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Archive for the ‘Music Paedagogic Work’ Category

12 being killed on 7th Jan 2015 in Paris… We are Charlie Hebdo… Yo Soy Charlie… Ich bin Charlie… Som Charlie Hebdo

Posted by ElJay Arem (IMC OnAir) on January 7, 2015

We are mourning for our colleagues of French satirical weekly newspaper Charlie Hebdo in Paris who lost their lifes today in the shooting by three gun men.

Our heartfully condolences go to the families and friends of all twelf victims. May all eleven injured persons recover fully. – The Chief Editor/Cultural Journalist/Moderator ElJay Arem


Weekly newspaper Charlie Hebdo (Paris) lost today its chief editor Stephane (known as Chab) and four (4) cartoonists (Cabu, Ph. Honoré, B. Velhac (aka Tignous) + G. Wollinski) beside seven (7) other victims (two of them have been police men). Anther one was radio colleague, jouranlist and radio presenter Bernard Maris (who had a weekly column entitled J’ai tout compris à l’économie, each Saturday on France Inter). Bernard was shareholder of Charlie Hebdo.


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Comic Strip artist Jean Cabut
01/13/1938  –  cross-1379268461Hdj  01/07/2015

Protest flyer: «I am Charlie»
(PDF from official website)

Stephane Charbonnier
8/21/1967  – cross-1379268461Hdj 01/07/2015

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Posted in FestivalReport, Health Care, IMC OnAir - News, Live around the globe, Music Paedagogic Work, News from India, Raga CDs of the months, StudioTalks, Thought Experiment(s) | 3 Comments »

Merry Xmas to all our listeners and musical friends !

Posted by ElJay Arem (IMC OnAir) on December 23, 2014

FB-Group-Indian-Classicas-15000-members-Xmas-2014-mit-Logo-560-178

We wish our listeners, musical friends, artists, music directors, composers,
technical crews of our radio stations (Radio Rasa/CH, Radio Fro/A, radio multicult.fm/DE + Tide Radio/DE) and all >15,000 group members of Indian Classical
a very musically MERRY X-Mas & Happy New Year 2015 !

Posted in Broadcasting Calendar, Culture (news), Economics (news), Education (news), FestivalReport, Health Care, Health Care (news), IMC OnAir - News, Indian Classical Music, Live around the globe, Music Paedagogic Work, News from India, Politics (news), Raga CDs of the months, Religion (news), StudioTalks, Thought Experiment(s) | Leave a Comment »

IMC – India meets Classic (IMCRadio.Net) wishes its listeners all the best for 2014…

Posted by ElJay Arem (IMC OnAir) on December 30, 2013

The promotion initiative IMC – India meets Classic thanks all musical friends around the globe, for all your passion and interests we experienced during 2013 and giving us the chance to share our common love for Indian music culture. – A heartfully ‘Thank you’ by the editor ElJay Arem .

We wish you and your families a happy and healthy, successfully and musical New Year 2014 ! 

IMC-HNY-2014-wishes-800-327-1

… and become member of our FB group (with >6,480 lovers) for Indian Classical Music here.

Posted in FestivalReport, Health Care, IMC OnAir - News, Live around the globe, Music Paedagogic Work, News from India, Raga CDs of the months, StudioTalks, Thought Experiment(s) | Leave a Comment »

Why Music ? – Here are minimum 5 good reasons…

Posted by ElJay Arem (IMC OnAir) on October 26, 2013

why-music… by Juliette Liu (seen at Interlude.hk – http://www.interlude.hk )

Posted in Music Paedagogic Work | Leave a Comment »

International Conference (17th-21st Dec): Indian Dance – Theatre Between Tradition & Contemporaneity

Posted by ElJay Arem (IMC OnAir) on October 23, 2013

IUGTE is the non-governmental non-profit organization founded in 2000 (@ Facebook).

The organization was established with the purpose of exploring the bridge between world theatre traditions and contemporary performing arts, developing international programmes, promoting multicultural dialogue, supporting the freedom of creative expression and tolerance through the acquaintance with the diversity of world traditions.

Our staff is a collaborative community of experts in the field of performing arts, social science, culture and arts management aiming to achieve the highest level of excellence in organizational work, research, teaching and creative endeavors.

Our programmes provide opportunities for intellectual, practical and experiential knowledge of the performing arts, a practical working knowledge of the craft, discipline, the critical thinking it requires, and a deep appreciation for the collaborative art of theatre.

Since 2000 IUGTE has carried out over fifty international performing arts conferences, training courses and collaboration projects in Austria, Canada, Czech Republic, Great Britain, Hungary, Italy, Latvia, Lithuania, Malta, Russia, Slovenia, Sweden and Ukraine. We have collaborated with over 150 teachers from different countries, and our programmes have been attended by over 1,500 international students.

We appreciate your visit to our website and hope that you will contact us with questions you may have about our programs!

IUGTE International Theatre Village (annual)

—————————————————————

International Conference Theatre Between Tradition & Contemporaneity

  • Performing Arts Training Today
  • Performing Arts Management Today
  • Fundraising for Arts and Cultural Organizations

international-Conference-IUGTE-2013

date: December 17 – 21, 2013
place: Leitring bei Leibnitz, Austria

PARTICIPANTS
Performers, performing arts educators, teachers, artists, playwrights, theatre critics, journalists, theatre researchers, arts managers, arts administrators, arts management educators and consultants, arts entrepreneurs, fundraisers, producers, arts agents and talent managers from all over the world.

The Conference offers a wonderful opportunity to meet potential collaborators and creative partners from different countries!

The conference working language is English.

PROGRAMME

Practical workshops, masterclasses, works-in-progress, performances, presentations, lectures, discussions:

Please follow the news! The conference programme is being regularly updated.

REGISTRATION FOR PARTICIPANTS

To apply for participation, candidates should send a cover letter briefly describing professional activity to iugte.projects@gmail.com

The participation fee is 450 EUR (early-bird reduced registration fee – if payment is made before October 25th);
550 EUR (if payment is made after October 25th). The fee covers participation in all events of the programme.

Group Registration Discounts
We offer a discounted conference registration rate for groups of three or more people (300 EUR per person).

Student Registration Discounts
There is a discounted conference registration rate for students (150 EUR per person – student identity document must be presented).

For student groups of three or more people there is a special discounted registration rate (135 EUR per person).

REGISTRATION FOR OBSERVERS

To register for the Conference programme as an Observer, candidates should send a cover letter briefly describing professional activity to iugte.projects@gmail.com

There are three payment options for Observers:

  1. Observation of the whole programme of the Conference. The fee – 150 EUR.
  2. Two-day programme attendance. The fee – 95 EUR.
  3. One-day programme attendance. The fee – 65 EUR.

ACCOMMODATION

IUGTE can help participants to organize accommodation and meals.

CONFERENCE SCHEDULE

The official arrival day is Tuesday, December 17th from 13:00.
The day of departure is Saturday, December 21st after breakfast (before 9:00).

December 17th:
From 13:00 – Group arrival and check-in.
17:45 – IUGTE Programme Coordinator meets the group. Short tour around Retzhof Castle.
18:00-19:00 – Dinner.
19:00-20:30 – IUGTE Conference opening, first meeting and introduction to the programme.

December 18th, 19th and 20th:
Conference programme: practical workshops, presentations, works-in-progress, lectures and discussions. The conference programme will run full day with breaks for breakfast (8:00-9:00), lunch (12:00:13:00) and dinner (18:00-19:00). The registered conference delegates receive the detailed daily schedule.

December 21st:
7:30-9:00 – Breakfast
9:00 – Check-out & departure.

(Source: 10/23/2013 – IUGTE.com)

————–

Invented Traditions –  What Makes Indian Dance ‘Indian’? 

Video presentation with Gitanjali Kolanad (choreographer, teacher, dance researcher – Canada) and Brandy Leary (Founder and Artistic Director of Anandam Dancetheatre – Canada).

Gitanjali Kolanad was involved in the practice, performance, and teaching of bharata natyam for more than to  forty years. She performed in major cities in Europe, America and India. She collaborated with noted artists: director Phillip Zarrilli, video/installation artist Ray Langenbach, poet Judith Kroll, among others. Her work incorporated folk and ritual forms of dance, theatre and martial art forms from South India. Gitanjali’s collection of short stories,“Sleeping with Movie Stars”, was published in 2011 by Penguin India. She has written on  aspects of Indian dance for major Indian publications. Now, she teaches the Indian martial art form of kalaripayat in Toronto.

Brandy Leary uses the body as a means of philosophical enquiry, creating contemporary dancetheatre that is at once visceral and transcendent. Brandy holds a BA Honours in Theatre with a specialization in Direction and Asian Theatre from York University. She has lived between Canada and India for the past 14 years training, collaborating and creating in the traditional Indian performing languages of Seraikella and Mayurbhanj Chhau (dance), Kalarippayattu (martial art) and Rope Mallakhamb (aerial rope).

Brandy Leary founded Anandam Dancetheatre Productions (www.anandam.ca) in 2002 and is its Artistic Director. She has been the resident choreographer at the Bata Shoe Museum in Toronto since 2010.

This will be presented as a lecture with video clips of Leary’s recent works, ‘Confluence’ and ‘Precipice’ contrasted with her performance of a traditional item from the chauu repertoire.

In 1970, when I first went from Canada to study bharata natyam in India, the dance was described as a revival of a two thousand year old tradition of temple dance going back to the Natya Shastra. This story remains prevalent and is the most widely accepted version of the history of bharata natyam, the descriptor ‘two thousand year old dance form’ appearing again and again in publicity material, reviews, grant applications, etc to this day, despite lack of historical veracity.

This story gives audiences with no specialist knowledge of the dance form reasons to suspend  aesthetic judgments. Diasporic practitioners and audiences are deeply attached to the notion of ‘ancient’ and ‘tradition’ in relation to Indian dance, and find it hard to explain or value the art form without reference to its age or adherence to a ‘tradition’.

What makes contemporary Indian dance ‘Indian’ dance? I look at this question through the work of chauu dancer Brandy Leary, who creates contemporary work that doesn’t look ‘Indian’ in any superficial way, and is not buttressed by claims of ‘authenticity’, but nevertheless embodies ‘Indian’ concepts of dance and theatre, relationships of dancer to audience, and conforms to ‘Indian’ aesthetic principles that go back to the Natya Shastra.

(Source: 10/23/2013 – IUGTE.com)


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Posted in Live around the globe, Music Paedagogic Work, Uncategorized | Leave a Comment »

India Music Week (N.Y.): Indian Music Research Guide

Posted by ElJay Arem (IMC OnAir) on October 6, 2013

Indian Music

INTRODUCTION

This research guide was prepared in conjunction with India Music Week (October 6-13, 2013) to highlight resources available in Columbia University Libraries.

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IMW_logo-new

ONLINE REFERENCE RESOURCES

Bibliography of Asian Studies.
Ann Arbor, MI: Association for Asian Studies, 1998-
Search by combining subject and country/region facets; here is a sample search that combines a country/region facet (“India”) with a keyword facet (“music”). Try others.

Garland Encyclopedia of World Music (Online)–India
Alexander Street Press, 2013

Garland Encyclopedia of World Music Volume 5: South Asia: The Indian Subcontinent, Arnold, Alison (ed.); Routledge; published May 1999
New York: Garland Pub., 1998-2002

RECENT PRINT REFERENCE RESOURCES

  • Companion to North Indian classical music / Satyendra K. Sen Chib, New Delhi: Munshiram Manoharlal Pub, 2004 (Butler Stacks ML102.H56 C454 2004)
  • Bharatiya sangeet: raga nidhi; encyclopedia of Indian ragas (4 vols), a comparative study of Hindustani & Karnatak ragas, B. Subba Rao, 1956-[66]  (South Asian Studies Reading Rm,  601 Butler, ML338. .S78)
  • The Oxford encyclopaedia of the music of India (3 vols) / chief editor, Nikhil Ghosh, New Delhi: Oxford University Press, 2011 (Music Reference Non-Circulating ML102.H56 O94 2011g)

SUBJECT HEADINGS

The Columbia University Libraries catalog allows for faceted searches. One very useful facet is the use of Library of Congress Subject Headings. To search by LCSH, select “catalog” from the left (Search Source) drop-down menu, and select “subject” from the right drop-down menu in CLIO. LCSH headings can also be quite useful for WorldCat catalogsearches.

General Subject Headings

Specialized Genres

CALL NUMBERS

The Columbia University Library catalog allows for searches by call number range. Here are a few examples:

  • ML100 (Dictionaries of Indian Music)
  • ML101.I47 (Encyclopedias of Indian Music)
  • ML120.I5 (Bibliographies of Indian music)
  • ML156.4.N3 (Discographies of Indian music)
  • ML338.2  (History and Criticism of 17th century music of India)
  • ML338.7.T29 (Music of Tamil Nadu)
  • ML338.G665 (Bengali music of India)
  • ML1808 (Music of South India)
  • ML3748 (Textbooks of Indian music)

STREAMING ONLINE

Online streaming of Indian music is available via Columbia University libraries. Here is a subject search for “music India” with “online” format selected.

Columbia University subscribes to various online music resources, such as the following:

 

MUSICAL RECORDINGS

Columbia University Library has various recordings of Indian music. To locate them, search the catalog with format set to “music recording.”

Here are a few representative recent acquisitions:

VIDEOS

Columbia University Library collections include videos related to the music of India.
Representative examples include:

  • Ajaba śahara: Amarīkā meṃ Kabīra = Ajab shahar : Kabir in America
    Bangalore : Srishti School of Art, Design & Technology, 2008
  • Free to sing?: the music of Suman Chatterjee
    Epic Actors’ Workshop & Choir
  • Gimme somethin’ to dance to!: what is bhangra?
    New York : New York University Program in Culture and Media, c1995
  • Hardy, Ian, Singing between two worlds – learning traditional music in the heart of modern India
    New York, NY : Filmakers Library, 2002
  • In between the notes: a portrait of Pandit Pran Nath, master Indian musician
    San Francisco, CA. : Other Minds, 2006.
  • Kalanjali (Dance company), Of beauty & deities: music and dance of India
    Berkeley, CA : PALOMINO Productions, c2006
  • Khyal: classical singing of North India
    New York, NY : Insight Media, [2012?], 1998
  • Raga: a film journey into the soul of India
    Encinitas, CA : East Meets West Music, c2010
  • Ravi Shankar: tenth decade in concert : live in Escondido
    [Encinitas CA] : East Meets West Music, ©2012
  • There’ll always be stars in the sky: the Indian film music phenomenon
    [S.l.] : Shanachie Entertainment, [2003]
  • A voice from heaven: Nusrat Fateh Ali Khan, the most beautiful voice in the world
    New York, NY : Winstar TV & Video, c2001

BOOKS

Books in print format can be located in the Columbia University library catalog by setting format to “books.”

Representative titles include:

SCORES

The Columbia University library catalog allows for searches by music score format. Here are a few representative examples of items in the catalog:

Contact Datas: 535 West 114th St. New York, NY 10027 Telephone (212) 854-7309 Fax (212) 854-9099

(Source: 10/2013 – IMW – India Music Week)

Posted in India Music Week (2013), Medias, Music Paedagogic Work | Tagged: , , | Leave a Comment »

Healthy Musicianship (lecture): Prevention, Cures & Challenges in Musician’s Medicine (by Prof. Dr. Eckart Altenmüller)

Posted by ElJay Arem (IMC OnAir) on August 31, 2013

August 29 and 30 2013, the Conservatorium van Amsterdam hosted the international conference Managing your Talents – Interdisciplinary Research on the Performing Arts.

managing-your-talents_02

The conference programme was structured around four themes:

* Talent
* Excellence
* Practicing
* (Over)load

Friday, August 30, 14.45-15.30
Thematic Session 4: (over)load

Healthy Musicianship; Prevention, Cures and Challenges in Musician’s Medicine

Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)

Performing music at a professional level is one of the most complex of human accomplishments. Societal pressures and the overall increasing level of expertise and performance technique require students to work hard and to develop skills which are not only related to playing, but also to emotional communication and self-management. It therefore is essential to teach future instrumental teachers and performing musicians on one side to recognize and prevent performance related injuries, on the other side to have sufficient drive and vitality to express emotions and joyfulness in making music.

In the lecture, I will present the program we have developed in Hannover. It aims at preventing injuries and provides skills which are necessary to improve self-management, emotional communication and knowledge about the meaning of music in our society.

Lecture: Healthy musicianship: prevention, cures and challenges in musician's medicine (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover)

page 19 from Lecture “Healthy musianship: prevention, cures and challenges in musician’s medicine” (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover) – Download fully PDF from bottom.

The program includes information about the pathophysiology of injuries caused by instrumental playing and offers a prevention program including body-relaxation techniques, performance training and management of anxieties. Biological foundations of music making and music perception are taught. The main foci here are sensorimotor aspects of music playing, motor learning, musculoskeletal injuries, performance anxiety, hearing, protection of hearing, and central nervous auditory processing.

We offer small group seminars for instrumentalists in a “hands-on” format. The main aspects are movement sciences, motor learning, and efficiency in practicing.

With these courses we work on four major lines:

* Teaching the basics of music physiology and musicians’ medicine.
* Research into the physiological and neurobiological principles of professional music performance and music perception
* Research into the causes of occupational injuries in musicians.
* Prevention, diagnosis and treatment of such injuries.

Selected case studies and practical propositions are presented in the end of my lecture.

———————

Prof. Dr. Eckart Altenmüller

Prof. Dr. Eckart Altenmüller

eckart altenmüller
Eckart Altenmüller is a full university professor and medical doctor, and has an active research and concert career. He graduated in Medicine and in Music at the University of Freiburg, where he obtained is concert diploma in the master classes of Aurèle Nicolèt and William Bennett. His clinical training was in the Department of Neurology in Freiburg and Tübingen as a neurologist and neurophysiologist. In 1994, he became Chair and Director of the Institute of Music Physiology and Musicians’ Medicine at Hannover University of Music and Drama, a position he has held for the past 19 years. In this role, he has continued his research into sensory-motor learning and movement disorders in musicians. Dr. Altenmüller is Member of the prestigious Göttingen Academy of Sciences since 2005 and President of the German Society for Music Physiology and Musician’s Medicine 2005-2011, Vice-President since then.

More information about Eckart Altenmüller:
* Eckart Altenmüller’s undefinedInstitut für Musikphysiologie und Musikermedizin

(Source: 08/2013 – Conservatorium Amsterdam)

Download Prof. Altenmüller’s fully presentation (39 pages)…

Please find below the other presentations & keynote.

thematic session 1: talent
Musical Talent: Conceptualisation, Identification And Development
Susan Hallam (University of London)

This presentation begins with a consideration of how thinking about musical talent has changed over time. Evidence from research exploring recent conceptualisations of musical talent will be presented. The role of musical practice and engagement in musical activities will be discussed in relation to the development of musical expertise and will be linked to neuropsychological studies of the brain. Finally, the presentation will consider the crucial role of motivation in the nurturing and development of talent and the implications of this for its identification.

thematic session 2: excellence
Cognitive reserve, music, and sports
Erik Scherder (VU University, Amsterdam)

There is some interesting literature supporting the view that growing up in an enrichment environment contributes to a cognitive reserve. The higher the cognitive reserve, the more a person is able to withstand the consequences of aging and/or age-related neurodegenerative diseases. In an enriched environment, a person is constantly challenged, preferably both cognitively and physically, processing a variety of stimuli. Enriched environment at a young age, is particularly important for those brain areas that are still developing, e.g. the prefrontal cortex.

thematic session 3: practicing

Succesfull (self-)study: the role of cognitive and socio-emotional development
Mariëtte Huizinga (VU University, Amsterdam)

Why is it that some adolescents attend school virtually effortless, while others experience delay or even drop-out? Why is it that the one adolescent is perfectly able to balance his/her homework and social life, while others are not? Which factors are related to an adolescent’s ability to resist the attraction of the internet and social media?

thematic session4 : (over)load
Monitoring Overload in Athletes And Dancers
Jacques van Rossum (VU University, Amsterdam)

In dance, one has traditionally lived in a world coloured by pain (‘no pain, no gain’), where the seemingly unavoidable injuries are perceived by dancers to be caused by fatigue, overwork and ‘repetitive movements’. In recent years, however, scientific evidence suggests that smart practice is to be preferred over the traditionally hard and long hours of practice. This presentation describes (some of) the speaker’s experiences regarding the monitoring and prevention of overload in athletes and dancers.

keynote lecture
Tip of the Iceberg
Henkjan Honing (University of Amsterdam)

In this presentation I will argue that we all share a predisposition for music. Examples range from the ability of newborns to perceive the beat, infants impressive sensitivity to complex rhythms, to the unexpected musical expertise of ordinary listeners. The evidence will show that music is second nature to most human beings, both biologically and socially. However, if musical talent is indeed so wide spread as it seems, one could wonder whether we are the only species that are musical. Can birdsong, the song structure of humpback whales, a Thai elephant orchestra, or a gibbon duet be considered products of musical animals as well? It will lead to a discussion of whether successful musicians are (merely or consequently) the tip of the iceberg.

(Source: 08/2013 – Conservatorium Amsterdam)

Posted in Health Care, Music Paedagogic Work | Leave a Comment »

Amsterdam Conference: Managing your Talents – Interdisciplinary Research on the Performing Arts (29-30 Aug 2013)

Posted by ElJay Arem (IMC OnAir) on August 28, 2013

August 29 and 30 2013, the Conservatorium van Amsterdam will host the international conference Managing your Talents – Interdisciplinary Research on the Performing Arts.

managing-your-talents_02

This conference makes for a unique gathering of people whose expertise will be called upon to achieve a new standard of educational excellence in the performing arts. It is a must-go for those who are involved with music, dance or theatre, and who seek to share their interest with researchers from a broad range of disciplines, such as performing arts pedagogy, medicine, neuropsychology, brain and cognition sciences, and human movement sciences.

Conservatorium-Amsterdam-Logo-1The conference will mark a new partnership between De Theaterschool, Conservatorium van Amsterdam, the University of Amsterdam, and VU University. These four institutions aim to share their knowledge in the field of the artistic disciplines and the pedagogical, biomedical and cognitive sciences with a view to strengthen the education and guidance of performing artists. The development of a common research agenda is of vital importance to a sector in which extraordinary tasks have to be accomplished under the public gaze. Conservatories and dance academies, but also orchestras and theatre companies will benefit from this research.

The conference will serve as a first joint exploration. The programme is structured around four themes:

* Talent
* Excellence
* Practicing
* (Over)load

The main language during the conference will be English.

talent

In this session we will raise the question what talent is, when and how to spot it, and how to foster and develop it. We will collect relevant insights from diverse areas of inquiry and confront these with a number of case studies. The historical dimension will not be forgotten. In the arts, talent has long been indefinable. Paradoxically, this was seen as one of its defining characteristics. On the other hand, performing artists have to meet concrete criteria when they want to join an orchestra, ensemble or company; and the arts are buttressed by formal education. How has the need to compare and select artists for job positions and to formulate educational goals for art schools affected the notion of talent?

excellence

For performing complex tasks under great pressure, so as to offer critical audiences a unique experience, stage artists have no equals – except athletes. Knowledge of the ways in which to prepare the human body and mind for such great achievements may be beneficial to other sectors of society. However, in the arts this knowledge is only implicit, or just not available in an organized form. Researchers in the sports have been more successful in coming to grips with it; but then sporting achievements are often quantifiable. What does excellence mean in the performing arts? In this session we will speak about the relevance of sports research for the performing arts; but we will also consider what the latter may contribute to the emerging science of ‘peak performance’.

practicing

Practice is the complement of talent. One yields nothing without the other. But what do we practice, and how? Practicing methods often bear the stamp of tradition and experience – they are prescribed on the authority of the already successful. However, the relation between method and success is fuzzy. What do we know about the range and effects of particular forms of practicing behavior? In this session we will look for substantial information that may shed a light on training practices in different sectors of the performing arts.

(over)load

What performing artists do for a living makes great demands on their mental and physical condition. The art of performing is at the same time the art of staying healthy. There are many methods of prevention and therapies for recovery – so many, in fact, that it can be difficult to sort the wheat from the chaff. Although artists may find help and encouragement in these methods and therapies, their scientific underpinnings are not always transparent. This session revolves around two main questions: do performing art schools have sufficient in-house expertise to provide a coherent and effective resilience programme? And can the health sciences offer adequate answers to questions emerging from artistic practice?

———————-

bookmark: Healthy Musicianship; Prevention, Cures and Challenges in Musician’s Medicine (download from here)

Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)

Performing music at a professional level is one of the most complex of human accomplishments. Societal pressures and the overall increasing level of expertise and performance technique require students to work hard and to develop skills which are not only related to playing, but also to emotional communication and self-management. It therefore is essential to teach future instrumental teachers and performing musicians on one side to recognize and prevent performance related injuries, on the other side to have sufficient drive and vitality to express emotions and joyfulness in making music.

In the lecture, I will present the program we have developed in Hannover. It aims at preventing injuries and provides skills which are necessary to improve self-management, emotional communication and knowledge about the meaning of music in our society.

Lecture: Healthy musicianship: prevention, cures and challenges in musician's medicine (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover)

Download fully Lecture from here: Healthy musicianship: prevention, cures and challenges in musician’s medicine (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover)

The program includes information about the pathophysiology of injuries caused by instrumental playing and offers a prevention program including body-relaxation techniques, performance training and management of anxieties. Biological foundations of music making and music perception are taught. The main foci here are sensorimotor aspects of music playing, motor learning, musculoskeletal injuries, performance anxiety, hearing, protection of hearing, and central nervous auditory processing. We offer small group seminars for instrumentalists in a “hands-on” format. The main aspects are movement sciences, motor learning, and efficiency in practicing.

With these courses we work on four major lines:

* Teaching the basics of music physiology and musicians’ medicine.
* Research into the physiological and neurobiological principles of professional music performance and music perception
* Research into the causes of occupational injuries in musicians.
* Prevention, diagnosis and treatment of such injuries.

Selected case studies and practical propositions are presented in the end of my lecture.

Friday, August 30, 14.45-15.30
Thematic Session 4: (over)load

Prof. Dr. Eckart Altenmüller

Prof. Dr. Eckart Altenmüller

eckart altenmüller
Eckart Altenmüller is a full university professor and medical doctor, and has an active research and concert career. He graduated in Medicine and in Music at the University of Freiburg, where he obtained is concert diploma in the master classes of Aurèle Nicolèt and William Bennett. His clinical training was in the Department of Neurology in Freiburg and Tübingen as a neurologist and neurophysiologist. In 1994, he became Chair and Director of the Institute of Music Physiology and Musicians’ Medicine at Hannover University of Music and Drama, a position he has held for the past 19 years. In this role, he has continued his research into sensory-motor learning and movement disorders in musicians. Dr. Altenmüller is Member of the prestigious Göttingen Academy of Sciences since 2005 and President of the German Society for Music Physiology and Musician’s Medicine 2005-2011, Vice-President since then.

More information about Eckart Altenmüller:
* Eckart Altenmüller’s undefinedInstitut für Musikphysiologie und Musikermedizin

———————-

Fully Programme…

Please find below the programme for the present. Updates will be posted here regularly.

thursday, august 29
09.00-09.45 Sign up at registration desk

10.00-10.15 Welcome

thematic session 1: talent
10.15-11.00 Susan Hallam (University of London)
Musical talent: conceptualisation, identification and development

11.00-11.45 Chris Visscher (RU Groningen)
No Goals, No Glory

12.00-12.30 Marjès Benoist (Sweelinck Academy, the young talents department of the Conservatorium van Amsterdam), with Aidan Mikdad (11 years old)

12.30-14.00 lunch

thematic session 2: excellence
14.00-14.45 Erik Scherder (VU University, Amsterdam)
Cognitive reserve, music, and sports

14.45-15.30 Roger Kneebone (Imperial College London)
Performing Surgery

15.45-16.15 Jan Kouwenhoven (speaker), Isabel Vaz (cello) en Jaap Kooi (piano)
Behind the Curtain: Audition Training at the Conservatory of Amsterdam

16.15-16.45 Tea break

keynote lecture
16:45-17:30 Henkjan Honing (University of Amsterdam)
Tip of the iceberg

17:30-17:45 Announcement: De Creatieve Geest Prijs 2014 (‘The Creative Mind Prize 2014’), an initiative of De Freek en Hella de Jonge Stichting

17.45-18.30 Drinks

From 18.30 Dinner

friday, august 30
10.00-10.15 Welcome

thematic session 3: practicing
10.15-11.00 Mariette Huizinga (VU University, Amsterdam)
Succesfull (self-)study: the role of cognitive and socio-emotional development

11.00-11.45 Julia Kursell (University of Amsterdam)
Measuring practice, 1890-1930

12.00-12.30 Christopher Powney (National Ballet Academy, Amsterdam), Ernst Meisner and The Junior Company.
Barre: a glimpse of dancers’ daily life

12.30-14.00 lunch

thematic session 4: (over)load
14.00-14.45 Jacques van Rossum (VU University, Amsterdam)
Monitoring overload in athletes and dancers

14.45-15.30 Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)
Healthy musicianship: prevention, cures and challenges in musician’s medicine

15.45-16.15 Pauline Luth-Griffioen (International Dance Theatre)
Thoughts of a Dancer

16.15-16.45 Tea break

keynote lecture
16.45-17.45 Daniel Levitin (McGill University, Montréal)
Talent, practice, excellence, and the joy of music

(Source: 08/2013 – Conservatorium Amsterdam)

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University Clinic Hamburg (Eppendorf): Concert Series 2012 – “Music – Human – Medicine”

Posted by ElJay Arem (IMC OnAir) on November 4, 2012

Concert Dates in 2012:

– 09th Febr 2012 – 06:30 pm:  Jazz – Swing makes Sweeps
– 10th May 2012 – 06:30 pm:  Mozart – Music for Meditation
– 6th Sept 2012 – 06:30 pm:  Brahms moves…
– 8th Nov 2012 – 06:30 pm:  Grieg very sensitive…

English: Main Entrance, University Medical Cli...

English: Main Entrance, University Medical Clinic Hamburg Eppendorf (Photo credit: Wikipedia)

All concerts take place in the Forum of the new Clinic (building O10) on the area of the University Clinic Hamburg-Eppendorf.

Venue: University Clinic Hamburg-Eppendorf (UKE), Forum of the new Clinic (building O10)
Martinistreet 52, 20246 Hamburg (see Google Maps)

The Forum is provided with seats. Entry is free and the concerts can be visited without pre-registration.

(Source: 11/2011 – Universitätsklinikum Hamburg-Eppendorf (UKE) – Abtl. Unternehmenskommunikation)

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Posted in Live around the globe, Music Paedagogic Work, Music-Human-Medicine | Tagged: , | Leave a Comment »

Deutscher Musikrat: Musikalische Bildung in Deutschland (20. Oktober 2012)

Posted by ElJay Arem (IMC OnAir) on October 30, 2012

Musikalische Bildung in Deutschland – ein Thema in 16 Variationen

Deutscher Musikrat überreicht Grundsatzpapier an Kultusministerkonferenz

DMR_Logo-250-1Die Mitgliederversammlung des Deutschen Musikrates hat im Rahmen ihrer diesjährigen Generalversammlung das Grundsatzpapier „Musikalische Bildung in Deutschland – ein Thema in 16 Variationen“ verabschiedet. Mit diesem gemeinsam mit der Konferenz der Landesmusikräte erstellten Papier ist es erstmals gelungen, eine bundesweite Bestandsaufnahme der Situation der Musikalischen Bildung in Deutschland mit länderspezifischen Facetten abzugeben.

Der Präsident der Kultusministerkonferenz, Senator Ties Rabe, wird das Grundsatzpapier im Rahmen einer presseöffentlichen Übergabe am Dienstag, 06. November 2012 in Hamburg vom Deutschen Musikrat entgegennehmen. Die Übergabe erfolgt um 12.30 Uhr in der Behörde für Schule und Berufsbildung, Hamburger Straße 31, 22083 Hamburg (Raum 1628).

Für den Deutschen Musikrat werden teilnehmen: Präsident Prof. Martin Maria Krüger, Generalsekretär Christian Höppner und der Vorsitzende des Bundesfachausschusses Musikalische Bildung Prof. Dr. Hans Bäßler. Die Konferenz der Landesmusikräte wird durch ihre Vorsitzende Dr. Ulrike Liedtke vertreten.

Die Akkreditierung erfolgt über das Generalsekretariat des Deutschen Musikrates.

(Quelle: 30.10.2012 – Deutscher Musikrat)

Musikalische Bildung in Deutschland – Ein Thema in 16 Variationen…

Posted in Culture, Music Paedagogic Work | Leave a Comment »

 
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