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Pilates and String Musicians: an Exploration of the Issues Addressed by the Pilates

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Pilates and String Musicians: an Exploration of the Issues Addressed by the Pilates Pilates and String Musicians: An Exploration of the Issues Addressed by the Pilates Method, an Illustrated Guide to Adapted Exercises, and a Pilates Course for University String Players by María Luciana Gallo A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2017 by the Graduate Supervisory Committee: Thomas Landschoot, Co-Chair Kay Norton, Co-Chair Jere T. Humphreys Catalin Rotaru ARIZONA STATE UNIVERSITY May 2017 ©2017 María Luciana Gallo All Rights Reserved ABSTRACT String players have been identified as the most affected group of instrumentalists suffering from musculoskeletal disorders, and most of the problems are related to posture. The high prevalence of injuries among string players suggests that there is room in the music curriculum for a program tailored to this population and that can provide both immediate and long-term solutions. Pilates is a mind-body conditioning method of exercises and a philosophy that shares many similarities with string playing technique and performance, which suggests that its practice can be beneficial to improve not only the posture of string players but also various other areas. Studies about Pilates as a treatment show the varied areas in which Pilates can help, which are all of interest to instrumentalists. However, the application of Pilates into the music curriculum as a way to help string players improve awareness and reduce injuries has not yet been fully explored. This document addresses the similarities between Pilates and string playing, identifies postural tendencies of string players, and demonstrates how specific Pilates exercises can help counteract asymmetries, restore balance, and reduce the number of musculoskeletal injuries of string players. All anatomical drawings included in this document were adapted from other sources, as cited, or originally drawn by the author. i ACKNOWLEDGMENTS I am deeply thankful to Kay Norton, co-chair of this project, for her guidance through this process and invaluable assistance in writing this document. I could not have done it without her and I am extremely grateful for her commitment to see this research through to its completion. I am also very grateful to Jere Humphreys for sharing his knowledge and insights into putting together a project of this size. Thank you to my cello professor, Thomas Landschoot, for his support and interest in this endeavor, his positive outlook, musical inspiration, and the opportunity he gave me to be his teaching assistant during my studies at ASU. Thank you to professor and committee member Catalin Rotaru for being part of this project and for his insights in double bass playing and technique. I wish to express special thanks to Suzanne Diffine and Maria Sison-Wright for their interest in this document and for sharing their expertise on Pilates and physiotherapy. Thank you to Marcela Fuentes, kinesiologyst and osteopath, for her input on biomechanics. Thank you to my friends and colleagues, especially to James Karrer, principal bass at the Tucson Symphony Orchestra, and Kayleigh Miller, violist at the San Antonio Symphony, for their perspectives on lower and upper string playing. And a heartfelt thank you to all my family and friends, especially to my husband Karl Busch, for his meticulous proofreading and infinite support throughout my studies, and to my mother Ana Gabriela Bazán for her unconditional love and support. ii TABLE OF CONTENTS Page LIST OF FIGURES................................................................................................................ vi CHAPTER 1 PILATES IN THE UNIVERSITY MUSIC CURRICULUM ................................... 1 Introduction............................................................................................... 1 Literature Review...................................................................................4 The Prevalence of Musculoskeletal Disorders and Posture as a Major Contributor.........................................................................4 Studies on the Effectiveness of Pilates ......................................18 2 THE PILATES METHOD ....................................................................................... 29 Pilates’ Motivations .............................................................................30 Pilates and Dance: Pilates as a Tool for Total Body Conditioning and Rehabilitation .......................................................................................33 The Pilates Philosophy.........................................................................37 The Original Pilates Method, the Present Challenge in Maintaining Its Integrity and Considerations for a Pilates Class for Musicians ...........39 3 PILATES AND MUSIC ............................................................................................50 The Six Pilates Principles in Relation to Music and String Playing Technique ..............................................................................................50 Concentration...............................................................................50 Control.........................................................................................53 Precision......................................................................................56 iii CHAPTER Page Centering.....................................................................................57 Breathing.....................................................................................60 Flow............................................................................................63 Additional Concepts: Isolation, Routine, Strength with Flexibility, and Nature.....................................................................................................65 The Underlying Thread Linking Pilates and Music: Proprioception and its Effects on Motor Learning........................................................................69 4 POSTURE AND POSTURAL TENDENCIES OF LOWER STRING PLAYERS................................................................................................80 The Importance of Postural Alignment in String Instrument Playing.....80 Posture and Alignment in Cello and the Anatomy of Sitting..................87 Postural Faults of Cellists: Forward Head Posture, Rounded Upper Back, and Rounded Shoulders..............................................................96 Posture and Alignment in Double Bass Playing.................................107 Sitting Position in Double Bass Playing.............................................107 Standing Position in Double Bass Playing.........................................110 Arm Position and Bow Hold in Double Bass Playing........................113 5 POSTURE AND POSTURAL TENDENCIES OF UPPER STRING PLAYERS..............................................................................................118 Standing Posture and Alignment............................................................118 Sitting Posture and Alignment................................................................125 Instrument Consideration: Sizing and Asymmetry.............................129 iv CHAPTER Page Rotator Cuff, Scapula, and Shoulder..................................................135 6 PILATES EXERCISES FOR STRING PLAYERS...............................................140 The Pilates Exercises for String Players................................................142 Exercise for Whole Body Warm Up.........................................142 Exercises to Strengthen the Core, and to Strengthen and Stretch the Legs and Hips......................................................................144 Exercises for Leg, Hip, and Foot Strength, Flexibility, Alignment and Balance...............................................................................150 Exercises for Spine Flexibility..................................................153 Exercises to Open the Chest and Strengthen the Back.............163 Exercise for Back Extensors and Trunk Stability.....................168 Exercises for Scapular Alignment............................................169 Exercises for Head and Neck Stabilization and Mobilization..177 Suggested Order of Pilates Exercises....................................................185 7 CONCLUSION.......................................................................................................186 BIBLIOGRAPHY................................................................................................................190 APPENDIX A SAMPLE COURSE SYLLABUS.........................................................................202 B MUSCLE GROUPS...............................................................................................209 BIOGRAPHICAL SKETCH...............................................................................................213 v LIST OF FIGURES Figure Page 1.1. Craniovertebral Angle...............................................................................................22 2.1. Abdominal Muscles of the Powerhouse...................................................................44 2.2. Muscles of the Powerhouse......................................................................................45 2.3. Muscles of the Secondary Powerhouse................................................................46 4.1. Plumb Line on Sagittal Plane...............................................................................83 4.2.
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