These studies are cited by Victor Sazar: New Directions in Cello Playing: How to Make Cello Playing Easier and Play Without Pain.Los Angeles, CA: Ofnote Publishers, 1995. pp. 1–2.
2.
YehudiMenuhin: Six Lessons with Yehudi Menuhin.New York: W W Norton & Co Inc, 1981.
3.
FrostR. and FischbachG. with BardenW: Artistry in Strings: a Comprehensive Course of Study for Group or Private Instruction.San Diego: Neil A. Kjos. c. 2002.
4.
RobertGillespie, . Essential Elements 2000.New York: Hal Leonard, 2000.
5.
EdwardKreitman: Teaching from the Balance Point.Western Springs, IL: Western Springs School of Talent Education. c. 1998. pg. 9.
6.
Cello lesson at the Ohio State University School of Music, Fall Semester, 1986.
7.
BarbaraConable and ConableWilliam, How to Learn the Alexander Technique: a Manual for Students, 3rd Edition.Portland, OR: Andover Press. c. 1995.
8.
BarbaraConable and ConableWilliam: ibid.
9.
BarbaraConable, illus. by ConableBenjamin: What Every Musician Needs to Know About the Body: the Practical Application of Body Mapping to Making Music.Portland, OR: Andover Press, c. 1998, 2000.
10.
Statement from Andover Educator's website at <http://www.bodymap.org/trainee.html> “Te mission of Andover Educators is to put music training on a secure somatic foundation so that all musicians, amateur and professional alike, may play free of pain and injury and with increasing enjoyment and skill. To this end it is the mission of Andover Educators to create a network of Certified Teachers actively teaching the course What Every Musician Needs to Know about the Body. The selection process for trainees is rigorous. We accept only those applicants we are sure we can train to the high standard set by current Andover Educators.” Retrieved June 23, 2005
A case in point is the recent videotape of the Greenwich, CT, Central Middle School 2005 Spring Concert III; comparison of the Chamber Orchestra made up of primarily seventh and eighth graders who have been working with a Body Mapping teacher (this writer) for more than two academic years with the Sixth Grade Orchestra who have spent less time with a Body Mapping teacher demonstrated a significant difference in alignment and healthy body use, with the Chamber Orchestra looking much better aligned in general.
13.
GrossmanD.The Effects of Body Mapping Lessons on the Musical Performance of Elementary Students.Portland, OR: Master's Thesis, University of Portland, 2005. Presented at the Second Biennial Andover Educators’ Body Mapping Retreat and Conference, Pacific Grove, CA, Thursday, June 16, 2005.
14.
BuchananH., presented at the Second Biennial Andover Educators’ Body Mapping Retreat and Conference, Pacific Grove, CA, Friday, June 17, 2005.
15.
MalcolmGladwell. Blink: the Power of Thinking without Thinking.New York: Little, Brown, and Co., 2005. pp. 67–68
Evaluation forms designed and collected by the Office of Professional Development, Greenwich Public Schools, November 2004 - May 2005.
18.
If you are teaching in a public school setting, be careful about referring a student to any health care professional other than the school nurse to prevent any possible perception of liability.
19.
See endnote 10.
20.
<National Standards of Music> National Standards of Arts Education, Reston, VA: Music Educators National Conference, 1994. pp. 97–109. Standards 1 and 2 deal with vocal and instrumental performance, Standard 7 deals with developing criteria for evaluating others’ performances, and Standard 8 deals with making connections between music, the other arts, and disciplines outside the arts.
21.
There is a course schedule listed on the Andover Educators website.
22.
WynnKapit and ElsonLawrence: The Anatomy Coloring Book, 3rd Edition.San Francisco: Benjamin Cummings. c.2002.
