Indirect Procedures: A Musician's Guide to the Alexander TechniqueClarendon Press, 1997 - 313 strán (strany) F. M. Alexander (1869-1955) saw the individual as a whole, and talked not of 'the body', but of 'the self', not of 'posture', but of 'use'. The aim of the Alexander Technique is not to teach you to do what is right, but to help you stop doing what is wrong, through a series of practical procedures which awaken your awareness of the way you use yourself and allow you to develop your innate potential. The Technique can be applied to all areas of musical activity, from instrumental and vocal technique, sound production, and interpretation, to daily practice, rehearsal routines, and the mitigating of stage fright and other health problems. This book, by an experienced professional musician and Alexander teacher, is the first to deal specifically with the applications of the Technique to music making. |
Obsah
The Principles | 7 |
The Use of the Self | 9 |
The Primary Control | 25 |
Sensory Awareness and Conception | 38 |
Inhibition | 46 |
Direction | 55 |
Action | 72 |
The Procedures | 79 |
The Applications | 169 |
Technique | 171 |
Daily Practice | 178 |
Aesthetic Judgements | 203 |
Norms and Deviations | 216 |
Delayed Continuity | 229 |
Variables and Constants | 235 |
The Trampoline | 244 |
The Lesson | 81 |
Breathing | 90 |
The Arms and Hands | 121 |
The Whispered Ah | 144 |
Table Work | 152 |
Combined Procedures 121 | 157 |
Working on Yourself | 161 |
Stage Fright | 257 |
Conclusions | 271 |
A The Medical Perspective | 277 |
A Biographical Sketch | 283 |
Notes | 289 |
| 301 | |
Časté výrazy a frázy
ability action activity Alexander lesson Alexander teacher Alexander Technique Alexander wrote Alexander's Alexandrian arms and hands arpeggios artistic Artur Rubinstein become body breathing Bruce Lee causes cellist cello Chapter Christian Tissier co-ordination conception conductor daily practice difficult discuss end-gaining exercise faulty sensory awareness feel Ferruccio Busoni fingers forwards functioning gesture give habit head Heifetz Heinrich Neuhaus Ibid imitate inhibition and direction instance Jascha Heifetz knees legs lunge Matthias Alexander means mechanisms mind misuse monkey move movement muscles muscular music-making musician natural neck Pablo Casals passage Patrick Macdonald performance pianist Piano Playing position practising Primary Control principle problems procedure pronated proprioception pupil reaction relaxation rhythm rhythmic Rodd-Marling Rubinstein Seigo Yamaguchi shoulders singing speak spine stage fright stop technical tension thing tion vibrato vocal voice whispered ah whole Wilhelm Furtwängler words wrist wrong