A Symposium for Pianists and Teachers: Strategies to Develop the Mind and Body for Optimal Performance.

by Gail Berenson et al.; edited by Kris Kropff. Heritage Music Press (Lorenz Corp., Box 802, Dayton, OH 45401-0802), 2002. 275 pp. $45.

This is a must-have for readers wanting a comprehensive but basic book about healthy piano playing. It is divided into five sections titled "The Mechanical," "The Technical," "The Musical," "The Healthful" and "The Pedagogical." There are a total of twenty-six individually written articles by eight different pianists and two medical professionals. The text is designed as a "how-to" book, with articles by an impressive array of celebrated authorities in the burgeoning music wellness field.

"The Mechanical" section serves as background material. Here, one finds information about how sound is produced, controlled, sustained, terminated and pedaled. For readers interested in a historical overview of pedagogues beginning with Deppe and Breithaupt to the present, but do not have the time to read all the out-of-print books, the chapter titled "The History, Evolution and Application of Biomechanics and Physiology of Piano Playing" is one to read. Included in this discussion are the parallels to sports training techniques, such as cross and interval training and the use of today's technology. The playing unit--the finger, hand and forearm and how to move efficiently also are examined.

In the technical section (section two), Seymour Fink discusses the principles of fingering or what he calls "hand vocabulary." A chapter on developing a technique for advanced repertoire, by William DeVan, follows. Basic hand position, closed or open position, the quiet hand, stabilizing the bass and integration of the parts are reviewed. DeVan addresses the ability to listen intensely coupled with a keen kinesthetic sense that allows recall of many sensations.

Section three, "The Musical," includes two chapters on overall musicianship by Robert Mayerovitch and "Musicality" by Fink. Fink discusses a tough subject, musicality, but successfully tackles it from a technical point of view.

Section four, "The Healthful," is divided into two parts--"Mind and Body." Part one, Mind, has four articles. "Spirit, Ego and Music," by Dylan Savage, explains how a pianist seeks fulfillment through a personal "journey" rather than other influences. Methods for "finding peace" are discussed. The next two articles, "An Introduction to Cognitive Strategies and Skills for Practice and Performance" and "Coping with Performance Anxiety: Inner Game of Music Strategies," by Phyllis Alpert Lehrer, examine the mental challenges of performing and techniques for coping with performance anxiety. "Strategies for Handling Performance Anxiety," by Gail Berenson, discusses ways to help students cope with performance anxiety. The importance of regular exercise for lowering heart rate and reducing stress are examined; progressive relaxation, cognitive thinking, visualization and imagery techniques also are reviewed. A section titled "Positive Thought: Guided Imagery for the Day of a Performance" provides tips for preparing students.

Part Two, "The Body," has four articles. "Benefits of Fitness," by Berenson, reviews how musicians benefit from aerobic exercise, strength training and proper nutrition. "Pushing the Physiological Envelope," by Jacqueline Csurgai-Schmitt, examines stretching exercises that improve one's physical coordination, thus improving movements at the piano. "Overuse, Pain, Rest, and the Pianist," by Dr. Norman Rosen, explains types, causes and treatments of injury and pain. An exercise regime geared toward prevention and a table of common medical problems affecting pianists are included. "Muscle Pain and Pianists: The Myofascial Pain Syndromes and Fibromyalgia," by Rosen, gives information about the symptoms and diagnosis surrounding pain. "Neurological Insight and Treatment of Practice and Performance-related Pain," by Dr. Mitchell Elkiss, explains occasional acute pain, chronic pain and their relationship to biomechanical dysfunction among pianists. Myofascial syndrome, how pain develops and re-education are examined in this article.

Section five, "The Pedagogical," contains eight articles. "The Role of the Teacher if an Injury Should Occur," by Berenson, gives a list of factors involved with injury. Inherited genetic makeup, cumulative excessive tension, poor practice habits, improper technique, inappropriate repertoire, unhealthy lifestyle and practicing oil a poor instrument are considered. Practical suggestions for how teachers should handle injured students are given. In "Keeping It Simple: Fundamentals of a Healthful Piano Technique," by Barbara Lister-Sink, how to develop, or redevelop, a healthy piano technique is explained in a step-by-step manner. Included in this discussion are basic definitions associated with healthy technique and challenges teachers Face when helping with this process. "Healthy Practicing," by Berenson, reviews the necessary ingredients for productive and healthy practice sessions. Tips for teachers when selecting repertoire and guiding a student's practice are included. "Orienting to the Keyboard: Middle D," by Fink, discusses how to develop a comfortable relationship with the piano. Proper placement at the instrument, keyboard knowledge and contrary motion practice and hand vocabulary are encouraged. "Video Camera Application for Enhancing Piano Practice and Performance," by Savage, provides a detailed explanation of ways videotaping can enhance teaching. "An Introduction to Learning Styles," by Lehrer, gives an overview of the personality types and related learning theories as they pertain to the pianist and piano teacher. "The Importance of Lesson Environment," by Berenson, reminds us of the important role teachers play in encouraging students. "A Child's First Lessons," by Csurgai-Schmitt, serves as a concluding chapter to the book, applying ideas presented earlier to the training of a child.

This unique collection of articles about healthy piano playing is encyclopedic: the articles can easily he read separately. In tone and level of discourse, it's a "how-to" book. Some topics discussed here cannot be found anywhere else.

Linda Cockey, Salisbury, Maryland.