Healthy Musicianship
Spring 2012
Professor Steven K. Hedden
Office: 218 Murphy
Office Hours: 9:00 – 10:00 M, 1:00 – 2:00 W and 11:00 – 12:00 Th
hedden@ku.edu or 864-9757
Course Overview
The experts who participated in a recent conference on Health Promotion in Schools
of Music identified four aspects of health promotion and generated a number of
recommendations for schools of music, recommendations that have been reviewed by
the National Association of Schools of Music. The content of the “Healthy Musicianship”
course this semester will focus on the four aspects the experts identified: hearing health,
vocal health, neuromusculoskeletal health, and mental health.
Aspect #1: Hearing health
*the anatomy and physiology of the hearing system
*strategies to avoid music-induced hearing loss
Aspect #2: Voice health
*how voices physiologically develop/change from infancy through old age
*developing healthy vocal skills by acquiring a knowledge base regarding vocal
health
Aspect #3: Neuromusculoskeletal health
*function of muscles and nerves, tendon sheath problems; muscle physiology and
anatomical/physiological information, particularly as this information relates to
neuromusculoskeletal injuries for which performers are at risk.
*healthy body alignment, injury prevention
*treatment options for injuries
*effects of training/practicing
*exercise and conditioning strategies
*nutrition
Aspect #4: Mental health
*music and the brain
*strategies for maximizing the performance
*managing performance anxiety (“stage fright”)
*stress management techniques, including meditation and yoga
Grading Information
Personal Database: 20% of the course grade.
Each student will gain proficiency in using some sort of a reference management tool by
creating a personal database (library), where one of the sections (groups) in the library
would contain references to materials (articles, books, etc.) related to Healthy
Musicianship.
There are several reference management tools available through KU Libraries. Grad
students have free access to End Note; another possibility is Zotero (a free extension for
Firefox).
Submit by May 3rd a printout of the section (group) in your library that lists the references
to materials related to Healthy Musicianship. You would include the sources identified in
the syllabus and, given the Journal assignment shown below, you’ll want to include the
non-assigned readings in your library. You are asked to include at least 40 references in
the printout you submit.
Journal: 30% of the course grade.
Each student will make entries on a regular basis—at least three times each week—in
an electronic course journal. Only the instructor and you will have access to the entries
you make.
The journal will have three components:
1. Your reflections on the course readings. Rather than summarize the material,
include your response(s)/reaction(s) to the reading. What I’m most interested in
reading in each of your journal entries is the way you apply the course reading to
your continuing development as a scholar and/or performer.
2. Your record of your thoughts as you read non-assigned materials, including
articles from professional journals or chapters in books, or as you attend
presentations on topics related to the course. Each week I want you to seek out and
read non-assigned material or attend non-assigned events with content that is
related to Healthy Musicianship. As above, what I’m most interested in reading is the
way you apply the non-assigned reading to your continuing development as a
professional. (Certainly there are valuable online sources that are appropriate for this
assignment; the important criterion is whether the online resource is roughly
equivalent to a published article/chapter in terms of depth of information.)
3. Your record of your thoughts as you monitor your practice during the semester.
How are you applying concepts or information from our class presentations or
reading assignments?
The major considerations in grading the Journal portion of the course are: Are entries
made regularly throughout the semester? Do the entries provide a balance among the
components identified above? Do the entries demonstrate that the student is applying
the course content to her/his continued development as a school and/or performer?
Project: 40% of the course grade.
Each graduate student enrolled in MEMT823 will prepare a term paper that provides an
overview (synthesis) of recent research on a topic related to hearing health, voice health,
neuromusculoskeletal health, or mental health. The paper will include references to 15
or more research studies where the authors gathered/analyzed data, and the paper will
be approximately 15 pages in length. The term paper is due at the end of the oral
presentation scheduled for 10:30 – 11:30 on May 11th.
The KU grade appeal policy is found at www.policy.ku.edu/academic.shtml
Page 2 of 7
Updated: 2/8/2016
Course Requirements and Policies
Class Attendance/Grading
As noted above, attendance is expected, and more than two absences, excused or
unexcused, will result in a reduction of the course grade.
No grade of “Incomplete” will be given.
All written assignments are to be computer-generated (or typed). Handwritten work is not
acceptable.
Preparation for Class
My expectation is that graduate students will devote approximately three clock hours of
preparation time each week for each unit of credit for the class.
Academic Integrity/Conduct
Academic integrity is characterized by honesty, trust, fairness, respect and
responsibility—on the part of the students and the professor.
The assignments you submit will be original for MEMT823 (rather than a copy of or a
revision of a paper submitted for another class), the information you report and the
citations you include will be accurate, and the work you submit will be entirely your own.
According to the document available at www.policy.ku.edu/academic.shtml:
Academic misconduct by a student shall include, but not be limited to, disruption of
classes; threatening an instructor or fellow student in an academic setting; giving or
receiving of unauthorized aid on examinations or in the preparation of notebooks,
themes, reports or other assignments; knowingly misrepresenting the source of any
academic work; unauthorized changing of grades; unauthorized use of University
approvals or forging of signatures; falsification of research results; plagiarizing of
another's work; violation of regulations or ethical codes for the treatment of human and
animal subjects; or otherwise acting dishonestly in research.
Course Materials
Course materials prepared by the instructor, including the content of all lectures, are the
property of the instructor. As an overall policy, video and/or audio recording of lectures is
not allowed. Exceptional circumstances/situations should be brought to the attention of
the professor in advance of a class meeting where the student might want to create a
recording for study purposes.
Courtesy to others
Cell phones and other mobile devices should be turned off during class.
Services for Students with Disabilities
Any student who has a disability that might prevent the fullest expression of her or his
abilities in this course should contact the staff of Services for Students with Disabilities
(135 Strong, 785/864-2620 v/TTY) in order to coordinate accommodations and services
for this course.
Page 3 of 7
Updated: 2/8/2016
Course Readings
Reading assignments will be from the required textbook, other books, journal articles,
listservs and websites.
The required textbook is:
Watson, Alan H. D. (2009). The Biology of Musical Performance and PerformanceRelated Injury. Lanham, Maryland: Scarecrow Press.
The following books are on reserve for the semester. Several books listed below do not
have assigned readings, but you will find it valuable to peruse them.
Altenmuller, E., Wiesendanger, M. and Kesselring, J., editors (2006). Music, Motor Control
and the Brain. New York: Oxford Press. ML3820 .M875 2006
Beeching, A. (2010). Beyond Talent. New York: Oxford Press. ML3795 .B42 2010
Benninger, M.S. and Murry, T. (2008). The Singer’s Voice. San Diego, CA: Plural Pub.
RF511 .S55 S56 2008
Davies, D.G. and Jahn, A.F. (2004). Care of the Professional Voice: A Guide to Voice
Management for Singers, Actors and Professional Voice Users. London: A. and C.
Black. RF511 .S55 D38 2004.
Green, B. (2003). The Mastery of Music: Ten Pathways to True Artistry. New York:
Broadway Books. ML3830 .G69 2003
Parncutt, R and McPherson, G., editors (2002). The Science and Psychology of Music
Performance. New York: Oxford Press. ML3838 .S385 2002
Rauscher, F. and Gruhn, W., editors (2007). Neurosciences in Music Pedagogy. New
York: Nova Science Publishers. ML3820 .N48 2007
Sataloff, R.T., editor (2006). Vocal Health and Pedagogy (Volume 1 and Volume 2). San
Diego, CA: Plural Pub. RF510 .V633 2006
A comprehensive listing of relevant journals is found on pp. xix – xxi in the course
textbook. You will find that many of these journals (particularly the more recent issues)
can be accessed electronically through the KU Libraries website. The most useful
journal for this course is Medical Problems of Performing Artists.
A listing of useful websites, listservs and blogs appears at the end of this syllabus
Page 4 of 7
Updated: 2/8/2016
Course Content and Assignments
Week One (1/17): Introduction to course, and Introduction to the Human Hearing
System.
Week Two: (1/24): The Human Hearing System
How does the hearing system convert vibrations in air into the sound we
experience?
Topics include:
*Trace the intervening steps in the auditory pathway between the outer ear
(external auditory meatus) and the brain (superior temporal gyrus of the auditory
cortex).
*Explain the role of each of the following in the hearing process: pinna, external
auditory meatus, tympanum, malleus, incus, stapes, oval window, cochlea,
cochlear fluid, basilar membrane, Organ of Corti, tectorial membrane, eighth
cranial nerve, superior temporal gyrus of the auditory cortex.
* Define acoustic reflex and describe its role in preserving hearing.
Reading Assignment:
Watson, Chapter 9: pp. 282 - 295
Week Three (1/31): Strategies to Avoid Music-Induced Hearing Loss
What are effective strategies musicians can take to preserve their hearing?
Reading Assignment:
Watson, Chapter 9: pp. 295 - 300
Phillips, S. L. and Mace, S (2008). Sound-level measurements in music practice
rooms. Music Performance Research 2: 36 - 47.
Mace, S. T. A descriptive analysis of university music performance teachers’
sound-level exposures during a typical day of teaching, performing and
rehearsing. Retrieved 1/14/10 from:
www.marcocosta.it/icmpc2006/pdfs/102.pdf
Week Four (2/7): Development of the Human Voice
Topics include how voices physiologically develop/change from infancy through
old age.
Reading Assignment for Weeks Three and Four:
Watson, Chapter 5: “The Voice” (pp. 139 – 192)
Week Five (2/14): Developing Healthy Vocal Skills
Topics include developing healthy vocal skills by acquiring a knowledge base
regarding vocal health.
Reading Assignment: (shown above)
Week Six (2/21): Music and the Brain
Reading Assignment:
Watson, Chapter 7: “Structure and Organization of the Brain” (pp. 213 – 231) and
Chapter 9: “Hearing and the Brain” (pp. 300 – 327)
Page 5 of 7
Updated: 2/8/2016
Week Seven (2/28): Muscle Anatomy and Physiology
Topics include: function of muscles and nerves, tendon sheath problems; muscle
physiology and anatomical/physiological information, particularly as this
information relates to neuromusculoskeletal injuries for which performers are at
risk. In what ways does the structure of the body facilitate or interfere with
performing?
Reading Assignment:
Watson, Chapter 1: “Introduction to the Tissues of the Body” (pp. 1 – 16)
Week Eight (3/6): Body Alignment for Musicians
Reading Assignment:
Watson, Chapter 3: “The Shoulder, Arm and Hand” (pp. 42 – 100)
Injury Prevention for Musicians
Body Alignment: Treatment Options for Injuries
Additional Resources:
Park, A. (2007). Why music majors pursue music despite the risk of playingrelated injuries. Medical Problems of Performing Artists 22(3): 89-96.
Wu, S. J. (2007). Occupational risk factors for musculoskeletal disorders in
musicians: A systematic review. Medical Problems of Performing Artists
22(2): 43-57.
Week Nine (3/13): Body Alignment for Musicians
Reading Assignment:
Watson, Chapter 2: “Posture and the Back in Musical Performance” (pp. 17 – 41)
SPRING BREAK
Week Ten (3/27): Exercise and Conditioning Strategies
Reading Assignment:
Watson, Chapter 4: “Breathing in Singing and Wind Playing” (pp. 101 – 138)
Week Eleven (4/3): The Role of Nutrition in a Performance Career
Week Twelve (4/10): Managing Performance Anxiety
Reading Assignment:
Watkins, Chapter 10: “Performance-Related Stress and Its Management”
Taborsky, C. (2007). Musical performance anxiety: A review of literature. Update
- Applications of Research in Music Education 26(1): 15-25.
Other Resources on Reserve:
Beeching, A. (2005). Beyond Talent. New York: Oxford Press. “Performance
Anxiety”—pp. 213 – 233.
Parncutt, R and McPherson, G., editors (2002). The Science and Psychology of
Music Performance. New York: Oxford Press. “Performance Anxiety”—pp. 47 – 61
Page 6 of 7
Updated: 2/8/2016
Week Thirteen (4/17): Strategies for Maximizing Your Performance
Reading Assignment:
Watson: “Learning to Play Music” (pp. 250 – 261)
Week Fourteen (4/24) Strategies for Maximizing Your Performance: Lessons from
Sports Psychology
Week Fifteen (5/1): Stress Management Techniques/Strategies
Reading Assignment:
Kenny, D. T. (2005). A systematic review of treatments for music performance
anxiety. Anxiety, Stress and Coping 18 (3): 183 – 208.
May 11: Present final projects during the Final Examination Period (10:30 – 1:00)
Useful Websites, Listservs and Blogs
Animations of processes within the ear
www.neurophys.wisc.edu/animations/
Health Promotion in Schools of Music
www.unt.edu/hpsm/
Medical Program for Performing Artists
www.ric.org/conditions/pcs-specialized/PerformingArtsMedicine.aspx
Music Performance Research (online journal)
mpr-online.net
Musicians’ Hearing Center
www.upmc.com/Services/Otolaryngology/ServicesandSpecialties/CenterforAudiology/Pa
ges/MusiciansHearingCenter.aspx
National Endowment for the Arts
www.nea.gov/research
Noise-induced hearing loss
www.nidcd.nih.gov/health/hearing/noise.asp
Performing Arts Medicine Association
www.artsmed.org/
Texas Center for Music and Medicine
music.unt.edu/tcmm
The Musician, a high-level athlete
www.physiotherapy-for-musicians.com/
Page 7 of 7
Updated: 2/8/2016