Annotated bibliography on musician wellness.

INTRODUCTION

Included for each annotation is a brief description of the content of the resource and the intended audience it is addressed to. Publishing information is included. Most books can be bought directly from the publisher, through amazon.com or can be obtained at a university library or inter-library loan service. Books go quickly out of print these days.

Selections are chosen that are specifically useful to musicians, even if it does not specifically address the musician. Materials are screened to include only items that are relevant to specific musicians with regard to wellness issues. Topics include prevention of medical problems, meditation, performance anxiety, performance preparation, healthy practicing techniques, learning theories and, physiological and psychological issues related to overall musicianship.

UPDATE

* Horvath, Janet (2009 edition, Spiral Bound) Playing (less) Hurt An Injury Prevention Guide for Musicians. Self Published, [e-mail] ISBN: 978-0-9713735-5-6. Includes DVD.

This text is updated in several ways: new sections titled "10 Risk Factors for Orchestral Musicians," "Moves for Extended Sitting," "Frozen Shoulder--a personal story," "Thumb surgical interventions--Val Needham's story," "Focal Dystonia, the latest research--Falk, Fleisher and Houstoun Card Miffs story;" "Guidelines for parents, the teacher-student dynamic, lips, fingers, teeth, asthma, instrument size, joint laxity, larynx, jaws and TMJ," "Jazz Pianist's Problems," and "Several New Photos." An additional chapter on hearing is included with suggestions for amplified "pops" concerts and protection for jazz and rock musicians. Another new chapter is about instrument modifications and examines splints, slings, supports, chin rests, straps, harnesses and orthotics. New products for bassoon, saxophone, guitar, flute, piano and violin are also added. A section titled "Janet's Favorite Stretches" is added to the chapter on practicing and the last part has a new and updated resource list.

[ILLUSTRATION OMITTED]

Audience: all musicians

MOST RECENT BOOKS

* Alba, Lois. (2005) Vocal Rescue: Rediscover the Beauty, Power, and Freedom in Your Singing. William Andrew Publishing.

www.williamandrew.com. 209 pp. ISBN: 0-8155-1506-5

The purpose of this book is not only to tell the secrets of beautiful singing, but to explain them in a seven-step system that provides a clear and healthy approach to singing. The book is divided into five parts, and what makes it particularly unique is the publication of some rare and original vocalizes in the third part.

Part One--"The Secrets to Beautiful Singing" examines Alba's seven steps: breathing, resonance, registers, vowels and timbre, legato, agility, recitatives and cadenzas. Part Two--"Vocal Freedom" is about discovering and training your voice, listening to other singers, applying these vocal principles to popular music and how to release your creativity. This section ends with a correlation of the Seven Principles of the Arts of Leonardo da Vinci to Singing.

Part Three--"A Collection of Rare and Original Vocalises" contains vocalizes by Alba, Rosa Ponselle, Giovanni Battista Rubini, Luigi Lablache, Enrico Delle Sedie, Marietta Brambilla, Adelina Patti, Lilli Lehmann and Clara Kathleen Rogers "Clara Doria."

[ILLUSTRATION OMITTED]

Part Four--"Vocal Types, Singing Roles, and Learning From the Best" reviews the differences between female and male voices. The following type of female voices are examined: the coloratura soprano, the lyric and lirico spinto sopranos, the dramatic and Wagnerian sopranos, the mezzo soprano--lyric and dramatic and the contralto. The following types of male voices are examined: the leggerio tenor, the comprimario tenor, the lyric tenor, the spinto tenor, the baritones--lyric and Verdi and the basso-cantante and bass.

Part five--"The Professional Singer" contains three sections: preparing for a role, voice rescue (stage fright and vocal health) and a career in singing. Suggested Readings titled "The Singer's Library" is included at the end. Two accompanying DVDs of both video and audio aria performances are also included of different singers.

Audience: voice

* Anderson, Shelia E. (2005) How to Grow As a Musician: What All Musicians Must Know to Succeed. Allsworth Press; [phone]; www.allworth.com. 193 pp. ISBN: 1-58115-416-X

Anderson is a jazz musician who hosts programs for radio and television. The book is divided into six parts. Part One--"On Development as an Artist" has five chapters: "Getting Started," "Learning One's Craft," "Formal Education Versus Learning on the Bandstand," "Is There Such a Thing as too Much Practice?" and "Survival 101 : from sideman to leader."

Part Two--"On Composing and Recording" has three chapters: "When and How to Record," "The Art of Writing a Song" and "The Empty-Vessel Theory."

Part Three--"On Personal Growth" contains four chapters: "Overcoming Success and Failure," "Ego Check," "Self-Assessment" and "What Are You Sure You Don't Know)"

Part Four--"On Putting on a Performance" has four chapters: "Preparation for a Performance," The Dos and Don'ts of Performing" and "Learning from Elders."

Part Five--"On the Business" contains four chapters: "Contracts: Watch Your Money," "How to Promote and Present Yourself," "The Importance of a Manager and Getting a Job and Keeping It."

[ILLUSTRATION OMITTED]

Part Six--"Self-Evaluation: Do You Have What it Takes?" is a 30-question survey that asks readers to evaluate how ready they are to hit center stage in a healthy manner. Bibliography not included.

Audience: all musicians

* Bickel, Jan E. (2008) Vocal Technique: A physiological Approach for Voice Class and Studio. Plural Publishing Inc.; [e-mail]; www.plural publishing.com. 178 pp. ISBN: 13: 978-1-597561907

This text contains nine chapters about the pedagogical aspects of singing and what is entailed. The approach is clearly physiological and technical. Whether one wishes to prepare for a professional career in singing or simply study voice for personal fulfillment, there is something in this book for all singers.

[ILLUSTRATION OMITTED]

The text begins with a questionnaire of 21 basic background questions. Chapter one, "Some Answers to Questions Before We Begin to Learn How to Sing," describes the basics of vocal technique, how long it might take to become a singer, singing flat, wrong notes, voice cracks, the fear of making mistakes and how to prepare to avoid them. How one gains confidence and how to know what to practice is also covered in this chapter. Basic suggestions such as standing at the piano to vocalize, learning poems and learning the rhythmic pattern and pitches separately at first, before putting it all together are discussed.

Chapter two, "Anatomy of the Singer's Instrument: Design and Function," reviews the spine, the rib cage or thorax, the intercostal muscles, the diaphragm and respiratory muscles; shoulders, neck, head and nasal cavities; the larynx or voice box; the mouth and pharynx cavity, and the tongue, jaw, lips and teeth.

Chapter three, "Establishing Correct Posture for Singing," suggests warm-up exercises and describes the correct posture for singing. Exercises for developing proper singing posture are given at the end of the chapter with a list of seven items your vocal practice session should include.

Chapter four, "Breath Management for Singers," carefully examines three incomplete methods of breathing: clavicular breathing, coastal or rib breathing and diaphragmatic or abdominal breathing. The purpose of breathing, where to breathe in an exercise or song, exercises for developing breath control are also examined in this chapter.

Chapter five, "The Physiology of Vocal Tone Production" is about starting and stopping a tone, proper coordination when developing tone, coordination of attack and release; establishing certain pitches and producing them as well as changing them. This chapter ends with a discussion about registration, resonance, voice classifications, changes in volume, timbre and tone color. A voice classification chart for each vocal category with ranges and examples of characters from opera that best exemplify that particular voice range is included.

Chapter six, "Articulation for Singers (The International Alphabet)," not only examines articulation and the international alphabet but gives explicit and clear alphabet charts. Vowels in different languages and special vowels such as nasal, diphthongs and triphthongs, glides, consonants, legato singing are also reviewed.

Chapter seven, "Developing Beautiful Tone Quality, Resonance, and Freedom" is about such things as how to properly resonant a tone, how to use natural secondary vibrators that act as resonators (like the special acoustics of a room) to one's full advantage. How articulation affects resonance and voice placement and can it be done is also discussed.

Chapter eight, "Health Concerns for Singers," reviews vocal resources such as The Journal of Voice, The Journal of Singing and a few other useful vocal texts. Environmental factors such as hydration, induced salivation, pollution, nutrition, vitamins, sleep and rest requirements, and how to achieve health maintenance and physical conditioning are also examined. Allergies, the common cold, premenstrual syndrome, menopause, pregnancy and vocal misuse and abuse among singers are also reviewed. A table of common medications, "The Singers Medicine Chest," is included where the medication, effects and notes are given.

Chapter nine, "Beyond Vocal Technique--Becoming an Artistic Performer" is about the need to study additional vocal technique. Here, the author examines interpretation and singing, rehearsing with the accompanist, the "nuts and bolts" of a performance (including the dos and don'ts of concert attire), performance space, stage deportment, relating to the audience, as well as do and don't lists to read for state preparation.

This book is a good pedagogical read for all vocalists. However, the basic intention of the author is for this manual to be for first-year undergraduate music students. Selected bibliography is included at the end of each chapter. A list of important terms to define and understand is also at the end of the chapters. Chapters two through nine contain a section titled "Each Practice Session Should Now Include" and clear diagrams permeate the book. Bibliography included is at the end of the text. Text ends with three appendices: Appendix I: Musical Terminology for the Voice Student; Appendix II: Music Reading Skills for Beginning Singers/Musicians and Appendix III: Vocal Performance Evaluation.

Audience: voice

* Malde, Melissa, Mary Jean Allen and Kurt-Alexander Zeller. (2009) What Every Singer Needs to Know About the Body. Plural Publishing Inc.; [e-mail]; www.plural publishing.com. 218 pp. ISBN: 13:978-1-59756-3246

The basic purpose of this manual is to explain body mapping for vocalists and guide both students and teachers in the process. This text is team written by three singers who are well trained in performance and pedagogy, as well as all being certified Andover Educators. The book also contains appendices by well known experts in the field of musician wellness, Barbara Conable and T. Richard Nichols.

It is divided into seven chapters. Chapter one, "Body Mapping, Kinesthesia, and Inclusive Awareness (Allen)," examines the origin of body mapping, explains mapping basics, and kinesthetic and inclusive (self-perception) awareness. Chapter two, "The Core of the Body and the Six Places of Balance (Allen)," reviews how this knowledge will help with singing.

Skeletal mapping, the six places of balance (A-O point, arm structure, thorax in relationship to lumbar spine, hip joints, knew joints and ankle joints), and mis-mapping is summarized.

Chapter three, "The Singer's Breath (MaNe)," examines the singer within the big picture. The nature of air, body framework of breathing, the muscle used in breathing, the lungs, neck and vocal tract, as well as the gathering and lengthening of the spine while breathing is discussed. The chapter ends with a section titled "Frequently Asked Questions," where common breathing errors and breathing imagery are reviewed.

Chapter four, "Creating a Singing Sound (Malde)," gives an overview of what physiologically happens while singing. The complete larynx and its function are carefully examined via detailed discussion and diagrams. Strident sounds and intonation are reviewed.

Chapter five, "Resonating the Voice (Malde)," summarizes the vocal tract, balancing the head, the pharynx, soft palate or velum, the jaw or mandible, the lips, cheeks, tongue, and developing good resonance in the voice.

Chapter six, "Singing as Communication: Mapping the Structures of Articulation (Zeller)," examines mapping articulators: the tongue, jaw, velum or soft plate as articulators as opposed to resonators as was done in chapter five. Hard Palate, teeth and alveolar ridge, the lips, vocal folds, and the art of articulation are explained. Other areas in vocal communication are briefly mentioned.

[ILLUSTRATION OMITTED]

Chapter seven, "Physical Expression for Singers (Zeller)," is about the use of the body map as a tool for characterization and as an essential attribute of singing. The difference between emotions and kinesthesia, positive versus negative movements and spontaneity are reviewed. Concentration versus attention and use of the score while performing is also looked at.

All the chapters have clear layouts, diagrams, a list of "Frequently Asked Questions" and a conclusion section. List of references included at the end of chapters. Two appendices are included." Appendix A: "What to Do about Performance Anxiety" by Barbara Conable and "The Scientific Basis of Body Mapping by 77. Richard Nichols." Audience: voice

* Paton, John Glenn. (2006) Foundations in Singing: A Guidebook to Vocal Technique and Song Interpretation, 8th edition. McGraw Hill Publishers; www.mhhe.com. 303 pp. ISBN: 0-07-321275-X

The additions to this new edition include an update in a chapter about your vocal instrument, 12 new songs, some major African-American folk songs and a Mexican song, as well as an accompanying website at www.mhhe.com/paton8

The textbook itself is a combination of text and song anthology. It addresses the needs of beginners, language and pedagogy that includes healthy singing.

There are 12 chapters. Chapter one, "Freedom to Sing," examines physical freedom, stretching exercises and discomfort. Chapter two, "Breath and the Body," reviews singing posture, body and head alignment, breathing and breath support. Chapter three, "Free Tone," looks at vocal acoustics, tones, vocal folds, resonance and how we vocalize. Chapter four, "Changing Resonances in Your Voice," is about blending registers, the speaking pitch level, voice types and vibrato. Chapter five, "Preparing a Song," discusses learning techniques, breathing and words. Chapter six, "Understanding Your Vocal Instrument," carefully examines vocal health, including vocal overuse, damaged voices, defenses against colds and hearing. Chapter seven, "Vowels and Vocal Color," examines the vowels and vocal color. Chapter eight, "Consonants and Clarity," discusses hums, consonants, variable sound and contains speaking exercises. Chapter nine, "Double and Triple Vowels," is about diphthongs. Chapter ten, "Performing a Song," examines different musical styles, poise, confidence and overcoming stage fright. Performance preparation, being onstage, mishaps and performing while ill are also reviewed. Chapter eleven, "Extending Your Voice," looks at ways to develop vocal strength, improve breath control, agility and range. Chapter twelve, "A Vocabulary for Music" explains the musical ear. Each chapter contains a short list of additional reading. There are two appendices: Notes on the Songs and the International Phonetic Alphabet. A poster keyboard and staff as well as 2 CDs of accompaniments are also included.

[ILLUSTRATION OMITTED]

Audience: vocalists

* Quilter, Deborah. (2008) The Repetitive Strain Injury Recovery Book. iUniverse; www.iuniverse.com. 240 pp. ISBN: 978-0-5955-2228-6

This manual is about repetitive strain injury (RSI) and includes information about carpal tunnel syndrome, tendinitis, tenosynovitis, and muscle pain and is written by a certified yoga teacher and Feldenkrais practitioner.

There are a total of 13 chapters in this book that are about the different aspects of Repetitive Strain Injury, injuries, healing and prevention. RSI and musicians are discussed throughout the manual.

Chapter one, "RSI 101: An Orientation," gives a complete explanation of the basics of RSI, its magnitude and the typical RSI scenario. Chapter two, "Getting Mobilized: The Action Plan," is about what to do, what to avoid, how to prioritize the problems and the six warnings about the recovery process--pain versus no pain and so on. Chapter three, "Injury and Healing," gives a complete view of the elements of injury and healing. This section examines cumulative trauma, the interconnection of bodily systems, sedentary behavior, poor posture, proper positioning, improper movements and techniques, stress and so forth. On the healing side, this chapter discusses many aspects to being on this road including proper movement, rest, circulation, breathing, sleep, diet and pacing oneself.

[ILLUSTRATION OMITTED]

Chapter four, "The Emotional Aspects of RSI," views other issues that come into place when one faces a repetitive strain injury. Anger, depression, fear, anxiety, guilt, shame, grief and the steps toward emotional healing are looked at. Chapter five, "Medical Treatments," gives an overview of the current treatments available and includes focusing on exercise, a proper exam for diagnosing repetitive strain injury, drug therapies that are currently available, what to consider about surgery, physical and occupational therapies along with rehabilitation and what to do about relapses.

Chapter six, "Complementary and Self-Care Treatments," gives descriptions of acupuncture, acupressure, hypnosis, self-hypnosis, biofeedback, the Alexander Technique, massage, myofascial release, relaxation techniques and how to select an alternative treatment that is best for you and your injury.

Chapter seven, "The Healing Power of Exercise and Good Posture," is about the body and its relationship to regular exercise and good posture. How to begin an exercise program that works for you is discussed. Walking, hiking, swimming and pool aerobics, yoga and physical activities to avoid are explained in this chapter.

Chapter eight, "Protecting Your Hands during Daily Activities," is about repetitive movements that can aggravate the hands. Basic hand functions such as eating, sleeping, bathing, cooking, reading and the like are reviewed with taking a look at how to save one's hands.

Chapter nine is titled "RSI and Your Sex Life." Chapter ten, "Beyond Ergonomics: Solving Common Work-Related Problems," examines returning to work after rehabilitation and highly recommends frequent breaks as well as pain/risk free type equipment in the work place. Your legal rights in the work place are also explained.

Chapter eleven, "Proper Technique at Work," reviews proper computer technique, handwriting techniques, voice activated software and advice for musicians.

Chapter twelve, "Creating your New Career," looks at alternative careers to consider for those who suffer from a repetitive strain injury and discusses job-hunting strategies, as well as how to successfully plan for an alternative occupation.

Chapter thirteen, "Hesitations about the Information Superhighway" examines the "technological treadmill," an overworked society, the social consequences of technology an, ways of preventing RSI in the midst of such a way of living.

This manual ends with an epilogue about ways to live with RSI after an injury occurs. The manual ends with a glossary of terms and a section titled "further reading."

Audience: all musicians

* Radionoff, Sharon L. (2008) The Vocal Instrument. Plural Publishing Inc.; [e-mail]; www.plural publishing.com. 219 pp. ISBN. 978-1-59756-163-1

The purpose of this book is to help vocalists understand their instrument and to learn how to take care of it. The author provides practical information on basic anatomy and physiology; identifies factors that can contribute to vocal injury and includes guidelines and solutions to minimize risks and optimize a healthy voice. There are two parts to the book: "The Vocal Instrument" and "Common Problems."

Part I contains three chapters: "What is My Instrument and How is it Put together?" examines the instrument frame and the body/mind/spirit connection. Chapter two, "How Do I "Play" it?" is about vocal technique, different styles and characterization, learning new music and learning methods and efficient practice. Chapter three, "How Do I Take Care of It," provides information about arts medicine centers and how to care for the general body and voice.

[ILLUSTRATION OMITTED]

Part II contains four chapters: "Private Studio Teachers/Students" is all about the studio setup and giving a voice lesson. Chapter five, titled "Music Educators," discusses classroom teaching, teaching scenarios for elementary, middle and high school teaching, choral and instrumental conducting beginning with middle school though college level, and different teaching methodologies. Chapter six, "Choral Conductors/Participators" reviews different choral scenarios from religious settings, professional choirs to community outreach programs. Chapter seven, "Performers," examines various performance genres from classical music (opera, Operetta, stage and concert settings) to commercial types of music such as music theater type performance settings. Each chapter ends with a conclusion, references and suggested readings list. The book's layout is neat and clear with colored pictures and diagrams.

Audience: voice

* Rush, Mark. (2006) Playing the Violin: An Illustrated Guide. Routledge: Taylor and Francis Group. www.routledge-ny.com or www.taylorandfrancis.com 100 pp. ISBN. 0-415-97886-6

Rush's intention for this book is to explain the physiological setup for playing and performing on the violin that allows the reader to grasp what healthy violin playing is all about. The author presents it in a systematic way so that each chapter builds upon the last. There are a total of eight chapters.

Chapter one, "The Elements of Good Posture," is about the basic shape of the spine, the standing and the sitting positions and the arms. Chapter two, "Holding the Violin," examines the basic guidelines for holding the violin in six easy steps with clear diagrams and explanations. The chapter ends with a discussion on the pros and cons of using a shoulder pad and the use of a chinrest.

[ILLUSTRATION OMITTED]

Chapter three, "The Left Hand and Arm," is about establishing the three points of contact: the neck of the instrument will contact the base joint of the index finger; the neck will contact the thumb right on top of the first joint and, as the fingers are brought to the string, the completed position is established. Use of the thumb, the wrist, placing the fingers on the string, the left hand and arm when changing strings, the elbow motion and thumb when shifting into the higher positions, the angle of the fingers through the positions and the weak pinky are also reviewed.

Chapter four, "Holding the Bow," examines the Franco-Belgian bow grip and shows how to establish the basic bow grip with a pencil. Finger spacing on the bow, the index placement, pronation, the thumb counterpressure, clinging fingers, finger flexibility, the little finger, feeling balance and weight and, rolling the bow between the thumb and middle finger are discussed.

Chapter five, "Putting Right and Left Together," examines the difficulties string players have with putting the right and left hands together while doing radically different tasks. Home position, the string plane, drawing a full bow, finding the true tip of the bow, the lateral placement of the violin, the alignment of the bow and the contact point, posture in relationship to the bow and tension and release are all explained.

Chapter six, "More on Bowing," reviews earlier discussions on the bow grip and the integration of the bow arm and the violin position, and then takes a closer look at the finer points of bow techniques. Push and pull, the bow change, using the wrist to change strings, tone production (including contact point, weight and bow speed), cutting the string, weight versus pressure, attack and release, increasing the degree of the attack and developing the attack are all examined.

Chapter seven is about vibrato. The wrist versus arm, the thumb hinge, the basic vibrato movement and variations of the speed of it are taught. Vibrating with the pinky is also mentioned.

Chapter eight, "On Practicing," gives good practice room tips. Selected bibliography is included.

Audience: violinists

* Smith, John. (2005) Structural Bodywork: An Introduction for Students and Practitioners. Elsevier Churchill Livingstone; www.elsevierhealth.com. 232 pp. ISBN: 0-443-10010-1

This manual is written by a practitioner who has expertise in Rolfing Structural Integration, the Feldenkrais Method and other somatic modalities. The purpose of Structural Bodywork is to provide an introduction to the field of structural bodywork. It focuses on issues of posture and structure and the functional limitations that arise from them. The author builds on the theories of Ida Rolf (Rolfing) and Feldenkrais and reviews them in the broader context of massage therapy and other complementary therapies based on a wide variety of bodywork techniques.

[ILLUSTRATION OMITTED]

There are three main parts to the text and a total of 20 chapters. Part one looks at the background of structural bodywork, how it has developed and how it is understood today. Part two, "Our Somatic Organization," looks at the theory of structural bodywork in more depth and relates it to human anatomy and clinical presentations. It draws together various strands of theory and practice that have not been considered together before but that are all related to structural bodywork practice. Human maps, the techniques of structural bodywork, structure and function, the connective tissue network, oscillatory properties of the fascial network and the muscular system are reviewed.

Part three, titled "Practical Manual," is a major part of the book and provides a practical guide to structural bodywork techniques. Some common postural dysfunction and useful models for working with structure are reviewed; assessment, technique and strategy in structural bodywork and a first approximation to balancing structure is examined. Working in the sagittal, frontal and transverse plans is looked at. Working with the shoulder girdles and with the external rotation of the leg is also discussed. The manual ends with an appendix on a list of membership organizations that provide Structural and functional bodywork training. The text is filled with clear diagrams.

Audience: All musicians

* Sollier, Pierre. (2005) Listening for Wellness: An Introduction to the Tomatis Method. The Mozart Center Press; www.tomatis.com. 397pp. ISBN: 0-9763639-0-9.

The text is about the findings of the late French ear, nose and throat specialist, Dr. Alfred Tomatis, a pioneer in the field of sound and music therapy. Tomatis argued that poor listening is often the foundation for many educational or psychological problems. Although Tomatis's studies have been successfully applied to several learning disabilities, his method has helped improve the singing voice, boost creativity and maximize learning, and is a good read for musicians interested in sound therapy to acquire better listening skills.

[ILLUSTRATION OMITTED]

The text is divided into six parts. Part One, "The Sound of Wellness," serves as the introduction to the book where the author discusses how he became involved in Tomatis's method and why he wrote this text. Part Two, "A Little Course about our Ears," explains hearing and listening, the role of our ears, the evolution of the ear, how we hear, including the external, middle and inner ear; the air and bone conduction, skin and hearing, the eardrum, the vagus nerve and sense of wellbeing, selectivity and the ear, the auditory radar and the relationship between the ear, the brain and the nervous system as well as the vestibule-vision link. The last section is about the ear and the voice and how they are connected. Lateralization, the leading ear, shifting sides, the dominant ear and the overall body image in relationship to the ear and our language are examined. A summary of this part is included at the end.

Part Three, "The Listening Ear," reviews autism, dyslexia, listening, attention deficit disorder, the gift of languages and Tomatis's concept of an ethnic ear in mastering languages. Part Four, "The Listening Test," is about the ideal listening test and how to administer it, the meaning of the air and bone conduction curses, the three auditory zones, selectivity, specialization, lateralization, personality and the listening test, listening to the body, symbolic ears and the dialogue between the ears.

Part Five, "The Psychological Ear," is about the listening process from birth to adulthood and how we can realize our full potential by developing our listening skills to their fullest. Part Six, "The Spiritual Ear," is about the study of the ear, its development and part in the process of humanization--including the body, mind and spirit. The art of listening, letting go, listening posture and developing a listening ear via the Tomatis method are reviewed. In the author's conclusion he explains the difference between hearing and listening. Hearing is a "passive activity" while listening requires attention along with commitment. Bibliography included at the end with three appendices on Tomatis's research and others. Much of the list of resources has to do with the Tomatis method, his research as well as others who have researched his work.

Audience: all musicians

* Wan, Ho ran Agnes. (2008) Physical and Mental Issues in Piano Performance: The Interrelationships between Physical Tension, Performance Anxiety, and Memorization Strategies.

VDM Verlag Dr. Muller Aktiengesellschaft & Co. KG; [e-mail]. 93 pp. ISBN: 978-3-639-03402-8

The purpose of this manual is to provide background information for an advanced pianist on injury prevention, the memory process and the nature of performance anxiety and to show how these issues are interrelated.

There are eight chapters. Chapter one, "Introduction," defines physical tension, physical injury, performance anxiety and memory strategies; it explains the purpose of this book and gives a list of definitions to the technical terms used throughout the text.

[ILLUSTRATION OMITTED]

Chapter two, "Physical Tension Related to Piano Playing," reviews the general phenomenon of how devastating physical injuries are for a performing pianist and explains the various causes of physical tension and injuries. Chapter three, "Anxiety in Piano Performance," is about the various reasons why we have performance anxiety while playing the piano. Mental stress and exhaustion are examined, as well as the fight or flight reaction to performing and how it interferes with mental clarity. Chapter four, "Memory Mechanism," reviews the physical mechanism of memory and the various types of memory as related to music learning. Aural, visual and kinesthetic memory is discussed.

Chapter five, " Interrelationships between Physical tension, Performance Anxiety, and Memory," are examined. This is the heart of the book. How they influence one another and why they are related is also discussed. How all three phenomena involve physical mechanisms, how memory is a mental activity and how physical tension affects the body and certain chemicals in the brain are looked at in a comprehensive way. The role of good posture and its affect on this is also explored.

Chapter six, "General Solutions to Physical Tension and Performance Anxiety in Piano Performance," and how they can impact the quality of a performance is investigated. Current medical and behavioral treatments, cognitive therapies, alternative training and strengthening of one's overall physical health, musical preparation, hand size as well as other factors are looked at as possible solutions.

Chapter seven, "Memorization Strategies for Piano Performance," examines successful memory strategies employed by pianists and other musicians who are successful performers.

Chapter eight, the Conclusion, is a summary of the manual. The author gives a convincing and well researched account of performance anxiety and its relationship to physical tension and performing by memory for all advanced pianists. Bibliography included There are two appendices: Appendix A: "Definitions of Medical and Psychological Terms and Appendix B "Common Physical Injuries for Pianists."

Audience: pianists

DVD

* Muldaur, Maria (2005) Developing Your Vocal and Performing Sty/e. Homespun Tapes; www.homespuntapes.com. 90 minutes.

Muldaur is a pop/jazz/blues singer who reveals her secrets on vocal warm-ups and exercises, how to relax, what to eat before a show, how to develop your personal vocal style, relating to an audience, stage presence, confidence and sound checks. A second CD is included titled: Maria Muldaur's Vocal Workout.

Audience: Vocalists

WEBSITES

Anxiety Treatment Center, Ltd.

www.anxietycoach.com/social1.htm

This is the website of Anxiety Treatment Center, Ltd. which maintains several clinics in the Chicago area. The web material is written by the Center's Director David A. Carbonell, who holds a doctorate in clinical psychology from DePaul University and is the author of Panic Attacks Workbook: A Guided Program for Beating the Panic Trick (Ulysses Press, 2004). Much of the material on this website will be of value to anyone who suffers from anxiety problems ranging from simple performance anxiety to major panic attacks. Based on the principles of "cognitive behavioral therapy (CBT), the material emphasizes strategies that individuals can use to manage and control anxiety when it occurs.

The home page opens on a brief article with the reassuring message that anxiety disorders are highly treatable and that there is much the sufferer can do to alleviate his or her problems. On the sidebar are links for articles and videos that describe the various types of disorders and their effects on the body and offer valuable self-help advice for each. For the beginning researcher, there is an "at a glance" article explaining the various types of anxiety disorders and their symptoms. The "First Steps to Recovery" article, designed to help readers accept and face up to their problem, emphasizes the importance of working with a medical doctor to determine the actual type of anxiety disorder involved, whether it proves to be one that requires medication or one that can be resolved with simple self-help strategies. Of particular interest to performing artists is the article on stage fright that describes its causes and symptoms and discusses the crippling effect this disorder can have. A substantial list of cognitive behaviors follows that will help stage-fright victims to cope with their anxieties. Another link leads to a brief video showing how to breathe from the diaphragm, a technique that will be familiar to singers but may also help other performing artists to relax. Finally, there is a directory of resources--clinics, books and online sites--that will provide further information. Carbonell also offers telephone consultations and his workbook, mentioned above, for more extensive self-help.

This site is an excellent place for anyone suffering from anxiety disorders. Those who experience stage fright uncomplicated by more serious underlying clinical problems will find a wealth of self-help material that may enable them to control their anxieties through simple cognitive techniques. Others, whose anxieties are more extensive, involving panic attacks or other devastating anxiety reactions, will find information that helps to alleviate the fear of seeking help and encourages hope that the problem can in fact be resolved. This site also meets all the criteria for a reliable source of medical advice: it clearly identifies the author and author's credentials, indicates the date when material as revised or added, and offers contact information. This site's creators subscribe to the Honor Code of the Health on the Net Foundation.

Audience: all musicians

David Leisner

http://davidleisner.com/index.html

The website of David Leisner, guitarist and composer, introduces the user to Leisner's own personal method of coping with severe performance related injuries. Leisner draws on his own experience of suffering for 12 years with a focal dystonia of the hand before resolving the problem himself through work with the large muscles of the arm. For years Leisner pursued various remedies from Eastern and Western medical traditions, including the myotherapy techniques that had helped pianist Leon Fleisher, but nothing helped him, and at least one therapy actually made the condition worse. Eventually Leisner resorted to his own efforts, based on his awareness of the muscles involved in his playing. He discovered that an emphasis on freedom of movement rather than economy of movement was crucial to his recovery. By directing stress away from the wrist and fingers through use of the large muscles of the arm, Leisner was able to regain control of his hand and return to normal playing. One link on this site leads to an extensive interview in which Leisner describes in some detail the development of his problem and the way in which he developed techniques that led to his recovery. He notes that anatomical knowledge is the key to a performer's understanding of his or her playing techniques and the injuries that can occur. Another interview, also linked here, describes how his therapeutic technique evolved out of his initial adaptation to the injury using only his thumb and index finger to play. Then as he began to sense how the large upper arm muscles were involved in moving the fingers, he discovered that exercising these muscles led to a release of the small muscles in the wrist and fingers. Although not a trained therapist, Leisner has been able to help others by teaching them his methods. For readers who would like more information, there is a link to Guitar Review magazine, which published a feature article on him and his recovery in issue number 133, available for purchase at a modest price.

Leisner is a remarkably resilient individual with an intuitive understanding of his body. His story should not be interpreted as an endorsement for attempting to solve major medical problems alone, but rather a demonstration of how a musician can become involved in his or her rehabilitation and how an understanding of anatomy may actually prevent injuries.

Audience: all musicians

Sing Wise

www.singwise.com

Created by vocal technique instructor Karyn O'Connor, this website offers a number of resources for the singer who is concerned about voice health and performance longevity. O'Connor believes that beginning with an understanding of how the voice works can enable the singer to gain control of the muscles and vocal tract so that sound is produced in a natural and healthy way. Her online article "Vocal Coaching or Vocal Technique Instruction?" explains in some detail how an understanding of the anatomy and physiology of the voice can improve vocal performance while at the same time minimizing the risk of damage and how this method differs significantly from vocal coaching, which provides instruction in such matters as diction, phrasing and posture, along with advice for polishing the performance of specific vocal works. Another detailed article, "Anatomy of the Voice," explains in clear language how the various vocal structures, from the diaphragm to the vocal cords, work together to produce sound and the intricate working of physical structures in the process of breathing. Another article offers advice on choosing the right songs for the individual voice, based on such factors as knowledge of one's own vocal range and individual qualities, as well as the suitability of music and lyrics for the audience. There are also articles with practical suggestions on preparing for an audition (practice techniques, knowing what to expect, health concerns and so on), on using a microphone properly, and on good breathing techniques. Another interesting article explains O'Connor's philosophy on the teaching of vibrato, which she believes should be allowed to occur naturally as part of the singer's use of anatomical features rather than approached as a "trick to be learned." Other features of this excellent website include a cross- referenced glossary of vocal terms and advice on selecting a voice instructor. The site is easy to navigate and has content language that anyone familiar with voice study will be able to recognize. It is a valuable resource that should be of interest to teachers of voice as well as advanced vocalists. All pages are functional (no broken links) and updates appear to be frequent and current.

Audience: vocalists

The Sound Singing Institute

www.soundsinging.com/aboutssi.html

This website of The Sound Singing Institute, though somewhat muddled, offers basic information that will be of interest to vocalists and their teachers. The Institute is staffed by Sharon L. Radionoff, a "singing voice specialist" and director of the institute, along with her associate, Tracy Satterfield. The institute works with all types of singers, from rock to opera, helping them to improve their skills and enhance their vocal health through understanding the anatomy and physiology of singing. It is not clear where this clinic is located (somewhere in Texas, apparently). The online resources they offer are a good basic introduction to vocal health and improvement. "About the Voice" is a brief, fully illustrated article showing how sound is produced, while "The Injured Voice" offers medical photographs and a brief explanation of various vocal conditions. Another short article, "Training," outlines the components of good vocal health. The "Care of the Voice" link explains the roles of members of an arts medicine management team. Photographs on the sidebar include Robert T. Sataloff, MD of Philadelphia, whose involvement in performing arts medicine is well known, and several other leading specialists located in other cities, though there is no indication of their connection, if any, with the institute. Although the Sound Singing Institute is obviously a reputable voice clinic, much improvement needs to be made in the website, including better location and contact information and more information about the staff members' credentials in the field of voice treatment. Even so, the information offered here will be useful for those who are just beginning to learn about vocal health or those who want a quick overview of voice health issues.

Audience: vocalists

* The items marked with this symbol can be ordered via the MTNA website through our affiliation with Amazon.com. Go to www.mtna.org and choose Member Services from the Membership option in the main menu bar for more information.

Linda Cockey, Department of Music at Salisbury University in Maryland. She has been teaching a Wellness in Performance class for more than 10 years now that includes injury prevention for all musicians and actors. She also teaches piano, music history and form and analysis. She holds a D.M.A. degree from The Catholic University of America.