Transformational Music Ergonomics

Take a class for your own benefit,

or take an in-depth training to become a Certified Music Ergonomist!

 

Transformational Ergonomics Workshops™

What are the workshops offered by Laurie Riley for musicians to prevent or correct your own discomfort?

Every musician can benefit from Laurie’s one-day workshops to prevent and correct discomfort, pain, and/or injury related to playing an instrument, and learn to increase your musical energy and vitality. Laurie explains the physical reasons for discomfort, demonstrates comfortable and sustainable techniques, movements and postures, shows how instruments interface with individual body types, and offers plenty of individual attention to each student. Workshops offered are:

  • Three hours of basic information and instruction
  • One full day of more in-depth  instruction
  • A weekend retreat for complete and lasting education

Please email laurie.riley@live.com to arrange for a workshop in your area.

Who needs to be aware of ergonomics?

All musicians need instruction on how to hold and use their instrument in ways that will never cause pain or discomfort! The “correct” postures and techniques  we’ve been taught in lessons (or that we use as self-taught musicians) are often not truly ergonomic, and can lead to much unnecessary distress.

What does “ergonomics” mean?

The term “ergonomics” used to refer to equipment usage  –  how the physical body and its movements interface with various kinds of tools and furniture. Now, it also refers to body movement and postures, and also how the body interfaces with musical instruments.

Why is ergonomic awareness so important?

A majority of musicians develop some kind of discomfort related to playing an instrument; it may be as simple as back pain or a stiff neck, or as complex as tenosynovitis or thoracic outlet syndrome. (And the “complex” concerns are quite common!)  When the body is not comfortable, the music cannot flow.

 

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            Certification Program in Transformational Ergonomics™

Music Ergonomics LLC offers an in-depth training to become a certified Transformational Ergonomist™.  The training provides a complete set of skills to fully integrate ergonomics into conscious, purposeful, compassionate assessment and alleviation of musicians’ instrument-related discomfort.

The interfacing of the individual body with an individual musical instrument is a key factor in musicians’ ergonomics, as are  issues of the hands such as the effects of specific playing techniques or the various hand injuries that can result from repetitive motion under stress. Additionally, wrist, arm, shoulder, neck, back, and hip concerns are common among musicians; each has a specific origin for each individual, and it is essential to correct these issues. A Music Ergonomist is trained to recognize these factors.  As a Music Ergonomist you can profoundly change the experience of music-playing for your students or clients.

Transformational Ergonomics™ is a comprehensive and compassionate approach to assessment and healing of pain, discomfort and injury related to playing a musical instrument, and also to enhancement of musical energy and vitality. When musicians cannot use their whole being to nurture and play their music, they suffer. In addition to being firmly grounded in solid ergonomic sciences, Transformational Ergonomics™ addresses and utilizes the mind-body connection.

Ergonomic concerns cannot be assessed, advised, or utilized merely by rote; this is NOT a generalized set of rules, a specific playing technique, or a “correct” posture, nor is it a stricter version of whatever one has already been taught. Everyone is different; there are infinite body shapes and sizes, and many shapes and sizes of instruments; therefore no single set of rules can apply.  A Music Ergonomist uses knowledge of how an individual’s body responds to various positions and movements, based on the person’s unique physical concerns, and how to produce the best tone and smoothness of playing while also being relaxed, focused, comfortable and tension-free. To that we add specific arts of subtle energy to help assess ergonomic concerns and to help the musician to accept their partnership in their own healing.

What is included in the training?

  • Learn about musicians’ injuries and why they occur.
  • Learn how to recognize what has caused an individual’s discomfort, and how to advise them
  • Learn to use compassionate energy work to help clients begin the healing process.
  • Learn how to assist clients in becoming partners in their own healing.
  • Learn anatomy and physiology of integrated body systems.
  • Learn to teach healthy neutral posture vs. commoly taught posture –  how one heals and the other hurts!
  • Learn how to adjust the instrument to the player, not the player to the instrument!
  • Learn how individual body types interface with individual instruments.
  • Explore a variety of good playing techniques for specific hand and body types.
  • Explore ergonomic seating options.
  • Learn about the effects of tension vs. relaxation.
  • Learn to teach deep relaxation techniques.
  • …and much more

Program Format

The Transformational Ergonomist™ training is offered as a home-study course with one participatory in-person class module, as follows:

      Home Study:

Required reading:

  • Body, Mind and Music  by Laurie Riley-  Provided upon registration
  • Music Ergonomics LLC Textbook  –  Provided upon registration
  • Transformational Ergonomics  by Laurie Riley –  Provided upon registration
  • You Are Your Instrument  by Julie Lyon Lieberman  –  available through Amazon.com
  • Anatomy of Movement by Blandine Calais-Germain

     Class Module  –  can be offered in your area:

  • Developing Energy Awareness
  • Using Subtle Energies in assessment and healing
  • Compassion in Care
  • Experiencing Neutral Posture
  • Interfacing with Individual Instruments
  • Playing Techniques: Exploring What Works, What Doesn’t, and Why
  • Assessing and Advising the Individual Student’s Ergonomic Needs

Also included:

Mentoring – 6 hours included in price

Final Assessment

 

Why study with Laurie Riley?

Laurie Riley, CMP, CCM, author of Body, Mind and Music and numerous other books for musicians, was a driving force in musicians’ ergonomics and the first to offer in-depth ergonomics classes for harpists (starting in 1988). Her classes were considered a breakthrough, and she later expanded to include all instruments.

Laurie studied and taught anatomy/physiology, and has extensive experience on a large number of musical instruments. She was also trained in dance and Yoga skills that require intimate knowledge of movement and balance. She trained and worked as a nurse’s aide. As a professional harpist she has toured for concert performances for over 25 years. She is a recording artist, author of numerous music instruction books, adjudicator, and a popular teacher. She was a founder of the Music for Healing and Transition Program and the Clinical Musicians Training Program (Harp for Healing).

Cost of Program: The cost of the program is payable as you go:

Upon Registration, $500 is due. This covers three of your textbooks* (value $50) plus shipping, and six hours of mentoring**.

One-time Module Tuition: $350

Administration, and final assessments to be paid before you graduate: $50

*The remaining textbooks  are available from Amazon.com.

**Additional mentoring is $40 per half hour via Skype or in person.

 

FAQ’s for the Certification Program:

Can I study online or at home?

Your reading will be done at home, and you will have access to your mentor by e-mail, Skype, or phone. The one module of class time is in-person.

Why not just study Alexander or Feldenkreis Technique? Or can I study this material in another program?

Alexander and Feldenkreis techniques are wonderful disciplines and the world is a better place because of them; they address movement and posture and their relationship to health. However,  the interfacing of the individual body with an individual musical instrument is a key factor in musicians‘ ergonomics, as are issues of the hands such as the effects of specific playing techniques or the various hand injuries that can result from repetitive motion under stress, and these are only offered in a Transformational Ergonomics training.

What does the certification mean?

The term certification means that a training program attests, vouches for, keeps records of, and offers proof that the trainee who has graduated in good standing is approved to practice the skills learned therein (and provides a certificate stating so).

People have played instruments for ages. Why all the fuss about ergonomics now?

Discomfort and injury have always been a concern for musicians, and those who experienced significant pain or dystonia often curtailed their careers. Lately certain aspects of lifestyle and diet have additionally affected larger numbers of musicians. Until recently, no one seemed to recognize that people can adjust how they hold and use their instruments for better comfort. Medical science has given us a better understanding of body mechanics as well.

Why include energy work?

The physical body is part of a whole which includes the energy fields that flow through and around it (for example, every time you use a smart phone you are using energy form your body to activate your touch-screen). How people relate to their instrument and to music-playing in general can have profound effects on the flow of their energy and therefore on how they use their bodies to play their music. In fact, it’s often impossible to affect positive change physically without addressing energy issues as well.

TO REGISTER FOR THE TRANDFORMATIONAL ERGONOMICS™ CERTIFICATION PROGRAMplease email  laurie@laurieriley.com

Testimonial: “After three days of trying the techniques and playing position Laurie recommended, the pain in my thumb, wrist and shoulder were gone. I have been pain free now, and this is after two years of thinking playing the harp meant hurting! I practice 1-2 hours daily and, in the past, experienced pain in my shoulder, neck and arm after 20-30 minutes of playing. Since following Laurie’s instructions, I can play pain-free for the entire time, and have no residual pain.”  – June Caldwell

Disclaimer

Good ergonomic practices can help prevent discomfort and injury, and can support the healing process when an instrument-playing-related injury is present, but the Transformational Ergonomist Training Program™, the practices taught therein, and the expertise of a Music Ergonomist™  or Transformational Ergonomist™ are not meant to be substitutes for medical advice and treatment when needed, and we make no medical claims or guarantees. Those who learn the techniques offered in the program and by its practitioners are responsible for using them appropriately, and are responsible for their own well-being.

Responses

  1. Wow laurie, this looks amazing. What do you know about focal dystonia?
    I have suffered from embouchure (brass players) dystonia for the last three years, this is of course an area of focal dystonia. It has meant I can’t play my french horn anymore… or rather the way I want to play it, as it was first career.

    More time for my harp practise, I guess…sigh. Keen also to know if you have worked with harpists with focal dystonia? I wonder if anything that is remedial can transfer over to embouchure dystontia- its a devbastating thing now for so many brass players.

    I will email shortly too-

    Jacquie Spring

    • Focal Dystonia is the hardest to treat, because, according to current research, it’s not actually the muscles or inflammation or an injury per se, but signals going awry between the brain and the affected muscles. It happens after years of over-use of the affected area, especially if the movements or positions are very precise. The brain starts sending the wrong information, making your intention to move a certain way turn into a different movement or a frozen one. However, some diagnoses of focal dystonia may not be accurate, and can be reversed at least partially by relieving nerve entrapment or some other causative factor.
      Laurie

  2. Laurie what about repiratory impact for woodwind and brass players I can’t see any thing here for those issues and especially for young chidren.

    • Postural issues and breathing issues go hand in hand. Address one and the other often automatically falls into place. When other considerations must be addressed, of course a good ergonomic instructor will do that!

  3. Have you ever encountered a harpist with trigger finger? I have that on my right hand middle finger. I just finished my CMCP certificate last summer, and now this. I’m trying all kinds of therapy. Is there a safe way to play without bringing the middle finger all the way in to the palm?

    • The answer depends on your specific situation. Trigger finger is a complex condition; some can play with it and some cannot. In same cases surgery is required, but I am willing to do a SKype session with you to determine your possibilites and look at technique modifications.


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