternoon relaxed and played so beautifully as ever.

The concert Lilli Graus (1905-1986), was captured by the Japanese during a concert tour in the Far East and was detained in Java island for three years (1942-1945). After being released he returned to his concert activity in a very short period of time. Its activity during captivity was based only on a mental practice with keyboard layouts, movement and sensation.

There is a clear element: the workplace is actually in our mind. Many hours of study headless or endless repetition of musical passages without intention are absolute loss of time.

With regard to the famous "tendinitis", thanks to which have frustrated many promising piano figures, it is important to note that in response to appropriate measures of prevention (notably in relaxation), the risk is greatly diminished. Most of the time it's not about tendinitis, but a muscle strain, which can be solved with traditional methods such as creams, baths and massages. In general we must refrain from immobilize the member as this will cause a reduction in muscle mass that will cause discomfort extend in time and intensity.

Finally, some advice: should not dwell on each of the movements, muscles and nerves used to play the piano. It is more productive to think of the music, feel the freedom, ease and joy. These feelings are the best guarantee for good health postural

 

REFERENCES

Chiantote, Luca: "History of piano technique." Music Alliance, Madrid 2001.

Caland, Elisabeth ". The scientific observation in the pianistic Didactics The Deppesche Lehre of Elisabeth Caland: introduction, translation and comment". Pavia University, Faculty of Musicology, Cremona, 2003.

Caland, Elisabeth: "The Disklavier piano." SAE Institute, Milano, 2006.

Neuhaus, Heinrich: "Die Kunst des Klavierspiels" Nejgauz, Genrich G .. - Leipzig: Deutscher Verlag für Musik, 1986, 3. Aufl, Fotomechan.. Nachdr. d. 2. Aufl. 1980.

Susanne Klein-Vogelbach, Lahme Albrecht, Spirgi-Gantert Irene: "Musikinstrumente und Körperhaltung". Springer-Verlag Berlin Heidelberg 2000.

Hildebrandt, Dieter: "Pianoforte". Carl Hanser Verlag, Munich 1985.

Karl Leimer, Gieseking, Walter: "Modernes Klavierspiel Rhythmus, Dynamik, Pedal.". Schott Music, Mainz 1998.

 

  SALUD POSTURAL PARA PIANISTAS

Por Ángel Jábega Murado. Profesor de piano en Granada, España.  

El pianista Arcadi Volodos

 "La profesión de músico es, desde un punto de vista intelectual, físico y psíquico, un trabajo de alto rendimiento. La presión, la tensión y el estrés de los ensayos, la práctica diaria, el análisis de las estructuras musicales, la actividad concertística, así como horarios irregulares en comidas y horas de sueño, llevan al músico al límite de su resistencia".

Natalia Gutman

(violonchelista de nivel internacional)

 Salud para un músico significa en primer lugar el bienestar corporal, intelectual y espiritual a la hora de interpretar un instrumento. Sin duda alguna, la profesión de músico es una actividad de alto rendimiento en todos sus aspectos: el tocar un instrumento profesionalmente representa un trabajo altamente complejo. Una buena salud corporal y con ello, la posibilidad de realizar el ideal de actuación, es difícil de alcanzar.

La práctica postural pianística, comparada con la de otros instrumentos, subyace como una de las más naturales: se está sentado, apoyado en la banqueta y en las piernas (manteniendo estas bien colocadas). Pese a esta falta aparente de problemas acecha en cada nota el peligro de todas las posiciones incorrectas imaginables desde la lengua hasta el talón.

Aquí rige la misma ley que en la mayoría de las disciplinas: lo fácil es a la vez lo más difícil. Interpretar de una manera artificial es fácil; hacerlo de una forma natural es lo difícil.

Para conseguir esta meta, existen tres condiciones previas o reglas de oro de toda actuación musical que en la práctica se complementan. Esta triada fue ya formulada por el gran maestro de la escuela rusa Heinrich Neuhaus (1988-1964) en su obra Die Kunst des Klavierspielens (El arte del piano):

- Naturalidad.

- Relajación.

- Libertad.

Una postura corporal natural

Fijémonos en primer lugar en la posición al piano. Los pies deben estar colocados a la altura de los pedales y a su anchura aproximadamente, siempre con los talones apoyados en el suelo. Las corvas deben permanecer relajadas. La posición de sentado debe ser en la mitad posterior de la banqueta y en una posición ágil (que permita una gran amplitud de movimientos de cintura para arriba). La altura de la banqueta debe ser regulada de tal forma que el brazo y el antebrazo con la mano construyan aproximadamente un ángulo recto con el teclado.

La espalda debe erguirse hasta el punto más alto del cráneo (conocido popularmente como la coronilla). El cuello no debe estar inclinado hacia delante, sino ligeramente estirado. El cinturón escapular (clavícula, escápula, húmero) debe estar relajado, dejando los omóplatos bajos, suspendidos libremente, permitiendo que los brazos cuelguen relajadamente. El codo se mantiene inactivo; sigue el movimiento de los antebrazos y sostiene el balance por medio de su centro de gravedad en la articulación del codo. Sirve como ayuda el imaginarse una bola de plomo en esta articulación para buscar la sensación adecuada.

La muñeca está preparada para cualquier movimiento lateral, ascendente, descendente y elíptico y con ello es la responsable de la mejor disposición de los dedos en el teclado. La mano permanece formando una “cueva” con la palma. Ésta postura es fácil de conseguir con el siguiente ejercicio: al pasear se deja balancear la mano de una forma natural. Sin cambiar esta postura de la mano, al colocar la mano sobre el teclado, nos da la posición ideal de ésta para tocar el piano. La disposición de los dedos será, según la longitud de estos, circular, alargados, pero nunca con la última falange doblada, sino siguiendo la línea de la segunda falange. Jamás se dispondrá la mano en forma de garra y el pulgar tenderá hacia la mano, con la última falange ligeramente doblada.

No siempre se han practicado estos requisitos básicos de naturalidad. En el siglo XIX la llamada “pedagogía negra” primaba también en el sector pianístico: a los alumnos se les ponía un libro debajo de cada axila y se les colocaba una moneda en el dorso de la mano…pobre de aquel al que se le cayera. Con estos métodos y otros parecidos se pretendía anular la participación del resto del brazo e incluso del cuerpo del pianista, lo que condujo sin remedio a deformaciones de uso que provocaban problemas de tipo muscular y lesiones en muchos casos. Tal ejecución era criticada en España aún en 1955 por Jaime Pahissa cuando decía:

"Cuando yo era niño se enseñaba el piano según el sistema de la posición fija: el brazo pegado al cuerpo, las manos manteniendo siempre la posición horizontal, sólo los dedos debían moverse actuando como martillos. Para llegar a dominar esta técnica había que pasarse años y años practicando unas series de ejercicios sin ningún interés musical, que eran un martirio físico, y un abotargamiento espiritual: acalambraban los músculos del brazo y hacían perder el gusto por la música, cuyo estudio con tanta ilusión se había emprendido. "

Por suerte apareció otro movimiento (junto con una literatura pianística más elaborada) que aconsejaba estos tres pilares: naturalidad, relajación y libertad. Es el momento en que podemos hablar del nacimiento de la moderna técnica pianística. Se hablaba de tensión y relajación muscular, de conceptos mecánicos como peso, inercia, oído, memoria.

Pedagogos como Deppe (1828-1890) y Breithaupt (1873-1945) siguieron esta nueva moda. Deppe se especializó en el tema “lesiones del intérprete”. Por desgracia han desaparecido sus reflexiones sobre el tema “los sufrimientos del brazo del pianista”. Su alumna Elisabeth Caland relata el método de Deppe en una serie de escritos  en los que destaca la importancia de la musculatura de la espalda con los omóplatos bajos como centro de gravedad. Con ello se liberan los brazos y la energía puede fluir libremente hasta la punta de los dedos.

Relajación

La relajación es el medio más importante para la prevención de lesiones. A los niños les resulta más fácil mantener la relajación que a muchos adultos, ya que en los más pequeños este proceso de relajación se realiza de una manera involuntaria, estadio que se debería mantener con el paso de los años.

Para un músico debería ser un requisito indispensable el poder cambiar en cuestión de un instante de un estado de esfuerzo o tensión  a uno de relajación.

Como hemos comentado antes, el ideal del músico y, concretamente, del pianista, es que la corriente de energía fluya desde la cintura y la musculatura de la espalda hasta la punta de los dedos sin interrupción. Los puntos principales de bloqueo de este flujo suelen ser la musculatura del cuello, la mandíbula, los hombros (cuando se elevan), la muñeca y .el pulgar. Existen técnicas especialmente recomendables como yoga o pilates, que son muy beneficiosas para conseguir un mayor control y conciencia de qué músculos se están utilizando en cada momento y si están relajados o no.

La punta de los dedos es, en los pianistas, el único punto de contacto con el instrumento. Hasta ellos llega el “chorro de energía” que debe ser transmitido al teclado, un mecanismo que no tiene nada que ver con presionar (al igual que nosotros no presionamos nuestro peso sobre la silla cuando nos sentamos), sino con apoyar y transmitir el peso.

El problema más común entre los pianistas es una muñeca rígida. Para evitar esta rigidez recomiendo los siguientes ejercicios:

Tocamos un acorde de cinco notas con los cinco dedos de la mano en el teclado, en 5 teclas correlativas. Las puntas de los dedos están apoyadas en el teclado sin presión, utilizando únicamente el peso natural de la mano y el brazo. Mientras mantenemos el acorde movemos las muñecas lentamente hacia arriba y hacia abajo. El mismo movimiento se repetirá a continuación con la diferencia de que en lugar de tocar el acorde de 5 notas, se tocará una sola nota (con un solo dedo como apoyo).

Igualmente se tocará una nota, se mantendrá pulsada la tecla y esta vez se realizarán movimientos de muñeca en círculo en las dos direcciones posibles (hacia fuera y hacia dentro) con la mayor amplitud posible.

Este ejercicio sirve para ser consciente del radio de acción de la muñeca, que es prácticamente la guía del aparato ejecutor e interpretativo.

Libertad

Para Heinrich Neuhaus (1974), la libertad es una “necesidad consciente”.

Cada intérprete tiene su “naturalidad” individual y necesita su propia libertad. No hay más que ver por ejemplo las grandes diferencias en la forma de sentarse, de moverse, en la postura, de grandes pianistas (Gould, Horowitz, Rubinstein, por poner algunos ejemplos).

Lo mismo se puede aplicar en el caso de las manos, cuyas diferencias básicas en la manera de estar “construidas” provocan una infinidad de distintas posturas; hay manos pequeñas que casi no alcanzan una octava pero que han desarrollado una gran técnica a la hora de realizar un pasaje de octavas.

Cada movimiento se realiza con éxito sólo si se realiza con libertad.

El miembro más sensible en la cadena es la pulsación pianística: no hay nada más personal que esta pulsación. Cada pianista tiene la suya personal e irrepetible por otro pianista, fruto de su personalidad psíquica y física.

La respiración juega un papel muy importante también en la libertad. Esta es a la vez un medio de expresividad. Si fluye de un modo natural a la hora de interpretar, nos ayudará a conseguir esa libertad tan añorada; Y muy importante es también no olvidarse de respirar. Ocurre con una frecuencia más habitual de lo que parece el dejar literalmente de respirar al llegar un pasaje difícil. Esto bloqueará nuestros músculos, que reciben menos cantidad de oxígeno, estaremos tensos, con lo que se pierde concentración y con ello, la libertad.

Prevención

Todo lo dicho hasta ahora contribuye de una forma u otra a conseguir evitar lesiones.

Un ejemplo negativo de esto lo tenemos en Robert Schumann (1810-1856), que a través de un aparato para conseguir mayor independencia en los dedos se provocó una  paralización en la mano y con ello frustró una posible carrera pianística.

Para pianistas con ambiciones de solista no es recomendable tocar el clave, el órgano o el escribir a máquina, pues la pulsación mecánica de esta última hace perder la sensibilidad en las yemas de los dedos. En el caso del clave y del órgano, se necesita una muñeca rígida, todo lo contrario de la muñeca del pianista, que debe permanecer totalmente elástica.

Pero también conviene no excederse en el lado contrario. Se cuenta que Walter Gieseking estuvo trabajando en su jardín y trasladando grava la mañana de un concierto, a lo cual Wilhelm Furtwängler (director de orquesta y compositor alemán) le preguntó sorprendido si sus manos no sufrirían con ese trabajo. Gieseking respondió: “¿Quién lo va a hacer si no?” y por la tarde tocó tan relajado y maravillosamente como siempre.

La concertista Lilli Graus (1905-1986), fue capturada por los japoneses durante una gira de conciertos en el extremo oriente y estuvo recluida en la isla Java durante tres años (1942-1945). Tras ser liberada volvió a su actividad concertística en un periodo de tiempo muy corto. Su actividad durante el cautiverio se basaba únicamente en una práctica mental con visualizaciones del teclado, movimientos y sensaciones.

Hay un elemento muy claro: el sitio de trabajo está realmente en nuestra mente. Numerosas horas de estudio sin cabeza o repeticiones innumerables de pasajes sin una intención musical son absolutas pérdidas de tiempo.

Con respecto a la famosa “tendinitis”, gracias a la cual se han frustrado gran número de prometedoras figuras pianísticas, es muy importante aclarar que atendiendo a las debidas medidas de prevención (sobre todo en la relajación), se disminuye enormemente el riesgo. La mayoría de las veces no se trata de una tendinitis, sino de una sobrecarga muscular, que se puede solucionar con métodos tradicionales como cremas, baños y masajes. En general hay que abstenerse de inmovilizar el miembro ya que esto producirá una reducción de la masa muscular que hará que las molestias se prolonguen en el tiempo y en la intensidad.

Por último, un consejo: no se debe pensar demasiado en cada uno de los movimientos, en los músculos y nervios que se utilizan al tocar el piano. Es más productivo pensar en la música, sentir la libertad, la naturalidad y la alegría. Estos sentimientos son la mejor garantía para una buena salud postural

 

BIBLIOGRAFÍA

Chiantote, Luca:  "Historia de la técnica pianística". Alianza Música, Madrid 2001.

Caland, Elisabeth: "The scientific observation in the pianistic Didactics. The Deppesche Lehre of Elisabeth Caland: introduction, translation and comment". Pavia University, Faculty of Musicology, Cremona, 2003.

Caland, Elisabeth: "The Disklavier piano". SAE Institute, Milano, 2006.

Neuhaus, Heinrich: "Die Kunst des Klavierspiels" Nejgauz, Genrich G.. - Leipzig : Deutscher Verlag für Musik, 1986, 3. Aufl., Fotomechan. Nachdr. d. 2. Aufl. 1980.

Klein-Vogelbach Susanne, Lahme Albrecht, Spirgi-Gantert Irene: "Musikinstrumente und Körperhaltung". Springer-Verlag Berlin Heidelberg 2000.

Hildebrandt, Dieter: "Pianoforte". Carl Hanser Verlag, München 1985.

Leimer Karl, Gieseking, Walter: "Modernes Klavierspiel. Rhythmus, Dynamik, Pedal". Schott Music, Mainz 1998.

                      --------------------------------------------

 Joint and wrist

One of the essential concepts of Level 2 is the beginning of work on the joint, more specifically the legato and staccato. These terms are so familiar to us as piano teachers, who may underestimate their importance in the development of technical and musical expressiveness.

Perhaps you have already noticed that at Level 1 no indications of articulation (slurs or staccato). Legato introduced later to ensure the development to a certain extent the independence of the fingers before insisting connect the notes. When the fine motor skills of the student is still not developed (common not to worry), the insistence on the legato may cause tensions in hands. This occurs when pressure is maintained against the keyboard. In general, after touching a key, we should immediately relax and maintain sufficient balance of hand and arm only to keep the key depressed.

We often hear how our students Level 1 play each note separately and nailed fingers on each key up the wrist or elbow. While we want to minimize these wrist movements (without necessarily eliminating) this non-legato touch notes inserted between a moment of relaxation that can be beneficial. Thus, the student develops their coordination naturally to practice a relaxation reaction after touching each finger. Although not sound very good, this seems to improve both coordination and rhythm.Gestures wrist

What does play legato? Since then, it means connecting the notes, but - and this is even more important - it means playing several notes in a single gesture, to start a sentence dropping the weight of the arm and then move it from one finger to another.

Piano Adventures® legato different components are isolated and sorted over several levels in the Books of technique and interpretation to ensure that each element becomes an automatic skill. This approach works in a "spiral" provides both a review of previously learned skill and an extension of the technical concept, polishing gesture and practicing their applications in ever more advanced levels.

• Height wrist wrist height is set at Level 1 and "technical secret" Lay down called thumb. By touching the side of the thumbnail (instead of putting it horizontally), the tendency to sink the wrist, so common at this level is eliminated.

• Range of motion of the wrist The second "technical secret" Level 2 (A relaxed wrist) sets the range of motion of the wrist with the exercise raises the wrist. With hands on the closed lid of the piano, imaginary air balloon pulls the wrist up until only finger 3 is in contact with the cover. So we prevent stiffness of the wrist and give way to the gesture we use to end of sentence.

• The flick of the wrist At Level 3 ("technical secret" No. 5), continue the exercises to apply the gesture raises the wrist keys across the keyboard.

• The wave of Legato The ability to drop the weight of the arm to play several notes and raise it at the end specifically practiced in the Book of technique and interpretation of Level 4. Here the student perfects movement down and up needed to play in a gesture notes within a slur extension.

• The final phrase Level 5 emphasizes the final round of phrase. The flick of the wrist lifts the weight of the key to smooth out the last note of the slur.Legato and wrist

What is expected of the student at Level 2? We want a flexible and relaxed wrist moving freely within a set range of motion. We do not focus on downward movements of the wrist, because these tend to sink the tips of the fingers and wrist lock in a low rigid position. We focus on the upward movement, the other side of the fall of the weight of the arm. The student drops the weight to begin the sentence and raises from the wrist to finish. This should not be complex, you just have to motivate students to apply the technique raises the doll in some moments of music.

This concept has many applications if we look beyond the simple end of sentence. It raises the wrist technique is invaluable for the preparation because it can carry out to its new location at a crossroads, octave leaps and position changes, or give more grace to the strains conclusive. The long, sustained notes also come alive if we change the static hand over a doll that rises slowly as the note resonates.The staccato and wrist

There is no single way of playing staccato because its performance always depends on the musical context. For this initial level we have chosen the wrist staccato ("secret" No. 3, a slight bounce of the hand). This technique is to bounce the hand from a slightly elevated wrist. This complements very well the work on one of the main objectives of Level 2: wrist relax and find its proper range of motion. Exercise woodpecker pecking is very effective to apply this technique to the notes and repeated intervals that are so characteristic of the repertoire of this level. In addition to relaxing the wrist, this delicate hand bounce develops the necessary technique to play the soft accompaniment chords.

The results of this work are to introduce first chords on Unit 8. In the first pieces that include chord accompaniment for MI, students do not play strong and heavy, but soft, staccato melody uncovered .

This is made possible thanks to the techniques learned at the beginning of this level and the fact that in parts the accompaniment chords in the MI They are located in pulses where the melody stops.

Summary

Raises the wrist and a slight bounce of the hand are essential gestures wrist derived from its counterpart, the legato and staccato. These gestures we provide the technical foundations on which to build a more refined technique. What is even more important, to shape a phrase, smooth accompaniment or add elegance to a final sentence, these gestures add a high degree of musicality that is much appreciated in this initial level.

 

 La articulación y la muñeca

Uno de los conceptos esenciales del Nivel 2 es el inicio del trabajo sobre la articulación, más específicamente el legato y el staccato. Estos términos son tan familiares para nosotros como profesores de piano, que podríamos subestimar su importancia en el desarrollo de la técnica y la expresividad musical.

Quizás ya han notado que en el Nivel 1 no hay indicaciones de articulación (ligaduras o staccatos). Introducimos el legato más tarde para asegurarnos de desarrollar hasta cierto punto la independencia de los dedos antes de insistir en conectar las notas. Cuando la motricidad fina del estudiante todavía no está desarrollada (algo común que no debe preocuparnos), la insistencia en el legato puede causar tensiones en las manos. Esto ocurre cuando se mantiene presión contra el teclado. En general, después de tocar una tecla, deberíamos relajarnos de inmediato y mantener únicamente el equilibrio suficiente de la mano y el brazo para mantener la tecla hundida.

A menudo oímos como nuestros estudiantes del Nivel 1 tocan cada nota por separado y clavan los dedos en cada tecla subiendo la muñeca o el codo. Aunque queremos minimizar estos movimientos de muñeca (sin necesariamente eliminarlos), este toque de non-legato introduce entre las notas unos momentos de relajación que pueden ser beneficiosos. Así, el alumno desarrolla su coordinación con naturalidad al practicar una reacción de relajación después de tocar con cada dedo. Aunque no suene muy bien, esto parece mejorar tanto la coordinación como el ritmo.

Gestos de la muñeca

¿Qué significa tocar legato? Desde luego, significa conectar las notas, pero — y esto es aún más importante -, significa tocar varias notas en un solo gesto, al iniciar una frase dejando caer el peso del brazo para después trasladarlo de un dedo a otro.

En Piano Adventures® los diferentes componentes del legato son aislados y ordenados a lo largo de varios niveles en los Libros de técnica e interpretación para lograr que cada elemento se convierta en una habilidad automática. Este enfoque funciona en forma de “espiral”: ofrece al mismo tiempo un repaso de la habilidad aprendida anteriormente y una ampliación del concepto técnico, puliendo el gesto y practicando sus aplicaciones en niveles cada vez más avanzados.

• Altura de la muñeca La altura de la muñeca se establece en el Nivel 1 con el “secreto técnico” llamado Recuesta el pulgar. Al tocar con el lado de la uña del pulgar (en vez de ponerlo horizontalmente), se elimina la tendencia de hundir la muñeca, tan común a este nivel.

• Rango de movimiento de la muñeca El segundo “secreto técnico” del Nivel 2 (Una muñeca relajada) establece el rango de movimiento de la muñeca con el ejercicio Eleva la muñeca. Con las manos sobre la tapa cerrada del piano, un globo de aire imaginario hala la muñeca hacia arriba hasta que solamente el dedo 3 quede en contacto con la tapa. Así impedimos la rigidez de la muñeca y le damos forma al gesto que usaremos para los finales de frase.

• El gesto de la muñeca En el Nivel 3 (“secreto técnico” No. 5), continúan los ejercicios para aplicar el gesto de Eleva la muñeca a teclas por todo el teclado.

• El gesto de legato La habilidad de dejar caer el peso del brazo para tocar varias notas y elevarlo al final se practica específicamente en el Libro de técnica e interpretación del Nivel 4. Aquí el estudiante perfecciona los movimientos hacia abajo y hacia arriba necesarios para tocar en un gesto las notas dentro de una ligadura de prolongación.

• Los finales de frase El Nivel 5 hace énfasis en redondear los finales de frase. El gesto de la muñeca levanta el peso de la tecla para suavizar la última nota de la ligadura.

El legato y la muñeca

¿Qué se espera del estudiante en el Nivel 2? Queremos una muñeca flexible y relajada que se desplaza con libertad dentro de un rango establecido de movimiento. No nos enfocamos en los movimientos hacia abajo de la muñeca, porque estos tienden a hundir las puntas de los dedos y bloquear la muñeca en una posición baja y rígida. Nos enfocamos en el movimiento hacia arriba, la otra cara de la caída del peso del brazo. El estudiante deja caer el peso para empezar la frase y lo levanta desde la muñeca para terminarla. Esto no debe ser algo complejo, simplemente hay que motivar al estudiante para que aplique la técnica de Eleva la muñeca en algunos momentos de la música.

Este concepto tiene innumerables aplicaciones si miramos más allá de los simples finales de frase. La técnica de Eleva la muñeca es muy valiosa para la preparación, porque puede llevar la mano a su ubicación nueva en cruces, saltos de octava y cambios de posición, o darles más gracia a los acordes conclusivos. Las notas largas y sostenidas también cobran vida si cambiamos la mano estática por una muñeca que se eleva lentamente mientras la nota resuena.

El staccato y la muñeca

No existe una manera única de tocar staccato, porque su ejecución depende siempre del contexto musical. Para este nivel inicial hemos escogido el staccato de muñeca (“secreto” No. 3, Un rebote ligero de la mano). Esta técnica consiste en rebotar la mano desde una muñeca ligeramente elevada. Esto complementa muy bien el trabajo sobre uno de los objetivos principales del Nivel 2: relajar la muñeca y encontrar su rango apropiado de movimiento. El ejercicio El picoteo del pájaro carpintero es muy eficaz para aplicar esta técnica a las notas e intervalos repetidos que son tan característicos del repertorio de este nivel. Además de relajar la muñeca, este rebote delicado de la mano desarrolla la técnica necesaria para tocar los acordes suaves de acompañamiento.

Los resultados de este trabajo se ven al introducir por primera vez los acordes en la Unidad 8. En las primeras piezas que incluyen acompañamiento en acordes para la M.I., los estudiantes no los tocan fuertes y pesados, sino suaves y staccato, sin cubrir la melodía.

Esto se hace posible gracias a las técnicas aprendidas al inicio de este nivel y al hecho de que en las piezas los acordes de acompañamiento en la M.I. están ubicados en pulsos donde la melodía se detiene.

Resumen

Eleva la muñeca y Un rebote ligero de la mano son gestos esenciales de la muñeca que se derivan de sus contrapartes, el legato y el staccato. Estos gestos nos ofrecen los fundamentos técnicos sobre los cuales se puede construir una técnica más refinada. Lo que es aun más importante, al darle forma a una frase, suavizar un acompañamiento o añadir elegancia a un final de frase, estos gestos agregan un alto grado de musicalidad que es muy apreciada en este nivel inicial.

 -------------------------------------------------------------------------------

THE IMPORTANCE OF RELAXATION FOR PLAYING THE PIANO

The knowledge and practice conscious relaxation is essential for proper interpretation of the piano repertoire. Relaxation is not only a pleasurable activity it is a vital process that reduces wear to submit the mind and body.

If in today's society the dizzying pace of daily life, rapid changes, personal conflicts, family, professional, make relaxation becomes a must for all population groups, in our case study and performance of music is doubly necessary:

a) For the mind-body connection involved in musical performance. (The piano playing is an activity psychomotor).

b) the need for the participation of the performer as a connection between the music and the audience.

This relationship between performer and audience, inherent in the very nature of the music is such a significant aspect of the musical expression that makes learning instrumental not only a process by which you learn to play an instrument, but also a process by which you learn to do it before the public.

This small detail is what determines the student to feel the stage and the relationship with the audience as a strange, awkward and uncomfortable world (stage fright) or, conversely, an extension of your own living estudioPor therefore the same so you have to remove certain psychological aspects that disturb the correct musical performance: inattention, technical concerns, evocation of mistakes, negative projections ... it is necessary to promote insulation techniques and relaxation to get disengage the environment around us in those very likely to concern about the outcome moments, such as the prior to a performance in public.

The term relaxation has different ways: from a psychological point of view, rest, relaxation, appeasement, neglect, resignation, a letting go. From a medical point of view, reducing body tension.

Breathing is the first technique that must be learned and practiced with correction. Air, breathing and rhythm symbolizing life and moods: worry, fear, euphoria ... Each of these moods affect the qualities of breath, indicating an intimate connection between the physical states and emotional.

Therefore, the breath control can provide us turn the emotional state suitable for the practice of the instrument, especially in the moments prior to a public performance.

Muscle tone is directly related to postural and emotional states. Poor posture affects the balance that hinders a free and effective activity. The most common problem is the excess voltage, so that relaxation occurs as a fundamental concept in the development of a consistent piano technique. The notion of relaxation has two aspects: on the one hand free arrangement with the instrument and secondly the therapeutic aspect by which harmful attitudes are eliminated.

To play the piano optimally, it is necessary that the instrument is played so naturally and effortlessly; from a state of absolute relaxation that we can call? Zero ?. Estepunto is difficult to reach zero? because stay relaxed while no movement is difficult. To get to that point you need to have conquered a deep knowledge of everything that physically uses the pianist. The pianist must:

 .Conocer Muscles and joints that you are using. 

 .Tener Total freedom of every muscle, joint

 .Desarrollar To maximize their chances of quick reflexes, hand & training

 .Crear The desired sound.

 .Tener A deep understanding of the features and aspects of the piano.

A great technique can not be built if not on a full physical and muscular dissociation. Thereby forming a pianist requires physical and muscle preparation from the beginning and for this we will consider three factors:

1.Si want to play in a natural way we as a state of complete relaxation. This is where the delicate moment of the pianist sits stay relaxed because moving is difficult. For example, if a finger is active the other fingers must be passive. Keep in mind that we played the piano and sitting angle between the arm and forearm to the elbow is formed. In any case, this angle should immobilize or block us. Your elbows should remain free, because we must not forget that the elbow joint is the most requested: side, horizontal, vertical and rotation direction.

2.For other hand, in addition to the relaxed state, we must straighten the hand without altering the resting point, without involving the arm or elbow.

3. And finally we must equip all fingers the same muscle strength to prevent inequality and no effort to support the weight of the arm. The fingers have no muscles, tendons possess: tendons need to acquire the strength of the muscles.

From these 3 factors we are about to build a technical (ability to run anything) of fingers and arm.

It is worth reflecting on the position of the body and hand when studying and playing. Regarding the position of the body, the student must sit on the front of the chair. Back straight and feet flat on the floor. In the body structure all the moving parts are in total interaction, determines a position to another. A defective position causes unnecessary muscle contraction and blocking joints. Immobilizing the segments must not involved, and maintain a position relative tension and a general support on the seat body.

Regarding the position of the hand, must have a natural position with slightly curved fingers and the muscles relaxed. Remarkable is the coincidence between the morphology of the hand with the shape of the keyboard. Longer fingers (2- 3- 4 index, middle and ring) are playing the black keys. Chopin recommended a position starting from micro F # - sun # - the # - if the hand and fits perfectly and has a rounded shape.

Man has lost the instinctive ability to know their own limitations, exercise capacity and the opportunity to relax in a proper way. In the rush and stress of everyday life, relaxation has become an art to regain new strength. We should preserve this art above all. 

 

 LA IMPORTANCIA DE LA RELAJACIÓN PARA TOCAR EL PIANO

El conocimiento y la práctica consciente de la relajación es fundamental para la correcta
interpretación del repertorio pianístico. La relajación no solo es una actividad placentera
sino que es un proceso vital que reduce el desgaste a que sometemos la mente y el cuerpo.
Si en la sociedad actual el vertiginoso ritmo de la vida diaria, los rápidos cambios, los conflictos personales, familiares, profesionales, hacen que la relajación se convierta en una necesidad para todos los grupos de población, en nuestro caso de estudio e interpretación musical es doblemente necesaria:
a)Por la relación mente- cuerpo que conlleva la interpretación musical. (La ejecución pianística es una actividad
psicomotriz).
b)Por la necesidad de la participación del interprete como conexión entre la  partitura y el auditorio.
Esta relación entre interprete y el público, inherente a la misma naturaleza de la música, es un aspecto tan significativo de la expresión musical, que hace que el aprendizaje
instrumental no sea únicamente un proceso mediante el cual se aprende a tocar instrumento, sino también es un proceso mediante el cual se aprende a hacerlo
ante el público.
Este pequeño  detalle es el que determina que el estudiante sienta el escenario y la relación con el auditorio como un mundo extraño, difícil e incómodo (miedo escénico) o, por el contrario, una extensión de su propia sala de estudioPor tanto, de la misma manera que hay que eliminar determinados aspectos psicológicos que perturban la correcta
ejecución musical: desatención, preocupaciones técnicas, evocación de errores cometidos, proyecciones negativas..., es necesario fomentar técnicas de aislamiento y relajación que consigan desvincularnos del ambiente que nos rodean en esos momentos tan propensos a la preocupación por el resultado, como son las anteriores a una actuación en público.
El término relajación tiene diversos sentidos: desde un punto de vista psicológico, reposo, distensión, apaciguamiento, abandono, renuncia, un dejarse llevar. Desde un punto de vista médico, reducción de la tensión corporal.
La respiración es la primera técnica que se deberá aprender y practicar con corrección. El aire, la respiración y su ritmo simbolizan la vida y los estados de ánimo: preocupación, temor, euforia... Cada uno de estos estados de ánimo influye en las cualidades de la respiración, lo que denota una intima conexión entre los estados físico y emocional.
Por lo tanto, el control de la respiración nos puede proporcionar a su vez el estado emocional adecuado para la práctica del instrumento, sobre todo en los momentos precedentes a una presentación en público.
La tonicidad muscular está directamente relacionada con los estados posturales y emocionales. Una mala postura condiciona el equilibrio que dificulta una actividad libre y efectiva. El problema más frecuente es el exceso de tensión, por lo que la relajación aparece como un concepto fundamental en el desarrollo de una técnica pianística consistente.  La noción de relajación tiene dos aspectos: por un lado la disposición libre ante el instrumento y por otro lado el aspecto terapéutico por el que se eliminan actitudes nocivas.
Para tocar el piano de forma óptima,  es necesario que el instrumento sea tocado de manera y forma natural, sin esfuerzo; partir de un estado de relajación absoluta que podemos llamar punto cero . Es complicado llegar a estepunto cero porque mantenerse relajado mientras hay movimiento es difícil. Para llegar a ese punto es necesario haber conquistado un profundo conocimiento de todo lo que el pianista utiliza físicamente.  El pianista deberá:
 .Conocer los músculos y articulaciones que va a utilizar.
 .Tener total libertad de cada músculo, articulación
 .Desarrollar al máximo sus posibilidades de rapidez de reflejos,  formación de la mano&
 .Crear el sonido deseado.
 .Tener un profundo conocimiento de las particularidades y aspectos del piano.
Una gran técnica no puede ser construida si no es sobre una total disociación física y muscular. Con lo cual la formación de un pianista exige una preparación física y muscular desde el principio y para ello tendremos en cuenta 3 factores:
1.Si se quiere tocar de una manera natural deberemos partir de un estado de relajación absoluta. Es aquí donde se sitúa el momento delicado del pianista porque mantenerse relajado en movimiento es difícil. Por ejemplo, si un dedo está en activo el resto de dedos deberá estar en pasivo. Hay que tener en cuenta que tocamos el piano sentados y se forma un ángulo entre el brazo y el antebrazo a la altura del codo. En ningún caso este ángulo debe inmovilizarnos o bloquearnos. Los codos deben permaneces libres, ya que no debemos olvidar que la articulación del codo es la más solicitada: en sentido lateral, horizontal, vertical y para las rotaciones.
2.Por otro lado, además del estado de relajación, debemos enderezar la mano sin alterar ese punto de descanso, sin que participe el brazo ni el codo.
3.Y por último debemos de dotar a todos los dedos la misma resistencia muscular para evitar la desigualdad y para soportar sin esfuerzo el peso del brazo. Los dedos carecen de músculos, poseen tendones: es necesario que los tendones adquieran la fuerza de los músculos.
A partir de estos 3 factores nos encontramos a punto para construir una técnica (habilidad para ejecutar cualquier cosa) de dedos y de brazo.
Merece la pena reflexionar sobre la posición del cuerpo y de la mano a la hora de estudiar y tocar. En cuanto a la posición del cuerpo, el alumno debe sentarse sobre la parte anterior de la silla. La espalda recta y los pies apoyados en el suelo. En la estructura corporal todas las partes móviles se hallan en una total interrelación, una postura condiciona a otra. Una posición defectuosa provoca una contracción en músculos innecesarios y el bloqueo de las
articulaciones. Debemos inmovilizar los segmentos que no intervienen, mantener una posición y tensión relativa y una sustentación general del cuerpo sobre el asiento.
En cuanto a la posición de la mano, hay que tener una posición natural con los dedos ligeramente encorvados y con los músculos relajados. Es destacable la coincidencia entre la morfología de la mano con la forma del teclado. Los dedos más largos (2- 3- 4, índice, corazón y anular) son los que tocan las teclas negras. Chopin recomendaba una
posición partiendo desde mi- fa#- sol#- la#- si ya que la mano se acopla perfectamente y se tiene una forma redondeada.
El hombre ha perdido la habilidad instintiva de conocer sus propias limitaciones, la capacidad de esfuerzo y la posibilidad de relajarse de una manera adecuada. Con las prisas y el estrés de la vida diaria, la relajación ha llegado a ser un arte para recuperar nuevas fuerzas. Deberíamos conservar este arte por encima de todo.

------------------------------------------------------------------------

 Focal dystonia or "Musician Disease"

This famous pathology is characterized by the loss of voluntary control of one of the fingers, in the usual patterns of movement of the instrument. The usual symptom is that the guitarist feels affected fingers shrink by "voluntarily" when he plays the guitar, seriously hindering implementation.

Yet the causes are well known, although it seems that there is a neurological disorder at the level of the cerebral cortex, where volunteers finger movements are ordered. It also appears that in most cases there is a change in exercise routine with the instrument, such as a sudden and significant study time increase or testing.

Also it seems to have some connection with the individual psychological aspects such as anxiety management. It is believed that one factor may promote the development of the disease is preparing a musical event (concert, hearing, etc.) without enough time, and generating an extraordinary psychological burden, coupled with a physical effort in the hands of much larger usual.

Also, it has been observed that generally gives persons with many years dedicated to the guitar, and with a daily work hours of study and dedication. It also occurs in pianists, as well as the lip muscles of wind instruments.

As a curiosity I will say that the possibility that Schumann suffered this disease in their fourth finger of the right hand is shuffled.

The diagnosis is usually made by clinical, ie by signs and symptoms that the patient, as well as ruling out other neurological diseases.

Regarding the treatment seems to be working well the "reorganization of the fingers on the instrument", ie, relearning how to play with a provision of the different and always fingers under the tutelage of a specialist, but depends on the time of evolution and many other factors. There are medications that improve symptoms, and its effectiveness varies from person to person.

It is often disabling disease for musical practice, so early diagnosis is important (I do this as soon as possible), so when suspecting should see a specialist.

To prevent it we recommend always avoid fatigue and pain with the practice of the instrument. Fine stretch muscles before and after touching (if you know how you can see it in the ebook "I'm guitarist, how I warm my hands?" And in our YouTube channel). It is also important to increase the difficulty and speed very gradually. No venture with works or studies that are far above our level.

 

 Distonía focal o “Enfermedad del Músico”

Esta famosa patología se caracteriza por la pérdida del control voluntario de alguno de los dedos, en los patrones habituales de movimiento del instrumento. El síntoma habitual que el guitarrista siente es que los dedos afectados se contraen por “voluntad propia” cuando toca la guitarra, dificultando enormemente la ejecución.

Todavía no se conocen bien las causas, aunque parece que existe un trastorno neurológico a nivel de la corteza cerebral, desde donde se ordenan los movimientos voluntarios de los dedos. Parece también que en la mayoría de los casos hay un cambio en la rutina del ejercicio con el instrumento, como por ejemplo un aumento considerable y repentino de las horas de estudio o ensayo.

También parece haber alguna relación con aspectos psicológicos del individuo, tales como la gestión de la ansiedad. Se cree que un factor que puede favorecer la aparición de la enfermedad es la preparación de un acontecimiento musical (concierto, audición, etc) sin el tiempo suficiente, y generando una carga psicológica extraordinaria, sumada a un esfuerzo físico en las manos mucho mayor de lo habitual.

Así mismo, se ha observado que generalmente se da personas que llevan bastantes años dedicados a la guitarra, y con un trabajo diario de horas de estudio y dedicación. También se produce en pianistas, así como en la musculatura labial de los instrumentistas de viento.

Como curiosidad te diré que se baraja la posibilidad de que Schumann padeciera esta enfermedad en su cuarto dedo de la mano derecha.

El diagnóstico se realiza generalmente por la clínica, es decir, por los síntomas y signos que presenta el paciente, así como por descarte de otras enfermedades neurológicas.

En cuanto al tratamiento parece que está funcionando bien la “reorganización de los dedos en el instrumento”, es decir, reaprender a tocar con una disposición de los dedos distinta y siempre bajo la tutela de un especialista, pero depende del tiempo de evolución y de otros muchos factores. Existen medicamentos que mejoran los síntomas, siendo su efectividad muy variable de unas personas a otras.

A menudo es una enfermedad incapacitante para la práctica musical, por lo que es importante un diagnóstico precoz (realizarlo lo antes posible), por lo que ante su sospecha debemos acudir a un especialista.

Para prevenirla se recomienda evitar siempre la fatiga y el dolor con la práctica del instrumento. Estirar muy bien la musculatura antes y después de tocar (si no sabes cómo puedes verlo en el ebook “Soy guitarrista, ¿cómo caliento mis manos?”, y en nuestro canal de Youtube) . También es importante aumentar la dificultad y la velocidad de forma muy progresiva. No aventurarse con obras o estudios que estén muy por encima de nuestro nivel.

----------------------------------------------------------------------------

 Occupational diseases of the musicians:Alberto Carretero Aguado

1. Introduction

The daily work of a musician subjected to physical and psychological stress that,often, attempts to alleviate their favorite hobbies. It introduces us to a magical world and dream where time is meaningless, concerns are parked and imagination fly freely giving us moments full of peace. Therefore there is talk of creating a specialty called musical medicine.

2. Various technopathies
 Medical problems of the musicians have been treated in the book"Technopathies musician", under the direction of Dr. Luis Orozco and teacher Joaquín Solé music (with the collaboration of prestigious specialists) meets the scientific expertise and love of musical art, providing excellent knowledge. Technopathies understood as disorders arising from work activity affecting both the physical and psychological level. In the United States there are twenty clinics dedicated to treating only "musical" diseases.3. The real instrument
 These data give an idea of ​​the impact and importance of thediseases with musicians and by extension can not beaddressed in its entirety, ranging from dentistry and ophthalmology through internal medicine and otology, to dance and teaching. The music,like any artistic activity, commits the whole person and assays music teacher Joaquín Solé, "the real instrument is the violin, drums or guitar, but our body, we should monitor and prepare for a task that requires many hours of work and dedication. "Realizing this and enhancing the medicine-music duo not only protect the health of the musician, but also get to improve their results and avoid problems to future generations.4. The musical brain
 The two cerebral hemispheres are asymmetrical by function. Inmanidiestro there is a prevalence of the left hemisphere and vice versa; in lefties and ambidextrous (for many musicians) brain organization is more complex, less differentiated and lateralized, which explains the goodness in disorders aphasic, amúsicos and agráiicos of lefties.
  Amusia is loss of musical sense or a defect in their perception or execution due to a brain injury. It can be sensorial, motor orgraphic; the first is the most common. Also the idea prevails that occur changes the musical sense without language problems and that the case is otherwise. So, Ravel, who had a brain ventricle dilation and progressive atrophy of the cortex, lost before the power to speak and write than the musical understanding. This implies an independence between the acquisition of language and music, that is, between linguistic and musical skills.
  It is therefore accepted that in the brain there is a musical area in the temporal lobe Right. Comparative studies using MRI in violinists, cellists and guitarists for seven years and another group that was not musical, which aided in the first tactile stimulation of the fingers of the left hand is received in an area of ​​greater extension of the cortex they were performed . By contrast, the lowest was the thumb, the least involved in the implementation, since only serves to hold the instrument and help position changes muscle overload hand.
   It is important differential diagnosis in muscular and nerve entrapment overload. Overload syndrome is caused by prolonged repetitive movements that particular muscle group overexcited; the most affected are the upper limbs, as well as the neck and shoulders.
   Symptoms range from mild discomfort to immobility. ASometimes it confused with tendonitis or tenosynovitis (inflammation of the tendon or its sheath). The highest incidence was observed in the flutists, cellists and clarinetists. Its origin is multifactorial and is influenced by the intensity of the tests rather than excessive dedication. Symptoms arise when resuming work after a period of rest or with a change in technique or repertory. Dr. Charness syndrome detected in pianists who played with fingers flat, as advocated Horowitz, or the lower keyboard wrist as imposed by the French. The anatomical constitution, mode of transport instruments and their weight and design are paramount in the development of these ailments.
 The treatment involves early diagnosis, because with the advancement of discomfort worsens. Moderate rest is convenient, but without reaching the inactivity since this leads to atrophy and loss of flexibility muscles; but return to work must be gradual and must be accompanied by toning muscle groups that stabilize the spine. It has been found that between 70 and 90% of those affected by the overload syndromethey can continue to pursue their profession.6. The "trac" or stage fright
  The general characteristic that appears before a performance is a state of anxiety, some fear the scenario, called "trac" and also known as "Footlights fever". It is conditioned by several factors: the type of performance (Solo or group), the atmosphere, the degree of leadership and personalitymusician. Tremor, nervousness, rapid pulse, dry mouth and irritability.They are its main manifestations. Concentration decreases, muscle tension increases and sometimes nausea and vomiting might occur. Dry mouth affects mostly singers and instrumentalists wind while tremor it appears on those using keyboard and strings. A study in the School Music at the University of Iowa (USA) concludes that 16% of respondents presented problems in interpretation because of anxiety andmore than 21% suffer from stress during his career.
 Some consider that a certain dose of "trac" are positive to achieve success. The scientific expression is found in the Yerkes Dodson, who it establishes a relationship between performance and motivation, and performance claims optimum is obtained with an average degree of motivation, which is increased if there is a mild stress. The "trac" causes hormonal alterations affecting shaft pituitary-adrenal, and reaches a hyperthyroidism often relates to anxiety disorders. As for the greatest impact occurred there that claim to be maximum in the neck and back, appearing in 35% of the soloists and 17% of other musicians; the most affected are the trumpeters, harpists, oboe players and violinists.
 Psychobiological investigating effects it was found that the variables neuroendocrine, epinephrine, norepinephrine, and cortisol, as well as heart rate, they increased during the proceedings in public and they did if the concert was private. A greater number of respiratory disorders is also seen andcardiovascular and maxillofacial, hearing and vision problems. A studyheart disease among non-members of the orchestra of the London BBC shows the existence of 2% ST alterations in the electrocardiogram, very frequent at premieres, whose intensity increased by playing Rachmaninoff and Tchaikovsky and Strauss and Mozart playing decreased.
 Many musicians try to resolve the case by resorting to medication, because a 20% of the components of symphony orchestras taking drugs against stress, and beta-blockers being the most common benzodiazepines. The first can cause nausea, diarrhea or insomnia and alterations seconds psychomotor, so it should always be given on prescription.It seems that cognitive therapy is one that provides the best results, not forgetting the benefit obtained with the practice of gymnastics, massage and good eating habits. Control "trac" is paramount because if not get can lead to anxiety and ultimately depression. Although therefore, as I said Caruso, "the artist who boasts of never being nervous is not a Artist, is a fool or a liar. "6. dystonias, a plague of the 90s
 Almost 50% of musicians suffer problems in the muscle-systemSkeleton at some point in their lives as a result, in most cases, ofexcessive activity or the use of improper technique. Much ofthey affect the upper extremities, and diseases of the hand are the frequently; it has come to speak of a "real scourge of the 90s". The women are more affected than men due to muscle overload it causes the intensity of the trials. Music, notes Dr. Luis Orozco, traumatologist and orthopedic surgeon, is a physical and mental effort for who practice and involves three types of problems: some stress-related, other sedentary lifestyle themselves and others produced by physical wear.
 It is said that for 20 or 30 notes will require 400-600 and motor acts one unquantifiable task of brain areas, scientifically comprobándose artists who work with creativity are between 10 and 30% likely to have different psychological problems.
 Very common in professional music is the appearance of dystonias, cramps, involuntary contractions that remain painless for a variable time and prevent perform certain functions, which interpretation harder and musician is killed. They can be generalized or fragmented (the usual in the music group). Dystonias are presented both right-handers and left-handers, and usually appear between the maximum frequency10 to 20 years of practice. Not only affect the hand or arm, but also the muscles of the tongue and mouth in wind instruments, which have difficulty reaching some notes or change quickly. Fingers more losers are the ring and little fingers of the right hand of pianists, which usually he plays the melody. It has not been shown that there is a relationship between dystonias and brain damage and has not yet clarified the cause for which cramp persists years after the disturbance referred tip. A once you put in place are not usually recover spontaneously. There have been many therapeutic attempts, such as hypnotherapy and "biofeedbach" (control by use of various devices of certain functions and muscle tension), they have good results, even partially. It also employs injection of botulinum toxin into the muscles at low doses to start and gradually increasing treatment administered every two weeks.This is done to reduce cramps and weakness does not appear. The improvement reaches its peak after about ten days and continues to repeat injection, although the results of this treatment will be known over time.
 Benzodiazepines, traditionally used for its relaxing effect,achieved a reduction of dystonia, although usually phases coexist remission and regression. Comprehensive assistance in involving neurologists, physiotherapists and psychologists complete therapy.7. The carpal tunnel
 As for nerve entrapment must highlight the tunnelCarpal. It is pinched ulnar and radial nerve as it passes through the wrist gorge where the flexor tendons of the fingers are crossed wrapped in their synovial sheaths and the median nerve. It is a limited space for the annular ligament carpal lunate bone and large, located in the center palmar aspect of the wrist.
  This space can be reduced when inflammation occurs podsand the nerve is pressed to make the maximum deflection, a situation that occurs often in the left hand of those who play the double bass, violin or guitar.Its main symptoms are tingling, sensitivity disorders, burning or pain in the area, reaching more intense overnight and irradiated to forearm, elbow or shoulder.
  Electromyography to determine the degree of nerve involvement medium whose motor branch controls the muscles of the thumb and sensory touch provides over half of the hand. If the compression is very prolonged, the process may become irreversible. The improvement is achieved based rest and splinting in extension position and also with local application of cold.
  Antiinflammatory products and also systemically injectioncorticosteroids complete medical treatment in case of failure, will give way to with consequent surgical section of the annular ligament.

 

Las enfermedades laborales de los músicos

Alberto Carretero Aguado 

1.- Introducción 

El trabajo diario somete al músico a una tensión física y psíquica que, a menudo, intenta paliar con sus aficiones favoritas. Nos introduce en un mundo mágico y de ensueño en donde el tiempo carece de sentido, las preocupaciones se aparcan y la imaginación vuela libremente proporcionándo nos momentos llenos de paz. Por ello  se habla de crear una especialidad llamada medicina musical.

2.- Diversas tecnopatías

 Los problemas médicos de los músicos han sido tratados en el libro titulado"Tecnopatías del músico", que bajo la dirección del doctor Luis Orozco y del profesor de música Joaquín Solé (con la colaboración de prestigiosos especialistas) reúne la experiencia científica y el amor al arte musical, aportando excelentes conocimientos.  Se entiende como tecnopatías los trastornos derivados de la actividad laboral que afectan tanto al ámbito físico como psíquico. En Estados Unidos existen veinte clínicas dedicadas únicamente al tratamiento de enfermedades "musicales".

3.- El verdadero instrumento

 Estos datos nos dan idea de la repercusión y de la importancia de las enfermedades que presentan los músicos y que por su extensión no pueden serabordadas en su totalidad, ya que abarcan desde la odontología y la oftalmología pasando por la medicina interna y otología, hasta la danza y la docencia. La música, como cualquier actividad artística, compromete a la totalidad de la persona y, como dice el profesor de música Joaquín Solé, "el verdadero instrumento no es el violín, la batería o la guitarra, sino nuestro cuerpo, que debemos controlar y preparar para una tarea que exige muchas horas de trabajo y dedicación". Tomando conciencia de ello y potenciando el binomio medicina-música no sólo protegeremos la salud del músico, sino que también conseguiremos que mejoren sus resultados y evitaremos problemas a las generaciones venideras.

4.- El cerebro musical

 Los dos hemisferios cerebrales son asimétricos según su función. En el manidiestro existe una prevalencia del hemisferio izquierdo y viceversa; en los zurdos y ambidiestros (caso de muchos músicos) la organización cerebral es más compleja, menos diferenciada y lateralizada, lo que explica la benignidad en los trastornos afásicos, amúsicos y agráiicos de los zurdos. 

 La amusia es la pérdida del sentido musical o un defecto en su percepción o ejecución debido a una lesión cerebral. Puede ser de carácter sensorial, motor o gráfico; la primera es la más común. También prevalece la idea de que se producen alteraciones del sentido musical sin problemas de lenguaje y que se da el caso contrario. Así, Ravel, que presentaba una dilatación del ventrículo cerebral y una atrofia progresiva del córtex, perdió antes la facultad de hablar y escribir que la del entendimiento musical. Esto implica una independencia entre la adquisición del lenguaje y de la música, o sea, entre competencias lingüísticas y musicales.

Se acepta, pues, que en el cerebro hay un área musical en el lóbulo temporal derecho. Mediante resonancia magnética se realizaron estudios comparativos en  violinistas, violoncelistas y guitarristas durante siete años y otro grupo que no era  musical, que corroboraron que en los primeros el estímulo táctil de los dedos de la  mano izquierda se recibía en una zona de mayor extensión del córtex. Por el contrario, el menor registro era del dedo pulgar, el que menos participa de la ejecución, pues sólo sirve para sostener el instrumento y ayudar a los cambios de posición de la mano Sobrecarga muscular.

Es importante establecer el diagnóstico diferencial en las sobrecargas musculares y los atrapamientos nerviosos. El síndrome de sobrecarga se produce por la repetición prolongada de movimientos que sobreexcitan determinado grupo muscular; los más afectados pertenecen a las extremidades superiores, así como a los  del cuello y hombros.

La sintomatología oscila desde una pequeña molestia hasta una inmovilidad. A veces se confunde con una tendinitis o una tenosinovitis (inflamación del tendón o de sus vainas). La mayor incidencia se observa en los flautistas, violoncelistas y clarinetistas. Su origen es multifactorial y está condicionado por la intensidad de los ensayos más que por el exceso de dedicación. Los síntomas surgen al reanudar el trabajo después de un periodo de descanso o ante un cambio de técnica o de repertorio. El doctor Charness detectó el síndrome en pianistas que tocaban con los dedos planos, como propugnaba Horowitz, o con la muñeca más baja que el teclado como impusieron los franceses. La constitución anatómica, el modo de transportar los instrumentos y su peso y diseño son de importancia capital en la aparición de estas dolencias.

El tratamiento pasa por el diagnóstico precoz, pues con el avance de las molestias, empeora. El reposo moderado es conveniente, pero sin llegar a la inactividad ya que esta conduce a la atrofia y a la pérdida de flexibilidad de los músculos; pero la reincorporación laboral ha de ser gradual y debe ir acompañada de una tonificación de los grupos musculares que estabilizan la columna vertebral. Se ha comprobado que entre el 70 y el 90% de los afectados por el síndrome de sobrecarga pueden seguir ejerciendo su profesión.

6.- El “trac” o el miedo al escenario

La característica general que aparece antes de una actuación es un estado de ansiedad, de cierto miedo al escenario, denominado "trac" y conocido también como "fiebre de candilejas". Está condicionado por diversos factores: el tipo de actuación (solista o conjunto), el ambiente, el grado de protagonismo y la personalidad del músico. Temblor, nerviosismo, aceleración del pulso, sequedad de boca e irritabilidad son sus principales manifestaciones. La concentración disminuye, la tensión muscular aumenta y en ocasiones pueden aparecer náuseas y vómitos. La sequedad de boca afecta sobre todo a los cantantes e instrumentistas de viento, mientras que el temblor aparece en aquellos que utilizan teclado y cuerda. Un estudio realizado en la Escuela de Música de la Universidad de Iowa (EE.UU.) saca la conclusión de que el 16% de los encuestados presenta problemas en la interpretación por causa de la ansiedad y más del 21% padecen estrés durante su carrera.

 Algunos consideran que ciertas dosis de "trac" son positivas para alcanzar el éxito. La expresión científica la encontramos en la ley de Yerkes Dodson, que establece una relación entre el rendimiento y la motivación, y afirma que el rendimiento óptimo se consigue con un grado medio de motivación, que se incrementa si existe un ligero estrés. El "trac" provoca alteraciones hormonales por afectación del eje de la hipófisis suprarrenal, y llega a un hipertiroidismo que, a menudo, se relaciona con cuadros de ansiedad. En cuanto al mayor impacto producido hay que afirmar que es máximo en el cuello y la espalda, presentándose en un 35% de los solistas y en un 17% de los restantes músicos; los más perjudicados son los trompetistas, harpistas, oboístas, y violinistas.

Investigando los efectos psicobiológicos se ha comprobado que las variables neuroendocrinas, epinefrina, norepinefrina y cortisol, así como la frecuencia cardiaca, aumentaban durante las actuaciones en público y no lo hacían si el concierto era privado. También se aprecia un mayor número de trastornos respiratorios y cardiovasculares y problemas maxilofaciales, auditivos y oftalmológicos. Un estudio entre los componentes no cardiópatas de la orquesta de la BBC londinense demuestra la existencia de un 2% de alteraciones en el ST del electrocardiograma, muy frecuente en los estrenos, cuya intensidad aumentaba al interpretar a Rachmaninoff y Tchaikovski y decrecía tocando Strauss y Mozart.

Muchos músicos intentan resolver el caso recurriendo a la medicación, pues un 20% de los componentes de orquestas sinfónicas toman fármacos contra el estrés, siendo los betabloqueantes y las benzodiacepinas los más usuales. Los primeros pueden provocar náuseas, diarrea o insomnio y los segundos alteraciones psicomotrices, por lo que siempre deben administrarse bajo prescripción facultativa.

Parece que la terapia cognitiva es la que proporciona mejores resultados, sin olvidar el beneficio que se obtiene con la práctica de ejercicios gimnásticos, masajes y buenos hábitos alimenticios. El control del "trac" es de suma importancia ya que si no se consigue puede conducir a la ansiedad y en última instancia a la depresión. A pesar de ello, como decía Caruso, "el artista que alardea de no estar nunca nervioso, no es un artista, es un loco o un mentiroso".

6.- Distonías, una plaga de los años 90 

Casi un 50% de los músicos sufren problemas en el sistema músculo- esquelético en algún momento de su vida, a consecuencia, en la mayoría de casos, de una excesiva actividad o de la utilización de una técnica inadecuada. Gran parte de ellos afecta a las extremidades superiores, y las enfermedades de la mano son las más frecuentes; se ha llegado a hablar de una "auténtica plaga de los años 90". Las mujeres están más afectadas que los hombres debido a la sobrecarga muscular que provoca la intensidad de los ensayos. La música, señala el doctor Luis Orozco, traumatólogo y cirujano ortopédico, representa un esfuerzo físico y psíquico para los que la practican y conlleva tres tipos de problemas: unos derivados del estrés, otros propios del sedentarismo y otros más producidos por el desgaste físico.

Se dice que para conseguir 20 o 30 notas se precisan de 400 a 600 actos motores y una tarea incuantificable de las áreas cerebrales, comprobándose científicamente que los artistas que trabajan con creatividad tienen entre un 10 y un 30% de probabilidades de sufrir diferentes problemas psíquicos.

Muy común en los profesionales de la música es la aparición de las distonías, calambres, contracciones involuntarias e indoloras que se mantienen durante un tiempo variable e impiden realizar determinadas funciones, con lo cual la interpretaciónresulta más difícil y el músico queda abatido. Pueden ser generalizadas o fragmentadas (las habituales en el colectivo musical). Las distonías se presentan tanto en los diestros como en los zurdos, y suelen aparecer con la máxima frecuencia entre los 10 y los 20 años de práctica. No sólo afectan a la mano o al brazo, sino también a los músculos de la lengua y de la boca en los instrumentistas de viento, que tienen dificultades para llegar a algunas notas o cambiar con rapidez. Los dedos más perjudicados son el anular y el meñique de la mano derecha de los pianistas, la quenormalmente interpreta la melodía. No se ha demostrado que exista relación entre las distonías y las lesiones cerebrales y no se ha aclarado todavía la causa por la que persiste el calambre años después de que remita la alteración de la extremidad. Una vez instauradas no suelen recuperarse de manera espontánea. Muchos han sido los intentos terapéuticos, como la hipnoterapia y el "biofeedbach" (control mediante el empleo de distintos aparatos de ciertas funciones y de la tensión muscular), que han obtenido buenos resultados, aunque sea parcialmente. Se emplea también la inyección de toxina botulínica en los músculos a dosis bajas al comenzar el tratamiento y se aumenta paulatinamente administrada a intervalos de dos semanas.

Con ello se logra que los calambres disminuyan y que no aparezca debilidad. La mejoría alcanza su punto máximo al cabo de unos diez días y se prolonga al repetir la inyección, aunque las conclusiones de este tratamiento se conocerán con el tiempo.

Las benzodiacepinas, usadas tradicionalmente por su efecto relajante, consiguen una disminución de la distonía,  si bien coexisten habitualmente fases de remisión y retroceso. La asistencia integral, en la que intervengan neurólogos,fisioterapeutas y psicólogos, completa la terapia.

7.- El túnel carpiano

En cuanto a los atrapamientos nerviosos hay que destacar el del túnel carpiano. Se trata de pinzamientos del nervio cubital y radial a su paso por el desfiladero de la muñeca por donde se cruzan los tendones flexores de los dedos envueltos en sus vainas sinoviales y el nervio mediano. Es un espacio limitado por el ligamento anular del carpo, el hueso semilunar y el grande, situado en el centro de la cara palmar de la muñeca.

Dicho espacio puede reducirse cuando se produce la inflamación de las vainas y el nervio queda oprimido al realizar la máxima flexión, situación esta que se produce a menudo en la mano izquierda de los que tocan el contrabajo, el violín o la guitarra.

Sus principales síntomas son los hormigueos, trastornos de sensibilidad, quemazón o dolor en la zona, que alcanzan mayor intensidad durante la noche y se irradian al antebrazo, codo u hombro.

La electromiografía permite determinar el grado de afectación nerviosa del mediano cuya rama motora controla la musculatura del pulgar y la sensitiva proporciona el tacto a más de la mitad de la mano. Si la compresión es muy prolongada, el proceso puede llegar a ser irreversible. La mejoría se logra a base de reposo y con la colocación de férulas en posición de extensión y también con la aplicación de frío local.

Los productos antiinflamatorios por vía general y también la inyección de corticoides completan el tratamiento médico que, en caso de fracaso, dejará paso al quirúrgico con la consecuente sección del ligamento anular. 

                          -------------------------------------

Warn diseases musicians

    Experts recommend relaxation exercises and movement before starting the daily professional training

  The musicians, those beings who bring joy and culture to the rest of humanity, can be affected by diseases

    Professional practice due to long instruments, and treatments they require are different from other people with the same ills, according to a medical study in Cuba.

   "At no time must infer, given these facts, that the practice of musical instruments means disease. Only in musicians, like other professions, there are risk factors that are important to know," say the doctors María del Campo and Marcelino Feal, authors

    research.

In a summary of their study, published in the online edition of the quarterly journal Medical Advances in Cuba, the doctors venture into the most common maladies of Cuban musicians, including trumpeters, drummers, and violinists.

The wind instrumentalists, particularly trumpeters, are prone to cardiomegaly (enlargement of the heart chambers) by the effort made, but this disease can be exacerbated by stress and anxiety that accompany the musician during his career. 

 In trumpeters have also been detected hearing loss,  decreased visual field, increased intraocular pressure, glaucomatous changes "without adequate control can lead to vision loss," say the authors.

 "The contact dermatitis musicians can be seen in the neck, chin, by the contact of these areas with violin and viola; in the mouth, caused by the nozzle of the woodwinds, or on the back neck, due to the friction of sash or belt trumpet, saxophone, electric guitar, and the fingers of steel the strings "they add.

In Cuba, where percussion instruments of African origin (congas, bata drums) are present in almost every type of grouping, it emerged last year the medical term "hand percussionist" to describe lesions on the palms of hands (wounds, bruises , calluses) provoked by the hoops metal of these instruments. 

  "An interesting issue is the presence of blood in the urine of drummers dedicated to Afro-Cuban style" due to low fluid intake, overwork and improper technique. 

  The study authors recommend musicians and other relaxation exercises that stimulate circulation before starting the daily professional training.

To avoid hematuria (blood in urine), professionals must rotate the proceedings, reduce the number of hours in the activity, drinking plenty of fluids and do not retain urination.

The skin lesions and dermatistis contact "are hard to treat because the friction with the instrument can not be eliminated," say the doctors, but recommend cleaning nozzles antisépeticas solutions and clean the wood on which it is pressed into cases of violin and viola. 

 For drummers with hand injuries should not be used drying lotions or creams containing gliserina, but almedra creams, Vaseline and cocoa butter should apply, indicate.

                               ------------------------------------

How the brain reads music: The evidence for musical dyslexia

Photo credit: Brent Moore (Creative Commons)

How the brain reads music: The evidence for musical dyslexia

Music education in the western world often emphasizes musical literacy, the ability to read musical notation fluently. But this is not always an easy task – even for professional musicians. Which raises the question: Is there such a thing as musical dyslexia?
Dyslexia is a learning disability that occurs when the brain is unable to process written words, even when the person has had proper training in reading. Researchers debate the underlying causes and treatments, but the predominant theory is that people with dyslexia have a problem with phonological processing – the ability to see a symbol (a letter or a phoneme) and relate it to speech sounds. Dyslexia is difficult to diagnose, but it is thought to occur in up to 10% of the population.

In 2000, Neil Gordon, a retired pediatric neurologist, proposed the idea of musical dyslexia (dysmusia), based on growing evidence that the areas of the brain involved in reading music and text differed.
The idea that dyslexia could affect the reading of non-language symbols is not new. For instance, dyscalculia is the difficulty reading and understanding mathematical symbols. Recent research supports dyslexia and dyscalculia as separate conditions with unique causes (dyscalculia is thought to be caused by a deficit in spatial processing in the parietal lobe). If the brain processes words and mathematical symbols differently, why not musical symbols too?

Music’s written system

Western music, like language, has a highly evolved coding system. This allows it to be written down and transmitted from composer to performer. But music, unlike language, uses a spatial arrangement for pitch. The page is divided into staffs of five lines each. Basically, the higher a symbol is placed on the staff, the higher the pitch.
Unlike letters in text, pitches can be stacked, indicating simultaneous performance (chords). Music also uses a system of symbols to indicate how pitches should be played. Symbols can indicate duration (rhythm), volume (dynamics) and other performance cues. Music also utilizes written words to indicate both the expressive features of the music and the lyrics in vocal music. Lyrics may be in languages not spoken by the performer.
Due to differences in the physical features of the written systems, it makes sense that the brain would read music and text differently. This appears to be the case – at least to some extent.

Text and music reading in the brain

In the brain, reading music is a widespread, multi-modal activity, meaning that many different areas of the brain are involved at the same time. It includes motor, visual, auditory, audiovisual, somatosensory, parietal and frontal areas in both hemispheres and the cerebellum – making music reading truly a whole brain activity. With training, the neural network strengthens. Even reading a single pitch activates this widespread network in musicians. While text and music reading share some networks, they are largely independent. The pattern of activation for reading musical symbols and letters is different across the brain.
Brain damage, especially if it is widespread, as was the case with the composer Maurice Ravel, (perhaps best known for Boléro), will likely impair both text and music reading abilities. Ravel had a form of frontotemporal lobe dementia.
However, there have been cases where a more limited brain injury impaired reading of one coding system and spared the other.
Ian McDonald, a neurologist and amateur pianist, documented the loss and recovery of his own ability to read music after a stroke, though his ability to read text was unaffected. Oliver Sacks described the case of a professional pianist who, through a degenerative brain disease (Posterior Cortical Atrophy), first lost her ability to read music while retaining her text reading for many years. In another case, showing the opposite pattern, a musician lost his ability to read text, but retained his ability to read music.
Cases where music and language seem to be differently affected by brain damage have fascinated researchers for centuries. The earliest reported case of someone who was unable to speak, but retained his ability to sing, was in the 1745 article, On a Mute who Can Sing.
More recently, the Russian composer, Vissarion Shebalin, lost his language abilities after a severe stroke, but retained his ability to compose. Maintaining the ability to sing in the absence of language has led to the creation of a therapeutic treatment called Melodic Intonation Therapy that essentially replaces speech with song. This allows the patient to communicate verbally. These cases and many others demonstrate that music and language are to some extent separate neurological processes.
Differences in reading ability can occur even within musical notation. Cases have been reported where musicians have lost their ability to read pitch, but retained their ability to read rhythm, and vice versa. fMRI studies have confirmed that the brain processes pitch (spatial information) and rhythm (symbol recognition) differently.

Musical dyslexia

The research starts to imply how a specifically musical dyslexia could occur. This deficit may be centered on pitch or musical symbols or both. No conclusive case of musical dyslexia has yet been reported (though Hébert and colleagues have come close) and efforts to determine the effects of dyslexia on reading musical notation have been inconclusive.
Children in western cultures are taught to read text, but not always taught to read music. Even when they are, inabilities to read music are not generally treated as a serious concern. Many gifted musicians are able to function at a professional level purely learning music by ear. Among musicians, there is a wide range of music reading proficiencies. This is especially apparent with sight reading (the first performance of a notated piece). Identifying musical dyslexia could help explain why some musicians read well and others don’t.

 

                            ---------------------------------------

A study in Finland shows the biological and molecular effects of this practiceAccording to a new study in Finland, listening to classical music enhances the activity of genes involved in secretion and transport of dopamine synaptic neurotransmission, learning and memory. It also reduces the expression of genes that mediate neurodegeneration.Although music is common to all societies, biological and molecular effects of music are quite unknown. This is a complex of human brain cognitive function, which is known to induce various neural and physiological changes.A research group at the University of Helsinki (Finland) has studied how classical music affects the gene expression profiles of people with and without musical experience. All participants heard the Violin Concerto No. 3 in G major, K. 216.Music improved activity of genes involved in secretion and dopamine transport, synaptic function, learning and memory.One of the most upregulated genes (whose expression increases when listening to music) regulates the protein alpha-synuclein (SNCA), is a related to the risk of Parkinson's disease, which is the most strongly linked to musical aptitude region gene. We also know that SNCA contributes to song learning in songbirds.

                                 -------------------------------

The study: classical music is "growing old" less brainMain: classical brain

Classical music is "dance" some of the most important genes for brain health, turning those related to memory and welfare off and those associated with neurodegenerative diseases such as Parkinson's. This is demonstrated by a Finnish study of the University of Helsinki, who first revealed the molecular mechanisms underlying the physiological changes that listening to music causes in the brain. The research was conducted on fifty people, including experienced enthusiasts and novices classic of the genre: each was asked to listen to a violin concerto by Mozart lasting 20 minutes.

After listening, was taken a blood sample to analyze the proteins produced by the expression of the DNA. The results show that music enhances the activity of genes involved in learning, memory, and in the production of the hormone of pleasure, dopamine. One of the most active genes, the protein alpha-synuclein (SNCA), is known to be linked to Parkinson's and is particularly expressed in a region of the brain where it is believed to be located aptitude for music. Always the same SNCA gene is known for its crucial role in learning the melodies in birds.

"The increase in the activity of many genes involved in singing and learning the melodies shows that behind the perception of sound in birds and in humans there is a shared evolutionary path," says the study coordinator Irma Järvelä. The study also shows that listening to Mozart sound induces a reduction in the activity of genes associated with neurodegenerative diseases: this would explain the neuroprotective role of music, able to keep the brain healthy as a true elixir of youth. All of these effects, however, were found only in the experts of classical music, according to the researchers, this demonstrates the importance of exercising their ear acquiring greater familiarity with the notes.  

                         

   Lo studio: la musica classica fa «invecchiare» meno il cervello
Per approfondire: musica classica cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.

Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.

"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpu

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf

                                          --------------------------

 Trastornos músculo-esqueléticos en músicos profesionales: revisión bibliográfica

Musculoskeletal disorders in professional musicians: a review of literature

 

---

RESUMEN
Introducción: los músicos son susceptibles de muchas patologías que repercuten en su carrera profesional debido a las posturas forzadas, las horas de práctica, los movimientos repetitivos y la carga psicológica. Las principales causas de los trastornos músculo-esqueléticos son la sobrecarga muscular, la compresión nerviosa y la distonía focal ocupacional. Este grupo de patologías en los músicos no está recogido en el cuadro de enfermedades profesionales español.
Objetivo: conocer la producción científica sobre los trastornos músculo-esqueléticos en músicos profesionales como consecuencia de su actividad laboral.
Material y Métodos: Se realiza una revisión bibliográfica de la literatura científica publicada entre 2006-2012. Se consultaron las bases de datos MEDLINE, OSH UPDATE, IBECS, Biblioteca Cochrane, Scielo, LILACS y CISDOC.
Resultados: se seleccionaron 24 artículos; un estudio experimental, dos revisiones sistemáticas, cuatro estudios de casos y controles, 16 estudios transversales y una serie de casos. Se encontró una prevalencia de 25,5%-86% para los trastornos músculo-esqueléticos, sin consenso para los factores de riesgo. Las principales localizaciones fueron cuello, espalda y brazo. Se encontró más afectación en mujeres, excepto para la distonía focal que fue más frecuente en hombres.
Conclusiones: los trastornos músculo-esqueléticos son muy frecuentes en músicos profesionales. Es necesario seguir investigando en esta materia e incidir sobre las medidas de prevención desde las etapas iniciales de su formación. Habría que valorar la inclusión de estos trastornos en los músicos dentro del cuadro de enfermedades profesionales español.
Palabras clave: Trastornos músculo-esqueléticos, músicos, patología ocupacional, distonía focal, prevención.

---

ABSTRACT
Introduction: musicians are susceptible to many disorders that affect their professional careers, due to awkward posture, an excess of practice hours, to repetitive movements and psychological stress. The main causes leading to musculoskeletal disorders are those of muscle overload, nerve compressions, and occupational focal dystonias. This group of disorders in musicians is not included in the Spanish Index of Occupational Diseases to this day.
Aim: to review the available scientific literature on musculoskeletal disorders in professional musicians, arising from their professional activity.
Methods and materials: a bibliographical review of the scientific literature published in the period 2006-2012 is undertaken. MEDLINE, OSH UPDATE, IBECS, the Cochrane Library, Scielo, LILACS, and CISDOC databases were consulted.
Results: 24 articles were selected: an experimental study, two systematic reviews, four case-control studies, 16 cross-section studies and one series of cases study. Prevalence rates ranging 25,5%-86% for musculoskeletal disorders were found, with no consensus on risk factors. Main affected body parts were neck, back and arms. Women were more frequently affected, except for focal dystonias, which were more prevalent in men.
Conclusions: musculoskeletal disorders are very prevalent among professional musicians. Further research is needed on this area, and there is a need to put a stress on implementation of preventative measures from the very early stages of the development of these disorders. A point of discussion for the inclusion of these disorders in musicians within the Spanish Index of Professional Disorders should be encouraged.
Key words: Playing-related musculoskeletal disorder, musicians, occupational disease, focal dystonia, prevention.

---

Introducción
Los músicos son susceptibles de una gran variedad de patologías que pueden repercutir seriamente en el desarrollo de su carrera profesional. Esto es debido a la gran complejidad neuromuscular y al alto nivel de maestría que exige la interpretación musical^1-3.
La prevalencia de los trastornos músculo-esqueléticos (TME) en los músicos va del 32% al 87% ^4-8. Esta gran variabilidad depende del tipo de instrumento tocado. Aproximadamente el 50% de los músicos sufre en algún momento de su vida profesional trastornos músculo-esqueléticos ^9-11. Y casi un 12% de ellos se ven obligados a retirarse de forma permanente. De ello deriva la importancia de su reconocimiento y tratamiento precoz por el médico especialista.
Los más frecuentes son los síntomas de espalda, cuello y miembro superior ^3,5,9,12. Existe diferencia también entre sexos, siendo más frecuentes entre las mujeres ^4-6,8-10,13. Una excepción importante es la distonía focal ocupacional que predomina en hombres, con una ratio de 6:1 ¹⁴.
Estos problemas son generalmente el resultado de muchas horas de práctica, del mantenimiento de posturas forzadas, del desempeño de movimientos repetitivos, competiciones estresantes y de un gran esfuerzo por la perfección ^15,16.
Se han utilizado muchos términos para describir los trastornos músculo-esqueléticos de este colectivo. Finalmente fue aceptado por consenso el término de trastorno músculo-esquelético relacionado con la práctica ('playing-related musculoskeletal disorder'-PRMD). Con este término se pone de manifiesto que tocar un instrumento musical es el trabajo de los músicos y que los trastornos musculo-esqueléticos son una consecuencia de este trabajo.
El término "trastorno músculo-esquelético relacionado con la práctica" (PRMD) se define como: "dolor, fatiga, pérdida de control, entumecimiento, hormigueo, u otros síntomas que interfieren con la habilidad para tocar el instrumento al nivel al que el músico está acostumbrado a hacerlo" ^1,4.
Las principales causas de los trastornos musculo-esqueléticos son el sobreesfuerzo, la compresión nerviosa y la distonía focal ocupacional ^11,17-19.
La distonía focal ocupacional, también llamada "calambre ocupacional" o "parálisis profesional" es conocida en la medicina desde que Gowers publicó la primera descripción en 1888 ¹⁵. Se define como aquel movimiento anormal producido por la contracción de la musculatura agonista y antagonista que motivan una falta de coordinación muscular o pérdida de control voluntario de movimientos ampliamente entrenados. Es característica la duración, la persistencia de la posición anormal y la afectación de la musculatura axial ^21-25.
La distonía focal ocupacional puede afectar a gran variedad de profesionales. Especialmente a pianistas (cuarto y quinto dedo de mano derecha en flexión), guitarristas (tercer dedo derecho en flexión), chelistas y violinistas (pulgar y muñeca de mano derecha), instrumentistas de viento (cuarto dedo derecho en flexión) y arpistas (segundo dedo en flexión) ^21,24.
Etiológicamente, la distonía focal ocupacional, es debida a una mala adaptación plástica del sistema nervioso central. En su desarrollo intervienen tanto factores genéticos como ambientales ^23-26.
Es característica la aparición de los síntomas distónicos durante la práctica musical que puede afectar a 1 de cada 100 músicos ¹¹. El grado de severidad puede variar en función de la tensión general y de las propiedades mecánicas del instrumento. Típicamente ocurre sin dolor aunque éste puede aparecer después de espasmos musculares prolongados. Por otro lado, no se considera distonía focal ocupacional la fatiga o la claudicación después de periodos prolongados de trabajo ^22,23.
Los síntomas, una vez instaurados, raramente remiten. Usualmente aparecen en la cuarta década de la vida, cuando los artistas se encuentran en la cumbre de su carrera musical y en muchos casos les obliga a abandonarla. A menudo, aquellos afectados, no lo revelan por miedo a perder sus empleos y/o prestigio profesional. Otros, simplemente, se retiran sin ser diagnosticados correctamente. De todo esto, se puede deducir la dificultad para llevar a cabo una adecuada vigilancia de la salud en este colectivo

                                       ------------------------

 

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf                                  

All in the mind

Play from memory and you might forget what note comes next. Use the score and you'll perform better. So why the snobbery about sheet music, asks pianist Susan Tomes

Susan Tomes


I recently went to a party where our host regaled us with a compilation of concert recordings in which famous pianists had suffered from horrible memory lapses. Everyone fell about with laughter at the sound of celebrities going hideously off the rails, but, as a pianist, I found it an uncomfortable experience. The struggles of Curzon, Richter and Rubinstein with memorisation had become a spectator sport.

Playing from memory in public is a fairly recent fashion. Before the late 19th century, playing without the score was often considered a sign of casualness, even of arrogance. The custom of playing from memory developed along with the growth of a body of classics that everyone agreed were worth preserving exactly as their composers had intended. Teachers encouraged students to memorise them. Many young players memorise easily, but it gets harder as time goes on. As the pianist Charles Rosen put it: "With advancing age, memory becomes doubly uncertain; above all, what begins to fail is confidence in one's memory, the assurance that the next note will follow with no conscious effort."

Clara Schumann felt that playing by heart "gave her wings power to soar", but many musicians find it so stressful that they play less naturally than they would with the score. And the pressures are much worse today than they were in Clara Schumann's day. After a century of recording, the record-buying public has been trained to expect perfection, whereas earlier audiences didn't mind if things went occasionally awry.

The burden of memorisation falls particularly on solo instrumentalists. I've always played from memory in solo recitals and concertos, but I play chamber music from the score. Chamber groups are not expected to play from memory; those that do - like the Kolisch Quartet in the 1930s, or the Zehetmair Quartet today - are regarded as spectacular exceptions. Nor are symphony orchestras expected to play from memory. And no one suggests that playing a chamber work or a symphony with music on the stand prevents a performance from being superlative.
Advertisement

Conductors sometimes conduct from memory, but they themselves don't have to make a sound, so many mistakes go unnoticed. Opera singers have to memorise, but they have the help of prompters, discreetly feeding them the next line. Songs have words, and because words are our everyday language, they help singers to memorise. Abstract music is also a language, but one whose immediate meaning is less clear-cut. Scientists now agree that memorising music is more complex than memorising words, and the challenge is multidimensional for those who also have to play instruments.

It's not as if composers require musicians to memorise. In Beethoven's day, his pupil Carl Czerny apparently had such a phenomenal memory that, as a teenager, he could play all his master's works by heart. But Beethoven disapproved, saying it would make him casual about detailed markings on the score. Chopin was angry when he heard that one of his pupils was intending to play him a Nocturne from memory.

Others felt it would be inappropriate to play without a score, Mendelssohn, who had an amazing musical memory, was nevertheless modest about it. When he visited London and took part in a performance of one of his own piano trios, the piano part was missing. "Never mind," he said, "just take any book of music, place it on the music desk, and have someone sit beside me and turn the pages, and then no one need know I play from memory." Liszt, though gazing heavenwards in contemporary drawings of him at the piano, appears to have played only half of his repertoire from memory. And when he played his own compositions, he used the score to demonstrate that these were seriously worked-out pieces, not fleeting improvisations.

The growing taste for watching soloists play from memory has actually narrowed the breadth of the repertoire. Vladimir Horowitz, for example, played a huge number of works at home from the score, but only performed a small repertoire from memory in public. Today many soloists won't commit themselves to more than a handful of works each season, no doubt partly because of the burden of memorisation. In the past few years, I've successfully memorised several solo recital programmes, each lasting about two hours. Had I allowed myself to use music, I could have performed the programmes much earlier, and with equal interpretative power. It was the sheer effort of memorising that added months to the process.

Secure memorisation has several elements that interweave unpredictably for the player. There is analytical memory, an understanding of the music's structure. There's photographic memory, which enables the player to "read" the visualised page when it isn't there. And there's physical memory, perhaps the most dependable kind, but one for which there's no shortcut. In performance, muscle memory will carry you along when something distracts you, or when you have a moment of doubt. Indeed muscle memory can enable you to play the whole piece while thinking about something else entirely (as I discovered when putting in my hours of piano practice as a child). But to develop it you simply have to play the music over and over, for a long period of time.

I recently gave two performances of the Schumann piano concerto. For several weeks before the concerts, I privately played the piece by heart without problems at least once a day and felt very secure. At the first performance, however, with an orchestra of 60 musicians and 2,000 listeners, I had several terrifying moments of insecurity. Worse, they were in places in the piece where I'd never had trouble before. So the following day I hammered those places into my memory. At the second performance, I had another couple of nasty moments - but in completely new places.

Must musicians waste so much of their time and emotional energy on memorisation? If we've prepared the music thoroughly, does playing it from memory really add an extra dimension that is worth all the pain?

                                          ---------------------

 

Riesgos de la disposición tradicional de la orquesta

La disposición habitual de una orquesta puede provocar lesiones auditivas a los músicos integrantes. Esta es una de las principales conclusiones del estudio realizado por el Observatorio para la Prevención Auditiva para los Músicos (OPAM), impulsado por Mutua Intercomarcal, Prevint y la Escuela Superior de Música de Cataluña (Esmuc). Basándose en esta premisa, el OPAM organiza el primer concierto que busca reducir la presión acústica que sufren los músicos en el escenario. El espectáculo, que se ha bautizado con el nombre de Concierto seguro, es el resultado de esta innovadora investigación que pretende encontrar la mejor disposición de la orquesta para minimizar al máximo la afectación auditiva que puedan sufrir los músicos.
Para poder determinar cuál es la disposición idónea, el OPAM ha puesto en marcha un estudio previo. Ha realizado una serie de grabaciones de los ensayos de las Symphonic Dances From West Side Story de Bernstein con la Orquesta de Práctica orquestal de 1 º y 2 º curso de la Esmuc, dirigida por Xavier Puig. Las grabaciones tienen como objetivo medir los valores de presión acústica a los que están expuestos los intérpretes e identificar posibles mejoras para disminuir el riesgo sin afectar a la calidad final del concierto. Los primeros datos obtenidos apuntan a que la sección de viento es la más castigada en una orquesta y que la posición del director, a pesar de estar muy alejada de las partes con mayor impacto, también es una de las figuras que recibe una presión acústica mayor.
Hay que tener en cuenta que 80 db es el valor máximo al que pueden estar expuestos los músicos para que no haya un riesgo de padecer problemas auditivos a medio y largo plazo y estas dos posiciones están muy por encima (90 db). En función de este nivel, pues, se determina el tiempo máximo que podrían estar tocando sin perjuicio. Y, en este sentido, según el estudio, en la obra analizada, la sección de viento sólo podría estar tocando entre 12 y 30 minutos al día sin que se corra el riesgo de que haya afectación, cuando la media de los ensayos era de 2 horas y media.
En un segundo nivel de riesgo (entre 80 y 85 dBA) están los instrumentos de cuerda: arpa, violín y contrabajo. Esto conlleva que los músicos pueden estar sometidos a esta presión entre 3 y 4 horas. No obstante, algunos de los sectores estudiados muestran que algunas cuerdas están al nivel de los vientos por influencia de estos mismos. De hecho, toda la disposición orquestal está pensada para que el Director de la formación reciba toda la sonoridad de la orquesta y, en este sentido, todos los músicos que se encuentran en este camino están expuestos a niveles superiores a los del resto. El resto de cuerdas-situadas a ambos lados del director-se encuentran en unos niveles de exposición muy inferiores, de modo que podrían estar tocando entre 10 y 12 horas sin sufrir ningún tipo de riesgo.
El Concierto Seguro
La solución a este problema se plantea a través de cambios de posición que permitan encarar el sonido hacia fuera de la orquesta, de manera que se reduzcan los impactos mayores. Esta nueva disposición se desvelará y se pondrá en práctica durante el Concierto Seguro, que se celebrará el próximo viernes 20 de junio en el teatro Kursaal de Manresa, a cargo de los miembros de la Camerata Sinfónica Esmuc Cuarteto Casals.
La formación está coordinada por el profesor y director de orquesta Xavier Puig y se interpretará la Sinfonía núm. 94 en sol mayor (la sorpresa) de Haydn y la Sinfonía núm. 40 en sol menor de Mozart. Presentará el acto el periodista y comunicador Marcel Gorgori y contará con la presencia del Honorable Señor Boi Ruiz, consejero de Salud de la Generalidad de Cataluña.
El objetivo del proyecto es sensibilizar y educar en la prevención, y el resultado se traduce en una nueva disposición de los instrumentos de la orquesta a la hora de llevar a cabo un concierto, facilitando así que éste sea mucho más seguro para la salud auditiva de los músicos.

----------------------------------------------------------------------------

  Las manos del Músico

SINDROMES POR SOBREUSO o por esfuerzos repetitivos

Es una patología que aparece cuando un tejido es usado en forma repetitiva   y sufre un stress más allá de su límite ya sea hueso, músculo ligamento o tendón.
Nos referimos a una acción repetitiva  a aquella que se repite más de 4 veces por minuto.
Este stress repetitivo provoca microtraumatismos que determinan microrupturas con sangrado y edema que debido a que estos traumatismos se repiten a lo largo del tiempo nunca “terminan de curar”.
Estos síndromes pueden ser agudos o crónicos.
Los agudos se manifiestan por dolor y edema  en el miembro superior, luego de haber practicado, por ejemplo, un pasaje nuevo y dificultoso durante varias horas sin haber elongado a posteriori ni haber calentando con anterioridad.
Los crónicos son de evolución más insidiosa,  comienzan con sensación de fatiga y disconfort  que se mantiene durante semanas o meses hasta impedir la ejecución del instrumento.

Factores predisponentes

Hay una serie de factores predisponentes a tener en cuenta cuando evaluamos al músico.
1. Predisposición individual ( genética?). que hace que algunos individuos más pequeños o más laxos sufran más lesiones.
2. Variaciones anatómicas.
3. Condiciones físicas inadecuadas: la falta de ejercicio, el sedentarismo, la falta de elongación, son frecuentes como predisponentes de estos síndromes. Transtornos posturales.
4. Aumento brusco de la cantidad de horas de práctica.
5. Cambio de las condiciones del instrumento: cambio de cuerdas de la guitarra, instrumento con diapasón diferente, instrumentos más pesados.
6. Errores de técnica: cambio de profesores, que cambian bruscamente la técnica utilizada. Mala postura durante  las presentaciones. Repetición de pasajes complicados mantenidos a lo largo de varias horas. Si analizamos cada instrumento vemos que:

• En las cuerdas

• - Excesiva tensión en la toma del arco
• - Excesiva tensión en la toma del diapasón
• - Forma de posicionamiento de la guitarra

• En los vientos

• - Tensión cervical
• - Errores en la postura de los pulgares

• En los teclados

• - Error en la postura de las manos y muñeca
• - Alteración o tensión y las octavas o décimas

• En las técnicas de digitación

• - Vibratos
• - Arpegios
• - Trinos
• - Bowing

7. Rehabilitación insuficiente de lesiones previas.
8. Actividades repetitivas extramusicales: como el uso de computadoras o teléfonos celulares.

Clínica

Los pacientes manifiestan: Dolor, Disconfort.
Para ayudarnos a evaluar a los pacientes los clasificamos en 5 tipos según la gravedad de la afectación:

1. 1. Dolor en un solo lugar que aparece sólo al ejecutar el instrumento
2. 2. Dolor el varios sitios que aparece sólo al ejecutar el instrumento
3. 3. Dolor en varias localizaciones que persiste al dejar de ejecutar el instrumento con cierta falta de coordinación
4. 4. Dolor en las actividades de la vida diaria
5. 5. Dolor permanente incluso en reposo

Tratamiento

Llegados a este punto tenemos que destacar que sin duda los síndromes o lesiones por sobreuso son la patología más común, que es posible prevenirlas y cuando aparecen son tratables con tratamiento médico, rehabilitación, cambio de hábitos, variaciones en la técnica y en el instrumento según los casos.
Es importante la consulta con profesionales que conozcan la actividad de los músicos y encaren el tratamiento de forma integral.

 

DISTONIA O CRAMP FOCAL

La distonía o cramp focal  es una afectación neurológica, que por suerte es rara, afecta a 1 de cada 200 músicos , aproximadamente, con una predominancia de varones 7 a 1.
Se manifiesta como una pérdida del control voluntario de algunos movimientos al tocar el instrumento. El músico deja de ser capaz de tocar el instrumento en forma natural y  eficiente. Los movimientos, que antes eran automáticos, comienzan a fallar, al principio  sólo en algunos pasajes complejos, y muchas veces termina impidiéndoles tocar el instrumento aún en pasajes sencillos.
Generalmente afecta a músicos que llevan muchos años tocando, el rango de edad va de los 34 a 60 años, es rara en músicos noveles. El músico manifiesta que “los dedos no me obedecen”.
En general los pacientes no tienen dolor y la contracción involuntaria aparece sólo al tocar el instrumento, aunque en algunos casos (37% aproximadamente), si la distonía sigue presente, se puede extender a algunas actividades de la vida diaria.
La  distonía se puede presentar en otras actividades, en las que se realizan movimientos rápidos y repetitivos durante muchos años. El más conocido es el llamado el “calambre del escribiente”, también suele presentarse en, banqueros al contar billetes, en tamberos por ordeñar, golfistas.
Dentro de los músicos están los que presentan distonía en las manos y la “distonía de la embocadura” en los músicos de viento, en que la afectada es el la lengua y los  labios.
La aparición de los síntomas está muchas veces relacionada con cambios de instrumento, cambios de técnica, cambios en el ritmo de trabajo, de estudio y por stress .

Clínica

1. · Sensación de pérdida de control  del  movimiento
2. · Dedos desobedientes
3. · Dificultad en arpegios ,octavas y vibratos o trinos
4. · NO DOLOR

Diagnóstico

En el consultorio tocando el instrumento que es cuando realmente se diagnostica sin duda la distonía.
El diagnostico es fundamentalmente clínico y se apoya en la falta de otros datos positivos, no hay inflamación, no hay dolor, los estudios complementarios son normales y solo en el 68% de los casos hay alteraciones en un estudio que se llama electromiograma, que debe evaluarse mientras que el músico ejecuta el instrumento.
No hay “síntomas previos”, el relato es que un “dedo no me responde”.
Frente a esto el músico considera que debe estudiar más para superar el impedimento y  paradójicamente empeora.
La ventaja del diagnóstico temprano es poder encarar lo antes posible el tratamiento adecuado para reeducar la función perdida, ya que el tratamiento es largo y a mayor tiempo con distonía las posibilidades de recuperación son más bajas.

Tratamiento

El tratamiento en nuestro caso está manejado por un equipo interdisciplinario de Cirujanos de Mano, Terapistas de Mano, Kinesiólogos, Musicoterapeuta. Muchas veces también con soporte de psicoterapia.
El objetivo de todos nosotros es mirar más allá de las manos.
Evaluamos posturas, técnica musical, hábitos, situación laboral y las situaciones que desencadenaron el cramp.
La rehabilitación específica la realiza nuestra terapista de mano Cristina Alegri , a través de la reeducación del movimiento afectado. El tratamiento es largo y exige una gran colaboración entre el paciente y nosotros. Tenemos que saber escuchar al músico y contenerlo frente a la desazón que siente al no poder tocar.
Implica un compromiso entre el equipo de salud y el músico que es lo único que puede garantizar un buen resultado. El tratamiento está ajustado a cada paciente y se va delineando entre ambas partes.

 The musician's hands

Overuse syndromes or repetitive strain

It is a condition that occurs when a tissue is used repetitively and undergoes a stress beyond its limit either bone , ligament, muscle or tendon.SobreusoNos syndromes refer to a repetitive action that is repeated more than 4 times per minute .This repetitive stress causes microtrauma that determine microcracks with bleeding and edema because these injuries are repeated over time never "complete cure " .These syndromes can be acute or chronic.Manifested by acute pain and edema in the upper limb , having practiced , for example, a new and difficult passage for several hours without having elongated heating nor post above.Chronic evolution are more insidious , beginning with feelings of fatigue and discomfort that continues for weeks or months to prevent the execution of the instrument.Factors predisposing itemThere are a number of predisposing factors to consider when evaluating the musician .1. Individual predisposition ( genetic ? ) . makes some smaller or lax individuals suffer more injuries .Two . Anatomical variations .. 3 Physical conditions inadequate : lack of exercise , sedentary lifestyle , lack of stretching, are frequent predisposing these syndromes. Postural disorders .April . Sudden the number of hours of practice increase .. 5 Changing the instrument conditions : changing guitar strings , instrument with different pitch, heavier instruments.6. Errors technique: changing teachers, who abruptly change the technique used. Poor posture during presentations. Repeat complicated passages maintained over several hours . If we analyze each instrument we see that :

    • On the Ropes

        - Excessive tension in bow making
        - Excessive tension in decision Fingerboard
        - Method of positioning the guitar

    • In the winds

        - Voltage cervical
        - Errors in the position of the thumbs

    • On keyboards

        - Error in the position of the hands and wrist
        - Alteration or tension and octaves or tenths

    • In fingering techniques

        - Vibratos
        - Arpeggios
        - Trills
        - Bowing7. Inadequate rehabilitation of previous injuries.8. Repetitive extra-musical activities : the use of computers or cell phones.item ClinicPatients report : Pain, Discomfort .To help evaluate patients categorized them into 5 types according to the severity of involvement :

    1. Pain in one spot that appears only when you run the tool
    Two . Dolor the various sites that appear only when you run the tool
    Three . Pain that persists in various locations to help run the instrument with a certain lack of coordination
    4 . Pain activities of daily living
    May . Permanent pain even at restTreatment itemAt this point we must emphasize that certainly syndromes or overuse injuries are the most common pathology, which may prevent them and when they appear are treatable with medical treatment, rehabilitation , change of habits, variations in technique and instrument according cases .It is important to consult with professionals who know the business and faced the musicians treat holistically.
 CRAMP OR FOCAL DYSTONIA titleCramp or focal dystonia is a neurological impairment , which fortunately is rare, affecting 1 in approximately every 200 musicians with a predominance of males 7-1 .It manifests as a loss of voluntary control of some movements to play the instrument . The musician stops being able to play the instrument naturally and efficiently. The movements , which were once automatic , begin to fail , at first only in some complex passages , and often ends up preventing play the instrument even in simple passages.DistoniaGeneralmente affects musicians who have spent many years playing , the age range is from 34 to 60, is rare in novice musicians. The musician said that " the fingers did not obey ."In general, patients have no pain and involuntary contraction appears only to play the instrument, although in some cases ( about 37 % ), if the dystonia is present , can be extended to some activities of daily living .Dystonia may occur in other activities in which rapid and repetitive movements are performed for many years. The best known is called the " writer's cramp " also usually seen in bankers to have tickets, dairy farmers for milk , golfers .Among the musicians are those with dystonia in the hands and the " embouchure dystonia " in wind musicians in the affected is the tongue and lips.The onset of symptoms is often related to instrument changes , technical changes , changes in the pace of work, study , and stress.item Clinic

    · Feeling of loss of control of movement
    · Disobedient Fingers
    · Difficulty in arpeggios, octave trills and vibratos or
    · NO PAINDiagnostic itemIn practice playing the instrument when it is actually definitely diagnosed dystonia.The diagnosis is essentially clinical and is supported by the lack of other positive data , no swelling , no pain , additional studies are normal and only in 68% of cases there are alterations in a study called electromyogram , which should assessed while the musician playing the instrument .No " warning symptoms " , the story is that a " finger does not answer me ."Against this musician think you should study more to overcome the impediment and paradoxically worsens.The advantage of early diagnosis as soon as possible to address the proper treatment to retrain lost function , as long as treatment is longer with dystonia the chances of recovery are lower.Treatment itemThe treatment in this case is handled by an interdisciplinary team of Hand Surgeons , Hand Therapists , Physiotherapists, Music Therapist . Often also support psychotherapy.The aim of all of us is to look beyond the hands.Evaluate positions , musical art, habits , employment situation and the situations that triggered the cramp .The specific rehabilitation is performed by our therapist Cristina Alegri hand , through the rehabilitation of the affected motion. Treatment is long and requires a great collaboration between the patient and us. We need to listen to the musician and contain face the frustration he feels unable to play.A compromise between the health team and is the only musician who can guarantee a good result. Treatment is adjusted to each patient and begin to form between the two sides .

--------------------------------------------------------------------------------         

 Encouraging data Amure project about music and school failureA 77.5 % of students receiving music lessons improved their gradesProgressing this provisional Català data at the national congress of conservatoriesJuan Manuel Valencia 

 
77.5 % of students participating in the pilot project Amure musical learning has improved their school performance , according to the Minister of Advanced Education, Culture and Sports , María José Català responsible policy implementation of this project three centers of Valencia and its metropolitan area .Català has advanced this data during the inauguration of the first National Congress of Higher Conservatory of Music, which was held at the Conservatory of Valencia and runs until Sunday. Although this result is provisional only by making reference to the first year of the project Amure flag and differences in favor of groups with musical backing with their peers .The Minister has indicated that the final results of Amure be released at the end of the course 2013-2014 , after having been tested scores of students, as well as the questionnaires to teachers and families of students involved.

 In the opening ceremony involved teachers and researchers in higher and professional conservatories in 13 regions . Alongside Català President of the Spanish Society for Music Education (SEM -ee) , Anna Vernia , among other officials and representatives of the field of music and higher teachings was .Under this project and others referred by Català linked to the teaching of music , Vernia has signed a letter in which , after finding that " teachers , students and school community of Valencia now have the chance to see improved training and education with comprehensive and music from " urges " the other autonomous communities take example of good performances and follow the model " driven by Generalitat Valenciana.Català has referred to the implementation of various specialties in conservatories as Composition, Conducting , Musicology , Pedagogy or interpretation , as well as the implementation of approved graduate programs in arts education in music from the academic year 2012 - 2013.In Amure experimental program , launched in January 2013, are participating centers and Primary Education Català Stop , Carles Salvador and La Patacona . Half of the 80 selected pupils are getting two hours a week for music lessons during dining hours , which will continue until the end of the course, in which the musical language and instrumental practice is integrated.Classes are taught in schools by teachers of the Music School Music Instructional Center ( MIC) of Benimaclet and Alboraia Musical Society .

 ---------------------------------------------------------------------------------       

The effects of music on the brainAccording to studies conducted by Dr. Schalaug and colleagues at Beth Israel Deaconess Medical Center ,

 the brain grows in response to musical training , in the same way that muscles increase with exercise. Some experiments show that listening to music espabila , ie improves alertness and quick thinking , benefiting humans and animals . Indeed , the effects vary if different musical styles are compared.The experimental psychologist Frances Rauscher suggests that music stimulates specific neuronal connections on abstract reasoning center of the brain. However, we must add that the theory called 'Mozart Effect ' , which meant that the intellectual capacities of children improve certain pieces of music listening has been refuted .Neuroscientist Lawrence Parsons of the University of Texas , meanwhile , said: "We found that harmony, melody and rhythm have different patterns of brain activity." The melody seems to affect both hemispheres , while the harmony and rhythm over the left trigger . (Source: Benefits of music by Myriam López Blanco, Emagister )

                Die Wirkung von Musik auf das GehirnNach Studien von Dr. Schalaug und Kollegen an Diakonisse Beth Israel Medical Center durchgeführt , wächst das Gehirn in Reaktion auf musikalische Ausbildung , in der gleichen Weise , dass die Muskeln zu erhöhen mit Übung . Einige Experimente zeigen, dass das Hören von Musik espabila , dh verbessert die Aufmerksamkeit und schnelles Denken , profitieren Mensch und Tier. Tatsächlich variieren die Auswirkungen , wenn verschiedene Musikstile miteinander verglichen werden.Der Experimentalpsychologe Frances Rauscher schlägt vor , dass die Musik stimuliert spezifische neuronale Verbindungen auf abstrakte Denkzentrumdes Gehirns. Allerdings müssen wir hinzufügen, dass die Theorie als " Mozart-Effekt " , was bedeutete, dass die intellektuellen Fähigkeiten von Kindern zu verbessern bestimmte Musikstücke Zuhören ist widerlegt .Neurowissenschaftler Lawrence Parsons von der Universität von Texas , mittlerweile, sagte: " Wir fanden, dass Harmonie, Melodie und Rhythmus haben unterschiedliche Muster der Gehirnaktivität . " Die Melodie scheint beide Hemisphären zu beeinflussen, während die Harmonie und Rhythmus über den linken Trigger . (Quelle : Vorteile der Musik von Myriam López Blanco, Emagister

______________________________________________________

The musicians are susceptible to a variety of diseases that can seriously affect the development of your career. This is due to the large neuromuscular complexity and high level of expertise that requires interpretation musical1 -3.The prevalence of musculoskeletal disorders (MSDs ) in musicians ranging from 32 % to 87 % 4-8. This great variability depends on the type of instrument played . Approximately 50 % of musicians suffer at some point in their professional lives musculoskeletal disorders . 9-11 And almost 12% of them are forced to retire permanently. It derives the importance of early recognition and treatment by a specialist doctor.Most frequent are the symptoms of back, neck and upper limb 3,5,9,12 . There is difference also between sexes , more frequent among women 4-6,8-10,13 being . An important exception is occupational focal dystonia predominates in men, with a ratio of 6:1 14.These problems are usually the result of many hours of practice , the maintenance of awkward postures , repetitive performance , stressful competitions and a great effort for perfection 15.16 .Many terms have been used to describe musculoskeletal disorders of this group. Finally he was accepted by consensus the term musculoskeletal disorder related to practice ( ' playing- related musculoskeletal disorder' - PRMD ) . This term shows that playing a musical instrument is the work of musicians and musculoskeletal disorders are a consequence of this work.The term " musculoskeletal disorder related to practice" ( PRMD ) is defined as " pain, fatigue , loss of control , numbness , tingling, or other symptoms that interfere with the ability to play the instrument at the level at which the musician is used to do " 1.4 .The main causes of musculoskeletal disorders are overexertion , nerve compression and occupational focal dystonia from 11.17 to 19 .Occupational focal dystonia , also called " occupational cramp " or "professional paralysis " is known in medicine since Gowers published the first description in 1888 15. Is defined as the abnormal movement produced by the contraction of agonist and antagonist muscles that motivate a lack of muscle coordination or loss of voluntary control of extensively trained movements. Is characteristic length , the persistence of abnormal position and involvement of the axial musculature 21-25.Occupational focal dystonia can affect many professionals. Especially pianists ( fourth and fifth fingers of his right hand in flexion ) , guitarists ( third right finger flexion ) , cellists and violinists ( thumb and right wrist ) , wind instruments (fourth right finger flexion ) and harpists ( second finger flexion ) 21,24 .Etiologically , occupational focal dystonia is plastic due to poor adaptation of the central nervous system . Its development involves both genetic and environmental factors . 23-26Feature is the appearance of dystonic symptoms during musical practice that can affect 1 in 100 musicians 11. The severity may vary depending on the overall tension and mechanical properties of the instrument . Typically occurs without pain although this may appear after prolonged muscle spasms. On the other hand , is not considered occupational focal dystonia fatigue or claudication after prolonged work 22,23 .Symptoms , once in place , rarely refer . They usually appear in the fourth decade of life, when artists are at the peak of his musical career and in many cases forcing them to leave. Often, those affected do not reveal for fear of losing their jobs and / or professional standing. Others simply retire without being correctly diagnosed . From all this , we can deduce the difficulty to carry out adequate health surveillance in this group 27,28.Focusing on the situation in our country in 2006 is published in Spain by Royal Decree 1299/2006 of 10 November, the table of occupational diseases is approved in the Social Security system and the criteria for their notification and registration 31. In it, not listed as an occupational disease musculoskeletal disorders in musicians , despite the large existing scientific production. Although the aforementioned RD does not collect this condition within the framework of occupational diseases have recently been issued in Spain several favorable rulings recognizing these disorders as an occupational disease 32.The aim of this paper is to review the scientific literature published in the period 2006-2012 on musculoskeletal disorders in musicians , deriving from his business, trying to identify the most prevalent pathologies depending on the musical instrument played and gender, with idea of ​​opening a door to the possible inclusion of these disorders in musicians within the schedule of occupational diseases .

 

Die Musiker sind anfällig für eine Vielzahl von Krankheiten, die erhebliche Auswirkungen auf die Entwicklung Ihrer Karriere . Dies ist aufgrund der großen Komplexität und neuromuskuläre hohe Kompetenz , die Interpretation musical1 -3 erfordert .Die Prävalenz von Muskel-Skelett -Erkrankungen (MSE ) in Musikern von 32% auf 87% 4-8. Diese große Variabilität hängt von der Art des Instruments gespielt. Etwa 50% der Musiker leiden irgendwann in ihrem Berufsleben Muskel-Skelett- Erkrankungen. 9-11 Und fast 12 % von ihnen sind gezwungen, permanent in Rente gehen. Es leitet sich die Bedeutung der Früherkennung und Behandlung durch einen Facharzt .Am häufigsten sind die Symptome von Rücken, Nacken und der oberen Gliedmaßen 3,5,9,12 . Es ist der Unterschied auch zwischen den Geschlechtern , bei Frauen häufiger 4-6,8-10,13 Befinden. Eine wichtige Ausnahme ist die berufliche fokale Dystonie wiegt bei Männern mit einem Verhältnis von 6:1 14 .Diese Probleme sind in der Regel das Ergebnis von vielen Stunden des Übens , die Aufrechterhaltung der Zwangshaltungen , repetitive Leistung, Stress Wettbewerben und einen großen Aufwand für die Perfektion 15.16 .Viele Begriffe werden verwendet, um Muskel-Skelett- Erkrankungen dieser Gruppe zu beschreiben. Schließlich wurde er im Konsens akzeptiert der Begriff im Zusammenhang mit Muskel-Skelett- Erkrankung ( " spielen Muskel-Skelett - disorder' PRMD ) üben. Dieser Begriff zeigt , dass das Spielen eines Musikinstruments ist die Arbeit der Musiker und Muskel-Skelett- Erkrankungen sind eine Folge dieser Arbeit.Der Begriff " Erkrankung des Bewegungsapparats praxisbezogen " ( PRMD ) als " Schmerzen, Müdigkeit , Verlust der Kontrolle , Taubheitsgefühl , Kribbeln oder andere Symptome, die mit der Fähigkeit, das Instrument auf der Ebene spielen stören definiert, bei dem der Musiker wird verwendet, um zu tun " 1.4.Die wichtigsten Ursachen für Muskel-Skelett- Erkrankungen sind Überanstrengung, Nervenkompression und Berufs fokale Dystonie 11,17-19 .Arbeits fokale Dystonie , auch als "Berufs Krampf " oder " Berufs Lähmung " wird in der Medizin bekannt, da Gowers veröffentlichte die erste Beschreibung im Jahre 1888 15 . Wird als abnorme Bewegung durch die Kontraktion von Agonist und Antagonist Muskeln, die einen Mangel an Koordination der Muskeln oder Verlust der freiwilligen Kontrolle von Bewegungen umfassend geschult motivieren produziert definiert. Ist charakteristische Länge , die Persistenz von abnormalen Position und die Beteiligung der axialen Muskulatur 21-25 .Arbeits fokale Dystonie kann viele Profis beeinflussen. Besonders Pianisten (vierte und fünfte Finger der rechten Hand in Flexion) , Gitarristen, (dritte rechten Finger Flexion) , Cellisten und Geiger (Daumen und rechten Handgelenk) , Blasinstrumente (vierte rechten Finger Flexion) und Harfenisten (zweite Finger Flexion) 21,24 .Ätiologisch ist die berufliche fokale Dystonie Kunststoff aufgrund der schlechten Anpassung des zentralen Nervensystems. Seine Entwicklung umfasst sowohl genetische und Umweltfaktoren. 23-26Eigenschaft ist das Auftreten von dystonische Symptome während der musikalischen Praxis , die 1 in 11 100 Musiker beeinflussen können. Der Schweregrad kann abhängig von den gesamten Zug-und mechanischen Eigenschaften des Instruments zu variieren. Typischerweise tritt ohne Schmerzen , obwohl dies nach längerer Muskelkrämpfe auftreten. Auf der anderen Seite , wird nicht als Berufs fokale Dystonie Müdigkeit oder Claudicatio nach längerer Arbeit 22,23 .Symptome, einmal im Ort , selten verweisen. Sie sind meist in der vierten Lebensdekade erscheinen , als Künstler auf dem Höhepunkt seiner musikalischen Karriere und in vielen Fällen gezwungen , sie zu verlassen . Oft Betroffenen nicht verraten , aus Angst ihren Arbeitsplatz zu verlieren und / oder berufliche Leistungsfähigkeit . Andere Ruhestand einfach ohne richtig diagnostiziert . Aus all dem können wir die Schwierigkeiten zur Durchführung einer angemessenen Gesundheitsüberwachung in dieser Gruppe 27,28 abzuleiten.Die Konzentration auf die Situation in unserem Land im Jahr 2006 wird in Spanien durch das Königliche Dekret 1299/2006 vom 10. November veröffentlicht wurde, wird die Tabelle der Berufskrankheiten in der Sozialversicherung und die Kriterien für ihre genehmigt Meldung und Registrierung 31 . In ihm , nicht als Berufskrankheit Muskel-Skelett- Erkrankungen bei Musikern aufgeführt , trotz der großen bestehenden wissenschaftlichen Produktion . Obwohl die oben genannten RD diese Bedingung nicht im Rahmen von Berufskrankheiten zu sammeln haben vor kurzem in Spanien mehrere günstige Urteile Anerkennung dieser Erkrankungen als Berufskrankheit 32 ausgegeben.Das Ziel dieser Arbeit ist es, zu bewerten , die wissenschaftliche Literatur über Muskel-Skelett- Erkrankungen bei Musikern im Zeitraum 2006-2012 veröffentlicht , die sich aus seinem Unternehmen , zu versuchen, die häufigsten Krankheiten , je nach Musikinstrument gespielt und Geschlecht zu identifizieren , mit Idee, eine Tür zu öffnen , um die mögliche Aufnahme dieser Erkrankungen bei Musikern in der Liste der Berufskrankheiten .

___________________________________________________               

             Über Krankheiten Musiker Experten empfehlen, Entspannungsübungen und Bewegung vor dem Start der täglichen Berufsausbildung Die Musiker , die Wesen , die Freude und Kultur für den Rest der Menschheit zu bringen , können durch Krankheiten beeinträchtigt werdenwegen der langen Instrumente , und die Behandlungen, die sie benötigen professionelle Praxis unterscheiden sich von anderen Menschen mit den gleichen Krankheiten , nach einer medizinischen Studie in Kuba." Zu keiner Zeit müssen schließen, um diese Realitäten , die Praxis der Musikinstrumente bedeutet Krankheit. Außer, dass Musiker wie andere Berufe gibt es Risikofaktoren, die wichtig zu wissen sind ", sagen die Ärzte und María del Campo Marcelino Feal , AutorenForschung.In einer Zusammenfassung ihrer Studie, die in der Online-Ausgabe der Vierteljahreszeitschrift Medical Advances in Kuba veröffentlicht , die Ärzte wagen in den häufigsten Krankheiten der kubanischen Musikern, darunter Trompeter , Trommler und Geiger .Die Bläser , insbesondere Trompeter , sind anfällig für Kardiomegalie ( Erweiterung der Herzkammern ) für die Mühe gemacht, aber diese Krankheit kann durch Stress und Angst , die die Musiker während seiner Karriere begleiten akzentuiert werden .In Trompeter wurde auch festgestellt Hörverlustverringerte Sichtfeld , erhöhter Augeninnendruck , Glaukom Veränderungen " ohne angemessene Kontrolle kann zum Verlust der Sehkraft führen", schlagen die Autoren vor ." Die Kontaktdermatitis Musiker in den Nacken , das Kinn zu sehen ist, durch den Kontakt mit diesen Bereichen Violine und Viola , in den Mund , durch die Düse der Bläser verursacht werden, oder in den Rücken Hals durch Reibung des Flügels oder Gürtel Trompete , Saxophon, E-Gitarre, und die Finger auf dem Stahldie Zeichenfolgen " fügen sie hinzu.In Kuba, wo die Schlaginstrumente afrikanischen Ursprungs ( Congas, Bata Schlagzeug) in fast jeder Art von Gruppe vorhanden sind, im letzten Jahr heraus, der medizinische Begriff "Hand Schlagzeuger ", um Läsionen auf den Handflächen ( Wunden, Prellungen beschreiben , Schwielen ) von Hoops verursachtMetall dieser Instrumente." Eine interessante Frage ist das Vorhandensein von Blut im Urin , um Schlagzeuger afro-kubanischen Stil gewidmet " aufgrund der geringen Flüssigkeitsaufnahme, Überlastung und falsche Technik .Die Autoren empfehlen, Musiker und andere Entspannungsübungen , die Durchblutung anzuregen , bevor Sie den täglichen Berufsausbildung.Um Hämaturie (Blut im Urin) zu verhindern, muss das Verfahren Profis drehen , reduzieren Sie die Anzahl der Stunden, in der Aktivität , Trinken Sie viel Flüssigkeit und Urin nicht zurückzuhalten.Die Hautläsionen und dermatistis Kontakt " Behandlung sind schwierig, weil die Reibung mit dem Instrument nicht beseitigt werden kann ", sagen die Ärzte, aber empfohlene Reinigungslösungen antisépeticas Düsen und reinigen das Holz , auf dem in Druck Fällen die Violine und Viola .Drummer mit Handverletzungen , nicht-trocknende Cremes oder Lotionen gliserina enthalten, sollten verwendet werden, aber Hazel Cremes , Vaseline und Kakaobutter gelten soll , anzugeben.

 

                    Warn diseases musiciansExperts recommend relaxation exercises and movement before starting the daily professional trainingThe musicians , those beings who bring joy and culture to the rest of humanity , can be affected by diseasesprofessional practice due to long instruments , and the treatments they require , are different from other people with the same ills , according to a medical study in Cuba ."At no time must infer , to these realities , the practice of musical instruments means disease . Except that musicians , like other professions , there are risk factors that are important to know ," say the doctors and María del Campo Marcelino Feal , authorsresearch.In a summary of their study, published in the online edition of the quarterly journal Medical Advances in Cuba , the doctors venture into the most common maladies of Cuban musicians, including trumpeters , drummers and violinists.The wind instrumentalists , particularly trumpeters , are prone to cardiomegaly ( enlargement of the heart chambers ) for the effort made , but this disease can be accentuated due to stress and anxiety that accompany the musician during his career.In trumpeters has also been detected hearing loss,decreased visual field , increased intraocular pressure , glaucomatous changes " without adequate control can lead to vision loss ," the authors suggest ." The contact dermatitis musicians can be seen in the neck , chin, by the contact of these areas with violin and viola , in the mouth, caused by the nozzle of the wind instruments , or in the back neck due to rubbing of the sash or belt trumpet , saxophone , electric guitar , and the fingers on the steelthe strings "they add.In Cuba , where the percussion instruments of African origin ( congas , bata drums ) are present in almost every type of group, it emerged last year the medical term " hand percussionist " to describe lesions on the palms of hands (wounds , bruises , calluses ) caused by hoopsmetal of these instruments." An interesting issue is the presence of blood in the urine dedicated to percussionists Afro-Cuban style " due to low fluid intake, overwork and improper technique .The authors recommend to musicians and other relaxation exercises that stimulate circulation before starting the daily professional training.To prevent hematuria (blood in urine) , professionals must rotate the proceedings, reduce the number of hours in the activity, Drink plenty of fluids and not withhold urination .The skin lesions and dermatistis contact " treatment are difficult because the friction with the instrument can not be eliminated ," say the doctors, but recommended cleaning solutions antisépeticas nozzles and clean the wood on which is pressed into cases the violin and viola.For drummers with hand injuries , non-drying creams or lotions containing gliserina should be used , but Hazel creams , petroleum jelly and cocoa butter should apply, indicate .

_____________________________________________________              

              Elda Rivera et Luz Maria Maceda 

La musique donne du plaisir à ceux qui le font, mais aussi malade . Ce que je peux dire à propos de tous les musiciens de symphoniques et orchestres philharmoniques sur scène qui produisent et soutiennent le bruit de leurs performances énergétiques qui atteignent 130 décibels , le son du volume comparable d'un avion au décollage .Il s'agit d'un problème de santé peu exploré non seulement dans le pays mais dans le monde . En Europe, il est seulement une clinique spécialisée à Barcelone , une autre information en France et un aux États-Unis .Allergies violonistes par contact avec la poix ou résine utilisée pour frotter les cordes de leurs instruments ; conditions causées par la marque laissée par le violon ou alto lorsqu'il est placé entre le menton et la mâchoire , la «névrose de timbalier " par l'effet des ondes sonores contre crâne et du visage , le danger de trompettistes de glaucome et harpistes autres cuivres , autres que la surdité , sans pour autant négliger la majorité souffre conditions de colonne par une mauvaise position de son corps . Voici quelques-uns des maux ou maladies des interprètes de la musique , qui au Mexique n'ont pas de soins médicaux spécialisés .Bien qu'il n'y ait rien d'écrit sur ​​le sujet , percussionniste Philharmonique de Mexico , Abel Ramírez , avec deux décennies d'expérience , perd peu à peu l'oreille Carlos Luyando de l'Orchestre symphonique national , qui depuis 25 ans des timbales jouées , n'avait pas des problèmes de santé causés par leur activité , mais le timbalier Gabriela Jimenez Lara a subi des vibrations décollement de la rétine reçu au moment de la musique et était sur ​​le point de perdre la vue .Pour les étudiants d'instruments à vent , le problème est autre. Il se concentre sur les maladies qui peuvent être infectées par les buses allant de l'herpès à une laryngite , plus les champignons et les bactéries qui peuvent affecter d'autres organes.La musique donne du plaisir , mais aussi une maladieLa musique donne du plaisir à ceux qui le font, mais aussi malade . Et ce que je peux dire aux musiciens de symphoniques et orchestres philharmoniques sur scène qui produisent et soutiennent le bruit de leurs performances énergétiques qui atteignent 130 décibels , volume comparable de son que produit un avion à réaction au décollage .La musique - maladie binôme est un sujet peu exploré , dont il n'existe aucune information ou d'intérêt imprimé à approcher et constitue un problème de santé qui ne peuvent être quantifiés , cependant, que les conditions sont variés et touchent divers organes du corps , en fonction de la instrument du musicien interprète . Aucun des hôpitaux spécialisés au Mexique et ne connaissent que celui de Barcelone , qui sert non seulement des musiciens mais aussi des artistes de la scène , il est donc urgent d'une spécialité médicale est considéré , examiné et médecins touchés .Abel Benitez , le batteur UNAM Philharmonic, est le meilleur exemple de la formule musique - maladie depuis ses instruments bruyants régulières, comme les cymbales , cloches tubulaires exposition a signifié qui est en train de perdre son audience .Mais ce n'est que l'une des nombreuses affections ou maladies des interprètes de la musique , qui au Mexique n'ont pas , en général , des soins médicaux spécialisés .Dans le dossier le plus important qui est conservé dans la maison , en la matière , le Dr Sergio Rico , médecin de l'Orchestre philharmonique de Mexico ( OFCM ) depuis sa fondation en 1978 , comprennent des conditions comme les allergies par les violonistes contacter avec du goudron ou de la résine utilisée pour frotter les cordes de leurs instruments , les conditions pour la marque laissée par le violon ou alto lorsqu'il est placé entre le menton et la mâchoire , la «névrose de timbalier " par l'effet des vagues bruit contre crâne et du visage, le danger de trompettistes de glaucome et d'autres harpistes cuivres .Musique de médicament nécessaireSergio Rico , comme Carlos Gargollo chirurgien spécialisé dans les mains, s'accordent à dire qu'il est impératif la nécessité de créer au Mexique médecine de spécialité des ateliers de musique fonctionnant comme la mode actuelle pour les athlètes dans les pays comme les Etats-Unis .Les deux spécialistes critiquent et disent " souffrir " les excès commis par leurs patients , de la même manière que les médecins s'occupant des acrobates , regretter prendre beaucoup de risques , comme les mauvaises positions et pratique supplémentaire , entre autres .Ce problème de santé n'est pas unique à notre pays , comme en Europe , mais il est l'Association européenne des sciences médicales , qui dispose de plusieurs services spécialisés dans différentes villes en France et d'autres pays , se réunit que des fonctions d'information . Comme pour les soins médicaux , à Barcelone Institut de physiologie et de médecine Art musiciens au service non seulement des mensonges , mais les médecins généralistes des arts de la scène . Rapporte le Dr Jaime Llobet Roseti que l'équipe de l'école a commencé à servir les artistes depuis 10 ans , mais ce n'était pas jusqu'à il ya deux ans , qui a officiellement ouvert , spécialistes de la médecine sportive, orthopédie , chirurgie de la main , physique , neurologue , psychologue, psychiatre , orthophoniste ( des troubles de la voix ) , la parole ( pénuries de compétences voix et le langage ) , diététiste , dermatologue et chirurgien maxillo-facial . Aux États-Unis l'Association Médecine Arts International, une organisation à but non lucratif fondée à Philadelphie , en Pennsylvanie, en 1985 , par le docteur Richard A. Lippin , qui compte parmi ses membres des professeurs, des chercheurs , des artistes et même des cliniques intéressés par un ou plusieurs aspects de la relation entre l'art et la santé.   

 

 Elda Rivera und Luz Maria MacedaDie Musik macht Freude für diejenigen, die tun, sondern auch krank. Das kann ich über all die Musiker des Symphonie-und philharmonische Orchester auf der Bühne , die produzieren und unterstützen den Klang ihrer energetischen Performances, die 130 Dezibel , vergleichbar mit Lautstärken erreichen , die sagen, ein Düsenjet beim Start .Es ist ein kleines gesundheitliches Problem , nicht nur in dem Land, aber in der Welt erforscht. In Europa gibt es nur eine Spezialklinik in Barcelona , ein weiteres informatives in Frankreich und eine in den Vereinigten Staaten.Allergien Geiger durch Kontakt mit Pech oder Harz verwendet , um die Saiten ihrer Instrumente reiben ; Bedingungen durch die Markierung links von der Violine oder Viola , wenn zwischen dem Kinn und Kiefer , der " Neurose der Pauker " von gelegt verursacht die Wirkung von Schallwellen gegen Schädel und Gesicht, die Gefahr des Glaukoms Trompeter und Harfen andere Blechblasinstrumente , andere als Taubheit, ohne dabei die Mehrheit leidet Säulenbedingungen durch schlechte Position seiner Körper. Dies sind einige der Beschwerden oder Erkrankungen der Darsteller der Musik, die in Mexiko nicht die medizinische Versorgung spezialisiert haben.Zwar gibt es nichts über das Thema geschrieben , Schlagzeuger Philharmonic Mexiko-Stadt, Abel Ramírez , mit zwei Jahrzehnten Erfahrung , verliert allmählich Ohr Carlos Luyando des National Symphony , der seit 25 Jahren gespielt Timbales , hatte keine gesundheitliche Probleme, die durch ihre Tätigkeit verursacht , aber die Pauker Gabriela Jimenez Lara Netzhautablösung Vibration bei der Musik erhielt gelitten und wollte seinen Augen zu verlieren.Für Studierende der Bläser , das Problem ist ein anderes. Es konzentriert sich auf Krankheiten, die durch die Düsen von Herpes an Kehlkopfentzündung infiziert werden können, sowie Pilze und Bakterien, die andere Organe betreffen kann.       Die Musik macht Freude , aber auch KrankheitDie Musik macht Freude für diejenigen, die tun, sondern auch krank. Und das kann ich die Musiker des Symphonie-und philharmonische Orchester auf der Bühne , die produzieren und unterstützen den Klang ihrer energetischen Performances, die 130 Dezibel , vergleichbar Lautstärke, die ein Jet- Flugzeug bei Start produziert erreichen erzählen.Der binomische Musik - Krankheit ist ein Thema wenig erforscht , von dem es keine gedruckten Informationen oder Zinsen zu nähern und stellt eine Gesundheitsproblem, das nicht quantifiziert werden können , jedoch die Bedingungen variiert werden und beeinflussen den verschiedenen Organen des Körpers, in Abhängigkeit von der Instrument der Musiker führt . Keine Fachkliniken in Mexiko und nur weiß von einem in Barcelona, ​​die nicht nur Musiker, sondern auch Künstler aus der Szene dient , so ist es dringend notwendig, dass ein medizinisches Fachgebiet wird angenommen , Ärzte berücksichtigt und beeinflusst.Abel Benitez, Schlagzeuger UNAM Philharmoniker, ist das beste Beispiel der Formel Musik - Krankheit seit ihrer konsequenten laute Instrumente wie Becken, Röhrenglocken Exposition hat dazu geführt, dass sich sein Gehör zu verlieren.Aber das ist nur eine von vielen Beschwerden oder Krankheiten der Darsteller der Musik, die in Mexiko nicht haben, im allgemeinen, fachärztliche Behandlung .In der wichtigsten Datei, die im Hause gehalten wird , in der Sache , Dr. Sergio Rico, Arzt des Philharmonischen Orchesters von Mexiko-Stadt ( OFCM ) seit seiner Gründung im Jahr 1978 gehören Erkrankungen wie Allergien durch Geiger mit Teer oder Harz verwendet , um die Saiten ihrer Instrumente , die Bedingungen für die Markierung links von der Violine oder Viola , wenn zwischen dem Kinn und Kiefer , der " Neurose der Pauker " durch die Wirkung der Wellen gelegt reiben kontaktieren Lärm gegen Schädel und Gesicht, die Gefahr des Glaukoms Trompeter und Harfen andere Blechblasinstrumente 

Benötigte Medizin MusikSergio Rico, wie Carlos Gargollo Chirurg , spezialisiert in Händen, stimmen darin überein, die besagt, dass es unerlässlich, die Notwendigkeit, in Mexiko Spezialität Medizin Musik Kliniken, die als aktuelle Mode für Sportler in Ländern zu schaffen wie den Vereinigten Staaten.Beide Spezialisten kritisieren und sagen, " leiden " die Exzesse von ihren Patienten verpflichtet , in der gleichen Weise, dass Ärzte, die den Akrobaten, bedauern nehmen viele Risiken , wie Fehlstellungen und zusätzliche Übung , unter anderem.Dieses Gesundheitsproblem ist nicht nur in unserem Land, wie in Europa , aber es ist die European Association of Medical Arts, die mehrere Abteilungen spezialisiert in verschiedenen Städten in Frankreich und anderen Ländern unterhält , trifft nur informativ Funktionen . Wie für die medizinische Versorgung , in Barcelona Institut für Physiologie und Medizin Kunst dient Musiker nicht nur Lügen , aber im allgemeinen Praktiker der darstellenden Künste. Dr. Jaime Llobet Roseti berichtet, dass die Schulmannschaft begann dient Künstler für 10 Jahre, aber das war nicht bis vor zwei Jahren, was offiziell eröffnet , Spezialisten in der Sportmedizin , Orthopädie , Handchirurgie , physikalische , Neurologen , Psychologen, Psychiater , Logopäden ( Sprachstörungen ), Rede ( Fachkräftemangel Stimme und Sprache) , Ernährungsberater , Dermatologen, Kiefer-und Gesichtschirurgen . In den Vereinigten Staaten der International Arts Medicine Association , eine gemeinnützige Organisation in Philadelphia , Pennsylvania, gegründet im Jahr 1985 , durch den Arzt ist Richard A. Lippin , dass seine Mitglieder sind Professoren, Forscher , Künstler und sogar Kliniken Interesse an einem oder mehreren Aspekten der Beziehung zwischen Kunst und Gesundheit.

              Elda Rivera and Luz Maria MacedaThe music gives pleasure to those who do, but also sick. This I can say about all the musicians of symphony and philharmonic orchestras on stage who produce and support the sound of their energetic performances that reach 130 decibels , comparable volume sound that a jet plane at takeoff.It is a health issue little explored not only in the country but in the world . In Europe there is only one specialist clinic in Barcelona , another informative in France and one in the United States.Allergies violinists by contact with pitch or resin used to rub the strings of their instruments; conditions caused by the mark left by the violin or viola when placed between the chin and jaw , the " neurosis of timpanist " by the effect of sound waves against skull and face , the danger of glaucoma trumpeters and harpers other brass instruments , other than deafness , without neglecting the majority suffers column conditions by poor position of his body. These are some of the ailments or diseases of the performers of music, which in Mexico do not have specialized medical care.While there is nothing written on the subject , percussionist Philharmonic Mexico City , Abel Ramírez , with two decades of experience, gradually loses ear Carlos Luyando of the National Symphony , who for 25 years played timbales , had no any health problems caused by their activity, but the timpanist Gabriela Jimenez Lara has suffered retinal detachment vibration received at time of music and was about to lose his sight .For students of wind instruments , the problem is another. It focuses on diseases that can be infected through the nozzles ranging from herpes to laryngitis , plus fungi and bacteria that can affect other organs.The music gives pleasure , but also diseaseThe music gives pleasure to those who do, but also sick . And this I can tell the musicians of symphony and philharmonic orchestras on stage who produce and support the sound of their energetic performances that reach 130 decibels, comparable volume of sound that produces a jet plane at takeoff.The binomial music - disease is a topic little explored , of which there is no printed information or interest to approach and constitutes a health problem that can not be quantified , however, that the conditions are varied and affect various organs of the body, depending on the instrument the musician performs . No specialized hospitals in Mexico and only know of one in Barcelona , which serves not only musicians but also artists from the scene, so it is urgent that a medical specialty is believed , doctors considered and affected.Abel Benitez, drummer UNAM Philharmonic , is the best example of the formula music - disease since its consistent loud instruments such as cymbals , tubular bells exposure has meant that is losing his hearing .But this is only one of many ailments or diseases of the performers of music, which in Mexico do not have , in general, specialized medical care.In the most important file that is kept in the home, in the matter, Dr. Sergio Rico , doctor of the Philharmonic Orchestra of Mexico City ( OFCM ) since its founding in 1978 , include conditions like allergies by violinists contact with tar or resin used to rub the strings of their instruments, the conditions for the mark left by the violin or viola when placed between the chin and jaw , the " neurosis of timpanist " by the effect of waves noise against cranium and face , the danger of glaucoma trumpeters and harpers other brass instruments .Needed medicine musicSergio Rico , like Carlos Gargollo surgeon specializing in hands , agree in stating that it is imperative the need to create in Mexico specialty medicine music clinics operating as current fashion for athletes in countries as the United States .Both specialists criticize and say "suffer" the excesses committed by their patients , in the same way that physicians caring for the acrobats, regret take many risks , like bad positions and extra practice, among others.This health problem is not unique to our country , as in Europe , however there is the European Association of Medical Arts , which maintains several departments specializing in different cities in France and other countries , meets only informative functions . As for medical care, in Barcelona Institute of Physiology and Medicine Art serving musicians not only lies , but in general practitioners of the performing arts. Dr. Jaime Llobet Roseti reports that the school team began serving artists for 10 years , but that was not until two years ago , which opened officially, specialists in sports medicine , orthopedics, hand surgery , physical , neurologist, psychologist , psychiatrist, speech therapist ( voice disorders ) , speech ( skill shortages voice and language) , dietitian , dermatologist and maxillofacial surgeon. In the United States the International Arts Medicine Association , a nonprofit organization founded in Philadelphia , Pennsylvania, in 1985 , by the doctor is Richard A. Lippin , that its members include professors, researchers, artists and even clinics interested in one or more aspects of the relationship between art and health.

_______________________________________________________

            Die Spannung vor dem Konzert 

Menschen , die friedlich im Konzertsaal zu hören die von einem Orchester fast hypnotische Haltung erzeugt Klang, nicht vermuten, dass der Stress, dem sie ausgesetzt sind Musiker , bewirkt, dass man in 10 Kopfschmerzen leidet . Auch wissen sie, dass drei von zehn haben Sehstörungen und dass die meisten gegenwärtigen Bedingungen in der Wirbelsäule, erklärt Rico Arzt.Der Rattenfänger Raúl Falco sagt die Leiden derer, die Musik zu machen, werden in zwei Teile geteilt: ihre Krankheiten Sänger und Interpreten , unabhängig von Spezial-und solche, die direkt auf die Leistung ihrer bestimmtes Instrument gebunden sind.Falco lenkte die Aufmerksamkeit auf die psychische Komponente, die bewirkt, dass sie einige Musiker einen Finger Sperre zu starten Ausfälle oder Musikpassagen , die nicht so schwierig sind .Über " Blasen" ( Flötisten , Trompeter , Oboisten , cornitas , Posaune ... ) , sagte der Musiker " unterliegen weit weniger Probleme als die Oboisten , weil sie komprimieren die Luft, dh viel Druck auszuüben, auf einer großen Luftmenge , die sie an Emphysem führen kann. "Wer brachte die Sänger war Falco selbst, der sagte, dass dieser Teil der Musikindustrie "ist vielleicht die Leute, die die schlimmste Angst zu haben, weil der Kehlkopf ein Zoll gemessen , und dass " Ding " so jung können Gläser brechen of Fine Arts. Singers , detaillierte Bedingungen haben wie jeder andere auch , kann acatarrar oder erkälten , sondern neigen dazu, ganz Hypochonder , die auch eine Krankheit sein. "Eine unnatürliche PositionSergio Rico gibt den Schlüssel für die Not der Musiker im Allgemeinen: ihre gesundheitlichen Probleme sind ergonomisch, dh , dass mit der Position des Körpers zu tun bei der Entwicklung ihres Geschäfts." Alle Instrumente erfordern eine unnatürliche Haltung . Outset , ist es logisch, Muskel -und Wirbelsäulenproblemezu präsentieren", sagt der Arzt und OFCM Mining Symphony Orchestra. Ein Gitarrist kann bis zu sechs Stunden Dauertests , fast verdoppelt zu bleiben, mit einem Fuß angehoben etwa 20 Zentimeter über dem Boden , ein Arm Stretching und Ausübung Ihrer Finger enormen Druck auf die Saiten.Die Musiker , sagt Rico , können Sie die Maxime gelten ", sagen Sie mir, welches Instrument Sie spielen und sagen, was Sie leiden. " Dann bezieht sich die andere Hand in die Liste der Bedingungen, die manchmal zwingt viele der Darsteller , den Beruf vorzeitig zu verlassen : Ohrerkrankungen, Muskel-und Wirbelsäulenverletzungen , Migräne , Ekzeme und Hauterkrankungen , Entzündungen der Sehnenentzündung oder Sehnen und Muskel-Skelett- Probleme .Rund um einige der Bedingungen , der Dekan der Ärzte, die die Musiker in Mexiko fest, dass " es wäre überflüssig, zu sagen , die leiden " guitar -Syndrom ", die eine Schädigung der Muskeln im Handgelenk ist . Leiden auch Harfenisten , weil ihre Finger zupfen die Saiten ausüben großer Kraft . ' s Cellisten nicht entkommen , weil ihre Daumen durch die Wirkung der Schritt in den Seilen gelitten. "Er hat auch der stellvertretende Direktor des Chamber Orchestra of Bellas Artes , Raul Falco, spricht auch lachend Größenwahn der Regisseure, betonte er , auch als Krankheit eingestuft .Leidenschaft für die MusikViele dieser Bedingungen haben , um mit der Leidenschaft, die Musiker haben für ihre Kunst , die die "Exzesse " , die Ärzte beklagen begünstigt zu tun. Im Fall des oben genannten Abel Benitez , der über zwei Jahrzehnte damit verbracht hat, das Abspielen der verschiedenen Percussion-Instrumenten , dass " von den ersten Male hatte ich vor mir eines der Instrumente, die ich spiele , merkte ich, dass meine Ohren betroffen klingen, aber , wie Sie mit der Aufregung , Musik zu machen sind , nicht mehr Bedeutung zu geben . "Unter der Literatur , die in den USA zirkuliert , Benitez erwähnt ein Magazin , in dem er die Aufmerksamkeit auf die Frage, die ein Schriftsteller gefragt wurde : "Ist das die Schlagzeuger verlassen uns taub? " . Die Antwort ist ja , wenn so der Künstler fügt eine weitere Frage: " Versicherungs mich entschädigen, wenn ich völlig taub und ich kann nicht arbeiten "Für eine Zeit , daran erinnern, Abel, entschieden , um seine Ohren mit Baumwolle abdecken , aber wie er erklärt , geht es gegen die Musik nicht wahrnehmen, Geräusche in seiner ganzen Größe , tut so eine schlechte Arbeit ." Die einzige Option, die ich habe ist meine Ohren mit meinen Händen. Medizin glaube nicht, dass ich eine Heilung für diese Krankheit zu finden ", sagt der Musiker, der nicht hören , wenn die Leute in geringem Volumen mit ihm reden.In diesem Bereich gibt es nichts geschrieben . Alejandro Toledano , Cembalist und Fagottist in der Aussparung für ihre aktuelle Tätigkeit als Leiter des National Symphony Orchestra, das bezieht sich Beschwerden Musiker haben mit Ihrem Fitness und Ihr Essen zu tun , weil Leute wie Carlos Luyando , einer der Trommler das National Symphony seit 25 Jahren , die Timbales spielte , hatte keine schwerwiegenden gesundheitlichen Probleme, die durch ihre Tätigkeit verursacht .Bisher ist die einzige Band , die bekannt ist , hat präventive Maßnahmen, die die Überschussvolumen genommen wird die Philharmonie Mexiko-Stadt vor zwei Monaten bestellt sie eine Reihe von klaren Acryl auf , ohne die musikalische Ergebnis zu reduzieren, die Wirkung der Klänge der Schlaginstrumente in den Ohren der Hörner Abschnitt .Viel Versuch , wenig RuheCarlos Gargollo Der Chirurg, der meist auf Pianisten und Geiger tätig ist, spricht von Bewusstlosigkeit vieler Musiker. Er argumentiert, dass jeder Athlet jemals laufen oder bleiben , die Turnhalle acht Stunden ohne Pause ."Für ein Pferd laufen 500m und dann geben Sie einen kurzen Spaziergang , ein Athlet läuft und gibt eine langsame Rückkehr zum Feld. Ein Musiker spielt stundenlang bei hohen Geschwindigkeiten , in sehr schwierigen Bedingungen Muskel-und am nächsten Tag um die Routine zu wiederholen möchten. Es ist wie ein Auto bringen bei 120 Meilen pro Stunde, sechs Tage in einer Reihe, " beispielhaft für die Spezialisten.Von Skulpturen und Zeichnungen der Hände der Autoren wie Auguste Rodin Umgeben sagt Gargollo , dass nicht erklärt , wie viele Pianisten , Geiger und andere Instrumentalisten , Vernachlässigung ihren Händen. "Ich würde gerne Schreinerarbeiten zu tun, sondern wie ein Chirurg verbiete ich mir , weil ich eure Hände, um meine Arbeit zu tun , ich muss sagen , ich bin begeistert . "Aus seiner Erfahrung , erinnert sich der Chirurg : "Ich habe einen Geiger Festsetzung eines Fahrrad - ich weiß nicht, was war Geiger Festsetzung eines Motorrad zog einen Daumen gebrochen und das er so verformt , dass ein Mädchen geworden ist, nicht mehr berühren. Muskeln der Hand wurde durch Üben 12 Stunden gebrochen. riet ihm, Sie war mit Trommeln gewidmet, aber weiß nicht, ob er es tat. "Zu den Empfehlungen, die der Arzt gibt seinen Patienten Musiker , sind die 50 Minuten zu spielen in einer Reihe und Stütze 10 und wenn sie Ihren Aufsatz zu beenden , legen ihre Hände in eine Schüssel mit warmem Wasser und lassen sie dort , bis die Flüssigkeit abkühlt.Der Komponist John Weizen Rede von einer anderen Facette des Problems : "Unter der Gilde tritt häufig Austritt von Alkohol statt Drogen Obwohl ich nicht glaube, es gibt eine Statistik, die Musiker sind mehr getrunken als diejenigen, die es nicht sind. " .Der aktuelle Direktor des Chamber Orchestra of Bellas Artes fügt hinzu, dass Alkoholismus verursacht Mittelmäßigkeit und dies wiederum bewirkt Unzufriedenheit. Sprechen Sie über die niedrigen Löhne , sagt er, nicht erlauben , das Wachstum der Musiker , was zu Erkrankungen wie Depressionen , die bisher ignoriert wurde und vernachlässigt.Analgetika beeinflussen WahrnehmungEin weiterer Unterschied zwischen Musikern und gewöhnlichen Sterblichen offenbart sich , wenn die Kopfschmerzen und Erkältungen, weil sie nicht nehmen können Medikamente wie Schmerzmittel, wie sie machen sie die feine Empfindlichkeit und Ursachen zu verlieren, kann nicht gut berechnen der pulsierende Druck an einem Seil , unter anderen Nebenwirkungen.Der Experte fügt hinzu, dass die oben muss hinzugefügt werden , dass die Musiker haben eine Sensibilität für die Oberfläche und den Umgang mit ihnen muss sehr Besonderes sein. Spricht seiner Patienten mit großem Respekt und Bewunderung.Dann teilen " unter Musikern oft den Satz gehört ` Das Gerät ist sehr eifersüchtig ` , die nichts , die häufig funktionieren sollte , weil Reflexe erwarben die Stunden der Studie sind leicht verloren gehen bedeutet . "Unter diesen Bedingungen , erklärt Dr. Rico spielen , was sie "Lügen" (false Notizen ) aufrufen und wenn man das Niveau der Kritik , dass diese Gilde hat zu berücksichtigen, werden wir lernen , dass wahre Leiden durchlaufen, wenn sie gehen, einen Zettel.Der Dekan der Ärzte der Musik in Mexiko sagt , dass zwar keine Ärzte in seinem Spezialgebiet - vorzugsweise haben studierte Musik - Interpreten weiter leiden , ohne Erleichterung.            

 

                 The voltage of the concertPeople who listen peacefully in the concert hall the sound produced by an orchestra almost hypnotic attitude, do not guess that the stress to which they are subjected musicians, causes one in 10 suffers headaches. Nor do they know that three out of 10 have vision problems and that most present conditions in the spine , explains Rico doctor.The Pied Raúl Falco says the sufferings of those who make music are divided into two : their diseases singers and performers, regardless of specialty and those that are tied directly to the performance of their particular instrument.Falco drew attention to the mental component that causes some musicians they start a finger lock have failures or musical passages that are not so difficult .About " blowing " ( flutists , trumpeters, oboists , cornitas , trombone ... ) , the musician said " are subject to far fewer problems than those oboists , because they compress the air , ie exerting much pressure on a large volume of air , which can cause them to emphysema. "Who brought up the singers was Falco himself, who said that this part of the music industry " is perhaps the people who have the worst anxiety because the larynx measured one inch and that" thing " so young can break glasses of Fine Arts. singers , detailed, have conditions like anyone else, can acatarrar or catch cold , but tend to be quite hypochondriacs , which is also a disease. "An unnatural positionSergio Rico gives the key to the plight of musicians in general: their health problems are ergonomic , ie , having to do with the position of your body when developing their business." All instruments require an unnatural position . Outset , it is logical to present muscle and spine problems ," says the doctor OFCM and Mining Symphony Orchestra . A guitarist can stay up to six hours of continuous testing, almost doubled , with one foot raised about 20 inches off the ground , one arm stretching and exercising your fingers enormous pressure on the strings.The musicians , says Rico , you can apply the maxim " tell me what instrument you play and tell you what you suffer ." Then the other hand refers to the list of conditions that sometimes forces many of the performers to leave the profession prematurely : ear ailments , muscle and spine injuries , migraines , eczema and skin diseases , inflammation of tendinitis or tendons and musculoskeletal problems .Around some of the conditions, the dean of the physicians caring for the musicians in Mexico noted that "it would be redundant to say who suffer from " guitar Syndrome "which is an injury to the wrist muscles . Suffer also harpists because their fingers to pluck the strings exert great force. 's cellists not escape because their thumb suffered by the action of stepping on the ropes. "He also deputy director of the Chamber Orchestra of Bellas Artes , Raul Falco, also speaks laughingly megalomania of directors , he emphasized , is also classified as a disease.Passion for musicMany of these conditions have to do with the passion that musicians have for their art , which favors the "excesses" that doctors lament . In the case of the aforementioned Abel Benitez, who has spent over two decades playing various percussion instruments, that " from the first times I had before me one of the instruments I play , I realized that my ears were affected by sound, but as you are with the excitement of making music , not give more importance to . "Among the literature that circulates in the United States , Benitez mentioned a magazine in which he called attention to the question that a writer was asked: " Is that the percussionists are leaving us deaf ? " . The answer is yes if so the artist adds another question: " insurance will compensate me if I was completely deaf and I can not work ? "For a time , remember Abel , opted to cover his ears with cotton , but as he explains, it goes against the music does not perceive sounds in all its magnitude , so does a poor job ." The only option I have is my ears with my hands. Medicine do not think I find a cure for this disease ," says the musician , who do not listen when people talk to him in low volume.However, in this area there is nothing written . Alejandro Toledano, harpsichordist and bassoonist in recess for their current activity as manager of the National Symphony Orchestra , which refers ailments musicians have to do with your fitness and your food, because people like Carlos Luyando , one of the drummers the National Symphony for 25 years that played timbales , had no serious health problems caused by their activity.So far the only band that is known , has taken preventive measures by the excess volume is the Philharmonic Mexico City two months ago they ordered a series of clear acrylic to reduce without affecting the musical result , the effect of the sounds of percussion instruments in the ears of the horns section .Much trial , little restCarlos Gargollo The surgeon who operates mostly to pianists and violinists, speaks of unconsciousness for many musicians . He argues that any athlete would ever run or remain in, the gym for eight hours without rest." For a horse run 500m and then give you a short walk , an athlete runs and gives a slow return to the field . A musician plays for hours at high speeds, in very difficult conditions muscle and the next day you want to repeat the routine. it 's like bringing a car at 120 miles an hour , six days in a row , "exemplifies the specialist.Surrounded by sculptures and drawings of hands of writers such as Auguste Rodin, Gargollo says that does not explain how many pianists , violinists and other instrumentalists , neglect their hands. " I'd love to do carpentry work , but as a surgeon I forbear because I require your hands to do my job, I must say , I am passionate about ."From his experience , the surgeon recalls : "I have a violinist fixing a bike - I do not know what was a violinist fixing a motorcycle pulled a crushed thumb and this he was so deformed that has become no longer touch a girl. muscles of the hand was broken by practicing 12 hours . advised him she was devoted to drums, but do not know if he did. "Among the recommendations that the doctor gives his patients musicians , are the playing 50 minutes in a row and rest 10 and when they finish your essay, place their hands in a bowl of warm water and leave them there until the liquid cools.The composer John Wheat speech of another facet of the problem : " Among the guild often occurs leakage of alcohol rather than drugs Although I do not think there is a statistic that musicians are more drunk than those who are not. " .The current director of the Chamber Orchestra of Bellas Artes adds that alcoholism causes mediocrity and this in turn causes dissatisfaction. Talk about low wages, he says, do not allow the growth of the musician, leading to conditions such as depression, which so far has been ignored and neglected .Analgesics affect perceptionAnother difference between musicians and ordinary mortals is manifested when the headaches and colds, because they can not take medicines such as analgesics, as they make them lose the fine sensitivity and causes can not calculate well the pulsating pressure to a rope , among other side effects .The expert adds that the above must be added that musicians have a sensitivity to the surface and dealing with them must be very special. Speaks of his patients with great respect and admiration

 

______________________________________________________

                      Erkrankungen eigenen Musiker Study Krankheiten und Todesursachen der Künstler, vor allem Musiker , ist eine sehr reizvolle Aufgabe . Der Tod von Mozart und Beethoven ( um nur die am meisten von der medizinischen Standpunkt aus analysiert ) bieten große klinische Herausforderung . Mozart soll der Vergiftung, Syphilis , Lungenentzündung , rheumatisches Fieber , Schlaganfall, Scharlach, Müdigkeit oder einfach gestorben. Beethoven gibt es viele Versionen : Syphilis , Tuberkulose, Paget -Krankheit, Alkoholismus und Vergiftung. Und in dieser Zeit gab es keine diagnostischen Ressourcen und wirksame Behandlung für das Leben zu verlängern . Aus diesem Grund gab ich mir selbst die Aufgabe, eine kurze Tour die Krankheit und den Tod der großen Musiker. Denken Sie daran , dass heute die Lebenserwartung des durchschnittlichen Menschen hat zugenommen, so dass jedes Mal finden wir ältesten Menschen . Und dank der medizinischen Fortschritte , die bisher tödliche Krankheiten waren haben jetzt eine einfache Lösung . Zum Beispiel jetzt wäre schwer zu glauben, dass Jean Baptiste Lully (Italien 1632 - Frankreich 1687 ) starben an der Schlag kam in den Fuß mit dem Stock des Leiters ( bevor der Staffelstab verwendet wurde) . Offenbar Lully war ein Diabetiker , so war es leicht , seinen Fuß Gangrän, gleichen die im ganzen Körper ausgebreitet hat und was zu seinem Tod zu infizieren.Im Test habe ich beschlossen, mit einem kurzen Überblick über die Bedingungen, die die ordnungsgemäße Ausübung des Musikers verursachen starten. Der vollständige Text wird später veröffentlicht werden. Dies ist nur ein Fragment .Man könnte sagen , dass derzeit " die Musiker sterben an chronischen Vergiftungen von Jahren. " Nach dem Buch -Genie und Wahnsinn , Phillippe Brenot , das sind die langlebigsten und die niedrigsten Selbstmordrate Künstler . Künstler , die Selbstmord begehen, sind die meisten Schriftsteller . Zwar gibt es eine umfangreiche Liste von Krankheiten selbst Darsteller Musiker (und nicht der Komponist ) , ist nicht die Pathologie von der Arbeit, die seinen Tod verursacht verursacht , obwohl in einigen Fällen ist es ausreichend, wenn der Künstler wird in unfähig , warum die Ausübung ihres Berufes . Zum Beispiel die Verletzung von Robert Schumann (1810 - 1856) litt , das durch übertriebene Strecken ihre Ringfinger weg, weil er glaubte , dass ihre Fingerglieder und wachsen und damit ihr Handeln zu verbessern auf dem Klavier. Deshalb ist ihre Muskeln und Bänder verletzt , deshalb konnte er nicht mehr Klavier spielen mehr . Zwar gibt es eine Version, die die Verletzung von Syphilis er von seiner Jugend litt verursacht . Allerdings war es nicht , dass die Syphilis verursacht sein Tod, sondern beging Selbstmord im Alter von 46 Jahren .Es gibt eine lange Liste von Krankheiten , die aus dem Vorgang der Ausführung selbst ein Instrument entstehen . So finden wir die Knoten an den Stimmbändern oder "Knoten Sängerin " ; Emphysem Darsteller Blasinstrumente . Das gleiche passiert mit den Muskeln der Mund Dolmetscher Windinstrumente , Ton- Müdigkeit, die Ellbogen-und Handgelenkverletzungen in Geiger (Schwing Osteoarthritis) , Muskel- Kontrakturen und Deformitäten Pianist Spalte zu verlieren, als " Krämpfe Musiker " , entsprechend einer Rückenmuskelermüdungvon solcher Größe , dass sie gegen das Verschieben verhindert. Und was ist mit der Entwicklung von Krampfadern in den Beinen der Direktoren (sie sind die einzigen, die stehend, usw. funktionieren). Im Allgemeinen kann man sagen, dass die sehr Bedingungen des ausübender Musiker die Dauer ändern ihre Lebensqualität , aber nicht .Aber da ist niemand frei von Krankheiten und sterben von ihnen , gibt es große Musiker, die einen vorzeitigen Tod gehabt haben , obwohl die Überprüfung der Erkrankungen von 129 Musikern , kann gesehen werden, dass sie eine höhere Lebenserwartung als der Rest haben Menschen , und wir können feststellen, dass die Ursachen der Todesfälle sind überwiegend Herz-Kreislauf -und Krebserkrankungen .

         

                            Diseases of the musicians

Study diseases and causes of death of artists , especially musicians , is a very attractive task. The deaths of Mozart and Beethoven ( to name only the most analyzed from the medical point of view ) offer great clinical challenges . Mozart is said to have died of poisoning , syphilis , pneumonia , rheumatic fever , stroke , scarlet fever, or simply fatigue. Beethoven there are many versions : syphilis , tuberculosis , Paget's disease , alcoholism, and poisoning. And in those times there were no diagnostic resources and effective treatment for prolonging life. For that reason I gave myself the task of making a brief tour the disease and death of the great musicians . Remember that today the life expectancy of the average human has increased , so that every time we find oldest people . And thanks to medical advances , which were previously fatal diseases now have an easy solution. For example , now would be difficult to think that Jean Baptiste Lully (Italy 1632 - France 1687 ) died from the blow came in the foot with the stick of conductor ( before the baton was used ) . Apparently Lully was a diabetic patient, so it was easy to infect his foot gangrene , same that has spread throughout his body and causing his death.In the test I decided to start with a brief overview of the conditions that cause the proper exercise of the musician. The full text will be published later . This is only a fragment .You could say that , currently , " the musicians die from chronic intoxication of years." According to the book Genius and madness, Phillippe Brenot , these are the longest-lived and had the lowest suicide rate artists. Artists who commit suicide are most writers . Although there is an extensive list of diseases themselves performer musician (rather than the composer), is not the pathology caused by the job that causes his death , though in some cases it is sufficient for the artist becomes incapacitated in why the exercise of their profession . For example , the injury suffered by Robert Schumann (1810 - 1856) for having gone through exaggerated stretching her ring finger , because he believed that their phalanges and grow and thus improve their acting on the piano. Therefore your muscles and ligaments hurt , therefore he could no longer play the piano more . Although there is a version that the injury was caused by syphilis he suffered from his youth. However it was not that syphilis caused his death but committed suicide at the age of 46 years.There is a long list of diseases that arise from the act of running itself an instrument. Thus, we find the nodule on the vocal cords or " node singer " ; emphysema Performers wind instruments. The same happens with the muscles of the mouth interpreters wind instruments that lose tone fatigue , the elbow and wrist injuries in violinists (vibrating osteoarthritis) , muscle contractures and deformities pianist column , called " cramps musician " , corresponding to a back muscle fatigue of such magnitude that prevents them from moving. And what about the development of varicose veins in the legs of the directors (they are the only ones who work standing , etc.). In general , one can say that the very conditions of the performing musician alter their quality of life, but not the duration.But since no one is free of disease and die from them , there are great musicians who have had a premature death , although the review of the diseases of 129 musicians, it can be seen that they have a life expectancy greater than the rest people , and we can conclude that the causes of deaths are predominantly cardiovascular and cancer diseases .   

 

__________________________________________________

 

        Der Interpreter und seine KrankheitenEine kurze Studie über die Risiken , Musik zu studieren

 " Ich übe vier bis fünf Stunden am Tag. Tremolos , Waagen, sechsten ... verrückt, wenn ich am Ende nicht finden, mich durch einen Künstler . " Franz LisztEinleitung:Für viele Musikstudenten der Musikhochschulen ist die Zeit , um den neuen Kurs zu beginnen, und es gibt viele Fragen über die Gründung neuer Themen , einige zum ersten Mal Themen wie Harmonie , Kammermusik, der Satz angehoben werden Orchester ... ein herrliches Panorama , ein großer Horizont zu entdecken.Aber natürlich kann ich nicht umhin zu denken, über die andere Seite der Medaille, die enorme Arbeitsbelastung sie an dieser Schüler unterzogen. Nur ein paar Wochen ziehen ihre schweren Rucksäcke ( und Instrumenten) und seine Begeisterung bald verblassen , weicht Müdigkeit, und alle, die es führen kann , in Form von Muskel Überlastung , Stress und Desamino unvermeidlich.Was ich damit meine ist, dass diese Jungs , wenn man das Objekt meiner Aufmerksamkeit jetzt auf die Kinder und Jugendlichen der Grund-und Mittelstufe , zwischen 8 und 18 Jahren alt , auf der Fest Druck ausgesetzt gleichzeitigen Studium der Schulpflicht mit Ihrem Instrument üben und Lektionen über Musiktheorie Materialien , sie physische und psychische Risiken ausgeführt werden können. Um diese Aktion zu minimieren, wäre es wünschenswert , dass alle in der Erziehung des Kindes oder Jugendlichen beteiligten Personen , zu einer Atmosphäre , in der das Studium und Praxis der Musik waren befriedigender als gefährlich beitragen .Um eine Hand an Eltern, Schüler und Lehrer zu verleihen, habe ich beschlossen, diesen Artikel zu schreiben . Ich verstehe, dass es sinnvoll für Menschen, die vom Stress der musikalischen Erziehung gelitten haben, und für diejenigen, die rechtzeitig verhindern wollen. Es ist aus diesem Grund, dass andere Themen , rein musikalisches Interesse , ausgelassen wurden , und muss warten, bis ein neuer Artikel bis Oktober zu werden.Ich hoffe, dass Studenten und Berufstätige in der Medizin und Physiotherapie incorreciones bereut , dass er in der Sprache einer Disziplin , die nicht Bergwerk begehen. Ich verstehe, dass das Thema an sich ist wichtig genug, um diesen ersten Ansatz verdient , auch in den Händen von einem Kenner der Musik und keine Wissenschaft. In Fall gibt es Leute, die sich in die medizinischen Aspekte des Themas, ein Literaturverzeichnis und führen eine Reihe von Hinweisen , die hilfreich sein können , um den Faden zu ziehen und zu entdecken, nach und nach, in vollem Umfang und Interesse.

 Viele Komponisten und Interpreten , der im Laufe seiner Karriere an einem gewissen Punkt haben Schmerzen oder Beschwerden , die sich aus der Ausübung ihrer Tätigkeit zu spüren. Eine Studie über die Krankheiten und Leiden der wichtigsten Musiker in der Geschichte der westlichen Musik könnte Überraschungen geben , wie sie wirklich sind ganz wenige Fälle dokumentiert . Zweifellos der berühmteste von allen ist, dass von Robert Schumann, dessen vielversprechende Karriere als Pianist wurde wegen einer Verletzung an der rechten Hand , die ihn um die Verwendung des vierten Fingers zu verlieren verursacht kurz geschnitten . Ein anderer Fall ist der von Franz Schubert. in einem seiner Briefe , einer seiner Freunde sagte, wie Schubert, der komponierte Fantasie Wanderer dauerte mehrere Tage mit geschwollenen Arm , ohne zu spielen . All diese Fragen haben mit der Entwicklung der Kunst Instrumente , die pädagogischen Systeme und physischen und medizinischen Zustand der Menschen in dieser Zeit eigene , ganz anders als heute .Zwar wäre es sehr interessant zu zitieren und kommentieren mehr Beispiele , aber ich denke, dass die Geschichte von Erkrankungen der Musiker ist dringender und rechtzeitige Kommentar auf einige spezifische Fragen, die heute Studenten in der Musik auswirken können.Die meisten der Spannungen, die bei der Interpretation entstehen beinhalten in der Regel sowohl physische als auch psychische Faktoren . Dh von Sehnenentzündung üben Klavier abgeleitet , zum Beispiel , beide sind in der Regel aufgrund einer fehlerhaften Position des Körpers als zusätzlichen Stress bei der Auslegung oder mangelnde Reflexion über eigene Praxis . Es ist logisch , sich vorzustellen , dass ein Schüler , wenn das Studium seines Instruments zu Hause wird gestoppt , wenn Sie Schmerzen bemerken , und versuchen, die Position des Armes , wenn Sie angespannt Note korrigieren. Doch stellen Sie sich diese Schüler in einer realen Situation : Angenommen, es ist eine 14 Jahre alt, körperlich unterentwickelt, so dass die Hände noch nicht ihre endgültige Länge erreicht , aber es ist schon gewachsen ist paar Zentimeter dieser Urlaubssaison. Wenn diese Schüler , eine sehr verantwortungsvolle junge Mann, der in ihren Klassen und andere Ziele vorzubereiten liebt , hat zwei Prüfungen ( Sprache und Mathematik) in der Früh hatte , auch PE ( Übungen gearbeitet , sagen, Sie starten Heil ) Ball und hat seine Klavier Prüfung um acht Uhr an einem Donnerstag, vermutlich aus der High School an drei , schnell verschlingen das Essen gemacht wird und präpariertes Klavier Prüfung (Sie erinnern sich , dass der Tag vor nicht in der Lage zu üben , wurde das Studium Sprache und Mathematik) .In dieser angespannten Situation ist ein Schüler nicht in der Lage , den Takt des eigenen Körpers , viel weniger anpassen hören. Wir können auch vorstellen, wird nach dem Spiel drei oder vier Stunden das Klavier und wiederholte mehrmals die technisch schwierigen Passagen , um sie stärker automatisiert geschehen . Psychische Erschöpfung durch Stress von Prüfungen, durch körperliche Erschöpfung unterstützt , die zwei völlig verschiedene Aktivitäten Muskelausdauer zu produzieren verursacht (Bewertung für mehrere Stunden , Übungen Gewicht mit einem Medizinball und Klavier Praxis ) führen zu schweren muskuläre Überlastung . Wahrscheinlich werden Sie die Wirkungen bemerken am nächsten Tag, wenn es den Druck von den Tests und dieses somatice überarbeitet verursacht verringert.Aber es wird nicht übertrieben , ist es klar, dass in einer oder mehreren Sitzungen der physikalischen Therapie , verschwinden die Symptome und der Student in der Lage, auf die musikalische Praxis und akademische Studie zurück. Das Problem ist, dass das eigentliche Ziel, die Tatsache, dass sie in der Lage, Wintergarten -und Instituts kombinieren wird nicht gelöst haben, und zu anderen Zeiten führt es zu betonen, Überlast entstehen.Während wir davon ausgehen, dass die Schüler in ihrem Bestreben, alle Aufgaben durchführen , sind sich nicht bewusst , dass Überladungen in bestimmten Regionen des Körpers , natürlich Eltern und Lehrer können ihnen helfen, zu realisieren und Gewohnheiten führen sie zu mehr gesund. , Lehrer (beide Instrumentalisten und andere) neigen jedoch dazu , zu denken , dass es mehr Sache der Schüler , die sie unterrichten , und das ist ein großer Fehler. Wenn ein Schüler nimmt sein Instrument in der Hand oder das Gefühl , es sollten Lehrer in der Lage zu erkennen, ob es physisch oder psychisch müde , entmutigt oder besonders motiviert, und versuchen , das Tempo der Klasse , um Ihre Leistung Möglichkeiten anzupassen. Es ist sicherlich leichter zu schlagen als zu erreichen, und auch der Lehrer wird durch die gleichen Gefühle betroffen und müssen an Tagen, die besser als andere Schüler umfasst . Aber zunächst ist es sinnvoll für ein grundlegendes Verständnis davon, wie das Klassenzimmer sein .Sind überraschend, wenn ein Schüler nimmt eine physikalische Position des Instruments , die nicht üblich ist für ihn, vor allem eng oder unnatürlich, die Gründe, warum das passieren kann : Ich habe Kinder, die in körperliche Aktivitäten, so erschöpft und angespannt übrig , als ob sie die Praxis teilnehmen würden bekannt Spitzensport . Als sie in die Klasse Klavier Nachmittag kamen, waren kaum in der Lage , ein wenig zurück zu glätten, oder legen Sie Ihre Hände auf dem Klavier ohne Schmerzen in den Unterarmen , Arme oder Rücken.Was ich meine, ist nicht, dass der Lehrer auf das Instrument, das immer passt sich an die Situation der Schüler zu sein , kann aber mit ihrem Wissen helfen , das Instrument mehr entspannt zu üben und zu kompensieren, in einigen somit ist die Spannung, die unvermeidlich andere Aktivitäten zu erzeugen , und auch die Spannung in den anderen Untersuchungen zu verringern. Fiddler Abrahm Stern sagt immer , dass ihre Schüler "Übel ist schwer zu spielen. " Das heißt, dass die meisten natürlichen und bequemen Haltung ist immer die richtige , um ein Instrument zu spielen.Wenn ein Lehrer arbeitet mit den Studenten , wie man sitzen , nehmen Sie Ihr Gerät und Themen Entspannung, Atmung und Verteilung der Arbeit , können Sie Ihre Leistung in allen Fächern zu verbessern. Ich sage dies, weil ein Schüler lernt, natürlich in der Piano zu sitzen, natürlich auch sitzen in einem Schreibtisch und einem Tisch in einem Zimmer , wenn ich lernen, das Studium ihrer Instrument verteilen ( widmet Zeitskalen und Studien um die Tonhöhe oder Intonation arbeiten, dann , um den Code zu verbessern) wird auch in der Lage , das Studium der Fächer im Pflichtschulbereich verteilen , etc. .Wie in fast allen Bereichen des Lebens, können die einfachsten Dinge, die wichtigste bei der Verhinderung von Spannungen sein : Früh aufstehen , um zu vermeiden, dass eine Schule, ein gutes Frühstück laufen , lassen Sie nach einer kurzen Pause essen, um die Abendarbeit zu erhöhen oder einfach nur zu entspannen, tragen den Rucksack oder Instrument richtig unterstützt , entweder in beiden Schultern , entweder abwechselnd entweder ( wenn der Fall hat ein Einzelheft oder eine einzelne Bande ) , zu vermeiden Eile und Praxis körperliche Aktivität in Maßen und Selbstkontrolle Entspannung. Im spezifischen Bereich der Studie des Instruments ist nützlich, um Pausen alle 45 Minuten , für fünf oder zehn Minuten , und verwenden Sie die Pausen zu tun sanfte Dehnung und Atmung .Eltern können auch eine große Hilfe in diesem Prozess sein. Sie können die Position Ihres Kindes , wenn das Studium zu korrigieren, die Einhaltung Verweilzeiten in der Praxis der sein Instrument und stellen Dehnung oder Entspannungseinheiten mit mehreren Familienmitgliedern usw., auch .Ich habe einige Fragen über lockere Pinselstriche, diskutiert und versucht, einen Überblick über die Probleme, die entstehen können, zu ziehen. Allerdings sollte jede einzelne Person die Zeit, um auf Ihre Entspannung Bedürfnisse zu reflektieren, oder, im Fall eines Kindes , ermutigen Sie Ihre Eltern , um darüber nachzudenken . Es gibt viele spezifische Therapien, wie die Praxis des Yoga , Zen , Tai Chi und sehr gesunde Sportarten wie Schwimmen. Das Problem ist , die Aktivitäten so zu kombinieren, dass die Praxis der Bewegung oder Entspannungstechnik ist eine weitere Quelle von Stress nicht geworden , um dem geschäftigen Wochenplan von Jugendlichen hinzufügen.

              

                    The interpreter and its diseases              

A brief study of the risks to study music

 "I practice four or five hours a day . Tremolos , scales, sixth ... go crazy if I do not end up finding me by an Artist ." Franz LisztIntroduction:To many music students of our conservatories is the time to begin the new course, and there are many questions about starting new subjects , some will be raised for the first time subjects like harmony, chamber music, the set orchestral ... a magnificent panorama , a large horizon to discover.But of course, I can not help thinking about the other side of the coin , the tremendous workload they are subjected to these students. Just a few weeks dragging their heavy backpacks ( and instruments) and his enthusiasm soon fade , giving way to fatigue , and all that it may lead , in the form of muscle overload , stress , and desamino inevitable.What I mean by this is that these guys , considering the object of my attention right now to the children and youth of the Elementary and Middle Grades , aged between 8 and 18 years old , being subjected to the hard pressure simultaneous studies of compulsory education with practice your instrument and lessons about music theory materials , they can run physical and psychological risks . To minimize this action , it would be desirable that all persons involved in the education of the child or adolescent , contribute to an atmosphere in which the study and practice of music were more satisfactory than dangerous.In order to lend a hand to parents, students and teachers, I decided to write this article. I understand that it may be useful for people who have suffered from the stress of musical education and for those who want to prevent on time. It is for this reason that other issues, purely musical interest , have been omitted , and will have to wait to become a new article until October.I hope that students and professionals in medicine and physiotherapy incorreciones regreted that he may commit in the language of a discipline that is not mine. I understand that the topic is in itself important enough to deserve this first approach , even in the hands of a connoisseur of music and not science . In case there are people interested in the medical aspects of the topic, a bibliography and cite a number of references that may be helpful to pull the thread and discover, little by little, to its fullest extent and interest.

 Many composers and performers who , throughout his career at some point have felt pain or discomfort arising from the practice of their activity. A study of the diseases and ailments of the most important musicians in the history of Western music could be surprises , as they really are quite a few documented cases. Undoubtedly the most famous of all is that of Robert Schumann, whose promising career as a pianist was cut short because of an injury to his right hand, which caused him to lose the use of the fourth finger . Another case is that of Franz Schubert. in one of his letters , one of his friends said how Schubert , who was composing Fantasy Hikers took several days with swollen arm without playing. All these questions have to do with the evolution of the art instruments , the pedagogical systems and physical and medical condition of the people own at this time, very different from today .Although it would be very interesting to quote and comment more examples , but I think the history of diseases of the musicians is more urgent and timely comment on some specific issues that may affect students in music today.Most of the tensions that arise in the interpretation usually involve both physical and psychological factors . That is, a derivative of tendinitis practicing piano, for example, are both usually due to a faulty position of the body as an added stress to the interpretation or lack of reflection on own practice . It is logical to imagine that a student when studying his instrument at home will stop playing if you notice any pain, and try to correct the position of your arm when you tense note . However, imagine this student in a real situation : For example , suppose it is a fourteen year old , physically underdeveloped , so that their hands have not yet reached their final length, but it has already grown couple of inches this holiday season. If this student , a very responsible young man, who loves to prepare in their classes and other objectives , has had two exams ( language and mathematics ) in the morning , also PE ( worked exercises , say you launch medicinal ) ball and has his piano exam at eight o'clock on a Thursday, presumably , out of high school at three, quickly gobble the food is made and prepared piano exam (remember that the day before has not been able to practice , has been studying language and mathematics ) .In this tense situation , a student is not able to hear the beat of his own body , much less adapt. We can also imagine will happen after playing three or four hours the piano , repeating several times the technically difficult passages to them more automated . Mental fatigue caused by stress of exams , supported by physical exhaustion that produce two completely different activities muscular endurance ( write for several hours, weight exercises with a medicine ball and piano practice ) can lead to severe muscular overload. Probably , you will notice the effects the next day, when it has decreased the pressure caused by the tests and this somatice overworked .But there will not exaggerate , it is clear that , in one or more sessions of physical therapy, the symptoms disappear and the student will be able to return to the musical practice and academic study. The problem is that the real target, the fact of being able to combine conservatory and institute will not have solved , and at other times it leads to stress overload may arise .While we assume that the students in their quest to perform all tasks , are not aware that excess charges in certain regions of your body , certainly parents and teachers can help them realize and habits lead them to more healthy . However , teachers (both instrumentalists and others ) tend to think that there is more matter for the student that they teach , and that's a big mistake. When a student takes his instrument in the hand or feel to it , teachers should be able to detect whether it is physically or psychologically tired , discouraged or especially motivated, and try to adjust the pace of class to your performance possibilities . It certainly is easier to propose than to accomplish, and also the teacher is affected by the same feelings and have days that comprises at better than other students . But first it may be useful for a basic understanding of how the classroom.Are surprising , when a student takes a physical position to the instrument which is not usual for him , especially tight or unnatural , the reasons why that can happen : I've known kids who participate in physical activities that left so exhausted and tense as if they would practice elite sport. When they came to class piano afternoon were barely able to straighten a little back, or put your hands on the piano without pain in the forearms , arms or lower back.What I mean is not that the teacher has to be the instrument that always adapts to the situation of the student , but can help with their knowledge, to practice the instrument more relaxed and compensate in some thus, the inevitable tension that produce other activities, and also to decrease the tension in the other studies . Fiddler Abrahm Stern always tells her students that " Evil is play hard." Ie , that the most natural and comfortable posture is always the right to play an instrument.If a teacher works with the student how to sit , take your instrument and issues relaxation, breathing and distribution of work , you can improve your performance in all subjects. I say this because a student learns to sit naturally in the piano, also sit naturally in a desk and a table in a room, if I learn to distribute the study of their instrument ( devoting time scales and studies to work the pitch or intonation , then to improve the code ) will also be able to distribute the study of subjects in compulsory education, etc. .As in almost all areas of life, the simplest things can be the most important in preventing tensions : Getting up early to avoid having to run a school, a good breakfast , leave after a short pause eat to raise the evening work or simply to relax, carry the backpack or instrument properly supported , either in both shoulders , either alternating either (if the case has a single handle or a single band ) , avoid haste and practice physical activity in moderation and self- control relaxation . In the specific field of study of the instrument is useful to breaks every forty -five minutes, for five or ten minutes , and use the breaks to do gentle stretching and breathing .Parents can also be a great help in this process. They can correct the position of your child when studying , ensure compliance dwell times in the practice of his instrument and even pose stretching or relaxation sessions with several family members etc. .I have discussed some issues by way of loose brushstrokes , trying to draw an overview of the problems that can arise . However, each particular person should take the time to reflect on your relaxation needs , or , in the case of a child, encourage your parents to think about it. There are many specific therapies, such as the practice of yoga , zen, tai chi and very healthy sports, such as swimming. The problem is to combine the activities so that the practice of physical exercise or relaxation technique does not become another source of stress to add to the busy weekly schedule of adolescents.

                      

 ___________________________________________________

          Berufskrankheiten von Musikern                          

   Geschrieben von Antonio Cruz de Blas

Die Philharmonie, wie andere Arbeitnehmer , sind auf verschiedene Krankheiten, die durch die unsachgemäße Leistung eines Gerätes verursacht ausgesetzt . Mindestens 35 Prozent der Musiker leiden unter jeder Pathologie , um Ihre musikalische Tätigkeit im Zusammenhang stehen , nach dem Buch " technopathies Musikanten" ( Aritza Communications. Spanien, 1997) , Fach Luis Orozco , der warnt, dass die Gitarre und Bass sind Instrumente, die mehr Verletzungen verursachen.Es gibt so viele oder mehr Bedingungen, wie Musikinstrumente. Viele von ihnen werden unheilbar und werden das Ende der Karriere eines Künstlers. Eines der am häufigsten genannt wird Sehnenentzündung , die Entzündung der Sehnen (allgemein Bizeps ), die in schnellen Finger oder Veränderungen Stil machen sie erstellt wurden , vor allem Gitarristen ist . Es ist nicht das gleiche, zum Beispiel Eric Clapton spielen in einer schnelleren und komplizierte langsame und einfache Art, Allan Holdsworth .Von Luis Orozco jedoch ist das Ergebnis der wiederholten Bewegungen Tendinitis , obwohl Entzündung der Sehne wird im allgemeinen einer rheumatischen oder Infektionskrankheit zugeschrieben. Und er stellt fest, dass die Erkrankung oft in String- Instrumentalisten ( Klavier, Gitarre, etc.) und Bläsern im Allgemeinen ( Flötisten , etc.) gesehen .muskuläre ÜberlastungSehnenentzündungen oder Sehnenentzündung wird oft mit der " Muskelüberlast " , die auch bei längerer wiederholende Bewegungen erzeugt verwirrt . Die Symptome reichen von einer einfachen Schmerzen an der Unbeweglichkeit der eine bestimmte Muskelgruppe in den Armen und Hals und Schulter. Solche Symptome , schreibt Dr. Josefina Corbello auf der Website ciencia.vanguardia.es auftauchen , die Arbeit nach einer Zeit der Ruhe oder durch Änderungen in Technik oder Repertoire aufzunehmen.Muscle Last ist unter den Keyboardern . Wenn einer dieser Künstler, zum Beispiel ändert Synthesizer Klavier, ärgert es sofort , weil die Klaviertasten sind schwerer , die Muskelschmerzen verursacht. Das gleiche gilt beim Wechsel Arten oder Repertoire , das heißt , die Interpretation eines Stückes von Klassik, Romantik oder Barock erfordert nicht nur verschiedene Techniken , sondern auch unterschiedliche Muskelgruppen. Wenn eine Technik, die nicht gut auf die physikalischen Eigenschaften der Darsteller , kann es Schmerzen zu empfinden.Rock, Jazz , Konzert-und anderen BetroffenenDiese und andere Belästigungen sind weit von exklusiv für die in der so genannten klassischen Musik oder ein Konzert engagiert. Sie sind auch unter denen, die populären Genres üben DAUER . Die Jazz-Musiker , zum Beispiel , sind nicht auf die Biegungen ( Zugseil mit einem Finger auf dem Mast ) verwendet, so dass , wenn sie Rock oder Blues, spielen, wo diese Technik ist meist immer leiden die Probleme.Weitere schwere heißt Karpaltunnelsyndrom , durchaus üblich in String Gitarristen und Instrumentalisten . Unter den Knochen des Handgelenks ist genau , was als Karpaltunnel , durch die gibt die Fingerbeugesehnebekannt.Wenn ein Gitarrist spielt sein Instrument in der falschen Position und beugen Sie die Handgelenk bewirkt, dass die Sehne reibt Knochen, zuerst verursacht Reizungen und Entzündungen , bis schließlich eine Art von Kallus Sehne auftritt, dh verringert Flexibilität , Geschicklichkeit und Geschwindigkeit in der Hand. Jemand, der Gitarre für zwei bis drei Stunden am Tag übt in einer schlechten Position , nach zwei Monaten kann diese Kallus haben, so dass Operation unvermeidlich.Die richtige Körperhaltung für das Spielen der Gitarre werden benötigt, um aufrecht sitzen , die Schultern entspannt , beide Füße auf dem Boden und den Kopf nach vorne.Beispiele von schrecklichen Positionen auf, dieses Instrument zu spielen , können wir die Ex -Gitarristen Guns'n Roses und Led Zeppelin, Jimmy Page und Slash sind, und sein Amtskollege in Aerosmith, Joe Perry, erwähnen alle , während die Gitarre zu niedrig , was eine Zwangs Beugung des Handgelenks. Obwohl vermutlich sie taten oder tun es für eine gewisse Zeit von einem Lied oder einem Konzert einfach fotografiert werden. Manche Spieler neigen dazu, den Arm zu sehen, während die Gitarre spielt , die die Nackenmuskulatur gezwungen .Früher gab es nur eine Bank zu sitzen und zu spielen , aber jetzt ist es sogar gibt es Geräte , die Gitarre , die ihre Umsetzung erleichtert zu halten. Für E-Gitarre ist wichtig, baldric (Gurt hält das Instrument ruht auf der Schulter und Rücken ) breit und komfortabel genug verwenden , nicht die Schultermuskulatur zu drücken.HörverlustEine technopathies betrachten Tinnitus ist irreversibel oder Verlust des äußeren Ohres bezeichnet. Das Opfer hat keine Geräusche wahrnehmen, von außen , aber innen ist es eine ständige Summen , die auch Auswirkungen könnte die Psyche des Einzelnen verursacht Angst und Verzweiflung .Aufgrund der (auch der Öffentlichkeit) Musiker Diese Verletzung ist unter ständiger Musik-Sessions , deren Volumen über 65 Dezibel ( db ), die maximale von der Weltgesundheitsorganisationempfohlenen Niveau . Nach Angaben der Agentur , verschlechtert sich das Gehör in der Band zwischen 75 db und 125 db und erreicht einen Zustand der Schmerzen bei Überschreiten der letztere Bereich ist . Um diese Verletzungen zu vermeiden, wird vorgeschlagen, Caps, die das Trommelfell in Orten, wo die Lautstärkepegel überschritten wird, zu schützen.Instrumente wie die Violine oder Viola verursachen oft eine Verschiebung des Unterkiefers , weil ihre Umsetzung erfordert die Unterstützung zwischen der Schulter und der Seite des Kopfes.Außerdem Trompeter leiden oft Muskel-Verletzungen rund um den Mund ( orbicularis) , vor allem , weil bei der Wiedergabe von hohen Tönen , ist der Druck der Lippen viel höher. Auch bekannt als " Satchmo -Syndrom, die sich auf dem berühmten Jazz-Trompeter Louis Armstrong, ist der Zustand sehr schmerzhaft und die Heilung erfordert chirurgischen Eingriff.Injury ZahlenNach dem Buch " technopathies Musiker " , die Gitarre und Bass sind die Instrumente , die mehr Probleme für Musiker (57 Prozent) führen , gefolgt von Schlaginstrumenten ( mit 33 Prozent betroffen) , Tastaturen (30 von jedem 100) und der Wind (27 pro hundert ) .Eine Studie der Association of British Orchestras , zeigt, dass über 15 Prozent der klassischen Musik Interpreten unterbrechen ihre Arbeit einen Monat im Jahr , aufgrund verschiedener Bedingungen, um ihrem Beruf stehen.Eine weitere Umfrage unter den rund 22.000 Mitgliedern der National Association of Music Teachers in den Vereinigten Staaten genommen , heißt es, dass fast 30 Prozent der Befragten litten einige Verletzungen als Folge seiner künstlerischen Arbeit .In Mexiko ist der Mangel an Interesse an dem Thema in dem Mangel an solchen Statistiken wider , auch wenn dies bedeutet nicht, dass die Musiker in allen seinen Formen immun sind , unter anderem, den oben genannten Bedingungen . Eine wenig bekannte Fall , aber nicht weniger lehrreich, ist die berühmte Harfenistin Maria Cardenas , der die Ausführung als Folge von schwerer Arthritis links .Musiker betroffenDie Geschichte der Musik aufgenommen zahlreiche Fälle von Künstlern, die selbst gab seine Karriere nach dem Leiden der Zahn der Erkrankung oder Verletzung , seine oder ihre Tätigkeit . Robert Schumann, einer von ihnen verließ die Interpretation allein auf die Zusammensetzung konzentrieren , durch Lähmung des Ring-und kleinen Finger der rechten Hand durch übermäßige Tests verursacht . Das gleiche passiert mit dem berühmten Komponisten und Pianisten Gary Graffman .In der Rock- Bereich eine " fokale Dystonie " in der linken Hand verursacht den Gitarristen John Šepetys verließ die Hair of the Dog Band Anfang 1999 .Demonaz , Immortal -Gitarrist der Gruppe , verließ die Gruppe im Jahr 1999 von norwegischen Black Metal durch eine " chronische Infektion der Sehne . " Eumel , Gitarrist der deutschen Metalheads Apokalyptischen Reiter Die , erlitt eine ähnliche Verletzung , kehrte aber um zu spielen.Bekannt ist der Fall von Saul Hernandez, Lead-Sänger der mexikanischen Band Caifanes , der von einer schweren Krankheit in der Kehle , die in 17 Fällen beteiligt war, leidet .Ihm zufolge ist es ein Virus namens " Papillom ", die Tumore an den Stimmbändern bildet , aber Kollegen sagen, der Sänger auch Ex- Jaguar- Verletzung ist , weil am Anfang seiner Karriere fehlte eine "gute" Kunst singen .Ein anderer Fall : Héctor Buitrago , der Geist von Los Aterciopelados , in einem Interview mit diesem Medium ergeben, dass Mitte 2001 wurde von Sehnenentzündung im linken Arm betrieben .Hansi Kürsch , Sänger - Bassist von Blind Guardian und Demons & Wizards Sänger wegen der hohen decibelaje verloren während der Konzerte im Jahr 1998 " 50 Prozent der Anhörung " metaleras diese Gruppierungen . Er war unter konsistenten Sauerstofftherapie Infusionen , bevor er im Leerlauf zu Hause für zwei Monate im Krankenhaus.Zu der Zeit , sagte Jason Newsted verließ er die Gruppe Metallica, unter anderem, weil Sie eine "schwere Nackenverletzung " Produkt sowohl Tonhöhe ( Mosh ) haben beim Spielen , was ihn daran ausgedehnten Touren verhindert.Bad Religion , inzwischen verschoben die Tour, die für Europa 2001 geplant wurde , da seine " verrückten " Drummer Bobby Schayer ein Halswirbel wurde verletzt. Der behandelnde Arzt stellte die Möglichkeit , dass er zurückkehren, um mit der berühmten Punk - Hardcore- ( oder andere ) zu spielen.Im Gegenzug, der Gitarrist der deutschen Progressive-Metal- Band Vanden Plas , Strephan Lill , erlitt im April 2000 Karpaltunnelsyndrom . Der Autodidakt überschritten hatte Finger einem seiner Soli bei einem Konzert .Die gleiche Bedingung wurde die erste Gitarre von Pink Cream 69 , Alfred Koffler , die Operation unterzogen Mai 2000 haben muss diagnostiziert.Im August 1999 war Spin Doctors in voller Promotion-Tour für sein Album "Hier kommt die Braut " , als Sänger Chris Barron wurde eine " seltsame" Lähmung der Stimmbänder diagnostiziert. Mehrere Experten analysiert es und einige von ihnen behauptet, dass der Sänger nicht mit voller Stimme zu erholen.

 

                      Occupational diseases of musicians

Posted by Antonio Cruz de BlasThe Philharmonic , like other workers , are exposed to various diseases caused by the improper performance of an instrument. At least 35 percent of musicians suffer from any pathology related to your musical activity, according to the book " technopathies Musicians " ( Aritza Communications . Spain , 1997) , specialist Luis Orozco, who warns that the guitar and bass are instruments that cause more injuries .There are as many or more conditions as musical instruments. Many of them become incurable and become the end of the career of an artist . One of the most common is called tendinitis, which is inflammation of the tendons (commonly biceps ) which were created in fast fingerings or style changes they make, especially guitarists . It's not the same, for example, Eric Clapton play in a faster and intricate slow and simple style, Allan Holdsworth .For Luis Orozco, however, is the result of tendinitis repetitive movements , although inflammation of the tendon is generally attributed to a rheumatic or infectious disease . And he notes that the disorder is often seen in string instrumentalists ( piano , guitar , etc.) and wind players in general ( flutists , etc.) .muscular overloadTendonitis or Tendonitis is often confused with the " muscle overload " , also produced by prolonged repetitive movements . Symptoms range from a simple pain to the immobility of a particular muscle group in the arms and neck and shoulder . Such symptoms writes Dr. Josefina Corbello on the website ciencia.vanguardia.es - emerge to resume work after a period of rest or by changes in technique or repertoire.Muscle overload is common among keyboardists . When one of these performers, for example , changes synthesizer piano, resents it immediately , because the piano keys are heavier , which causes muscle pain. The same applies when changing styles or repertoire , ie , the interpretation of a piece of classical , romantic or baroque period requires not only different techniques but also different muscle groups. When a technique does not fit the physical characteristics of the performer, it can feel pain.Rock , jazz , concert and others affectedThese and other annoyances are far from exclusive to those engaged in the so-called classical or concert music. They are also recurrent among those who practice popular genres . The jazz musicians , for example, are not used to the bendings (pull rope with one finger on the mast) , so when they play rock or blues , where this technique is most often invariably suffer the hassles.More serious is called Carpal Tunnel Syndrome , quite common in string guitarists and instrumentalists . Among the bones of the wrist is precisely what is known as Carpal Tunnel , through which passes the finger flexor tendon .When a guitarist plays his instrument in the wrong position and bend your wrist causes the tendon rubbing against bone, first causing irritation and inflammation until, eventually , a kind of callus tendon occurs, thus decreasing flexibility , skill and speed in hand. Someone who practices guitar for two to three hours a day in a bad position , after two months may have that callus , making surgery inevitable .The correct posture for playing the guitar requires to be sitting up straight , shoulders relaxed , both feet on the floor and head facing forward .Examples of terrible positions to play that instrument , we can mention the ex guitarists Guns'N Roses and Led Zeppelin, Jimmy Page and Slash , respectively, and his counterpart in Aerosmith, Joe Perry, all while maintaining the guitar too low , implying a forced flexion of the wrist. Although presumably they did or do it for a certain time of a song or a concert simply to be photographed . Some players tend to see the arm while playing the guitar , which forced the neck muscles .Previously there was only a bench to sit and play, but now even it there are devices to hold the guitar , which facilitates its implementation. For electric guitar is essential to use baldric ( belt holding the instrument rests on the shoulder and back ) wide and comfortable enough not to press the shoulder muscles .Hearing LossOne consider technopathies Tinnitus is called irreversible or loss of the external ear . The victim does not perceive sounds from the outside , but inside it is a permanent buzz , which could also affect the psyche of the individual causing anguish and despair.This injury is due to the (including the public ) musician is under constant music sessions whose volume exceeds 65 decibels ( db ) , the maximum recommended by the World Health Organization level . According to the agency, the hearing deteriorates in the band between 75 db and 125 db and reaches a state of pain when the latter range is exceeded . To prevent this injury , it is suggested to use caps that protect the eardrums in places where that volume level is exceeded .Instruments such as the violin or viola often cause a displacement of the mandible , because its implementation requires support between the shoulder and the side of the head.Furthermore, trumpeters often suffer muscle injuries around the mouth ( orbicularis ) , especially because when playing high notes , the pressure of the lips is much higher. Also known as " Satchmo syndrome , referring to the famous jazz trumpeter Louis Armstrong , the condition is quite painful and healing requires surgical intervention .Injury figuresAccording to the book " technopathies Musician " , the guitar and bass are the instruments that cause more problems for musicians ( 57 percent) , followed by percussion instruments ( with 33 percent affected ) , keyboards ( 30 of each 100 ) and the wind ( 27 per hundred ) .A study by the Association of British Orchestras , reveals that over 15 percent of classical music performers interrupt their work one month a year , due to various conditions related to their profession.Another poll taken among some 22,000 members of the National Association of Music Teachers in the United States, states that nearly 30 percent of respondents suffered some injury as a result of his artistic work .In Mexico , the lack of interest in the subject is reflected in the lack of such statistics , although this does not mean that musicians in any of its forms are immune , among others, the above conditions. A little known case , but no less instructive , is the famous harpist Maria Cardenas , who left the execution as a result of severe arthritis.musicians affectedThe history of music recorded numerous cases of artists who even abandoned his career after suffering the ravages of disease or injury to his or her activity . Robert Schumann, one of them left the interpretation to concentrate solely on the composition , due to paralysis of the ring and little fingers of the right hand caused by excessive testing. The same happened with the famous composer and pianist Gary Graffman .In the rock field a " focal dystonia " in the left hand caused the guitarist John Sepetys left the Hair of the Dog band in early 1999.Demonaz , Immortal guitarist of the group , left the group in 1999 of Norwegian black metal due to a " chronic infection of the tendon ." Eumel , guitarist of the German metalheads Apokalyptischen Die Reiter , suffered a similar injury , but returned to play .Known is the case of Saul Hernandez , lead singer of Mexican band Caifanes, who suffers from a severe illness in the throat, which has been involved in 17 cases .According to him, it is a virus called " papilloma " , which forms tumors on the vocal cords , but colleagues say the singer also ex Jaguar injury is because at the beginning of his career lacked a "good" art singing .Another case : Héctor Buitrago, the genie of Los Aterciopelados, in an interview with this medium revealed that in mid-2001 was operated from tendinitis in his left arm.Hansi Kürsch , bassist - vocalist of Blind Guardian and Demons & Wizards singer lost in 1998 " 50 percent of hearing " because of the high decibelaje during concerts metaleras these groupings. He was hospitalized under consistent oxygen therapy infusions before going idle at home for two months.At the time, Jason Newsted said he left the group Metallica , among other reasons, because you have a "serious neck injury " product of both pitch ( mosh ) while playing , which prevented him from making extensive tours .Bad Religion , meanwhile , postponed the tour that was scheduled for Europe 2001 , since his " crazy " drummer Bobby Schayer a cervical vertebra was injured . The attending physician noted the possibility that he could return to play with the famous punk- hardcore ( or any other ) .In turn, the guitarist of the German progressive metal band Vanden Plas , Strephan Lill , suffered in April 2000 Carpal Tunnel Syndrome . The self-taught musician had exceeded fingering one of his solos during a concert .The same condition was diagnosed the first guitar of Pink Cream 69 , Alfred Koffler , who must have undergone surgery in May 2000 .In August 1999 , Spin Doctors was in full promotional tour for his album " Here Comes the Bride" , when vocalist Chris Barron was diagnosed a "strange " paralysis of the vocal cords. Several experts analyzed it and some of them claimed that the singer did not recover in full voice .

 

_______________________________________________________

                         

                              Erkrankungen der Musiker                                         Von Dr. Maria Campo , Dr. Marcelino Feal

Bemerkenswert unter diesen Bedingungen von Kunst, so muss die Prävention, Diagnose und Behandlung anzupassen , um ihre Lebensqualität zu verbessern . Der Zusammenhang zwischen der Praxis der Musikinstrumente und Medizin ist ein Thema, das wenig in der medizinischen Literatur Berichterstattung gehabt hat.Die entwickelten Länder wie Großbritannien , USA , Frankreich, Deutschland , Finnland, Italien, Kanada , etc.. , Mit zahlreichen Orchestern und Instrumentalisten , multidisziplinäre Studien wurden durchgeführt, um die Probleme, die diese Kunst-Profis beeinflussen zu erkennen.Es gibt Risikofaktoren während der gesamten Lebensdauer des Künstlers , die um ihre Lebensqualität zu verbessern , wie bekannt sein muss beibehalten : Rennstart in der Kindheit, ständige Weiterbildung , Hypermobilität einiger Gelenke, Erkrankungen diagnostiziert und unbehandelt die nicht diagnostiziert , falsche Anwendung der Technik , Stress, Muskel-Skelett- Probleme , längere Aufenthalte stehen oder sitzen , Nachtarbeit, Übertraining -Syndrom diagnostiziert oder schlecht behandelt , Alkoholismus, Rauchen, übermäßiger Kaffeekonsum , mangelnde Aufsicht ein Lehrer , etc..Die meisten Autoren schlagen vor , dass die Wind Instrumentalisten , insbesondere Trompeter , Kardiomegalie haben , aber wir wissen, dass während der Übung , Stress und Angst , erhöhte Herzfrequenz und erhöht somit die Herzleistung . Und die Angst und Stress begleiten den Musiker -Karriere endgültig .Die Funktion der Atmungsorgane intakt sein muss , um die Eingabe der benötigten Sauerstoff zu gewährleisten, noch für einige Muskeln in den Atemprozess Passanträgefür die Umsetzung der meisten Musikinstrumenten gemacht werden, beteiligt.Die Kontaktdermatitis Musiker in den Nacken , das Kinn zu sehen ist, durch den Kontakt mit diesen Bereichen Violine und Viola , in den Mund , durch das Mundstück von Holzblasinstrumenten oder in der Rückseite des verursachten Hals durch Reibung des Flügels oder Gürtel Trompete , Saxophon, E-Gitarre, und die Finger auf Stahlsaiten .Der Begriff Hand Schlagzeuger stellt sich in unserem Land zum ersten Mal im Jahr 2002 auf die Läsionen auf den Handflächen der Hände, die in der Praxis der Zuhaltung tätig sind und besteht aus Verletzungen aus dem Ring zu beschreiben und Hämatome , Hyperkeratose , etc..In der mündlichen Verhandlung die Anhörung ...Probleme mit dem Hören haben, untersucht in vielen Ländern, darunter Kuba gewesen, und stellt fest, dass die Musiker zu Hörverlust veranlagt . Darüber hinaus wird in die Trompete entdeckt wurde verringert Sichtfeld , erhöhter Augeninnendruck , Glaukom- Veränderungen , ohne die richtige Steuerung kann zum Verlust der Sehkraft führen .Es gibt sogar Berichte über einige Fälle von Ruptur des M. orbicularis des Augenlids .Halten Sie die Violine und Viola mit Kinn in den Jahren des Studiums und der beruflichen Leben gehalten erfordert eine spezielle Funktion der Muskeln des Gesichts, die eine Kieferfunktionsstörungenschafft , obwohl dies nicht nur in den Praktiker von Blasinstrumenten vorhanden und Streicher.Osteomioarticular System Probleme sind häufig unter den Musikern , Lehrern und Schülern , und diese Beschwerden führen in den meisten Fällen zu vorübergehenden Behinderung . Die Beweglichkeit der Gelenke und bestimmte Muskelgruppen , um Schmerzen zu verursachen Instrumentalisten . Zu Beginn sind sporadisch , aber unbehandelt, auch entzündliche Prozesse , Nervenkompression etc. angezeigt.Schlecht behandelt oder nicht diagnostizierten Sehnenentzündung verursachen einen vollständigen und dauerhaften Behinderung.Eine interessante Frage ist das Vorhandensein von Blut im Urin , um Schlagzeuger afro-kubanischen Stil gewidmet , mit Conga und Bata Art Instrumente, die in der letzten Zeit hat sich auch bei denen, die die Batterie Praxis beobachtet. Um die Hämaturie mehrere Faktoren zitiert als arm Flüssigkeitsaufnahme, Übermüdung, falsche Technik und anderen zu erklären .GeneseEine Zeit, die wir auf die Anfrage eines männlichen Patienten 35 Jahre Berufsgeiger bekommen mit mehreren Bedingungen . Wir zeigen Ihnen die entsprechenden medizinischen Untersuchungen und das Ergebnis war völlig negativ . Es gab keine Diagnose , ihre Symptome zu erklären.In der vorhandenen Literatur nicht leicht zu finden, das Thema , und es war dank der Zusammenarbeit von Dr. Alfredo Aldama Medical Sciences Figueroa bekam die ersten Antworten , was passiert ist , um unsere Patienten.So begann die Arbeit , die später eine ernste und tiefe Forschung über die wichtigsten Krankheiten, die durch verschiedene Musikinstrumente , um die Praktizierenden verursacht , die auf den wertvollen Meinungen von Musikern wie Sergio Vitier und Alfredo Muñoz zählen konnte .Das Papier Anschließend reichten wir zu der Überlegung Orovio Lehrerin, die wir sie erweitert, um den Drummer, da einige von ihnen , vor allem afro-kubanische Folklore Bauern haben wir die häufige Anwesenheit von Blut im Urin nachgewiesen vorgeschlagen. Unsere Arbeit wurde auch von Interviews mit führenden Persönlichkeiten der kubanischen Kunst, darunter Instrumentalisten aller Fach , Lehrer , Musikwissenschaftler , Dirigenten , Komponisten , Studenten und Spezialisten , Schulen und Manuel Amadeo Roldán Saumell , Klavier Stühle unterstützt , Violine , Gitarre und Wind. Auch führte eine Sondererhebung mit Schlagzeuger von Conjunto Nacional Folklorico verleihen Konferenz in PERCUBA 2002 Veranstaltung im National Center von Konzertmusik , und wir haben auch die entscheidende Unterstützung der Gesellschaft der Perkussionisten aus Kuba und der Gesellschaft Benny Moré . Im medizinischen Bereich haben wir die Zusammenarbeit der meisten klinischen Spezialitäten , chirurgische und Diagnose von General Calixto Garcia Hospital, einschließlich Kiefer- , Zahnärzte und Kieferorthopäden.Musiker - Krankheit -Beziehung in kürzester Zeit müssen wir schließen , um diese Realitäten , die Praxis der Musikinstrumente bedeutet Krankheit. Nur , dass die Musiker , wie auch andere Berufe gibt es Risikofaktoren, die wichtig zu wissen sind .Als einer Karriere, die in einem frühen Alter , vielen Jahren des Studiums begann, und die meisten Organe und Körpersysteme beteiligt Künstler , mit seinem Talent und Können in der Praxis der jedem Instrument .Dies muss von einem Lehrer beaufsichtigt werden , und wenn Krankheiten vorhanden sind, sollte der Arzt einen Arzt aufzusuchen , denn , so zu tun entstehen würden frühen Behinderungen beeinflussen es noch mehr in der Zukunft.Ärzte müssen geschult werden, da mehrere Pathologien haben nicht die gleiche Behandlung , wenn sie in einem Musiker vorgestellt , die in einem anderen Patienten, wie Sehnenentzündung. Dies ist nicht nur ein Geiger in einem Klempner , Ingenieur oder Hausfrau. Hyperkeratosis durch die Düse oder ein Mundstück einer Trompete an der Innenkante der Unterlippe verursacht werden, sollten nicht mit einem Tumor verwechselt werden , denn wenn der Arzt gibt an , dass dies Ursache dauerhafter Behinderung an den Künstler für die Ausführung des Instruments reseziert werden .LebensqualitätErstens, ist die Kenntnis der Krankheiten, die durch diese Fachkräfte ein wichtiger Faktor. Stress- Begleitmusiker während des Rennens , so dass die Hilfe des Psychologen ist unerlässlich.Bestimmte Lebensgewohnheiten wie Alkoholismus und Rauchen Trübung Prognosen und sind sehr nützlich, Maßnahmen zur venösen für längere Aufenthalte stehen oder sitzen zu beseitigen. Sie werden auch empfohlen, Entspannungsübungen, und andere, die Durchblutung zu aktivieren, vor Beginn der täglichen Training .Die regelmäßige Überprüfung mit einem Augenarzt ist wichtig , und im Fall von Wind Spieler kann vermindert Gesichtsfeld erleben , erhöhter Augeninnendruck , Glaukom- Veränderungen und sogar Blindheit Trompeter . In all dieser Branche Lungenfunktionstests werden empfohlen.Die Verletzungen an den Hals und die Finger und Kontaktdermatitis, sind schwierig zu behandeln , da die Reibung mit dem Instrument kann nicht gelöscht werden . Reinigungsdüsenwird empfohlen, antiseptischen Lösungen und reinigen Sie das Holz auf dem Kinn in Press Fällen Violine und Viola , um Infektionen in der Region zu vermeiden.Um hyperkeratotische Läsionen auf den Handflächen einiger der Conga- Trommler und Batá Trocknung zu verbessern, wird empfohlen, keine Lotionen oder Cremes mit Glycerin zu verwenden, aber die Verwendung von Mandelcreme , Vaseline und Kakaobutter.Die engagierte , um afro-kubanische Perkussion, um zu verhindern, sollte Hämaturie Aufführungen drehen und unter der Aktivität reduzieren die Anzahl der Stunden. Trinken Sie viel Flüssigkeit und Urin nicht zurückzuhalten. Sie sollten nicht selbst behandeln , sondern einen Arzt aufsuchen, bei den ersten Anzeichen .EMPFEHLUNGENFühren multidisziplinäre Studien, die Gesundheitspersonal, Musiker , Musikwissenschaftler , Lehrer und Schüler , die Probleme , die Musiker beeinflussen tiefer zu verstehen und Gestaltung der Gesundheitsprogrammein der Prävention, Diagnose und Behandlung ihrer Krankheiten zum Ziel haben .

 

                                  Diseases of the musicians
                  By Dr. Maria Campo, Dr. Marcelino Feal

Notable among these conditions of art , so must conform prevention, diagnosis and treatment to improve their quality of life. The relationship between the practice of musical instruments and Medicine is a subject that has had little in the medical literature reporting .Developed countries like United Kingdom, United States, France , Germany, Finland, Italy , Canada, etc. . , With numerous orchestras and instrumentalists , multidisciplinary studies have been performed to detect the problems that affect these art professionals.There are risk factors maintained throughout the life of the artist that must be known in order to improve their quality of life , such as : race start in childhood, constant training , hypermobility of some joints, diagnosed diseases and untreated the undiagnosed , incorrect application of the technique , stress, musculoskeletal problems , extended stays standing or sitting , night work, Syndrome Overtraining undiagnosed or poorly treated , alcoholism, smoking, excessive coffee consumption , lack of supervision a teacher, etc. .Most authors suggest that wind instrumentalists , particularly trumpeters , have cardiomegaly, but we know that during exercise , stress and anxiety, increased heart rate , and thus increases cardiac output. And the anxiety and stress accompanying the musician career permanently .The function of the respiratory system must be intact to ensure the entry of needed oxygen , yet , for some muscles involved in the breathing process pass motions to be made for the implementation of most musical instruments.The contact dermatitis musicians can be seen in the neck , chin, by the contact of these areas with violin and viola , in the mouth, caused by the mouthpiece of woodwind instruments or in the back of the neck due to rubbing of the sash or belt trumpet , saxophone , electric guitar , and the fingers on steel strings.The term hand percussionist arises in our country for the first time in 2002 to describe the lesions on the palms of the hands, which are engaged in the practice of the tumbler and consists of injuries from the ring and hematomas , hyperkeratosis, etc. .At the hearing, the hearing ...Problems with hearing have been under investigation in many countries, including Cuba , and states that the musicians are predisposed to hearing loss . Moreover, in the trumpet was detected decreased visual field , increased intraocular pressure, glaucomatous changes, without proper control can lead to vision loss .There are even reports of some cases of rupture of the orbicularis muscle of the eyelid.Keep the violin and viola with chin held during the years of study and professional life requires a special function of the muscles of the face, which creates a temporomandibular dysfunction, although this is not only present in the practitioners of wind instruments and strings.Osteomioarticular system problems are common among musicians , teachers and students , and these ailments lead in most cases to temporary disability. The mobility of certain joints and muscle groups to cause pain instrumentalists . At the beginning are sporadic, but untreated, also appear inflammatory processes, nerve compression , etc. .Poorly treated or undiagnosed tendinitis cause a total and permanent disability .An interesting issue is the presence of blood in the urine dedicated to percussionists Afro-Cuban style , with conga and bata type instruments , which in recent times has also been observed in those who practice the battery. To explain the hematuria several factors cited as poor fluid intake, overwork, improper technique and others.genesisOne time we get to the query a male patient 35 years of professional violinist with several conditions. We show you the appropriate medical examinations and the result of this was entirely negative . There was no diagnosis to explain their symptoms.In the existing literature not easily find the topic , and it was thanks to the collaboration of Dr. Alfredo Aldama Medical Sciences Figueroa got the first responses of what happened to our patient.Thus began the work, which later became a serious and deep research on the major diseases caused by various musical instruments to its practitioners , which could count on the valuable opinions of musicians like Sergio Vitier and Alfredo Muñoz .Subsequently we submitted the paper to the consideration Orovio teacher , who suggested we extended it to the drummers , as some of these , mainly Afro-Cuban folklore growers , we have demonstrated the frequent presence of blood in your urine . Our work has also been supported by interviews with leading figures of Cuban art , including instrumentalists of all specialties , teachers, musicologists , conductors , composers , students and specialists , schools Manuel Saumell and Amadeo Roldán, piano chairs , violin , guitar and wind. Also conducted a special survey with percussionists of Conjunto Folklorico Nacional , impart conference in PERCUBA 2002 event at the National Center of Concert Music , and we have also had the vital support of the Society of Percussionists from Cuba and the Company Benny Moré . In the medical field we have the cooperation of most clinical specialties , surgical and diagnostics of General Calixto Garcia Hospital , including maxillofacial , dentists and orthodontists .Musician - disease relationship in no time we must infer , to these realities , the practice of musical instruments means disease . Only that musicians , like other professions , there are risk factors that are important to know .As a career that began at an early age , many years of study, and most of the organs and body systems involved artist , with his talent and ability in the practice of any instrument .This must be supervised by a teacher, and if diseases are present , the practitioner should see a doctor , because to do so would arise early disabilities affect it even more in the future.Doctors have to be trained , since several pathologies do not have the same treatment when presented in a musician , in another patient , such as tendinitis . This is not just a violinist in a plumber, engineer or homemaker. Hyperkeratosis caused by the nozzle or mouthpiece of a trumpet at the inner edge of the lower lip should not be confused with a tumor, because if the physician indicates that this should be resected cause permanent disability to the artist for the execution of the instrument.Quality of LifeFirst, knowledge of diseases by these professionals is an important factor . Stress accompanying musician throughout the race , so the help of the psychologist is essential.Certain lifestyle habits such as alcoholism and smoking clouding forecasts , and are very useful measures to eliminate venous stasis for extended stays standing or sitting . They are also recommended relaxation exercises, and others that activate circulation, before starting the daily training.The regular checkup with an ophthalmologist is essential , and in the case of wind players may experience decreased visual field , increased intraocular pressure, glaucomatous changes and even blindness trumpeter . In all of this branch pulmonary function tests are recommended.The injuries to the neck and fingers, and contact dermatitis, are difficult to treat because the friction with the instrument can not be deleted. Cleaning nozzles is recommended antiseptic solutions and clean the wood on the chin in pressing cases violin and viola, to avoid infection in the region.To improve hyperkeratotic lesions on the palms of the hands of some of the conga drummers and batá drying is recommended not to use lotions or creams containing glycerin , but the use of almond cream , vaseline and cocoa butter.The dedicated to Afro-Cuban percussion, to prevent hematuria should rotate performances and reduce the number of hours under the activity. Drink plenty of fluids and not withhold urination . They should not self-medicate but see a doctor at the first sign .

RECOMMENDATIONSConduct multidisciplinary studies , which involved health personnel , musicians , musicologists , teachers and students to deeply understand the problems that affect musicians , and shaping health programs aimed at the prevention , diagnosis and treatment of their diseases.

_____________________________________________________

 The unfinished business of the musiciansA University study determined which factors cause stress to students in bands and conservatories and impart recommended relaxation techniques and specific health careSince taking his first instrument in his hands at an early age , musicians undergo " enormous sacrifices and sobreefuerzos " throughout his professional life involving episodes of stress and anxiety and require specialized attention than Spain lacks. A study conducted at the University of Vigo determine what factors cause stress in students from conservatories and bands and recommended for inclusion in the curriculum relaxation techniques , and the creation of multidisciplinary teams as those that already exist in other European countries made ​​up psychologists, physiotherapists, orthopedic surgeons or orthodontists that address the specific problems of musicians." With the help of experts in psychology and physiotherapy designed a series of exercises and practices to overcome mental stress or stage fright" With the help of experts in psychology and physiotherapy designed a series of exercises and practices to overcome mental stress or stage frightThe author, Maria Torres , pianist and professor at the Conservatory of Vigo , maintains that the ailments , diseases and stress of this group should be given the same attention as elite athletes . "Following an accident, I realized that we have a specific rehabilitation but a dislocated shoulder or a minor injury to a finger is a drama for us as a musician can not ever stop playing ," he says .The study , which is his doctoral thesis in the Department of Special Education, under the tutelage of Professor José Luis García Soidán is based on 230 interviews with musicians from 8 years of age and older belonging to the Higher and Professional conservatories Vigo and Redondela and Pontevedra , and bands of San Miguel de Oia and Ateneo de Bembrive .Children and adults interviewed , including teachers , participated in courses and classes relaxation techniques that Torres taught since 2005 , first as part of the subject of piano pedagogy and herself after asking its officers to the regional government , as a subject optional." With the help of experts in psychology and physiotherapy designed a series of exercises and practices to overcome mental stress or stage fright. Interviews were conducted at the beginning of the course to finish and several months later "details.The instrument "is not ergonomic ," recalls Torres, and students spend many hours of study with a high concentration repeating again and again their interpretations , leading to a significant physical wear under stressful situations, injured or affected by the weather. " The humidity of Galicia causes much pain in the arms and hands ," he says .These conditions causing psychological stress factors such as competitiveness or anxiety before the test match in the conservatory and , for example, the join selectivity . "Students have regular auditions you should play alone for 45 minutes or an hour before the teachers or the public, but what strikes you is the presence of their peers. It is a very competitive environment and set themselves very high standards " , Maria Torres stands .The members of schools and bands also face moments of tension, but with different intensity : "The degree of involvement is less , play covered by the other members and can be found if lost in a given time. Many children also belong to conservatory bands and wear it with more relaxation. "Therefore, Torres recommends relaxation techniques are part of education at an early stage and that everyone- teachers, musicians, students or members of bands - also implemented.In his thesis also refers to the need for medicine as a specific branch of art and not just as a subject. In Spain there are already examples like Chiron Valencia hospital or clinic Granollers multidiscipinares specific equipment."We are musicians from the first day we put the foot in the conservatory and are very complicated studies involving great physical , mental , rote ... effort from an early age . We can we retire, but only because it is administratively a vocational profession . In Spain the world of music is downright neglected and ideally that he enjoyed greater social status , "he concludes

----------------------------------------------------------------------------------

  Die Angst des Cellos vor dem Einsat

Pablo Casals, einer der größten Musiker aller Zeiten, litt lebenslang unter quälendem Lampenfieber.

Für den einen gleichen Konzerte Alpträumen, ein anderer übersteht sie kaum ohne Drogen: Selbst große Virtuosen haben mit Lampenfieber zu kämpfen. Und "jedes Instrument hat andere Ängste".

Von Michael Stallknecht

"Manche meiner bevorstehenden öffentlichen Konzerte bedrücken mich wie ein Alptraum", hat der Cellist Pablo Casals gesagt. Die Pianistin Martha Argerich tritt schon lange nicht mehr ohne Musizierpartner auf. Der Tenor Neil Shicoff hatte Phasen, in denen die Intendanten ihn quasi auf die Bühne schubsen mussten. Nur der an der Grenze zum Popstar lavierende Geiger Nigel Kennedy bekannte, das Problem anders zu lösen. "I need pot to do my job", sagt er dem Daily Telegraph: Ohne Gras geht gar nichts.
Es berührt seltsam, wenn Menschen mit so viel Talent Angst vor seiner Ausübung haben. Wir wollen Musiker bewundern und nicht bemitleiden. Das Lampenfieber gilt deshalb als so possierliche, randständige Erscheinung, wie das Wort - "Lampen" nannte man früher die Lichterreihe vorn an der Theaterrampe - im Deutschen klingt.
"Nur unterschwellig und in Einzelgesprächen", sagt Jörg Brückner, sei Lampenfieber ein Thema. "Der hat Nerven wie Stahlseile", das sei in Musikerkreisen das größte Kompliment. Brückner ist Solohornist der Münchner Philharmoniker und damit ein natürlicher Experte für Lampenfieber. Beginnen die Lippen zu zittern, setzt sofort das für jeden hörbare "Kieksen" ein. Der Beginn von Anton Bruckners vierter Symphonie zum Beispiel gilt als Offenbarungseid: "Wenn das durch ist", sagt Brückner, "atmet das ganze Orchester auf."
Herzrasen, Schwitzen, Kreislaufprobleme, Magenverstimmungen und Konzentrationsprobleme sind einige der klassischen Symptome, die der plötzliche Adrenalinausstoß verursacht. Zweihundert Pulsschläge pro Minute maßen Mediziner mal bei einem Hornisten der Wiener Symphoniker während eines Solos. Vor allem tritt Lampenfieber dort auf, wo es der Betroffene am wenigsten brauchen kann. Streicher kennen den bildhaft benannten Zitterbogen, Bläser leiden häufig unter Mundtrockenheit, und die Solisten, von denen erwartet wird, öffentlich auswendig zu spielen, kennen die Angst vorm plötzlichen Gedächtnisverlust. "Jedes Instrument hat andere Ängste", sagt Brückner.

Psychologisch betrachtet, ist Lampenfieber nichts als die Angst vor einer negativen Beurteilung, die sich schlecht auf das Selbstwertgefühl niederschlagen könnte. 95 % Prozent der Musiker müssen laut Schätzungen damit leben. In vielen Fällen helfen Tricks aus der recht umfangreichen Ratgeberliteratur, und vor allem: Üben, üben, üben! Oder, so Jörg Brückner: "Erst lässt die Leistung nach und dann kommt die Angst." Denn Lampenfieber trifft die technischen Abläufe, kaum einer kann in der Drucksituation hundert Prozent bieten. Zugleich haben Studien belegt, was Musiker schon immer behaupten: leichtes Lampenfieber hebt die Qualität. Es steigert die Aufmerksamkeit und damit die Intensität, potenziell also die Expressivität.

Schwierig wird es, wenn die Angst ins Pathologische wächst. Vor etwa einem Jahr kam eine Pionieruntersuchung aus Australien zum Ergebnis, dass in den acht wichtigsten Orchestern des Landes ein Drittel der Musiker unter echter sozialer Phobie litten, sprich, krankhafte Ängste vor öffentlicher Blamage zeigten. Ebenfalls bei einem Drittel wurden klinische Depressionen diagnostiziert, während ein Viertel sogar in die Kategorie "posttraumatische Belastungsstörung" fiel. Musikermediziner trennen daher zwischen Lampenfieber und Auftrittsangst, obwohl es sich nur um einen graduellen, oft fließenden Übergang handelt. Das "possierliche" Lampenfieber kann bis zur Todesangst reichen. So etwas führt zu Muskelverspannungen, mit denen nichts mehr geht. Betroffen sind oft ältere Musiker in der Sorge, mit den jungen nicht mehr mithalten zu können. An Auftrittsangst gewöhnt man sich nicht. 1994 hat das DSM, das maßgebliche psychologische Klassifikationssystem der American Psychiatric Association, die "music performance anxiety" offiziell als Krankheitsbild aufgenommen.
"Angst vor der Angst" diagnostiziert Déirdre Mahkorn häufig. Die Psychiaterin hat 2010 am Universitätsklinikum Bonn die erste deutsche Lampenfieberambulanz ins Leben gerufen. "Es gibt viele Musiker, die über Jahre und Monate krankgeschrieben sind", sagt sie. Die Angst vor dem Auftritt wird so groß, dass man ihr zuerst mit allen möglichen Tricks, schließlich mit Krankmeldungen ausweicht. Wie bei allen Ängsten, so Mahkorn, stellten sich auch bei Auftrittsangst Depressionen oft als Begleiterscheinung ein. Bei manchen bringt das Vermeidungsverhalten somatische Beschwerden hervor.

"Man stellt sich als Mensch infrage"

Dass in Orchestern zumindest nach dem Dienst schon immer ein, zwei Bier getrunken wurde, ist kein Geheimnis. Selten redet man über den verbreiteten Missbrauch von Betablockern. Das Medikament, eigentlich ein Bluthochdrucksenker, unterdrückt die körperlichen Folgen der Adrenalinausschüttung und damit die Lampenfiebersymptome. Manche bekennen sich dazu, dass sie es wenigstens vor schwierigen Soli nehmen und empfehlen es sogar den Studenten. Auch die Mediziner sind gespalten, manche halten die Einnahme von Betablockern zumindest für eine Übergangslösung. Doch, so Déirdre Mahkorn, "der Patient lernt dann, sich auf die Tablette zu verlassen und nicht auf die eigene Kompetenz." Mit ihren Patienten veranstaltet sie lieber kleine Konzerte, um sie Schritt für Schritt in die Aufführungssituation zurückzuführen. Seit jüngstem erprobt sie gruppentherapeutische Ansätze, die wegen der Scham der Betroffenen bislang als problematisch galten.
Dass gerade Musiker soziale Phobien entwickeln, ist kein Zufall. Beurteilungsängste haben vor allem die, die sich persönlich stark vom Beruf abhängig machen. Hinzu kommt Biografisches wie Eltern oder Lehrer, die schon in der Kindheit Druck aufbauen. "Das Verwechseln von Erfolg mit Erfüllung ist eine der Hauptquellen des Lampenfiebers", schreibt die Psychologin und Organistin Irmtraud Tarr im Ratgeber "Lampenfieber - Stark sein unter Stress". Doch das nicht zu tun, ist für Musiker sehr schwierig, denn sich mit dem Instrument völlig zu identifizieren, ist fast Berufsvoraussetzung. In der Regel erleben sie bereits als Kinder, für ihre musikalischen Fähigkeiten gelobt zu werden. "Man stellt sich als Mensch infrage", sagt Solohornist Brückner. Ein Fehler gehe immer auch an die Substanz. Er habe erst lernen müssen, sich von Lob wie Tadel gleichermaßen unabhängig zu machen. Nur wer sein Selbstwertgefühl nicht übersteigere, könne es auch nicht verlieren.
Eine "positivere Fehlerkultur" fordert daher für die Musikausbildung der Psychotherapeut Helmut Möller. Er hat an der Berliner Musikhochschule "Hanns Eisler" und der Berliner Universität der Künste, das Kurt-Singer-Institut für Musikergesundheit begründet, das schon bei Studenten Bewusstsein für die psychischen wie physischen Herausforderungen wecken möchte. Die meisten Professoren, kritisiert Möller, interessierten sich nur für die möglichst fehlerfreie Beherrschung des Instruments. Da das Ausbildungsverhältnis in der Regel sehr eng ist, verinnerlichen viele junge Musiker ihre Lehrer als überwachende Instanz.

Lampenfieber bei Virtuosen "Eigentlich sind wir Spitzensportler"

Jazzer und Popmusiker sollen laut Psychologen seltener unter Lampenfieber leiden. Das ist zweifelhaft, denn etwa bei Charlie Parker und anderen Größen spielten Drogen in diesem Zusammenhang eine sehr starke Rolle. Die Klassik hat es mit einem Kanon von Stücken zu tun, deren technische Bewältigung erwartet wird. Sogar der Stilkodex, beim Musizieren den Körper möglichst stillzuhalten, erhöht den Stressfaktor. Deutlich entspannender wäre es, weiß die Psychologie, sich mit der Musik zu bewegen. Also: Die Klassik ist ein schrecklicher Beruf für Perfektionisten, weil dort eben Perfektion erwartet wird.
Dass die Psychologie in den letzten zwei Jahrzehnten an Bedeutung gewonnen hat und stärker ins Bewusstsein rückt, ist keineswegs modischer Hypersensibilität geschuldet, sondern hat handfeste Gründe, zugleich ist das technische Niveau kontinuierlich gestiegen. Aufnahmen erhöhen den Druck gewaltig. Peter Tschaikowskys Violinkonzert oder Jacques Iberts Flötenkonzert, die zur Entstehungszeit als unaufführbar galten, zählen heute zum Standardrepertoire bei Erstsemestern. Entsprechend sieht das Vergleichsniveau für Berufseinsteiger aus. Oft sind es bei den Probespielen für die großen Orchester hundert Bewerber und mehr für eine freie Stelle. Viele machen da erste Erfahrungen mit Betablockern. Für manche bleibt sie der Einstieg in eine lebenslange "Angstkarriere".
"Eigentlich sind wir Spitzensportler, aber man behandelt uns nicht so", sagt Jörg Brückner. Beim FC Bayern stehe eine Riege von Physiotherapeuten und Psychologen bereit, die sich um die Spieler kümmerten. Bei Spitzenorchestern wie den Münchner Philharmonikern gebe es nicht mal einen. Kein Sportler gilt heute als Weichei, wenn er über "mentale Probleme" spricht. Nur der Musikbetrieb scheint noch nicht verstanden zu haben, dass sich das Musikmachen wie zuvor der Sport professionalisiert und damit zum Hochleistungssektor entwickelt hat.

"Die Angst ist auch ein Lebensbegleiter"

Wie in Sportteams bleiben Musiker selbst im Orchester ein Stück weit Konkurrenten, und die Probleme eines Einzelnen wirken negativ auf das Ganze. Die meisten Musiker wissen inzwischen aus eigener Erfahrung, dass Schlaf oder Ernährung eine wichtige Rolle für die Lampenfieberfrequenz spielen, von Übezeiten ganz abgesehen. "Aber wenn ein Kollege die Leistung nicht bringt", sagt Brückner, "wird er schnell allein gelassen." Es fehle an einer Kultur des Nachfragens. In jedem vernünftigen Unternehmen, kritisiert er, spreche der Chef mit einem Mitarbeiter, dessen Leistung plötzlich einbreche. Nur in Orchestern blieben die Musiker damit unter sich. Ob jemand "Nerven wie Drahtseile" hat, gilt noch immer als Teil der angeborenen Begabung und wird entsprechend mystifiziert.
Dabei geht es auch den Musikerpsychologen nicht darum, den Berufsstand zu pathologisieren. "Nicht jeder, der aufgeregt ist, hat ein Krankheitsbild", sagt Déirdre Mahkorn. Auch der Berliner Helmut Möller betont, dass ein Drittel aller Orchestermusiker hervorragend mit sich selbst klarkomme und ein weiteres Drittel das Lampenfieber in den Griff kriege. "Die Angst ist auch ein Lebensbegleiter", sagt Möller. Eben deshalb ist er überzeugt, dass es Musikern helfen könnte, mehr über die Mechanismen von Ängsten zu wissen.
"Wenn bei Künstlern von Angstgefühlen die Rede ist", schrieb der verstorbene Bariton Hermann Prey in seiner Autobiografie, "denkt man an Lampenfieber. Ich kriege manchmal eiskalte Hände, so kalt, dass ich das Gefühl habe, sie seien wie abgestorben. Dann denke ich im Stillen: Muss ein gutes Konzert gewesen sein. Denn die kalten Hände sind das körperliche Merkmal der Spannung, derer ich bedarf, um über mich selbst hinauszuwachsen."

 

The fear of the cello before for the action

Pablo Casals , 1930Pablo Casals, one of the greatest musicians of all time , suffered a lifetime under excruciating stage fright.For a same concerts nightmares , another she is hardly without drugs : Even great virtuosos who are struggling with stage fright. And " each instrument has its own fears ."By Michael hostler" Some of my upcoming public concerts oppress me like a nightmare," has the cellist Pablo Casals said. The pianist Martha Argerich has long been in not more without Musizierpartner . The tenor Shicoff had phases in which the directors had to virtually push him onto the stage . Only the , maneuvering on the border of pop star violinist Nigel Kennedy known to solve the problem differently . " I need pot to do my job ," he tells the Daily Telegraph : Without grass goes nothing.It touches strange when people with so much talent are afraid of its exercise . We want to admire a musician and not pity . Therefore, the stage fright is considered so droll , marginal phenomenon, as the word - " lamps " used to be called the number on the front of the theater lights ramp - sounds in German." Only subliminally and personal conversations, " says Jörg Brückner, stage fright is an issue . "He has nerves of steel ," which was in music circles, the biggest compliment . Brückner is principal horn of the Munich Philharmonic and therefore a natural expert in fright. Begin to shake the lips , immediately sets the audible for each " Kieksen " one . The beginning of Anton Bruckner 's fourth symphony , for example, is considered bankruptcy : " If the by ," says Brückner, "breathes on the whole orchestra . "Palpitations , sweating , blood circulation problems, stomach upsets and concentration problems are some of the classic symptoms that caused the sudden rush of adrenaline . Two hundred beats per minute or less physician time at a bugler of the Vienna Symphony Orchestra during a solo. Especially fright occurs where it can least need the person concerned . Streicher know the pictorially designated jitter sheet , brass often suffer from dry mouth, and the soloists are expected to play in public by heart , know the fear of sudden memory loss. "Every instrument has its own fears," says Bruckner .Psychologically , anxiety is nothing but the fear of negative evaluation , which could be reflected poorly on the self-esteem . 95 % percent of the musicians have to live with it , according to estimates . In many cases, Tricks help from the rather extensive self-help literature , and above all: Practice, practice , practice! Or , as Jörg Brückner : "Only the power can be claimed and then comes the fear. " Because fright meets the technical processes , hardly can offer hundred percent in the pressure situation . At the same time studies have shown that musicians always say : light fright lifts the quality. It increases alertness and thus the intensity , so potentially the expressivity.It becomes difficult when the fear grows into the Pathological . About a year ago a pioneering study from Australia came to the conclusion that a third of the musician suffered in the eight major orchestras of the country under real social phobia , ie , showed pathological fear of public embarrassment . Also in third clinical depression were diagnosed during a quarter even " post-traumatic stress disorder " fell into the category. Therefore musicians physicians distinguish between stage fright and performance anxiety , although it is only a gradual , often smooth transition . The " comical " stage fright may extend to a fear of death. Something leads to muscle tension, which is no more. Affected are often older musicians in the concern , no longer able to keep up with the young . On performance anxiety is not accustomed. In 1994, the DSM , the relevant psychological classification system of the American Psychiatric Association, "music performance anxiety" officially recorded as disease ." Fear of fear " Déirdre Mahkorn often diagnosed . The psychiatrist in 2010 created the first German fright ambulance to life at the University of Bonn . "There are many musicians who are on sick leave per year and month ," she says . The fear of the appearance is so large that one first, eventually evades her with all sorts of tricks with sick leave . As with all fears, so Mahkorn , depression lined up even with performance anxiety often as a side effect . In some avoidance behavior produces somatic complaints ." One imagines a human in question "That in orchestras at least after the service has always been one, two beer was drunk , is no secret. Rarely talks about the widespread abuse of beta-blockers . The drug is actually a high blood pressure medicine , suppresses the physical effects of adrenaline and thus the stage fright symptoms. Some profess to the fact that they take it at least still difficult solos and even recommend it to the students. Even the doctors are split, some consider taking beta-blockers for at least a temporary solution . But so Déirdre Mahkorn , " the patient then learns to rely on the tablet and not on their own expertise." With their patients they held dear small concerts to return it step by step in the performance situation . More recently they tried group therapy approaches that previously were considered problematic due to the shame of those affected.That just musicians develop social phobias, is no coincidence. Assessment fears have especially those who make themselves personally strongly dependent on the profession . In addition Biographical such as parents or teachers who build up pressure in childhood . " The confusion of success with fulfillment is one of the main sources of fright ," the psychologist and organist IRMTRAUD Tarr writes in the guide " stage fright - be under stress Stark " . But not to do that is very difficult for musicians , because to identify with the instrument completely , is almost professional requirement. In general, they are already experiencing as children to be praised for their musical skills. " One imagines a human question ," says principal horn Brückner . An error always go also to the substance. He did have to learn to become equally regardless of praise as criticism . Only someone who does not Increase their self-esteem , it can not lose .A " positive error culture " therefore calls for the psychotherapist Helmut Möller for music education. He has been at the Berlin Academy of Music "Hanns Eisler" and the Berlin University of the Arts , founded the Kurt- Singer-Institute for Musicians' Health , which wants to raise awareness for the psychological and physical challenges with students. Most professors criticized Möller, were only interested in the error-free command of the instrument . Since the training relationship is very tight in general , internalize many young musicians their teachers as monitoring instance.Fright at virtuosos "Actually, we are top athletes 'Jazz musicians and pop musicians are loud psychologists rarely suffer from stage fright. This is doubtful , because about with Charlie Parker and other variables played drugs in this context, a very strong role . The classical music has to do with a canon of pieces whose technical coping is expected. Even the style of conduct , still keep the body as possible while making music , increases stress factor. Clearly it would be relaxing , white psychology to move with the music. So : Classical music is a terrible profession for perfectionists because there just perfection is expected.That psychology has won the last two decades, important advances and greater awareness , fashion hypersensitivity is not owed, but has solid reasons at the same time the technical level has steadily increased . Recordings increase the pressure enormous. Peter Tchaikovsky's Violin Concerto and Jacques Ibert's Flute Concerto , applicable at the time of origin as unplayable , now among the standard repertoire with new students . Similarly, in respect of the comparison level for young professionals . Often there are hundreds of applicants and more for a vacancy at the auditions for the large orchestra. Many do there first experience with beta-blockers. For some it is the introduction to a lifelong "fear career.""Actually, we are athletes , but you do not treat us like that," says Jörg Brückner . At Bayern, a team of physical therapists and psychologists stand ready , who took care of the players. When orchestras such as the Munich Philharmonic do not even give a . No athlete is now considered a wimp when he talks about "mental problems " . Only the music industry seems to have not yet understood that making music is as before professionalized the sport and thus developed for the high performance sector ."The fear is a life companion "How to stay in sports teams musician in the orchestra itself to some extent competitors , and the problems of an individual have a negative effect on the whole. Most musicians know now, from my own experience that sleep or diet play an important role for the fright frequency of Übezeiten quite apart . "But when a colleague does not deliver the performance," says Brückner, "he will quickly let alone. " There is a lack of a culture of inquiry . In any reasonable company, he criticized the boss speak with an employee whose performance einbreche suddenly . Only in orchestras , the musicians remained so among themselves. Whether someone is " nerves of steel " has , is still considered part of the innate talent and is mystified accordingly.It is also the musician psychologists not to pathologize the profession . " Not everyone who is excited , has a disease ," says Déirdre Mahkorn . The Berlin Helmut Möller emphasized that a third of all outstanding orchestral musicians can cope with himself and another third get stage fright under control. "The fear is also a companion for life ," says Möller. That is why he is convinced that it could help musicians to know more about the mechanisms of fear ."If at artists of anxiety is mentioned ," wrote the late baritone Hermann Prey in his autobiography , " you think of stage fright. I get sometimes ice-cold hands , so cold that I have the feeling that they were numb . Then I think must have been a good concert because the cold hands are the physical feature of the voltage , which I need in order to grow beyond myself " : in silence. .

 

Bevor die Karriere vergeigt ist

Viele Musiker leiden unter Lampenfieber und Versagensängsten - dem soll nun schon im Studium begegnet werden.

Von Tobias Asmuth

Alles lief gut: Früh erhielt Georg Schuller (Name geändert) Engagements in renommierten Orchestern, er trat in den bekanntesten Konzerthäusern der Welt auf, reiste für Tourneen durch Amerika, schloss gut dotierte Plattenverträge ab.

Auch das gehört zum Beruf: Musikwettbewerbe. Violinistinnen bei "Jugend musiziert".

Dann kam der Abend im Leipziger Gewandhaus. Auf dem Programm stand ein Konzert von Brahms. Bei einem langen Streichersolo steigerte sich Schullers übliche Nervosität zur Panik: Das Herz fing an zu rasen, Adrenalin schoss durch den Körper, der Arm versteifte sich. Der Geiger hatte plötzlich das Gefühl, eine Säge in der Hand zu halten.
Das große Tabu
Seit jenem Konzert quälte den Virtuosen die Angst, vor Publikum zu versagen. "Ich habe über acht Jahre einen Kampf gegen einen Alptraum geführt - und ihn verloren", sagt Schuller. Die so erfolgreich begonnene Laufbahn war zu Ende - und Schuller ein psychisches Wrack. Die Angst-Symptome reichten vom Ohrensausen über den Tunneleffekt bis zu Bewusstseinsstörungen und liefen wie ein Programm ab.

Viele Musiker kennen solche Auftrittsängste, eine wachsende Verzweiflung und das Gefühl der Erniedrigung. "Fast die Hälfte aller Orchestermusiker in Deutschland fürchtet sich vor dem Auftritt", schätzt Helmut Möller, Arzt und Leiter des kürzlich gegründeten Kurt-Singer-Instituts für Musikergesundheit in Berlin, das von der Hochschule für Musik "Hanns Eisler" und der Universität der Künste getragen wird. Bei etwa jedem Zehnten der gut 10.000 deutschen Orchestermusiker wachsen sich die Ängste sogar zur Bedrohung für die Karriere aus.
Doch in der elitären Musik-Welt wird über das folgenschwere Phänomen der Mantel des Schweigens gelegt. "Auftrittsängste sind das große Tabu in den Konzertsälen", weiß Möller. Seine Sprechstunden sind auf Monate ausgebucht - von lauter sensiblen Spitzenkönnern, die nicht mehr weiter wissen.
Entseelte Rivalitätskultur
Die meisten, die Möllers Rat suchen, haben bereits eine peinigende Odyssee bei Internisten und Orthopäden hinter sich. Der andauernde psychische Ausnahmezustand führt zu somatischen Beschwerden. Doch in der Regel sprechen die Pianisten mit "Musikerkrämpfen", bei denen die Finger am Klavier streiken, oder die Geiger mit Gelenkentzündungen erst bei Möller von ihren Ängsten. Musiker stünden unter einem Leistungsdruck wie Spitzensportler, betont Möller: "Sie sind Perfektionisten, und ein falscher Ton ist eben nicht mehr zu korrigieren."
Neben der uralten Lüge vom Geniekult, vor dem Musiker einknicken, erzeugt der Konkurrenzdruck Versagensängste. "Auf eine Stelle im Orchester bewerben sich oft bis zu 1000 Musiker", berichtet Gerhard Mantel, Professor an der Frankfurter Musikhochschule.
Mit existentiellen Sorgen auf den Schultern aber klingt keine Romanze gefühlvoll und kein Scherzo molto vivace.
Der Cellist Mantel plädiert in seinem neuen Buch schon im Titel für den "Mut zum Lampenfieber". Darunter hätten auch berühmte Musiker wie Pablo Casals, Arthur Rubinstein, Glenn Gould oder Dietrich Fischer-Dieskau gelitten. Der Künstler müsse mit Gelassenheit gegen seine Blockaden anspielen, sonst wachse sich die Angst zur Panik aus.
Auf der Suche nach der Leichtigkeit probieren Musiker vieles aus: Tai Chi in der Garderobe und Beta-Blocker vor dem Auftritt. Doch vom Medikamenten-Doping, unter dem die musikalische Potenz leidet, darf kein Kollege etwas wissen. In der Ego-Welt der Tonkünstler verzeiht der Pultnachbar keine Schwächen. Wer nicht funktioniert, der gefährdet das Finale. Der Psychoanalytiker Horst-Eberhard Richter spricht von einer "entseelten Rivalitätskultur". Sein Urteil: Im exklusiven Musikbetrieb regiert eine "Kultur der Unbarmherzigkeit".
"Musik ist Kopf, Herz und Hand"
Alledem soll künftig früher und intensiv begegnet werden, fordern Fachleute. Es sei an der Zeit für ein radikales Umdenken in der Ausbildung junger Musiker, sagt Gerald Mertens, Geschäftsführer der Deutschen Orchestervereinigung, die 9000 Orchestermusiker vertritt. Nicht mehr nur Tasten-Anschlag und Bogentechnik sollen auf den Lehrplänen stehen, sondern auch Entspannungsmethoden wie etwa die Feldenkraistechnik und Mentales Training.
"Die dogmatische Überbetonung der immer gleichen Bewegungsabläufe am Instrument reicht nicht aus, um Musiker auf die Klippen in ihrer Karriere vorzubereiten", findet auch der Arzt und Geiger Horst Hildebrandt von der Musikhochschule Winterthur/Zürich: "Die empfindlichen Einzelkämpfer müssen auf die Konfrontation mit dem weihevoll schweigenden Publikum vorbereitet werden, bevor die Karriere vergeigt ist."
"Musik ist Kopf, Herz und Hand", erklärt Mertens und wünscht sich auch an anderen Musikhochschulen und Akademien Einrichtungen für die Musiker-Gesundheit: "Die Prävention von Aufführungsängsten muss rasch ihren Platz finden." Vorbild könnte hier das Kurt-Singer-Institut sein, an dem sich neben Psychologen auch Entspannungslehrer um die Musik-Studenten kümmern.
Verseuchter Boden
Der Kampf gegen Lampenfieber und Versagensängste könnte freilich schon an einem scheitern - für zusätzliche Professorenstellen und Mitarbeiter ist kein Geld da. In Berlin arbeiten Helmut Möller und die Lehrbeauftragten auf Honorarbasis, an den meisten anderen Musikhochschulen ist die personelle Ausstattung schon jetzt angespannt. Die Hochschätzung der klassischen Musikkultur beim deutschen Bildungsbürgertum spiegelt sich nicht in den kargen Übungszimmern der Akademien wieder.
Pionier Möller sieht derweil ein zweites Hindernis: das Guru-Gehabe vieler Professoren. "Große Solisten halten sich für Götter." Allein der Meister wisse, was für den Schüler das Beste sei. Diese romantische Vorstellung produziere zwar technische Spitzenkönner, aber eben auch viele mit psychischen und körperlichen Defekten beladene Musiker. Im schlimmsten Fall: Abbrecher und soziale Härtefälle.
Georg Schuller packt mittlerweile seine Geige auch zu Hause nicht mehr aus: "Musik ist für mich verseuchter Boden."

 

Before the career is messed up

Many musicians suffer from stage fright and fear of failure - which is now to be met before the study.By Tobias AsmuthEverything went well : Early received Georg Schuller (name changed) engagements in prestigious orchestras , he has performed in the most famous concert halls in the world, traveled for tours of America, joined well-paid board contracts .violinistsAlso the part of the job : music competitions . Violinists " Young Musicians " at .Then the evening came at the Leipzig Gewandhaus . The program included a concert of Brahms. For a long solo strings to Schuller's usual nervousness increased to panic : The heart began to race , adrenaline shot through the body , the arm stiffened. The violinist suddenly had the feeling of holding a saw in his hand. 

The great taboo

Since that concert virtuosos tormented the fear of failure in front of audiences . " I have led a fight against a nightmare for eight years - and lost it ," says Schuller. The career so successfully begun was over - a mental wreck and Schuller. The Anxiety symptoms ranged from ringing in the ears via the tunnel effect to loss of consciousness and ran off like a program.Many musicians know such appearance fears, a growing despair and sense of humiliation. " Nearly half of all orchestral musicians in Germany is afraid of the appearance ," estimates Helmut Möller, physician and director of the recently founded Kurt -Singer - Institute for Musicians' Health in Berlin, which of the Academy of Music "Hanns Eisler" and the University of the Arts is supported . At about one in ten of some 10,000 German orchestral musicians the fears even a threat to the career grow from .However, in the elitist world of music is laid over the momentous phenomenon of the cloak of silence . " Performance fears are the big taboo in concert halls ," says Möller. His office hours are booked up for months - from loud sensitive Spitzenkönnern who do not know how to go .

Soulless rivalry Culture

Most who seek to Holler Council already have a torturous odyssey for internists and orthopedists behind. The ongoing psychological state of emergency leads to somatic complaints. But generally speaking , the pianist with " musicians cramp " in which the fingers on the piano strike , or the violinist with joints only at Möller of their fears. Musicians were under pressure to perform as a top athlete , says Möller: "They are perfectionists , and a wrong note is just not correct . "In addition to the age-old lie from the cult of genius , buckle in front of the musicians , the competitive pressure generated fear of failure. "In a place in the orchestra often apply up to 1000 musicians ," says Gerhard Mantel , professor at the Musikhochschule in Frankfurt .With existential concerns on the shoulders but sounds no romance sentimental and Scherzo molto vivace no .The cellist coat advocates in his new book in the title for the "courage to stage fright ." Among these famous musicians such as Pablo Casals, Arthur Rubinstein, Glenn Gould or Dietrich Fischer- Dieskau had suffered . The artist must allude with composure against its blockades, otherwise the fear to panic grow out .Looking for the ease musicians try much of Tai Chi in the wardrobe and beta- blockers before the show . But the drug doping afflicting the musical potency , no colleague should know something. In the ego - world of a musician in the desk neighbor does not forgive weakness. Who does not work , which endangers the final. The psychoanalyst Horst- Eberhard Richter speaks of a " soulless rivalry culture." His verdict : The exclusive music industry ruled a "culture of cruelty " ."Music is the head, heart and hand"All this is to be met in the future earlier and intense, demanding professionals. It was time for a radical rethink in the training of young musicians , says Gerald Mertens, Director of the German Orchestra Association , which represents 9,000 orchestral musicians . No longer just key stop and bow technique should be on the curriculum , but also relaxation methods such as the Feldenkrais technique and mental training ." The dogmatic over-emphasis on always the same movements on the instrument is not sufficient to prepare musicians of the cliffs in their career ," says the physician and violinist Horst Hildebrandt of the Musikhochschule Winterthur / Zurich : " The delicate lone fighter must on the confrontation with the solemnly silent audience to be prepared before the career is messed up . ""Music is the head, heart and hand ," says Mertens and also desires to other music colleges and academies facilities for the musicians - health " . Prevention of performance anxiety must quickly find their place " Model could be the Kurt- Singer-Institute , in which not only psychologists and relaxation teachers care about the music students here .contaminated soilThe fight against stage fright and fear of failure could certainly bound to fail at one - for additional professors and staff there is no money . In Berlin, Helmut Möller work and the lecturers on a fee basis , at most other music colleges staffing is already tense. The appreciation of classical music culture in the German educated middle class is not reflected in the barren exercise rooms of the academies again .Pioneer Möller , meanwhile, sees a second obstacle : the guru posturing of many professors . " Great soloists think they are gods. " But the Master knew what was best for the students. While this romantic notion produce outstanding technical skill , but also many laden with mental and physical defects musicians. In the worst case : drop-outs and social hardship cases.George Schuller grabs now his violin at home no longer , "Music is contaminated soil for me."

                                 -----------------------------------------------------

Lo studio: la musica classica
fa «invecchiare» meno il cervello

Dom, 15/03/2015 - 12:42

 112  3  0  1  116

Apri

Per approfondire: 

musica classica

cervello

La musica classica fa "danzare" alcuni dei geni più importanti per la salute del cervello, accendendo quelli legati a memoria e benessere e spegnendo quelli associati alle malattie neurodegenerative come il Parkinson. Lo dimostra uno studio finlandese dell'università di Helsinki, che per primo svela i meccanismi molecolari alla base delle modificazioni fisiologiche che l'ascolto della musica induce nel cervello. La ricerca è stata condotta su una cinquantina di persone, tra esperti appassionati di classica e novizi del genere: a ciascuno è stato chiesto di ascoltare un concerto per violino di Mozart della durata di 20 minuti.
Al termine dell'ascolto, è stato prelevato un campione di sangue per analizzare le proteine prodotte dall'espressione del Dna. I risultati dimostrano che la musica aumenta l'attività dei geni coinvolti nell'apprendimento, nella memoria e nella produzione dell'ormone del piacere, la dopamina. Uno dei geni più attivi, quello della proteina alfa-sinucleina (Snca), è noto per essere legato al Parkinson ed è particolarmente espresso in una regione del cervello dove si ritiene sia localizzata l'attitudine per la musica. Sempre lo stesso gene Snca è noto per il suo ruolo cruciale nell'apprendimento delle melodie negli uccelli.
"L'aumento dell'attività di molti geni coinvolti nel canto e nell'apprendimento delle melodie dimostra che dietro alla percezione dei suoni negli uccelli e negli umani c'è un percorso evolutivo condiviso ", spiega la coordinatrice dello studio Irma Jarvela. Lo studio dimostra anche che l'ascolto delle note di Mozart induce una riduzione dell'attività di geni associati alle malattie neurodegenerative: questo spiegherebbe il ruolo neuroprotettivo della musica, capace di mantenere il cervello in salute come un vero elisir di giovinezza. Tutti questi effetti, però, sono stati riscontrati solo negli esperti di musica classica: secondo i ricercatori, questo dimostrerebbe l'importanza di esercitare il proprio orecchio acquisendo una maggiore familiarità con le note.

- See more at: http://www.ladige.it/popular/lifestyle/2015/03/15/studio-musica-classica-fa-invecchiare-meno-cervello#sthash.coQvznBZ.lDnUz7Zx.dpuf