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A Way of Doing Things: Exploring and Applying the Alexander Technique for Choral Conductors Jeshua Switzer Franklin a Dissertati

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A Way of Doing Things: Exploring and Applying the Alexander Technique for Choral Conductors Jeshua Switzer Franklin a Dissertati A Way of Doing Things: Exploring and Applying the Alexander Technique for Choral Conductors Jeshua Switzer Franklin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: Geoffrey Boers, chair Thomas Harper Giselle Wyers Program Authorized to Offer Degree: School of Music © Copyright 2016 Jeshua S. Franklin ii University of Washington Abstract A Way of Doing Things: Exploring and Applying the Alexander Technique for Choral Conductors Jeshua Switzer Franklin Chair of the Supervisory Committee: Dr. Geoffrey Boers Director of Choral Activities and Associate Professor of Music School of Music The human body is a machine of extraordinary design and intricacy, and musicians widely recognize the role the mind and body play in making music. Despite the problems that affect performing artists, there is a surprising lack of an empirically verified method of teaching unified psychophysical performance to musicians. For choral conductors, the problem is significant. Conductors rely heavily on non-verbal communication to convey their musical intent and understanding of a given work. However, few experiences in a conductor’s traditional training take full account of learning the psychophysical unity of the body that allows for the greatest freedom of expression. The purpose of this study is to introduce choral musicians to the Alexander Technique and its suggested applications within choral music making. The Alexander Technique is a psychophysical method of directed thinking activities and heightened kinesthetic awareness leading to the best possible use of the body, defined colloquially in this study as “a way of doing iii things.” As choral conductors improve their understanding of the history, study, and application of the Alexander Technique, they can begin to make better choices about incorporating the Alexander Technique into their conducting gesture, musical performance skills, choral pedagogy, other educational curricula, and even their everyday movement habits. In addition, in this study, choral conductors will gain a clearer picture of how to distinguish the Alexander Technique from other somatic methods popular in the performing arts. This study seeks to inspire choral conductors to pursue training in the Alexander Technique and illustrate the need for continued empirical research into the Alexander Technique. iv Table of Contents List of Figures ............................................................................................................................... vii Chapter 1. Introduction ..........................................................................................................................1 a. Statement of the Problem .........................................................................................1 b. Purpose of the Study ................................................................................................6 c. Need for the Study ...................................................................................................7 d. Definition of Terms ................................................................................................10 e. Scope and Limitations of the Study .......................................................................11 f. Organization of the Dissertation ............................................................................12 2. Literature Review ...............................................................................................................13 a. Useful Books About the Alexander Technique .....................................................13 b. The Alexander Technique in Music .......................................................................16 c. The Alexander Technique in Other Performing Arts ............................................23 d. The Alexander Technique as Pedagogy .................................................................26 e. The Alexander Technique in the Medical Field ....................................................29 f. Summary ................................................................................................................36 3. An Introduction to the Alexander Technique ....................................................................37 a. What is the Alexander Technique? ........................................................................37 b. Coordination, Kinesthesia, Awareness, and Psychophysical History ...................38 c. F. M. Alexander .....................................................................................................42 d. Principles of the Alexander Technique ..................................................................44 e. My Journey with the Alexander Technique ...........................................................53 v f. Evolution of the Technique Since F. M. Alexander ..............................................56 4. Comparison to Other Somatic Methods .............................................................................60 a. Laban Movement Analysis ....................................................................................60 b. Body Mapping .......................................................................................................63 c. Feldenkrais Method ...............................................................................................66 d. The Alexander Technique as Psychophysical Re-education .................................68 e. Summary ................................................................................................................69 5. Choral Applications ...........................................................................................................71 a. Posture & Movement .............................................................................................73 b. Conducting Gesture ...............................................................................................81 c. Empathy/Mirroring ................................................................................................89 d. Teaching Coordination through Warm-ups ...........................................................90 e. Avoiding End Gaining ...........................................................................................94 f. Means Whereby for All Activities .........................................................................97 g. Summary ................................................................................................................98 6. Conclusion .........................................................................................................................99 a. Summary ................................................................................................................99 b. Recommendations for Personal Study of the Alexander Technique .....................99 c. Implications for Further Study .............................................................................101 Bibliography ................................................................................................................................103 vi List of Figures Figure Number Page 1. Figure 1: Lateral view of cervical vertebrae ......................................................................47 2. Figure 2: Lateral view of the spine ....................................................................................75 vii Acknowledgements I would like to thank Dr. Cherrie Llewellyn for first interesting me in the Alexander Technique, as well as my Alexander teachers, Bruce Oliver and Cathy Madden. Thank you, also, to Dr. Geoffrey Boers, Dr. Giselle Wyers, and Dr. Steven Demorest, who most profoundly guided my choral experience at the University of Washington. I am grateful for each member of my graduate choral conducting cohort at the University of Washington, but especially to my friends Wendy Moy, Bryan Nichols, and Jeremiah Selvey. Because of you, I am a better choral conductor, a better educator, a better colleague, and a better person. Many teachers not already mentioned have helped shape my musical journey over the years and I am grateful for each one of them. They include Jerry DeYoung, Ella Webb, William Aprile, Elise Osner, Dr. Stephen Stroud, Anne Martin, Dr. Wishart Bell, Dr. Michael Kendall, and Dr. William Skoog. I am thankful for my parents, Phil and Pam, who have been so loving to me and present with me throughout this project. Thanks also to Paula Wiseman, who spent selfless hours editing this document. To all the others who read, proofread, edited, and gave other feedback, I offer my thanks as well. Words cannot begin to express my gratitude for my loving and devoted wife, Sara. She knows best the ups and downs, the elations and frustrations, and the laughter and tears that this entire journey has brought. Finally, I am in awe of the unfailing love of my Lord and Savior, Jesus Christ. Apart from Him, I can do nothing. Soli Deo Gloria. viii Dedication Dedicated in loving memory of Robert N. Ham, who was the first to inspire me toward a deep love of choral music. ix Chapter 1: Introduction Statement of the Problem I have very vivid memories from my time as a master’s student of being a chorister at a dress rehearsal of Berlioz’s Te Deum with a large university symphony chorus and professional orchestra and tenor soloist. As a tenor myself, I was enamored with this soloist’s apparent ease with the
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