In unserer Wissensdatenbank erhalten Sie weitere Informationen und Gedankenanstösse zu unseren Kursen. Wir veröffentlichen Artikel, Essays und Blogs von Künstlern aus dem Kreis unserer Dozenten, Teilnehmern und Mitgliedern unserer Gemeinschaft zu den verschiedensten Themenbereichen von The Exhale. Alle Texte, die wir veröffentlichen, werden zuvor von einem unserer Lehrenden oder von The Exhale verbundenen, einschlägigen Fachleuten oder Dozenten geprüft. Wir möchten damit unserer Plattform die angemessene Tiefe verleihen und Wissen teilen, das Gedanken anregen und Anlass zur inneren Einkehr geben soll. Wenn auch Sie einen Artikel bei uns veröffentlichen möchten, nehmen Sie bitte Kontakt mit uns auf.
1. April 2021
von Gwendolyn Masin
When I met Clare Nicholls, I had been exploring yoga - I had enjoyed the benefits of movement in harmony with breath but I also felt that I was being led through a world where I was being shown things in random order. The arbitrary nature of how I experienced it being taught was confusing to me and kept me away from the wish to commit to: myself. Myself on the mat.
30. März 2021
von Claire Stefani
Musicians move … A LOT! This is a sentence at the core of the Body Mapping approach and it left me quite perplexed when I heard it for the first time in 2013. Me, a former athlete … how could I assume that serious movement belonged only to sports? Not only do we musicians move a lot, but we humans in general behave better physically and psychologically (!) when we accept that we are in fact made of a bunch of solid parts kept together in movement by soft tissues. Still and static means trouble for our wellbeing. Dynamic balance does sound better, doesn’t it?
22. März 2021
von Amy Likar
I’ve been working and practicing with Body Mapping and the Alexander Technique for over 29 years now and I have become firmly convinced that musical intention helps free the body and a free body helps free musical intention. Organizing ourselves physically to create musical expression facilitates an easier process in the practice room. Clear understanding of the body in motion leads to a more expressive approach to music making.
21. März 2021
von Janet Horvath
Playing a musical instrument is an amazing endeavor. It’s thrilling when a performance is everything we want it to be and the audience erupts in applause. If we’ve conveyed the beauty, meaning, and emotion of the music, and not the physical effort, we’re gratified.
17. März 2021
von Paul Pui Wo Lee
Every Sunday with the musicians here at The Exhale, I feel the Zoom meeting room glow with an aura of care - an air of artistic and living dignity. This Sunday, after quite an extensive Feldenkrais® Awareness Through Movement® (ATM®) lesson, here are some of the responses:
2. März 2021
As a young cellist, one of the first things I learned was that a page of music waits, quietly. A musical score, says pianist Jeremy Denk, is “at once a book and a book waiting to be written.” The act of playing music is an act of recreation—which brings to life the intentions of the composer.
25. Februar 2021
von Jennifer Johnson
One injury that commonly appears in young students is pain and tension in the mus-cles of the shoulder and upper back region. Teachers often ask about it and though its cause is always related to a head that’s not balanced on the spine, or ribs that aren’t moving freely enough with every breath, the root cause is that the whole arm has not been mapped. For this reason, I am including in this article a brief (and slightly edited) excerpt from Teaching Body Mapping to Children which addresses this problem.
10. Februar 2021
von Rolf Hind
One of my first yoga teachers made an observation that has stuck with me. The difficulty with yoga, he said, unlike other things in the world that yell for our attention, is that it whispers. And so its values and message are often ignored, or drowned out.
8. Februar 2021
von Amy Littlewood
‘I’ll just go over that passage one more time’. These sound like the words of a diligent student? Well… not in this case! This was me, back when I was at music college. On the face of it, my practice looked to be well structured, detailed and with hours of commitment each day. Why then, did I not feel adequately equipped when I walked out on stage?
5. Februar 2021
There is a story about Jascha Heifetz being greeted backstage after a performance by an admiring fan. She gushed to him “Your violin makes such a beautiful sound!” Still holding his violin, Heifetz held it up to his ear and said “Funny, I don’t hear anything!” His point, of course, was that regardless of how wonderful a violin is, no sound will emerge from it at all until the player sets the strings vibrating and that it’s the skill of the player that makes it sound beautiful or not.
4. Februar 2021
von Aisling Casey
I stumbled upon Body Mapping while investigating better ways to explain how to do certain oboe techniques to my Conservatoire students. Many of the books I read on oboe technique either contradicted each other or contained statements that I just didn’t agree with. Eventually I came across Oboemotions by Stephen Caplan, a guide to oboe playing using the principles of Body Mapping which resonated with me as being a healthy and sensible approach to playing the oboe and prompted me to find out more. Finally, someone was explaining oboe technique based on the truth of the anatomy and HOW we use our bodies.
18. Januar 2021
von Joanne Green
As a one-to-one instrumental teacher, do you play duets with your students? Or accompany them on the piano? Do you get your students together to play chamber music? Do you encourage them to play in a string group or attend group lessons? Do you encourage them to join an orchestra? I think we all understand that music is ultimately a type of social glue; a way to bring humans together into a close-knit community. To study and play only in isolation defeats the purpose of learning to play in the first place.
3. Januar 2021
Call it an obsession, but I notice how people walk, how they stand, how they sit. When I see people, I see posture, and I feel their presence as transmitted through their body. So, it strikes me that so many violinists have been trained or exposed to teaching that either doesn’t confront posture, or indeed, teaches stance and motions that are not in harmony with natural body movements.
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