Birmak - about the artistic technique of the pianist - professional diseases and treatment for pianists. Pianists Professional pianist

Many pianists suffered from hand diseases. It is known that Scriabin had pain in his right hand for a long time.
Common hand diseases associated with overexertion, such as tenosynovitis and ganglia, have been well studied.
Tenosynovitis occurs from prolonged stress on the hand when playing octaves and chords, especially at a fast tempo. The hand is equipped with numerous muscles, the tendons of which are located close to each other on the hand. Each tendon is encased, as it were, in a sheath of elastic and dense connective tissue. The inner surfaces of the membranes are constantly irrigated with the so-called synvial fluid. With prolonged monotonous work in these membranes, conditions are sometimes created for inflammatory changes that disrupt the normal mobility of the tendons and lead to painful swelling and edema of the surrounding tissue. Recurrent and long-term tendovagiitis can take the form of a chronic disease that is difficult to treat.

Ganglia form on the back of the hand, at the junction of the small bones of the wrist. The fluid that lubricates the articular surfaces of these bones, with excessive swings of the hand, is intensely released and accumulates under the ligaments, forming dense, often painful nodules.
Disturbances in the neuromuscular system are often observed, causing a sensation of pain in the arm muscles during prolonged playing of technically difficult pieces. This is what happened with Rachmaninov. In a letter to I. Morozov, he writes: “I’m very tired and my hands hurt. Over the past four months he has given 75 concerts. Any unnecessary movement of my hands tires me, so I’m writing to you, dick< туя» .
Muscle pain can occur in pianists and in that case when, after a significant break in the game, he immediately begins to study a difficult piece or tries, without appropriate preparation, to complete a technical task that is beyond his strength.
With timely rest, such painful phenomena can quickly disappear, but with strong and prolonged muscle tension, especially if it is combined with incorrect techniques, pianistic movement may be impaired.
In this case, we can talk about an occupational disease that requires special treatment. It manifests itself either in painful spastic tension of the arm muscles or, conversely, in its weakness, the so-called paresis. Pathological phenomena arise precisely during piano performance; other movements, dissimilar to pianistic ones, are performed freely.
This disease has so far been little studied. It can be assumed that it is similar to writer's cramp, which occurs from overwork during prolonged writing. Both this disease and writer's cramp cannot be considered as a local disease of the hand.

With this disease there is no organic damage to muscles, joints and nerves; disturbance of movement in the pianist's hand is a consequence of a violation of the patterns of excitatory and inhibitory processes in the central nervous system during the construction of a motor act. In this case, the entire functional system that forms pianistic movements suffers.
This painful condition manifests itself in two forms - spastic and paretic. The spastic form is characterized by a painful overstrain of the pianist's arm muscles, which appears when playing the piano. At the same time, the pianist loses freedom, accuracy and unity of movements. Subsequently, the increasing overstrain in the muscles of the arm turns into a tonic spasm (clamp).
In the paretic form, during performance, a weakness appears in the pianist's hand, which gradually increases, and trembling may accompany this. As a result, strength and precision of movement are lost. In both cases the pianist is forced to stop playing.
The paretic form occurs mainly as a result of overwork during prolonged play without breaks with monotonous techniques.

Muscle weakness in the arms in the paretic form is physiologically explained by this. that with excessive and prolonged irritation of certain foci of the nervous system, excitation turns into a kind of persistent inhibition (parabiosis according to Vvedensky). Therefore, the paretic form is a deeper movement disorder than the spastic one.
In the future, such weakness can become persistent and spread to other muscle groups.
In the spastic form, we see a predominance of the process of excitation over inhibition - excessive and inappropriate flow of impulses from the central nervous system to the muscles.
The third and fourth chapters show how the incorrect construction of pianistic movements can adversely affect performance. These same mistakes can be a source of occupational disease if they are repeated many times and turn into an incorrect skill. Here are a few examples of such errors:
1. The habit of keeping the shoulder girdle raised while playing, which causes restriction of the movement of the scapula and shoulder joint.
2. An elbow pressed against the body or excessively abducted, which limits the functions of the shoulder joint.
3. The desire to extract strong sound fingers without sufficient participation of the upper parts of the pianistic apparatus.
In the first two cases - when fixing the scapula and shoulder joint - static tension may arise in the muscles of the shoulder girdle, which is not replaced by relaxation, a clamp that is often accompanied by pain. When the movement of the shoulder is limited, its function is partially forced to be performed by the forearm and hand, the weaker parts of the arm that are not adapted for this work. As a result, they experience premature fatigue, which in turn can lead to muscle spasms or weakness.
In the third case, the pianist places unbearable demands on the weakest links of the pianistic apparatus that do not correspond to their capabilities, causing overstrain and fatigue in the forearm, hand and fingers.
In all the examples given, there is a violation of synkinesis (coordination) of movements in different parts of the hand, which leads to discoordination in the nerve centers and is a prerequisite for the development of coordination neurosis.

General fatigue, and even more so overfatigue, in which movement is always impaired to one degree or another, is very important in the development of coordination neurosis.
Therefore, the opinion of I. Hoffman on this matter is interesting. He believed that in a tired state of mind and body we completely lose the ability to notice the formation of bad habits, and since “to learn is to acquire right habits of thought and action,” we must beware of everything that can harm our vigilance towards bad habits» .
Indeed, with strong general fatigue Will and attention weaken, apathy and absent-mindedness appear. We cannot concentrate for a long time, we lose clarity of thought. All these mental disorders affect movement; it becomes unclear, inaccurate, and slow. Work efficiency drops sharply.
Fatigue occurs as a result of prolonged and intense work, both mental and muscular, and in both cases, in the absence of timely rest, it can spread to the entire body. Between muscular (physical) and mental fatigue there is no fundamental difference.
In both cases, the nervous system suffers—the patterns of inhibitory and excitatory processes, their strength, balance, mobility, and ability to distribute and concentrate nervous energy are disrupted. This affects the functions of those organs that are controlled by the corresponding nerves, reducing their ability to work.
Pavlov considered the appearance of fatigue as a signal to stop activity and the need for rest, and rest as a protective inhibitory state. Rest, however, is not just turning off activities; During rest, nervous energy is restored.
It is necessary that in the inhibition phase there is compensation for the energy spent on the action in the excitation phase. This is the balance between these two processes. When this rhythm is disrupted, fatigue sets in. If, while trying to overcome fatigue, one does not interrupt activity, continuing to keep the nervous system in a state of excitement, then the waste of energy in it increases and exhaustion occurs.

Due to prolonged overexcitation, a natural inhibitory reaction may not occur. It is known that often with severe fatigue a person cannot fall asleep. This condition is characteristic of overwork and is already painful, requiring special treatment.
A performing musician experiences both muscular and mental fatigue, since his work combines mental and physical stress.
Fatigue can set in unnoticed by the performer: his movements become less clear, and mistakes appear. During this period, the musician often overestimates his strength, does not take into account his functional capabilities and continues to work, which further aggravates fatigue. In the future, the accuracy and precision of movements is further impaired. It was precisely this state that Hoffman spoke about when he warned about the danger of “the formation of bad habits.”
If the musician does not stop working during this period, he will experience overwork with all its consequences. A musician’s emotional state is very important for maintaining a musician’s ability to work.
If he is engrossed in work, he may forget about food, rest and sleep and not feel tired. Emotional uplift seems to mobilize his mental and physical energy. With negative emotions - anxiety, lack of self-confidence, working capacity quickly drops, and fatigue quickly sets in. Coordination disturbances in the motor system are also characteristic. Everyone knows that when bad mood nothing goes well, “everything falls out of hand.”

Emotions play a large role in the development of coordination neurosis. As already indicated, negative emotions disrupt the balance of the nervous system and contribute to incoordination in the motor system. The inability to engage in professional activities during this illness depresses the pianist. Sometimes this causes a real neuropsychic condition with depression and sleep disturbances. Naturally, this contributes to further discoordination of the pianistic apparatus.
We see that the reasons for the occurrence of coordination neurosis in a pianist are three factors: incorrect working methods, overwork and a disorder of the nervous system. However, they develop under the condition of the combination and duration of exposure to these three factors. Accordingly, treatment should be aimed simultaneously at restoring the balance of the nervous system and the function of the affected arm.
Treatment should be comprehensive - medications, physiotherapy are used, hydrotherapy is especially important. Plays a leading role Physical Culture. It raises the overall tone, improves coordination not only in the neuromuscular system, but throughout the entire body, regulating all its functions. The pianist needs to regain control over the movement of his hands, to restore the clarity, coherence and beauty of the pianistic movement.
The main condition for successful treatment is the complete cessation of pianistic work for the entire duration of treatment. Only when taking a break from professional activity correct coordination connections can be restored.
Other movements that cause increased voltage and fatigue in the hands (lifting and carrying heavy objects, long-term writing). The sore arm should rest as much as possible.
However, some sports that do not involve overexertion of the arms are very beneficial. The pianist is recommended for walking, hiking, swimming, skiing, skating, and some types of athletics (running, jumping). To avoid hand injuries and overexertion, gymnastics on apparatus, especially on uneven bars, horizontal bars and rings (supports, hangs), discus, hammer, shot throwing, rowing, playing basketball and volleyball should be avoided.
To restore the functions of the hands in case of coordination neurosis, it is necessary to use a course of special gymnastics, which should be combined with hydrotherapy and massage.
Treatment can be divided into three periods. In the first period, the goal of treatment for the spastic form is to reduce the tone of overstrained muscles; for the paretic form, on the contrary, to strengthen the weakened ones. In the second period, with both forms, the development of correct coordination. In the third - for both forms - further development of coordination with more complex movements and the transition to outdoor games.
Later, when the pianist has regained control over the movement, he can begin to play the piano. In this case, it is necessary to strictly observe the work schedule - initially play 20-30 minutes a day at at a slow pace, avoiding those movements that caused the disease.
The load must be increased gradually, carefully. You should pay attention to the fact that the repertoire at this stage does not contain technically difficult works that require great strength and similar movements.
The entire treatment process must be carried out under the supervision of a physical therapy doctor, and classes therapeutic exercises under the guidance of a methodologist.
Music educational institutions must have specialized physical education classrooms that take into account the specifics of a musician’s work.
To prevent occupational diseases, the most important factor is the correct work regime. This is discussed in detail in chapter four. Here it is necessary to dwell on the question of how a pianist can rest while working.
Most people do not know how to rest even while sitting or lying down. This depends on the fact that even in inactivity the muscles are in a certain tension and, by sending nerve impulses to the brain, keep it in a state of excitement. The performer needs to be able to relax the muscles. To do this, he needs to use every minute of rest, not only in breaks between classes, but also when moving from one piece to another and even during pauses. In total, these short periods of rest compensate for the significant expenditure of energy and preserve the potential activity of the gaming machine and the health of the performer.

Description:

Pianist - musician, piano performer. Professional pianists can perform as independent performers, play with an orchestra or ensemble, or accompany one or more musicians.

Typically, pianists begin learning to play the instrument as early as early age, some start playing the piano as early as three years old, resulting in more mature age a “wide palm” develops, i.e. more developed hands with increased finger stretch, which makes it seem like the pianist’s palm is larger.

A “wide palm” and narrow, long fingers are also considered one of the signs of a good pianist. Many famous composers were also talented pianists. For example, Franz Peter Schubert, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Liszt, Johann Brahms, Frederic Chopin, Robert Schumann, Sergei Rachmaninov and other composers were virtuosos of piano playing.

Most pianists specialize in the music of certain composers or certain times. However, the repertoire of many pianists is not limited to classical music, and includes works of such styles as jazz, blues, and popular music.

Famous and great pianists:

• Prokofiev Sergey Sergeevich
• Weber Carl Maria von
• Goldmark Peter
• Rubinstein Arthur
• Rachmaninov Sergei Vasilievich
• Debussy Achille-Claude
• London Jack
• Balakirev Miliy Alekseevich
• Skryabin Alexander Nikolaevich
• Grig Edward

Responsibilities:

The pianist's responsibilities include professional performance of musical material.

In addition to this main responsibility, he takes part in the development of thematic plans and speaking programs

He can also conduct teaching activities.

Requirements:

Personal qualities

Playing the piano requires such personal qualities, such as musical talent, strength of character, will, determination, the ability to work long and concentrated, and to think interestingly.

Professional knowledge and skills

The pianist must master extensive material, freely navigate it, feel and understand various musical styles.

Education

The diploma of a pianist who continued his studies at the conservatory includes: soloist, accompanist, ensemble player and music school teacher.

The solo pianist wins the right to perform with solo concerts on music competitions or fruitful work in educational institutions And concert organizations(Mosconcert, Lenconcert, etc.). But he must confirm his right to appear on the philharmonic stage with each of his performances. And this is achieved by titanic work, constant improvement of skills, self-education and self-development. In addition to high professional qualities, excellent technical equipment, a good school (for which physiological data is of great importance - the structure and shape of the hands, the size of the hands, the length of the fingers), the solo pianist must have a bright creative individuality, to be an individual.

One is not born a person, one becomes a person. From what a person is like, what his moral principles How firm his convictions and strong character are depends on the scale of his personality. And this scale is clearly outlined in the work of any performer, including a pianist.

Pianist (~ka) - musician, piano performer. Professional pianists can perform as independent performers, play with an orchestra or ensemble, or accompany one or more musicians.

Typically, pianists begin learning to play the instrument at an early age, some sit down at the piano as early as three years old, as a result of which, at a more mature age, a “wide palm” develops, i.e., more developed hands with increased finger stretch, due to which makes it seem like the pianist's palm is larger.

A “wide palm” and narrow, long fingers are also considered one of the signs of a good pianist. Many famous composers were also talented pianists. For example, Franz Peter Schubert, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Liszt, Johann Brahms, Frederic Chopin, Robert Schumann, Sergei Rachmaninov and other composers were virtuosos of piano playing.

Most pianists specialize in the music of certain composers or certain times. However, the repertoire of many pianists is not limited to classical music, but includes works of such styles as jazz, blues, and popular music.

A pianist must master a wide range of material, be able to navigate it freely, feel and understand various musical styles. Playing the piano requires from the student such personal qualities as musical talent, strength of character, will, determination, the ability to work long and concentrated, and to think interestingly.

The diploma of a pianist who continued his studies at the conservatory includes: soloist, accompanist, ensemble player and music school teacher.

A solo pianist wins the right to perform solo concerts at music competitions or through fruitful work in educational institutions and concert organizations (Mosconcert, Lenconcert, etc.). But he must confirm his right to appear on the philharmonic stage with each of his performances. And this is achieved by titanic work, constant improvement of skills, self-education and self-development. In addition to high professional qualities, excellent technical equipment, a good school (for which physiological data is of great importance - the structure and shape of the hands, the size of the hands, the length of the fingers), the solo pianist must have a bright creative individuality and be a personality.

One is not born a person, one becomes a person. The scale of personality depends on what a person is like, what his moral principles are, how firm his convictions are and how strong his character is. And this scale is clearly outlined in the work of any performer, including a pianist.

ME AND MY PROFESSION

• 1) PROFESSION - MUSICIAN.

• 2) ADVANTAGES OF BEING A MUSICIAN.

• 3) DISADVANTAGES OF THE PROFESSION OF A MUSICIAN.

1) PROFESSION - MUSICIAN.

At all times in Rus', and not only, jesters and musicians (buffoons) lived best, because humor and music are those things on which the feeling of human happiness and joy depends much more than on financial and emotional security. But life philosophy, which allows you to devote yourself to the almost always unstable and low-paid profession of a musician, is rare, which is why boys and girls, men and women with a musical instrument in a case on the street always make passers-by turn around.

Professional musician- a pianist (specialty - piano) may have the qualifications: accompanist, soloist, artist chamber ensemble, concert soloist and teacher. Area of ​​professional activity - musical art. the main task performer - to convey the composer's intention, to convey it to the listener through playing the piano.

A professional musician must have the skills to perform musical works using various playing techniques; skills in analyzing musical text for the purpose of preservation and transmission during performance piece of music his stylistic features. When working with a vocalist, the accompanist is required to know the specifics of performance, vocal repertoire, the ability to competently accompany. When working with instrumentalists, the ability to work in an ensemble is essential. The musician also participates in the creation musical arrangement and accompaniment cultural events.

Characterized by a static working posture, load on the spine and arms. Accompanists are in demand in educational and cultural institutions. Musicians are also easily employed as teachers in schools and institutions. additional education, as well as in specialized musical educational institutions. It is possible to work as a concert performer - soloist or as part of ensembles.

Should be able to

Should be able to

• Perform pieces on musical instruments using various playing techniques, understand the idea of ​​a piece of music and express its image and emotional depth, work individually and in an orchestra, etc.

Professionally important qualities

• ear for music;

• sense of rhythm;

• musical memory;

• good coordination;

• motor fluency;

• perseverance, patience, determination;

• developed imagination, creative abilities (propensity for improvisation);

• pedagogical abilities.

Medical contraindications

• hand diseases (arthritis);

• decreased hearing;

• severe scoliosis with contraindications for working in a static position and placing heavy loads on the spine and arms.

Paths to obtaining a profession

• Music school, college.

Related professions

• Soloist, chamber ensemble artist, music teacher, singer.

2) ADVANTAGES OF BEING A MUSICIAN.

1) A musician gives joy and inspiration.

2) Music changes people’s moods and interacts with their feelings.

3) Music cleanses a person’s consciousness. A true musician helps this life, this world to be brighter and he himself lives and breathes only this.

3) DISADVANTAGES OF THE PROFESSION OF A MUSICIAN.

It’s very difficult to make money from music, in general it’s physically difficult, they often rude to them. True, they also often praise, but this is not always a plus. Instability of earnings sometimes forces you to tighten your belt or go out with a cap (panama hat, hat, etc.). In addition, “Don’t shoot the pianist - he plays as best he can” is a message that, not unreasonably, hung in many Texas bars during the Wild West. Today your voice is bad, tomorrow “sing the demobilization song...”, the day after tomorrow they may “meet you with a knife.” Our drunk people in these kinds of establishments are not always kind, affectionate and generous with tips. And yet, understanding human soul when combined with intelligence and intelligence, it sometimes works wonders. That is why, on the borderline of the conscious and subconscious, you can always find and press on that point that will remind a person of his humanity, even if he is completely drunk and just as stupid. Who else but a musician who plays on human emotions, on nerves with the same ease as on the strings of his guitar (violin, cello, etc.), knows these points?

So even the minuses have their pluses. Sing, play, live not only for yourself, but also for others, and may you be happy.

4) I CHOOSE A PROFESSION: MUSICIAN.

And even if this profession is not so highly paid, even if it is unstable and will not provide me with a decent pension, but that is not the point. The point is that every time I leave for work, I will do so with a sense of rightness. After all, a musician is one of the few people who are able to experience their emotions not independently, not alone, but to share them with the whole world, with everyone who hears the sound pouring from his instrument.

I want to become a musician, or rather a pianist.

“In order to make music and achieve success in this matter,” Tchaikovsky said, “you must have talent, hearing, and musical inclinations. It is impossible in art without patience and perseverance.”

Indeed, all the scales and technically complex etudes are worth so much. It is especially difficult at the very beginning of your journey to overcome the problems of adolescence. For example, many of my friends quit music classes while in school and now really regret it. Indeed, in addition to the piano lessons themselves, it is necessary to attend solfeggio, vocals, music history, and choral classes.

Not everyone will be able to devote their strength to such thorough work. But music lessons are worth it, because they bring tremendous pleasure. Being in this environment, you feel special atmosphere, you meet many interesting and creative people. The profession of a musician is very attractive to me, and perhaps I would like to try myself in this activity.

orchestra or ensemble , accompanied

• Professional pianists can perform as independent performers or play accompanied orchestra or ensemble , accompanied

In fact, all occupational diseases of art workers, no matter what kind: be it music, theater, art or others, are very terrible and most of them are chronic. And we must pay tribute to these people who are ready to sacrifice themselves for the cause of life, for the sake of beauty, so that you and I can enjoy and at the same time receive an aesthetic and cultural education.

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