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Repetitive motion
injuries in music |
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How proper early
music training
can mitigate
later injuries
The
Lewisville Lake
Symphony has
taken a look at
how repetitive
motion injuries
suffered by
musicians can be
mitigated by
proper training
in childhood. As
a result, it is
making changes
to its Vernell
Gregg Young
Artists’
Competition by
eliminating
compositions
that put too
much wear and
tear on immature
bodies.
Young dancers
are not allowed
on point until
they have
reached a
certain age and
demonstrated
ankle strength.
The Symphony
wondered if
there were
parallels for
musicians and
consulted the
Texas Center for
Music and
Medicine located
in the College
of Music at the
University of
North Texas. The
Center conducted
a survey of
piano majors and
determined that
86% already had
pain in their
hands. Other
instruments have
their own risks.
Dr. Kris Chesky
and Dr. Eri
Yoshimura of the
Texas Center
note that
Northwestern
University in
Illinois
reported higher
numbers. Young
students are
pushed to
perform pieces
that they should
not play. Their
growing bodies
are unready for
the demands of
certain
compositions.
Students
entering UNT
from Russia
usually do not
report pain in
their hands.
“Russian
training is
different, says
Dr. Pamela Mia
Paul, Regents
Professor of
Piano and a
member of the
Symphony board
of directors.
“No steps are
skipped in the
assigning of
repertoire.
Young hands and
bodies are given
repertoire in
line with their
physical and
emotional
development. On
the other hand,
it is difficult
to determine if
the Russian
students are
reporting
accurately
because they may
fear their time
at the
university could
be jeopardized.”
They are not
alone. Many
professional
musicians keep
their pain
secret because
they are worried
that if word
gets around,
they might not
get work.
Several have
told the
Symphony about
the overwhelming
relief in
discovering that
other musicians
also have pain.
Some carry a
trail of
doctors,
therapies and
operations,
occasionally
chosen out of
desperation
rather than
superior
medicine.
Adron Ming,
Music
Director/Conductor
of the
Lewisville Lake
Symphony says he
has looked at
the data and
concluded that
his organization
should stop
being part of
the problem and
make a
contribution to
the solution.
Says Ming,
“parents and
teachers believe
that flashy
pieces by
composers like
Liszt and
Rachmaninoff
tend to win
competitions.
Every year there
are requests for
exceptions to
our Vernell
Gregg Young
Artists’
Competition
approved
repertoire.”
“On the whole
such requests
have been
granted. The
problem,” he
continued, “is
that Liszt, for
example,
engineered his
compositions so
his large hands
could help him
play other
pianists under
the table. It’s
inappropriate to
expect a student
who is
physically much
smaller and
still has a
maturing bone
and muscle
structure to
take on the same
piece of music.
The Maestro says
he will be very
reluctant to
agree to
exceptions going
forward. He
recognizes that
may reduce the
number of
entrants but he
is hopeful that
other orchestras
offering similar
competitions
will buy into
the Symphony’s
position.
Dr. Paul has
another concern.
“For students
interested in
continuing as
musicians,
physical
development is
important; but
it is critically
important that
they learn the
repertoire that
includes
Beethoven,
Mozart, Haydn,
Mendelssohn
before they skip
onward to the
bigger and more
"competition
winning" pieces
of the later
19th century and
20th century.
The Maestro
agrees with Dr.
Paul while
recognizing that
there are a few
students that
can handle very
physically
demanding
compositions.
Those same
students,
however, may
best benefit
from tackling
works that are
more difficult
musically, such
as Mozart and
Beethoven.
Mastering those
works will serve
them better in
the long run.
With good
fortune, a
musician can
play until
somewhere in
their eighties.
They won’t if
injury impedes
their natural
born talent.
Maestro Ming and
Dr. Paul reckon
the revised
repertoire will
reveal the best
of middle and
high school
talent to astute
judges.
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