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•In the future (…) people will become more sensitive and aware than they are now. They will have to, because society will become more complicated, more full of people, with more different things happening. People will have to become much cleverer and much sharper. Then they will like my music.
R.I.P Elliot Carter
18 Benefits of Playing a Musical Instrument
The Chinese philosopher Confucius said long ago that “Music produces a kind of pleasure which human nature cannot do without.” Playing a musical instrument has many benefits and can bring joy to you and to everyone around you. This article will provide you with 18 benefits of playing an instrument and will hopefully give you a better sense of appreciation and pride for music.
1. Increases the capacity of your memory. Research has shown that both listening to music and playing a musical instrument stimulate your brain and can increase your memory. A study was done in which 22 children from age 3 to 4 and a half years old were given either singing lessons or keyboard lessons. A control group of 15 children received no music lessons at all. Both groups participated in the same preschool activities. The results showed that preschoolers who had weekly keyboard lessons improved their spatial-temporal skills 34 percent more than the other children. Not only that, but researchers said that the effect lasted long-term. (Source: http://brainconnection.positscience.com/topics/?main=fa/music-education2#A1)
According to an article from The Telegraph online magazine, “New research suggests that regularly playing an instrument changes the shape and power of the brain and may be used in therapy to improve cognitive skills.” There is continually more evidence that musicians have organizationally and functionally different brains compared to non-musicians, especially in the areas of the brain used in processing and playing music. If you learn how to play an instrument, the parts of your brain that control motor skills (ex: using your hands, running, swimming, balancing, etc.), hearing, storing audio information, and memory actually grow and become more active. Other results show that playing an instrument can help your IQ increase by seven points. (Source: http://www.telegraph.co.uk/science/science-news/6447588/Playing-a-musical-instrument-makes-you-brainier.html)
2. Refines your time management and organizational skills. Learning how to play an instrument requires you to really learn how to be organized and to manage your time wisely. A good musician knows that the quality of practice time is more valuable than the quantity. In order for a musician to progress quicker, he/she will learn how to organize his/her practice time and plan different challenges to work on, making efficient use of time.
3. Boosts your team skills. Team skills are a very important aspect of being successful in life. Playing an instrument requires you to work with others to make music. In band and orchestra settings you must learn how to cooperate with the people around you. Also, in order for a group to make beautiful music, each player and section must learn how to listen to each other and play together.
4. Teaches you perseverance. Learning to play an instrument takes time and effort, which really teaches you patience and perseverance. Most people can’t play every piece of music perfectly the first time. In fact, the majority of musicians have to work difficult sections of music multiple times in a row before they can play it correctly.
5. Enhances your coordination. The art of playing an instrument requires a lot of hand-eye coordination. By reading musical notes on a page, your brain subconsciously must convert that note into specific motor patterns while also adding breathing and rhythm to the mix.
6. Betters your mathematical ability. Reading music requires counting notes and rhythms and can help your math skills. Also, learning music theory includes many mathematical aspects. Studies have shown that students who play instruments or study the arts are often better in math and achieve higher grades in school than students who don’t. (Source: Friedman, B. (1959) An evaluation of the achievement in reading and arithmetic of pupils in elementary schools instrumental classes. Dissertation Abstracts International, 20, pp.s 3662-3663.)
7. Improves your reading and comprehension skills. According to a study published in the journal Psychology of Music, “Children exposed to a multi-year program of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers.” (http://www.sciencedaily.com/releases/2009/03/090316075843.htm)
It’s not surprising to hear results like that because music involves constant reading and comprehension. When you see black and white notes on a page, you have to recognize what the note name is and translate it to a finger/slide position. At the same time, you also have to read what rhythms the notes are arranged in and force your tongue to produce the correct pattern.
8. Increases your responsibility. Playing an instrument comes with its responsibilities. Maintenance and care are very important in keeping an instrument in working condition. Each instrument has different procedures to keep in functioning properly, but most instruments need cleaning and some form of oiling/greasing. In addition to maintenance responsibilities, there are other aspects such as remembering music events (like rehearsals and performances) and making time to practice.
9. Exposes you to cultural history. Oftentimes music reflects the environment and times of its creation. Therefore, you learn a variety of music types such as classical traditions, folk music, medieval, and other genres. Music itself is history, and each piece usually has its own background and storyline that can further your appreciation of other cultures.
10. Sharpens your concentration. Playing music by yourself requires you to concentrate on things like pitch, rhythm, tempo, note duration, and quality of sound. Playing music in a group involves even more concentration because you must learn to not only hear yourself, but you must listen to all the other sections and play in harmony with the rest of the group.
11. Fosters your self-expression and relieves stress. It’s your instrument, so you can play whatever you want on it! The more advanced you become on an instrument, the greater you’ll be able to play what you want and how you want. Music is an art–just like an artist can paint his/her emotions onto a canvas, so can a musician play a piece with emotion. This has proven to relieve stress and can be a great form of therapy. In fact, music therapy has been useful in treating children and teens with autism, depression, and other disorders.
12. Creates a sense of achievement. Overcoming musical challenges that you thought you’d never quite master can give you a great sense of pride about yourself. When you first start learning how to play an instrument, it seems like just holding out a note for a couple beats or hitting a high pitch is an amazing accomplishment. As you practice and become a more experienced musician, making beautiful sounding music pleasing not only to your ear, but others as well is a very rewarding experience.
13. Promotes your social skills. Playing an instrument can be a great way to enhance your social skills. Some of the best people join bands and orchestras, and many times the friends you make here become like family. It’s very common for people to gain lifelong friendships through musical activities like these.
14. Boosts your listening skills. Although it’s pretty obvious, playing an instrument requires you to listen very carefully to things. You have to learn how to hear when you’re playing a wrong note in order to correct yourself. Tuning your instrument means hearing if the pitch you’re playing is high (sharp) or low (flat). When playing in an ensemble, you have to listen for the melody and play softer if you’re the supporting part (accompaniment). There are too many examples to list every possibility here, but by playing an instrument you are guaranteed to improve your listening skills.
15. Teaches you discipline. As previously mentioned, playing an instrument can be very challenging. One of the qualities that musicians learn is discipline. Practicing often and working on the hard parts of music and not just the easy and fun stuff requires discipline. The best musicians in the world are masters of discipline which is why they are so successful on their instrument.
16. Elevates your performance skills and reduces stage fright. One of the goals of practicing so much on your instrument is so that you can perform for others. The more you get up in front of people and perform, the more you’ll reduce any stage fright. Playing on stage in a band or orchestra helps with stage fright because you’re not alone. Also, being prepared and really knowing how to play your part makes it much easier to get up and play for a crowd.
17. Enhances your respiratory system (wind instruments only). If you have a good music director/tutor, you should hear them tell you quite often to “use more air!” Air is one of the key components in making wonderful-sounding music. In order to play any piece of music correctly when playing an instrument, you’ll need to take huge breaths and learn how to expel the air properly to make the desired sound. Breathing exercises are highly recommended for musicians, and they can really strengthen your respiratory system.
18. Promotes happiness in your life and those around you. Playing a musical instrument can be very fun and exciting. Not only is it fun to play music that you enjoy, but it feels wonderful to hear an audience applaud you for giving a great performance. It can also be very honorable and gratifying to voluntarily play in your local community and see the happiness on people’s faces because they enjoy watching you play.
Conclusion As you can see, playing a musical instrument has many benefits and hopefully that will motivate you to keep on practicing and always hold music in high esteem. Whenever you come across challenges as a musician, think about the end results and always remind yourself of all the great reasons you love to play. I’ll leave you with an inspiring quote by jazz saxophonist and composer Charlie Parker who once said, “Music is your own experience, your thoughts, your wisdom. If you don’t live it, it won’t come out of your horn.”
If you think of other benefits of playing a musical instrument and you’d like to share or if you have any comments, please fill out the comment box below!
The Effects of Music on the Mind
Beyond Soothing the Savage Beast
by Kristian David Olson
2-22-96
Are people typically geniuses? Statistically, people probably are not. In fact, most people probably aren't even intellectually gifted at all. Most people are likely to be pretty much average, maybe a little bit above average, or a little below, but very average none the less. It is universally understood that people strive to learn to become wiser and more informed about the world around them. The more people learn, the more powerful they can become. It is the speed at which people learn that separates the geniuses from the average people from the learning disabled. Geniuses don't run into problems while learning, because they learn so fast. It is everyone else that could really use help. One solid way to increase the speed at which people learn is with music. People learn through music and their minds grow faster because of it. Some music, when implemented properly, can have positive effects on learning and attitude. Music is a powerful thing, and when we understand its significance, it can bring dramatic changes both positive and negative into our lives.
The earliest stages of learning for young children are the most important. The fundamentals of learning are instilled into a child at a very young age and how much importance is placed on these fundamentals can have dramatic affects on the future of the child's learning. Music, when applied in a constructive way, can have positive effects on a child's learning and help them in many ways.
One way that music can make learning easier for a young child is by implementing music lessons into a child's normal activities. A small study was done two years back involving ten three-year-olds who were tested on their ability to put together a puzzle and the speed at which they could do it ("Learning Keys" 24).
After the initial test was taken, five of the children were given singing lessons for 30 minutes a day and the other five were given piano lessons for 15 minutes a week (24). The lessons were conducted over a six- month period of time, and after the six months, all of the kids showed substantial improvement in the speed at which they could put together the puzzle (24).
The researchers understand this skill in putting pieces of a puzzle together as the same reasoning that engineers, chess players and high-level mathematicians use. In this study of inner-city kids, their initial scores were below the national average, but afterwards their scores nearly doubled (24).
The term they give to the type of reasoning and thought that goes into putting pieces of a puzzle together is called abstract reasoning. By teaching music, people exercise the same abstract reasoning skills that they use for doing math or some other exercise in which the people have to visualize in their head.
An eight month study was conducted by Frances H. Rauscher of the University of California at Irvine, in which 19 preschoolers, ranging in age from three to five, received weekly keyboard and daily singing lessons while another 15 preschoolers received no musical training at all (Bower 143). At the start, middle and end of the study, the subjects were tested on five spatial reasoning tasks (143). After only 4 months, scores on the test to assemble a puzzle to form a picture improved dramatically for the group with the musical training, while the control group didn't, even though both groups started out with the same scores (143).
It can be understood that this kind of improvement may not be substantial enough to alter the way people are fundamentally taught, but its results cannot be ignored. Rauscher explains, "Music instruction can improve a child's spatial intelligence for a long time, perhaps permanently" (qtd. in Bower 143).
Implementing such changes and improvements into a young child's learning could have great effects on them in the future when dealing with the same spatial reasoning skills.
With its resulting improvements in spatial reasoning, music can also be a very helpful tool when actually implementing it into the classroom and involving it with learning basic curriculum. In New York City, a program called Learning through an Expanded Arts Program, or LEAP, has been going on for a while now in which music and the arts is implemented into the school curriculum to improve scholastic scores of children at all levels (Dean and Gross 614). One way in which music is implemented is with math. They call it "musical math," in which the teacher incorporates rhythm with counting and gaining a grasp on the fundamentals of math (618).
With the rhythm, they are able to learn basic elements of math like fraction and multiplication. Christine Bard, the LEAP consultant explains, "Music helps teach the precognitive skills. It gives students the capacity to trust themselves by providing internal discipline through a highly repetitive structure" (qtd. in Dean and Gross 618). On the whole, students' feeling of self-confidence and accomplishment are great and most importantly, the students' attitude toward math and learning is increased dramatically (618).
Music as a separate and thorough curriculum can have dramatic positive changes in the learning process of young people. Mary Jane Collett, the Director of the Office of Arts and Cultural Education of the Division of Instruction and Professional Development of New York City Public Schools says:
... a well taught sequential music curriculum not only results in music learning that has inherent value; it also gives students the chance to listen, react, see, touch, and move. Instruction in music skills, appreciation, and theory also provides a wealth of learning strategies that enhance children's analyzing, synthesizing, and evaluating skills. Students learn to process information and transfer knowledge through these concrete, kinetic, and cognitive experiences (Collett 61).
Mary Jane Collett is an advocate for a program called Learning To Read Through The Arts (LTRTA), which makes music and the arts a separate course in the elementary curriculum instead of using it as an aid to different parts of the curriculum here and there (61). Music is taught through listening to different types of music while talking about the music, trying to understand it and interpret it in different ways and in many ways, imitate it (63). She further explains:
These integrated music experiences provide excitement in learning for children and thereby improve students' reading, writing, thinking, and analyzing skills and strategies. Learning through all the senses expands the learning process to accommodate different learning styles. Opportunities for integrating communication arts, literature, science, social studies, and the arts are limited only by the educator's imagination, creativity, and open-mindedness (64).
Music, when involved in the classroom, can have great effects on the early stages of learning for the very young up through elementary age school children. Music can also have significant effects on older people in a learning environment. Music does not have the same effect on older people as it does on younger people, however. It is easily understood that for young children, getting them to do fun musical things like learning to play an instrument is somewhat easy compared to getting an adult to do the same thing. Children will do it because it is something new and exciting whereas adults need to be motivated to do something because they won't do something simply because they can. For adults it is a matter of choice, but when they choose to involve music into their everyday lives, the effects can be just as dramatic, but different when compared with music effects on younger children.
One important aspect that music can have on learning for people of all ages is attitude. It seems logical to assume that it is more helpful for adults who are less likely to want to do a particular job or activity, but music can change this and give a listener a more positive attitude and motivation. As we will see, by simply listening to pleasant music in the background while doing an arduous task can make it seem so much easier, or in some cases, music may not increase positive attitude, but will ease the strain of an activity. A study was conducted by Shawn E. Mueske, a graduate student at Mankato State University, to determine the effects of background music on a biology lab. He studied to determine the effects of background music on attitude, achievement, time spent in the laboratory and on task behavior (Mueske 6-7). He used a control group which entailed one lab where no music was present, and one experimental group which listened to popular/soft rock music at an appropriate, soft sound level for background music (14). He found that there was no real difference in attitude or achievement among the two groups, but there was a significant increase in time spent in the laboratory and time spent on task (18-28).
Listening to music as background can help when people when they're thinking, learning, or working, but the music needs to be implemented correctly. It can be easily understood that if it's vocal music, it needs to be somewhat quiet, for if it isn't, it can be very distracting to the mind. It is logical to conclude then that if it's instrumental, it can be somewhat louder than vocal music, but not too loud because any music that is loud enough will make it hard to learn or think. As we will see, the listener's preference to music must also be taken into account, because the primary goal is for the music to affect the person's mood and attitude positively, and if they are listening to music that they absolutely deplore, it won't help them think because it will be hard to shut it out of their mind.
When people listen to music in the background, it is very important that they listen to music that they are familiar and comfortable with. It is not necessarily better for people to listen to music that is supposed to relax them if they are unfamiliar with it. It is better for people to listen to music they are comfortable with and know well and like. A study of 50 male surgeons was conducted to see if they performed a basic surgeon-related task better and more efficiently while listening to surgeon-selected music, experimenter-selected music, or no music at all (Allen and Blascovich 882).
The test monitored skin conductance response frequency, pulse rate, blood pressure, speed and accuracy (883). The experimenter-selected music was Pachelbel's Canon in D. Both conditions with music showed significantly better results than the condition without music, but the condition with surgeon-selected music was clearly even higher than the other (883). Another study was conducted on 54 people (25 males and 29 females) to determine the difference of subject-selected music, experimenter-selected music and no music on affect, anxiety, and relaxation (Thaut and Davis 210). This study was done under the understanding that stress is a major factor to health problems of the day. It is important to cut down on stress in our daily lives and any way that we can do that is beneficial to our health in some way or another. One way to try and cut down on stress in people's everyday lives is by listening to music. In past years, there has been quite a bit of music created for the sole purpose of relaxation and the reduction of stress. The question posed by this survey is: Do these relaxation tapes really work better than a person's personal preference in music or no music at all in reducing stress? The study found that all three ways worked well for relaxation and reducing tension, but listening to music proved a little bit more beneficial. Of both music groups, it found that the relaxation tapes were equally as good as the subject-selected music, but were no better (219-220).
Music is an invaluable tool when it comes to reaching students who fail to do well in school. Scott Shuler, a music consultant in the Connecticut State Department of Education and adjunct professor in the Hartt School of Music in West Hartford, Conn. describes at-risk students as students that express characteristics such as: academic underachievement, lack of self-esteem and self-respect, inability to communicate thought and feeling on an intimate level, limited conflict resolution and problem-solving skills, boredom with traditional schooling, need for a supportive peer group with whom they can establish a social bond, learning styles that differ from those addressed by traditional modes of instruction, interest in artistic expression and eagerness to pursue tasks they find interesting, need for an experiential, hands on approach to learning, avoidance of academic risk taking, and need to experience success somewhere in the school setting (Shuler 31).
Shuler proposes that there are two essential reasons why students fail in school. They are lack of ability to learn or lack of desire to learn, and while most students who fail have the ability to do well, they choose not to because their school experience doesn't motivate them (30). At-risk students create an aversion to traditional styles of teaching and when attempts are made to cut out "nonessential" subjects from curricula, it only worsens the problem and further distances the at-risk student from the goal of becoming motivated to do better (30-31).
For many reasons, music can be one of the most influential factors in getting at-risk students motivated. Music related courses in curricula give students many of the important elements that will erase the characteristics of an at-risk student. Every student likes music if only one kind, and outside of school, most students seek out music pretty actively (31). Therapists use music to help severely handicapped individuals, so why can't schools do the same thing to help at-risk students (31)?
Musical groups such as choir, orchestra or band help bring people together as well as improving communication skills, group work, and forming peer groups. Music creates a higher standard among people; where on a math test a grade of 90% would be an "A", a 90% grade on a performance would be quite bad (32). This study seems to suggest that music can provide a student with a level of individuality to learn in his/her own style. Music education creates a much more well-rounded student that do much more and learn much easier.
Music can also have very interesting and beneficial effects on the mind. A study was conducted at the Center for the Neurobiology of Learning and Memory at the University of California at Irvine by Frances H. Rauscher, Gordon L. Shaw and Katherine N. Ky in which 36 college students listened to one of three listening condition for ten minutes and then took the Stanford-Binet intelligence test designed for abstract reasoning (Rauscher, Shaw and Ky 611).
The experiment was repeated for each of the listening conditions which were listening to a Mozart piano sonata, a relaxation tape, and complete silence (611). They found that the equivalent IQ scores were the equal between listening to the relaxation tape and complete silence, but after listening to the Mozart piece, IQ scores were an average of eight to nine points higher than the others (611). The scientists explain how the enhancing effect doesn't last for more than ten to fifteen minutes after listening to the sample (611).
They were able to draw a certain amount of theories out of the results of this study, but much more testing is required for any solid conclusions to be made. They think that music that is without complexity or is highly repetitive will not enhance abstract reasoning, but rather interfere with it (611).
Their findings are put under scrutiny and criticism by Kristin Leutwyler, who tries to set the record straight about misinterpretations in the media regarding the findings of Rauscher, Shaw and Ky. She asserts that "...the popular press have suggested that anyone can increase his or her IQ by listening to Mozart. This supposed quick fix is false" (28). She explains that the IQ scores were based solely on spatial ability and not other factors that IQ takes into account (28). Leutwyler explains that Rauscher's work is "... based on the premise that listening to music and performing a spatial task prime the same neural firing patterns. But that's just a guess." (28)
Despite the skepticism of Leutwyler in the findings of the three scientists and the fact that more testing needs to done to take into account different variables, the initial findings cannot be ignored. There is some correlation between listening to music and spatial reasoning and through it, there is some connection with IQ.
A good sized study was done many years ago to test intelligence across a wide range of fields and subjects (Schoen 94). On the study, 205 college students were given the Minnesota College Ability Test, all of the Seashore tests for musical talent, and were rated on a scale for musical training (94). After the testing was complete, they separated out the top 25 and the bottom 25 to determine if there was a difference in musicality among them, but found none (94).
Next, they excluded the 25 students with the greatest and least amount of musical training and found two interesting groups (94). Of the two groups left, the top group's average student had taken music theory, private piano lessons for two years, voice and cello for four years while he/she had played in orchestras for four years, sung in choir for six years, had three musicians in the family, could read music and supply missing parts, and attended concerts regularly (94). The lower group's average student had never had any private lessons, didn't play an instrument, had no musicians in his/her family, and never attended operas or concerts (95). Music won't turn anyone into a genius, but it can have some substantial effects on bringing people above average at least.
One thing that music does that cannot be ignored is it stimulates the brain- sometimes positively and sometimes negatively, but it effects the brain nonetheless. Some positive effects on the brain can be seen from the study conducted by Rauscher, Shaw and Ky where they found a temporary increase in spatial reasoning after listening to a bit of Mozart. These findings are somewhat inconclusive, but cannot be ignored altogether. It shows how there is much more studying that needs to be done in the future on this subject.
I have a personal anecdote about how music stimulates the mind. When I was in high school, I took the ACT for the first time in the fall of my Junior year. It was a normal day and I wasn't extremely focused or unfocused on the morning that I took it. That morning before I left, and on my way to the test site, I listened to some of my favorite rock music on my radio. The test seemed a little hard, but I got through it. When my results came back a few weeks later, I received a 19. That was a horrible score for me. I figured that I had better take it again and get a higher score, so in the spring of my junior year I took it again. This time, I felt a little more focused and during the entire morning before I left and on my way to the test site, I listened to Mozart. This time I was much more confident on how I did when I was finished. A couple weeks later, I found out that I received a 26. Most people improve on their ACT score when they take it a second time, but I've never heard of anyone improving as much as I did. I had read the report about listening to Mozart and how it supposedly raised your IQ temporarily, and that's why I listened to it that day. I was much more prepared for the test the second time, but to improve as much as I did, one has to wonder if listening to Mozart had anything to do with it.
Music has been known to have a very direct effect on people's moods. By just listening to music, people's moods are easily altered. Several studies were conducted to test people's mood changes after listening to certain kinds of music (Schoen 89-99).
One large study of 20,000 people showed music changes mood and the changes in mood were very uniform (89). A large number of people listened to classical music by various composers from various musical periods and were asked how the music made them feel. Another study showed that the effects of mood varied from person to person depending on their musicality. Non-musical people enjoy music rarely and when they do, the enjoyment is slight, while semi-musical people enjoy music quite often and when they do, it is enjoyable to them, while musical people enjoy music rarely, due to discriminating tastes, but when they do, it is with the greatest intensity (90).
These studies also showed that certain types of moods/emotions are characteristic with music while certain emotions are not such as anger, fear, jealousy, and envy (91). Certain emotions are more characteristic with vocal music because of the words such as: love, longing, reverence, devotion (91).
Another study was done on 205 people testing the effects of major and minor modes. Minor mode gave the feelings of "... melancholy, mournful, gloomy, depressing..." while major mode most often gave the feelings of "... happy, sprightly, cheerful, joyous, and bright ..." (99).
Music is an important and extremely useful tool in the way we learn and to deny its power is a waste of a truly wonderful resource. In recent years there have been concerns about some types of music such as Gangsta Rap having very negative effects on peoples minds and moods. This type of music imprints an extremely violent image into people's minds and there has been growing concern about it and tying it in with violent crimes. In cases like this, it only shows how much more we need to study music to fully understand its full impact on the human mind. In these days where cutbacks are always eminent in people's local schools, people need to struggle to keep the music and art intact. Music and the arts are what make life worth living and without them, people lose hold of their culture and diversity. The ideal way to learn in the future would be to fully incorporate music into the curriculum of every school. If every school supported and encouraged their students to freely pursue music with the culture of music in their everyday lives, people would become much more efficient in their learning and would become much better students on the whole. Music is a power too great for man to comprehend at this point but through further study man can learn how to better harness its power to use it to its full potential.
After silence that which comes nearest to expressing the inexpressible is music.
Aldous Huxley
The Positive Effects of Music in Everyday Life
Since time immemorial, music has been embedded in life. It seeps into arts and culture, finds expression in language, and has great affect on lifestyle. The origin of music dates back to the earliest of civilizations, thereby making it difficult to pinpoint the exact date whence it started. Robert Schumann, a German composer, noted that “perhaps it is precisely the mystery of her origins which accounts for the charm of her beauty.”
Whether vocal or instrumental, music can be viewed as a form of language or speech, possessing subtler shades of meaning than the spoken word and yet displaying much more emotive force. There seems to be something innate in human beings that give them the capacity to understand and respond to musical tones, rhythms, and patterns.
Nowadays, music has become so widespread all thanks to the latest innovations and technology that permit easy access and acquisition. From the near-defunct cassette tapes, walkmans, and CD players to the more modern MP3 players and Apple’s iPod line, it has become possible for people to listen to any sort of music simultaneously, conveniently, and privately.
Music has been known to have many positive effects on its listeners. In fact, a growing branch in medicine called Music Therapy is rapidly gaining popularity in recent years. This therapy claims to speed up the recovery process of patients, whether for physical therapy or post-operative recuperation. Listening to relaxing or stimulating music has the capacity to accelerate the process of recovery for most patients, though this effect is largely dependent on the patient’s response to it – henceforth, this kind of therapy is not the primary means for recovery, but merely supplementary.
Aside from music’s health benefits, music also enhances creativity. It has the possibility to be a muse that allows people to get their creative juices flowing. Since music is administered to both the left and right side of the brain, it can help spark inspiration that might just be a proving to be a little elusive. To most artists, listening to music can help them achieve a certain creativity or ingenuity that they would not be able to do simply on their own.
Music also has an effect in a person’s task performance, since it can change moods and give more motivation to the listener. Studies show that music does not automatically increase positive attitude, for it will ultimately depend on the manner by which the music is played. It may, however, reduce the strain of an activity. As a general rule, it is important that that listener plays music he is familiar and comfortable with, in a volume that is not too loud so as not to distract the listener.
There are many other variables that contribute to the effects of music, but there is certainty in the fact that music has an effect on human, and therefore an effect on task performances. Generally however, the effect of music has usually been more on the positive side than the negative. So pop on your earphones, have a listen, and observe your performance levels increase!
Practice and Performance Related Injuries: Preventing and Treating Injuries Through Smart Practice Techniques
“No pain, no gain.” Most of us have heard this phrase in relation to playing clarinet or to playing music in general. However, pain can be a symptom of a performance related injury and can prevent or slow technical and musical progress. How we practice, how often and how long we practice, and how we use and misuse our bodies while playing profoundly affects our ability to play efficiently and without pain.
I injured myself more than 12 years ago, and have spent the time since then researching performance related injuries and experimenting with treatments. My first injury was identified as tendinitis, in large part because the doctors could not come up with a better diagnosis. A few years later, I developed bursitis in my right shoulder, which is a swelling of a fluid-filled sack in the joint. One injury led to another, and without guidance from a performing arts medical specialist, I spent years injuring and reinjuring myself instead of recovering.
One of the most important aspects of my life as a performing musician is how I practice. At the time of my first injury, my motto was that you can never practice too much. Unfortunately, I was not practicing smart; nor was I taking care of myself while playing. Long hours of playing, poor body usage, no warm-ups, and a shortage of breaks during practice contributed to my injury and to years of chronic pain and discomfort.
Over time, I changed how I practice step by step to overcome injury and achieve more in less time. I consulted sources such as Janet Horvath’s Playing (Less) Hurt, Barbara Paull and Christine Harrison’s The Athletic Musician, and Howard Klug’s The Clarinet Doctor for information. The techniques for healthier practice I will discuss in this paper are warm-ups and cool-downs, taking breaks, organizing practice for consistency and variety, broadening our mental focus beyond the notes on the page, and healthy mental practice. Utilizing these techniques and customizing them to individual needs can help prevent or treat injury. Additionally, emphasizing quality of practice over quantity will allow us to accomplish more in less time and with less work.
In this paper, I focus on musculoskeletal injuries, which affect muscles and connective tissues, such as tendons. Symptoms for these types of injuries include pain, tingling, weakness, swelling, and stiffness. Pain in one area, such as the hand, can be related to an injury in another area, like the elbow or shoulder. For this reason, it is important to consult with a medical doctor, especially a performance injuries or sports medicine specialist, if symptoms occur, and to design a balanced exercise, stretching, and practice routine with a professional’s guidance. Common musculoskeletal injuries for clarinetists are tendinitis and bursitis, which involve often painful swelling of tendons or bursa respectively, and can lead to nerve impingements, such as carpal tunnel syndrome. Because our right thumbs bear the weight of the clarinet, we are also at risk of developing De Quervain’s Tenosynovitis, which involves swelling of the tendons that control the thumb and can cause pain in the thumb that may spread up through the wrist. To help prevent or treat De Quervain’s, try using support devices, like neck straps or the FHRED; also consider moving your thumb rest higher on the lower joint of the clarinet to put the thumb in a more comfortable position.
No musician is immune to musculoskeletal injury. During practice, we repeat complex movements over and over. Repetition combined with such factors as poor usage of the body, extremes of temperature, the weight of the instrument, fatigue from other activities, and a host of other daily stresses can lead to injury. Many musicians think that if we simply relax when we play, we’ll be fine. Tension is often considered undesirable. However, using words like tension and relaxation is a balancing act. It’s true that too much tension can lead to injury, but complete relaxation is not the solution. We need some tension to move our muscles, and we need some relaxation to keep them supple. In my playing (and in my practice), I like to think of balance—balance in tension and relaxation, balance in literature, and balance in rest and work.
Warm-ups and Cool-downs Every practice session should begin with a warm-up. You should begin away from the instrument with at least five minutes of physical activity, such as walking, to warm your muscles and increase blood flow through your body. At least five minutes of stretching after this physical activity will help loosen and lengthen your muscles and increase blood flow. How much time you need to spend warming up without and with the instrument can vary depending on anything from your physical health to the temperature—colder temperatures usually necessitate longer warm-ups.
After warming up away from the instrument, you can begin warming up with the instrument. Begin slowly and easily, and gradually speed up and increase your registral and dynamic ranges. When I move from technical exercises to repertoire, I play slowly for the first few minutes. This may mean that I play a slower solo first or that I practice difficult fast passage work slowly. I find that a repertoire warm-up helps ease my body into the demands of difficult literature.
In Performing Arts Medicine, Alice Brandfonbrener explains that mentally warming up can work just as well as physically warming up (44). She theorizes that there is a “psychological boost” that accounts for much of the benefit of warming up. In other words, a mental warm-up can prepare us for the mental and physical challenges of practice. For instance, mentally focusing on how you feel during your warm-up exercise, stretching, and playing can prepare your mind and body for thoughtful practice. Incorporating deep breathing into warm-ups can calm and focus the mind and help us achieve a balance of tension and relaxation for our bodies. Being mentally involved and focused on your physical warm-up can have layers of benefits from the physical to the psychological that can make practice more efficient.
As with warming up, cooling down is very important. Just like athletes, we need to stretch our tired muscles after practice. Stretching will loosen tight areas and encourage continued circulation, which can cleanse toxins from the body that were produced by strenuous physical activity. Think about the last time you overdid it physically—perhaps you did too much yard work, tried running, or went for a long hike. The next day you probably woke up with sore muscles. That soreness is due in large part to a build-up of toxins in your muscles. Exercise releases these toxins, and a cool-down after exercise can help our bodies continue to expel them from our system. Practice is exercise, so a cool-down can help our bodies make the transition from strenuous activity to relative rest with less physical strain.
As with warm-ups, a cool-down has psychological, as well as physical, benefits. By putting down the instrument, stretching gently, and physically and mentally walking away from practice, we give our minds and bodies a much-needed break. I’ve been guilty more than once of carrying my practicing with me throughout the day. After practicing in the morning, I will think about clarinet, repertoire, and reeds even after I put the instrument away. This is not a break. My mind is still engaged, which means my body is still engaged. I’m still wearing myself out with endless, and often mindless, repetitions. A five minute cool-down helps me let go of the clarinet.
Taking Breaks While you practice, taking frequent breaks gives your muscles time to recover from the strain of playing. Building mini breaks into your actual practice session can provide different muscles with relief from constant strain. Moving around and stretching during practice sessions also helps keep our bodies limber. Try to keep both feet flat on the floor. Allowing the floor to support your body through your feet reduces excess tension in your low and mid back, which we often overwork trying to support our weight and that of the clarinet. Move forward and backward from the hips and from side to side. When I stop playing, even for a moment, I’ll often let one of my arms dangle by my side or gently stretch my fingers or hands. While at rest, moving my head side to side or forward and back and rolling my shoulders helps relieve excess tension. I keep all of my movements and stretches while playing and during warm-ups and cool-downs as fluid and gentle as possible. It should not hurt to stretch.
How much you can safely practice at one time and how long your breaks should be is unique to you. Additionally, other activities, like typing, driving, or household chores, can affect how much you can safely practice. For instance, if you plan to spend several hours gardening over the weekend, it might be necessary to take more frequent breaks or practice for one hour instead of two because of the additional strain gardening puts on your hands and arms. For me, taking at least a short break every 30 minutes is important. I usually only need five minutes or so to walk around, get a drink of water, and do a few gentle stretches before returning to the instrument. Longer breaks every one to two hours give our muscles time to recover from the workout of practicing. In Playing (Less) Hurt, Horvath recommends that these one- to two-hour intervals take place during different parts of the day (228-229, 231). For instance, if you practice for a few hours in the morning, take a break and come back to the instrument in the afternoon or evening.
Horvath also points out that being consistent with the amount of time you practice each day can go a long way toward preventing injury (231). She writes that consistently practicing for one hour each day is safer for our bodies than playing for a half hour one day, three hours the next, none the third day, and so on. Our bodies are overstressed one day and underused the next with this kind of practice routine. Consistent practice from day to day helps our bodies to work more efficiently during our allotted practice times, which helps us to enjoy more productive practice sessions.
Finally, taking a day off each week is also a beneficial break from practicing. Yes, consistency from day to day is important, but one day a week during which you allow your mind and body a rest can protect your body from injury and give your mind a much needed break, too. I often find that after my day off each week I am productive and excited about playing, and sometimes problems I was having during the previous week will seemingly magically disappear, or at least improve. Perhaps this is because my muscles had a chance to rest and are now stronger and faster. Perhaps it’s that my mind had time away from intense practice, and I subconsciously worked out some problems. Or perhaps a day of rest simply relieved the physical and mental excess tension that sometimes slows us all down as we over-think and over-practice. Whatever the reason, I find that after breaks, whether five minutes or a day in length, I come back to my instrument feeling refreshed and ready to enjoy playing again.
Organizing Practice for Consistency and Variety Organizing practice and keeping a practice log can also help prevent or treat injury. You can keep track of so much more than how much you practice and when. A log can help one design each practice session to take advantage of previous gains and try new practice techniques. A log can also provide a place to record how you feel physically and mentally each day during practice. Did you feel stiff after the first hour? Did your thumb begin to tingle while you practiced something particularly difficult? Keeping a record of how you feel can help you discover trends before a full-fledged injury occurs and can lead you to organize practice in new ways that are more beneficial to your physical wellbeing and your musical progress.
Keeping a practice log can also help us build variety into practice sessions. We can plan to alternate differing repertoire during a practice session and between practice sessions. We can also prevent practicing one piece over and over day after day. Alternating physically demanding material with pieces that are not as hard on the hands can give muscles a break. Klug points out in The Clarinet Doctor that varying our practice routine can motivate us and teach us to respond to change and surprise in performance more quickly, so the benefits of variety can extend to the quality of our performances (12-13).
Just like variety of repertoire, variety in how we use our bodies while practicing is important. Alternating between sitting and standing is a common practice technique for clarinetists, with the idea that we must be prepared to sit in an orchestra performance or stand in a solo performance. The benefits of alternating between sitting and standing extend to injury prevention and treatment. Sitting places 50 percent more stress on the low back than standing, no matter how “good” your posture is (Paull, 56-57). Thus, sitting for two hours straight to play our instruments can strain our muscles. Standing can be tiring since we burn more calories when we stand than when we sit. Alternating the two can preserve energy and muscle condition. A forward sloping seat, in which the angle at your hips is greater than the 90 degrees of most chairs, can also relieve muscle stress when you must sit to play.
If you use support devices for your clarinet, you can also alternate these. The average B-flat clarinet weighs about one and three-quarter pounds. That weight balanced on the right thumb for hours can lead to injury. Some clarinetists play with neck straps to take weight off the thumb. However, a neck strap can lead to new problems by transferring almost two pounds of weight to the neck. Another device, the FHRED by Quodlibet, acts like an endpin for the clarinet (as one of my cellist friends points out). It attaches to a ring on the thumb rest, rests on the chair between a player’s legs, and bears the weight of the instrument. Unfortunately, the feeling of relative immobility when using a FHRED can make one feel less in control. Sometimes clarinetists will lean into the instrument rather than bring the instrument to them, compressing their necks. I combat this problem by sitting in a comfortable position, setting the FHRED and instrument on the chair, closing my eyes, and rotating the clarinet to my mouth. Since I cannot see the instrument, I am less likely to compromise my comfortable sitting position for the clarinet. If I miss my mouth and hit my chin or nose, I know I need to adjust the height of the FHRED. Support devices have many benefits, but new body usage problems can crop up with each device. A combination of playing without support, with a neck strap, and with a FHRED, alternating throughout practice or from day to day, can allow a balance between rest and work.
Broadening Mental Focus Music is more than a collection of dots and lines on a page. Without us, the manuscript and the instrument may be pretty to look at, but they cannot make music. We, the musicians, use these tools to create music. If we learn to focus on more than the printed music and the instrument in our hands, we can build body awareness needed to prevent or treat injury and improve our playing. For example, broadening our mental focus to pay attention to how our entire torso, front to back and side to side, is involved in breathing can help us balance tension and relaxation and play with better air support. Instead of only seeing the notes on the page, or feeling the keys beneath our fingers, we can focus on our surroundings before, behind, or above us. We can focus on how each muscle group in our body feels as we play and how the muscles and tendons in our fingers connect seamlessly with those of our hands, wrists, arms, shoulders, and backs. A broader focus also helps me when I perform. I work more effectively with other musicians in chamber music settings because I am more fully aware of their physical and musical presence than when I only listen to them play. Since I have practiced paying attention to myself and my surroundings, I am also able to pay more attention to my audience, enjoy their presence, and connect with them through my performance. I gain confidence that feeds back into my practice and inspires me to continue playing.
When practicing, we should look for the best ways to play with ease. Alternate fingerings are an obvious example of easier playing, but taking breaks when we’re frustrated, trying to reorganize rhythmic patterns, and rethinking how we use air support are also ways to play more easily. Playing clarinet really well is difficult, but it does not necessarily all have to be hard work. Just as we would never abuse our instruments by throwing them against a wall when frustrated—though we may have thought about it—we cannot abuse ourselves by pushing beyond our physical limits or feeling guilty when we take a needed break. Horvath points out that “injury risk increases with emotional tension” (27). For example, if we continue to practice a difficult passage past the point of total frustration, we can do damage to our bodies in part because we are emotionally stressed. In other words, playing clarinet with a healthy body is linked to playing with a healthy and positive mindset. Paying attention to how you feel physically while practicing has an added benefit. Because we are mentally committed to the practicing process and how it feels and sounds, we are less likely to mindlessly practice mistakes. We can find easier ways to play because we are quicker to notice when a fingering or the rhythmic organization of a run feels uncomfortable. Again, we see that practicing to prevent or treat injury has the added benefit of improving the quality of our practice.
All the self-awareness in the world cannot catch every nuance of playing, though. Practicing in front of a mirror is a time-honored technique. We have the chance to watch how we play, to see as well as hear progress or problems. Videotaping practice is an even better technique. The video camera can run the entire time you’re playing, capturing your sound and movements long after you might have stopped watching yourself in a mirror. It allows you to concentrate on practice now, and you can go back and watch yourself later. It also gives you the opportunity to view your playing from different angles. Have you ever tried to watch yourself practice in profile in the mirror? It’s not easy. A video camera can act as your eyes from many angles.
Mental Practice Many musicians advocate mental practice as a way to improve quickly away from the instrument and avoid injury. They are partially right. Mental practice encourages us to truly think about what and how we are playing. Athletes use mental practice and imagery to perform complex tasks, visualize success, relieve nervousness, or reduce pain. It follows that we, as musical athletes, could experience the same benefits.
Mental practice accesses the same areas of our brains as physical practice. Scientists have found that effective mental practicing can actually work more efficiently than physical practicing, achieving improvements in playing in less time (Dickstein, 950). As neuroscientist Ian Robertson puts it, “the brain, after all, controls the body,” so exercising our brains by visualizing playing, studying scores, and listening to recordings can improve our playing, even when we do not have the instrument in hand (Begley and Begun).
Too many people, however, leap into mental practicing without thinking about how it really works. The assumption that because we are not holding our instruments, we cannot injure ourselves, is actually false. When we mentally practice, our brains send signals to our muscles just as in physical practice. In a 2007 study, scientists found that subjects’ muscles showed the same stimulation when they mentally imagined lifting a weight as when they physically lifted the weight (Guillot). In other words, mental practicing is not a complete escape from physical strain, as one might think. It can be exhausting, both mentally and physically, and it can actually reinforce excess tension in muscles just like one experiences during physical practice.
Mental practicing is an incredibly useful tool that, if used correctly, can enrich practice. If used incorrectly, it can actually increase our chances of performance related injury, or slow our recovery. Many of the techniques I’ve outlined for physical practice, such as warming up and taking regular breaks, can also help improve mental practice. Incorporating deep breathing and stretching into mental practice, for instance as you listen to a piece or visualize yourself performing, can help you begin to associate feelings of less tension and more balanced movement with your playing. Additionally, a more relaxed state can help us form more vivid images and concentrate more fully while mentally practicing (Dickstein, 947). By finding a balance of tension and relaxation in mental practicing, we can get better results during these practice sessions, and we prepare for more balanced performance when we next pick up the clarinet.
Conclusion Mindless, repetitive practice can lead to performance related injuries. You do not have to practice for hours on end to injure yourself if you are not taking care of your body and mind. By warming up, cooling down, taking breaks, organizing practice, concentrating more on ourselves and our playing while practicing, and using mental practice constructively, practice can help prevent or treat performance related injuries.
Just as musical interpretation and styles of playing are individual to each musician, practice needs are individual. While I need a break every 30 minutes, you may find that you only need one every 45 minutes. What feels comfortable and healthy can change due to illness, stress, lack of exercise, diet, and a number of other factors, so always listen to your body and be flexible. Some days, you may need to practice easier literature, take longer breaks, or even skip practicing to stay healthy. In the long run, organizing practice carefully but remaining flexible, focusing on your physical and mental health (with the same intensity that you might give to protecting your instrument or reeds), can lead to safer and more productive practice.