A fine balance is required in the performing arts. Attention must be divided among essential specifics, and simultaneously be united towards coordinated performance. Too much attention on one aspect is as disastrous as too little.
When musicians perform, we consciously initiate certain aspects of coordination and action. Many more processes are managed outside of our consciousness. Some, we can learn to become aware of, and we may learn to directly modify these.
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In any educational process, there are inevitable ups and downs. When progress stagnates, this is an indicator that some mode of thought is preventing further development. One of the most confounding barriers to a musician is when an intention for musicality inadvertently creates conditions which limit performance.
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Alexander Technique trains the use of oneself, in any situation. To the aspiring pianist, it is an effective technique to improve how one uses oneself at the piano. It falls short, however, of training a technique of playing the piano. Five years of territory study and additional years of private instruction gave me some ideas of piano technique, but there remained a incongruity between the coordination I’d learned through Alexander Technique, and what I understood the demands of playing the instrument to be. I discovered the Taubman Technique to be the bridge to that gap.
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A fine balance is required to manage any specialised skill. Attention must be divided amongst essential specifics, and simultaneously be united towards coordinated performance. Too much attention on one aspect is as disastrous as too little. I consider three fundamental categories encompass all constructive attention. Thinking is most positively constructive to coordinated performance when balanced across the three areas. Thoughts outside of their parameters interfere with successful engagement in skilled activity.
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Transcription of an address by Jeremy Woolhouse 11th October 2006 at Australian National Academy of Music, South Melbourne Town Hall
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The Alexander Technique has become an indispensable aspect of my pianistic performance and practice. It has complemented, informed and enhanced my musical education, and taken my development well beyond what conventional music education did.
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A statement of the value Alexander Technique brings to professional and personal life. By Jeremy Woolhouse
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