Understanding Musician Injuries

Musicians are prone to injury from repeating a motion countless times when practicing. A better understanding of music injuries is vital for musicians' health.

Common symptoms of a musician repetitive strain injury are similar to computer-related and speech-related injuries:

• Numb fingers, arms, wrist, jaw, neck, shoulders and back

• Shooting pain up the arms, shoulder and back

• Cramping muscles or stiffness

• Dull ache experienced in the fingers, arms, back, jaw, throat, wrist, shoulders and back

• Hoarseness

If left unchecked, can become chronic conditions. They can potentially lead to long-term disability or end one’s musical career.

Common Types of Music Injuries

Common music-related injuries include:

• Bursitis: inflammation of a bursa (fluid-filled sac which lubricates the movements of tendons, muscles and bones at joints)

• Carpal Tunnel Syndrome: inflamed or irritated hand flexor tendons

• Larynx Contact Ulcers: raw sores on the mucous membranes covering the cartilage attached to the vocal chords

• Cubital Tunnel Syndrome: inflamed or irritated tendons affecting the inner side of the forearm and the pinky side of the hand

• Laryngitis: inflammation of the larynx

• De Quervain's Tenosynovitis: inflammation of the tendons on the side of the wrist beginning at the base of the thumb.

• Tendinitis: inflammation of the tendons

• Thoracic Outlet Syndrome: compression of the thoracic outlet, the nerve pathway and/or blood vessels between the base of the neck and the armpit

• Trigger Finger: inflammation of the index finger tendons

• Vocal Nodules & Polyps: small, inflammatory or fibrous growth on the vocal cords of people who strain their voices.

How Music Injuries are Caused

1. Overuse: Advanced musicians practice between one to ten hours a day.

2. Repetitive Strain: Musicians repeat a technical exercise or section of music countless times until it comes together.

3. Improper Posture: Some musicians slouch, sit too close or too far from their instrument and remain in the same position for long periods of time.

4. Non-Ergonomic Technique: Some musicians hold their body and/or instrument in an uncomfortable position, don’t move their hand and/or body in the direction that their fingers are moving, push their fingers or vocal chords beyond what they can comfortably do.

How to Prevent Music Injuries

Do Your Research: Find out more about the various types of music-related injuries.

Assess Your Instrument: Is your instrument the right size, shape, weight and height for you? Would an adjustable chair, footstool, strap or cushion make you more comfortable?

Know Your Body: Choose pieces that are reasonable for your body to play. If you have small fingers, playing repertoire that requires you to stretch beyond your finger span is a recipe for disaster. However, if you really want to learn a particular piece (or you need to learn it), make adjustments to make it easier to play. If you are a student, let your teacher know right away whether a piece or technical exercise is causing you pain.

Appraise Your Playing Technique: Is your body relaxed? Are your hands, arms, neck, head and core positioned to allow for fluid and comfortable playing or singing? Are you moving with the music? Are you using excess movements? Is your fingering logical and comfortable? Videotaping yourself is a valuable method to assess your playing technique.

Evaluate Your Non-Musical Activities: Desk and computer work, sports, dancing, carrying heavy objects (or dependents) and hobbies can adversely affect your body.

Do Warm-Up Exercises and Stretches: Musicians are sometimes called “small muscle athletes”. Stretching exercises and gentle warm-ups result in increased range of motion, strength, coordination and flexibility.

Take Breaks: One’s muscles, ears and vocal chords need regular breaks to return to their relaxed state. Not doing so tricks the body into thinking that “tense” is the “relaxed state”, resulting in chronic pain and stress.

Engage in Active Sitting: Most musicians remain in a seated position for extended periods of time. Active seating helps ease chronic back pain, promotes correct posture and maintains general health.

Seek Professional Advice: Speak to a doctor, chiropractor, massage therapist, Alexander Technique specialist, music instructor, otolaryngologist or ergonomic specialist for further information or treatment.

Be Proactive in Maintaining Musician Health

With an increased understanding of the types, causes and prevention of music injuries, musicians can be more proactive in maintaining their first instrument: the body. Musicians dedicated to maintaining musician health can look forward to many years of pain and injury-free music-making.

The Rest of My Series on Musician Injuries

Face and Neck Stretches for Musicians | Arm and Hand Stretches for Musicians | Back and Should Stretches for Musicians

Additional References:

The Art of Practicing: A Guide to Making Music from the Heart, Madeline Bruser (New York: Bell Tower, 1999)

Musicians' Injuries: Types and How to Avoid It, Espie Estrella

Musicians and Injuries, UN-L Engineering Electronics Shop, University of Nevada

Originally published on Suite101.com on November 20, 2009. All rights reserved by Rhona-Mae Arca.

Excited About My New Accompaniment Gig

I can see why my friends and colleagues who gig regularly enjoy playing with different groups of musicians. The easiest way for me to explain how it makes me feel is to use an analogy from anthropology:

The Tamil Indians believe that all living and inanimate substances are fluid essences. That is, me typing on studio computer keyboard, staring at my computer screen make up a new "joint" substance. Every music ensemble and every project is akin to this.

This week and next, I am working with a school choir in preparation for their in-school music festival. I've worked with the music teacher before but with a different choir. Different context. Different ensemble. Totally different music.

The pieces are simply charming. I'm having a great time learning the music. It's energizing as it's different from what I've been working on lately.

First, there's Antonio by Jay Broeker:

Antonio

By Jay Broeker. For 2-part voices and piano. Concert. Octavo. Published by Santa Barbara Music Publishing (SB.SBMP-873)

...more info

It's the trickiest of the bunch. The lyrics are funny and tune sticks in your head for hours.

Nick Page's Fairest Lady is a beautiful ballad:

Fairest Lady

((No. 7 from The Nursery Rhyme Cantata) CME Beginning). By Nick Page. For Choral, Chorus, Piano (UNIS). CME Beginning Series. 8 pages. Boosey & Hawkes #M051471799. Published by Boosey & Hawkes (HL.48004859)

(1)

...more info

Spirits by Douglas Beam is deliciously spooky. The fourth piece is Pirate for a Day by Roger Emerson:

Pirate for a Day

By Roger Emerson. For Choral (2-Part). Youth Sing Out (Choral). 12 pages. Published by Hal Leonard (HL.8564233)

...more info

It makes me giggle whenever I practice it. Every. Single. Time.

I am enjoying my work with the choirs so far and look forward to hearing what kind of music we create together onstage.

Tips for Practicing Music - Speed Linking

Sometimes, it may seem like we music teachers are harping on the same things. Well, there's a reason for that. We've been where you are right now and we hope that some of our pearls of wisdom, learned from years of learning and practicing music help you to learn your music more quickly and more effectively.

Here are some tips from other music teachers and pro musicians on how to practice music:

• 12 Tips for Practicing Music

• DSO Practice Tips

• Better Faster: Top Ten Music Practice Tips

• Music Practice Tips Techniques Links

An Introduction to Music Examinations

Learn about what is involved with music exams, from exam requirements to pros and cons and from examination types to what examiners are looking for.

According to the Royal Conservatory of Music of Toronto (RCM), over 100,000 students register for an exam annually through RCM Examinations (National Music Certificate Program in the US). As there are other music examination systems, the true figure is even higher. Before registering for a music test, having a basic understanding of what is involved can help with preparations.

What Happens in a Music Examination?

There are two types of music examinations: practical and music theory. In a practical exam, students prepare several contrasting pieces for their instrument. Genres include Baroque, Classical, Romantic, Impressionism/Late-Romantic, Modern Classical, pop/rock, jazz and Latin.

Music students should be able to execute technical exercises with a high level of fluency and accuracy. They are also tested on aural, rhythm and sight-reading skills. Depending upon the exam system, students may be tested on improvisation, keyboard harmony, oral questions, transposition and memorization.

All music conservatories have a syllabus for each instrument which lists recommended repertoire for each grade. Syllabi also include a detailed description of technical requirements and music theory co-requisites.

Music theory exams are generally written examinations, although some conservatories offer keyboard harmony tests. Beginner and intermediate students are assessed on rudiments, while advanced students take exams in music history, harmony, counterpoint and analysis.

The Pros and Cons About Music Examinations

Music teachers in professional associations, such as the Canadian Federation of Music Teachers’ Associations and discussion groups like LinkedIn have debated about the benefits and downsides to music examinations.

The benefits of taking a music examination are varied. In Recognition of Accomplishment, RCM states some of the benefits as being:

• certificates and awards

• high school credits for music classes

• motivation to achieve a goal

• personal growth through achievement

• post-secondary school eligibility

Music examinations aren't for everyone. They can be stressful, especially if one is unprepared. They require a strong commitment from the students, parents and teacher. Students preparing for an examination require more practice time than recreational students. Supplemental repertoire sometimes gets pushed aside to focus on the examination requirements.

All practical examinations test solo performance. However, two Canadian systems, Conservatory Canada and the Canadian National Conservatory of Music do allow the examination candidate to perform a collaborative work to a CD track or live combo (some restrictions apply).

Although there are grading standards, marking is highly subjective in music exams. At music teacher workshops, conferences and discussion forums, music educators have discussed examination issues such as inconsistent customer service and marks that don’t reflect the examiner’s comments.

The music examining boards used in Canada offer slightly different programs. Music teachers will generally specialize in one or two conservatory systems. Students interested in taking music exams can inquire at the audition-interview which conservatory the teacher follows.

About the Music Examiners

Music examiners are music professionals with at least an undergraduate degree in music. These educators have taught for many years and have prepared students for music examinations.

They must also have experience adjudicating at music festivals or competitions and be members of good standing in a professional teaching association. Some are composers, performers and sought-after clinicians for pedagogical workshops and conferences.

To be a member of the College of Examiners, candidates must complete the conservatory’s training program. Music examiners grade exclusively for one conservatory.

What are Examiners Looking for in a Music Exam?

For practical examinations, examiners look for a high level of proficiency in exam pieces, technical exercises, aural, rhythm and reading tests. They assess articulation, dynamics, fingering, notation fluency, phrasing, rhythm, tempo, tone and an understanding of the musical style.

For music rudiments, students are tested on various aspects of music, including musical terms, scales, chords, intervals, rhythm, key recognition and analysis. Advanced music theory exams test students’ knowledge of various areas, including musical periods, structure, composers, significant pieces of repertoire and harmonic analysis.

For all music conservatories in Canada, 60 – 69% merits a passing grade. Honours is awarded for marks between 70 – 79%, First Class Honours is given for marks between 80 – 89% and First Class Honours with Distinction is given to students who earn 90% or higher.

Regardless of the motivation for taking music examinations, preparing for and taking an exam can be a stressful experience. However, with solid practice habits, a supportive teacher and family, taking a music exam can also be a rewarding experience. It is beneficial to have a good understanding of what the requirements, concepts and commitment involved are before preparing for a music exam.

References:

Canadian National Conservatory of Music. Canadian National Conservatory of Music Piano Syllabus. Markham: Mayfair Montgomery Publishing, 2002.

Conservatory Canada. Conservatory Canada Piano Syllabus, 1999 Edition. Waterloo: Waterloo Music, 1999.

Royal Conservatory of Music: College of Examiners (accessed August 11, 2010).

Royal Conservatory of Music. The Royal Conservatory of Music Official Examination Syllabus, 2008 edition. Mississauga: The Frederick Harris Music Co. Ltd., 2008.

Originally published on Suite101.com on August 11, 2010. All rights reserved by Rhona-Mae Arca.

Interview with Chad Ohman of Virtual Choir 3

Suite 101 met Chad Ohman of Canada, one of the 2,945 singers who submitted 3,746 videos for Eric Whitacre's Virtual Choir 3.0, "Water Night".

Saxophonist and vocalist Chad Ohman is one of the 2,945 people from 73 countries who submitted a video for Eric Whitacre's Virtual Choir 3.0 project: Water Night.

Ohman, a second-year music education major at the University of Alberta, submitted four videos for VC3.0: Tenor 4, Bass 1, 2 and 3. He sat down with Suite101 on April 18, 2012 to talk about VC and music's impact on his life.

Chad Ohman on Discovering Virtual Choir

“It was right after they closed submissions that I heard about Virtual Choir 2.0,” Ohman recalled. A friend who also sang with him in Edmonton's Kokopelli Choir told him about it. When he watched the virtual performance of Whitacre's “Sleep”, he was amazed.

“This is incredible for people to sit in their bedrooms, in their closets, in their cars. Wherever they could find a quiet place and sing. To have their voices come together and make this gorgeous sound that is like a choir sitting in a loft somewhere,” he remarked.

Chad Ohman on the Virtual Choir Community

In December 2011, composer Eric Whitacre announced on his website that the song chosen for Virtual Choir 3.0 was “Water Night” from his Grammy Award-winning album Light and Gold.

“December came along and I started working on “Water Night”,” the dual instrumentalist said. “January came around and then I started helping people because I noticed other people were helping people get their videos together.” He soon met other people who volunteered to answer questions and help singers troubleshoot right up to the final hours of submission. One small group of helpers formed what Eric Whitacre calls the “VC Army”.

“I started meeting these people that were helping,” Ohman commented. “These are some really stellar people. Full, big hearts.”

The VC Community continues to blossom on Skype, Facebook and Google Hangouts. What began as technical and moral support has developed into friendships and in Ohman's case, something more.

“I would never have thought in December that I would meet all of these people.” Ohman reflected. “That I would talk to these great people from all over the country, all over North America and all over the world...and learn so much from them. Nor would I have ever thought in December that I would meet this girl who would eventually fly up here for her spring break.”

“Water Night” World Premiere at Lincoln Arts Center

A total of 3,746 videos were submitted from around the world which were put together into one virtual “performance” that was unveiled on April 2, 2012. The event, which took place at the Lincoln Arts Center in New York, NY, was streamed live all over the world.

Ohman recalled the moment he watched Virtual Choir 3.0 for the first time. “Finally, the video dropped and we were sitting in the Hangout, just in awe,” he reminisced. “We were listening to Eric talk. We were listening to John Corigliano and Chris Anderson – the guy from TED – talk about the idea of Virtual Choir and what it's done to the choral area of music: bring people together and get people to sing who haven't sang in 30 or 40 years. I think that is the coolest thing ever."

“It's allowing people to sing again. It's letting people sing in a group again, especially in areas where they don't have a choir to sing with,” he added.

Chad Ohman On Future Projects

Chad Ohman, along with several members of the VC Army from Canada, the United Kingdom, Puerto Rico and Australia continues to work on multi-track projects. The first was a video wishing Eric Whitacre good luck prior to the 2012 Grammy Awards.

Ohman recorded the conductor track and is editing the group's current project, Morten Lauridsen's O Magnum Mysterium. The experience is teaching him some lessons. “I came to the conclusion that it's not going to sound perfect,” he stated.

“The more videos and the more voices that I've put into it, the better it sounds and the more full it sounds,” he said. “The harmonies come out where they should. If you stop the player and stop it for a second and listen to the separation of voices and the pitches, it sounds really good.

“Then you play the whole thing and then you hear some missed entrances,” he continued. “There's some late exits. There's some esses here and there. I think it's really cool because it adds character to the music.

“That's the whole reason we came together – to sing together. Who cares if it doesn't sound perfect? It's all of us singing together and that's all that matters.”

After some thought, he added. “Music isn't supposed to sound technically perfect. That's why I love performances. Those little tiny mistakes make the music for me. That's what adds personality. That's what adds character to the music.”

Chad Ohman on Lessons Learned from Music

“We could go on about this for a while,” he said with a laugh. “Definitely to be more tolerant of people...as well to be more accepting of people and their beliefs,” he added.

“Music isn't all about competing and who sounds the best," said Ohman. "It's about sharing music, hearing new music, appreciating another group for what they're singing or what they're playing. What they're bringing to the table. What qualities they possess that you don't possess and how you can learn from them and make that a part of what you're doing.”

Upon a moment's reflection, Ohman added, “Music has really changed my life in the people that I've met and what I've learned from them. I can't let that go.”

Post script: Although Chad's career focus has changed since this interview, music continues to play an active role in his life.

Originally published on Suite101.com on April 23, 2012. All rights reserved by Rhona-Mae Arca.