by Julie Lyonn Lieberman
Reviewed by Steve Hanna
Moscow, Idaho
Do you ache when you play? Does tension cause music to be painful for you? This book is written for all musicians, as it seeks to be general enough to appeal to vocalists, keyboardists, string players, and wind instrumentalists. Although percussionists are not mentioned, they are implicitly included.
"You Are Your Instrument" is an attempt to teach musicians about themselves. Perhaps "Your instrument is you" would have expressed the sentiment just as well. In any case, the emphasis is on "you." If you are unhealthy, your music making will suffer. Unfortunately, in addition to the usual "slings and arrows of outrageous fortune," musicians also frequently suffer with physical ailments of their own making, through inappropriate tension and poor practice habits. Ms. Lieberman is a clinician who tries to deal with these ailments and habits. This book details physiology, mental habits, practice tips, and exercises which can help to keep any musician healthy.
Unfortunately, as the book itself states in a disclaimer: "This book does not attempt to replace medical attention as needed. When injured, it is important to check into the problem with the appropriate medical authority to determine proper action." This is very good advice, and helps the author and publisher avoid lawsuits, but it points out the central weakness of the book: the sick shouldn't use it and the well won't buy it.
Ms. Lieberman can't always take her own advice, though. Throughout the book, she makes reference to various injuries and cures, citing as her sources various para-medical "healing arts" including: Alexander Technique, Feldenkrais, Acupuncture/Acupressure/Acuyoga, Shiatsu, Preventive Chiropractics, Rolfing, Ayurvedic Medicine, etc.
Of particular interest to double reed players will be the sections of the book dealing specifically with breathing (pp. 43-49) and the jaw and lips (pp. 64-65). The descriptions of the muscular and bony structures are accurate, and detailed diagrams are included. The act of breathing, however, is treated as a "metaphor," and little data is given on how-to's of inhalation and breath support. Ms. Lieberman is a violinist, and she demonstrates no knowledge of the technicalities of wind instrument tone production.
If you need tips on how to practice better or avoid injury, this book has a hundred of 'em. Each part of the body is singled out and discussed as a unit. All in all, though, "You Are Your Instrument" is a light-weight approach to a serious problem. If you need in-depth information about an injury, see a doctor. If you have deeply ingrained bad habits, study with a practitioner on your instrument who can train you day by day in proper technique.
I also had a chance to view the videotape companion to this book, called "The Instrumentalists's Guide to Fitness, Health & Musicianship." It is taught by Ms. Lieberman, with help from several instrumentalists, and yoga demonstrations from a fitness trainer. The tape is cross-referenced to the book by page number, but not so frequently that it becomes irritating. The tape summarizes the main points of the book, and has the advantage that the exercises can be demonstrated in motion, rather than in still photographs. Ms. Lieberman is likeable onscreen, and her guests present themselves well.
On the down side, the author frequently asks for contrary demonstrations ("Try to make it sound really tense.'), which are followed by inane discussion ("How did that feel?," "Really tense," "Yeah, I could tell."). Occasionally, disembodied voices are heard from off-stage, but they never seem to say anything interesting.
In the end, then "You are your book-buyer." Do you need tips, exercises, and
techniques? The twenty dollars for this book may not be too much to pay. Those
of you who teach privately may be able to gather some pertinent exercises to use
in your studios. The videotape (sold separately) is somewhat valuable in
demonstrating the yoga movements. If you are comfortable with the new age
"healing arts" terminology, you may have a very favorable reaction to this book.
If I had a choice, though, I would rather have a subscription to the "Medical
Problems of Performing Artists" Journal.
Steve Hanna is the administrative assistant at
the University of Idaho Lionel Hampton School of Music. He has studied bassoon performance at the Eastman School, the University of Cincinnati College-Conservatory, and the University of Denver.