The Alexander Technique and the Performing Musician

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Subtitle: 
Master Thesis
Material Type: 
Research - qualitative
Year: 
2013
Month: 
Oct
Day: 
24
Notes: 

A qualitative research project conducted via interviews with six musicians all of whom had had a minimum of 15 Alexander lessons

TABLE OF CONTENTS

CHAPTER 1: INTRODUCTION
    Point of Departure  
    The Mind-­Body Problem  
    Research Questions  
    Overview  

CHAPTER 2: THEORY AND METHOD  
2.1 CLARIFICATION OF RELEVANT CONCEPTS, RESEARCH AND LITTERATURE
    The Unity of Mind and Body  
    The Self  
    Traditional Cognitive Science  
    Towards an Embodied Cognition Approach  
2.2 CENTRAL TERMS WITHIN THE EMBODIED PARADIGM
    Proprioception and Bodily Sensation  
    Motor Memory  
    Body Schema and Body Image  
    Mapping  
    Ideo-­motor Actions  
2.3 METHOD
    Qualitative Research Interviews  
    A Hermeneutic-­ Phenomenological Point of Departure  
    The Interviews and the Interpretation Process  
    Categorization and Codes  
    Notes on Notation  
    The Selection of Informants  

CHAPTER 3: PRESENTATION OF THE ALEXANDER TECHNIQUE
3.1 EXPLORING THE USE OF THE SELF  
    End-­gaining  
3.2 F.M. ALEXANDERS DISCOVERIES  
    The Process  
    The Primary Control  
    Use and Functioning  
    Faulty Sensory Awareness  
    To Reveal Habitual Use  
    Inhibition  
    Directions-­Mental Instructions  
    The Means Whereby  
    What Happens During an Alexander Technique Lesson?  
    Scope of the Alexander Technique  

CHAPTER 4: RESULTS  
    Issues and Problems Present Before Starting With the AT  
    Performance-­Related Improvements  
    Musical and Technical Developments  
    Performance Anxiety  
    Ensemble-­Related Situations  
    Gestures  
    Rehearsal Issues  
    Other Changes  
    Issues Related to Learning the Technique  
    How Did the Informants Apply the AT to “Real Life”?  

CHAPTER 5: DISCUSSION
5.1 THE PROBLEM OF END-­GAINING  
    The Ecological Aspect  
    The Informants´ End-­gaining  
5.2 THE IMPORTANCE OF INHIBITION  
    The Informants´ Inhibition  
5.3 THE AUTOMATIC BECOMES PROBLEMATIC  
    Is Motor Memory Unconscious?  
5.4 THE EDUCATIONAL PROCESS  
    Remapping  
    Mapping Off the Track  
5.5 THE OUTCOME OF THE EDUCATIONAL PROCESS  
    Expansion of the Attention  
    Vitalizing the Proprioception  
    The Alexander Technique Provided a New Choice  
    The Musicians´ Gestures?  
5.6 THE TRADITIONAL WAY OF TREATING PROBLEMS  
    The Alexander Technique Versus Other Mind-­body Techniques  
5.7 PROBLEMS RELATED TO LEARN THE ALEXANDER TECHNIQUE  
    How the AT is Often Misunderstood  
    Different Ways to Teach the Technique  
    Is The Word “Technique” Problematic?  
5.8 BRIDGING THE GAP BETWEEN THEORY AND PRACTICE  

CHAPTER 6: FINAL REFLECTIONS  
BIBLIOGRAPHY  
ATTACHMENTS