Music listening has previously been shown to lower blood pressure. This study, which was led by Vanessa C. Pope, sought to enhance that understanding by investigating whether individuals with high and normal blood pressure respond to music differently, and whether the loudness or tempo of the music plays a role in these differences.

40 subjects took part, half with high blood pressure and half with normal blood pressure. The participants listened to eight different pieces of Western classical music (with a 5-minute silent period between listenings), which had been adjusted to have different amounts of loudness, as well as faster and slower tempi.

While loudness was found to have a minimal impact on the listener, the effect of the different tempi was significant. The sped-up music was found to decrease blood-pressure variability for both groups — a finding that the researchers described as "unexpected," since it is often assumed that slower music will be more relaxing for the listener.

The researchers noted that the study only examined blood-pressure variability for "acute events" (i.e. short-term listening), and therefore, there is further scope for examining the effects of music on blood-pressure variability in the long term.

However, they speculate that the short-term physiological activation effect of music may help to explain music’s long-term cardiovascular benefits.

The post New Research Expands on Relationship Between Music and Blood Pressure appeared first on World's Leading Classical Music Platform.

Examining how both listening to music and playing instruments relate to cognitive health in adults over 70, the study emphasized that musical engagement may serve as a powerful and enjoyable tool for supporting cognitive resilience in aging.

A research team from Monash University analyzed data from more than 10,800 older adults and found that people in this age group who regularly listened to music experienced a 39% lower likelihood of developing dementia. 

Playing an instrument also showed benefits — participants in this group showed a 35% reduction in dementia risk. 

Those who reported that they always listened to music demonstrated the strongest cognitive advantages. This group displayed higher overall cognitive scores and better episodic memory, which is used when recalling everyday events. 

Among the study participants who both listened to and played music on a regular basis had a 33% reduced risk of dementia and a 22% reduced risk of cognitive impairment.

These findings reflect the results of a similar study conducted by the University of Groningen in the Netherlands. This research group explored the impact of group music therapy and choir singing on stress markers in saliva for 183 care home residents with dementia and depressive symptoms in three European countries over the course of six months.​

Their findings showed that group-based  interventions, including music therapy, can have a “positive impact on stress levels in care home residents with dementia.”

“[Outcomes of the research] suggests music activities may be an accessible strategy for maintaining cognitive health in older adults, though causation cannot be established,” Jaffa explained. 

“With no cure currently available for dementia, the importance of identifying strategies to help prevent or delay onset of the disease is critical,” Ryan added. “Evidence suggests that brain aging is not just based on age and genetics but can be influenced by one's own environmental and lifestyle choices. Our study suggests that lifestyle-based interventions, such as listening and/or playing music can promote cognitive health.”

The post WELLNESS WEDNESDAY | New Research Shows Listening to and Playing Music Reduces Dementia Risks appeared first on World's Leading Classical Music Platform.

The Royal Liverpool Philharmonic (RLPO) has partnered with the UK charity Help Musicians to create “Symphony of Good Sense,” a new toolkit for orchestral injury prevention. 

Research studies over decades have shown that 77% to 89% of professional orchestral musicians may experience playing-related injuries. 

To prevent the risks, this new initiative has produced additional guidance for orchestras to help introduce physical health programs for its musicians.

“A Symphony of Good Sense” identifies common playing-related injuries across each section of the orchestra and outlines ways to reduce risks, promote early identification of work-related musculoskeletal issues, and speed recovery for long-term occupational health.

This joins other programs like it in orchestras including the Liverpool Philharmonic, which has run its Musicians’ Performance and Wellbeing initiative since 2015. 

“A Symphony of Good Sense” and the guidance for orchestras is freely available to view and download here. 

More resources include “An Introduction for Physiotherapists Working with Orchestral Musicians” and “Supporting Physical Readiness in Orchestral Performance: Guidance for Orchestras.” 

“Our world class musicians are central to providing exceptional performances and activities week in week out that entertain, inspire, move and engage thousands of audiences and participants,” said Peter Garden, Executive Director of Performance and Learning at Liverpool Philharmonic. “It is vital that we do all we can to create the environment and conditions in which they can thrive as artists and enjoy long, healthy and sustainable careers. We are incredibly grateful to Sarah Upjohn, our friends at Help Musicians, British Association for Performing Arts Medicine (BAPAM), and everyone who has enabled the creation of ‘A Symphony of Good Sense’. We hope it will both inspire and provide practical help for orchestras and physios to improve the support for musicians’ health and wellbeing in the UK and beyond.”

“A career in music can be exhilarating but there are risks too; injuries can be common and with many musicians working as freelancers, this can have a devastating impact on both career development and financial stability,” added Sarah Woods, Chief Executive at Help Musicians. “[We are] helping to ensure that musicians have healthy, long lasting careers; bringing us all such joy from their creativity for many decades.”

“When Liverpool Philharmonic and Help Musicians approached me to write something that would help physiotherapists who are not used to working with musicians, we decided it had to include some musical terminology to make physiotherapists aware of the sort of language used in the classical music industry,” said Dr Sarah Upjohn. “Writing this has been a fantastic process and a team effort: from first draft to final document, we have incorporated feedback from insightful, knowledgeable and generous colleagues from around the world. The finished document looks amazing, and importantly, is an absolute goldmine of useful information. Lovely Musician Colleagues: I hope that it helps enable positive change.”

“Bringing together occupational health principles and performing arts medicine, I strongly support these guidelines as part of an orchestras’ health risk management strategy,” continued Dr Finola Ryan, Executive Medical Director at BAPAM. “Although the physical demands of professional playing cannot be completely avoided, these recommendations give orchestras practical tools to implement meaningful risk-reduction strategies and promote early identification of work-related musculoskeletal issues. If orchestras are unable to work with a physiotherapist specialising in performing arts medicine, this detailed guidance for physiotherapists new to working with orchestral musicians provides practical implementation support for orchestra managers and offers valuable resources in supporting musicians’ occupational health and sustainable careers.”

The post Royal Liverpool Philharmonic Launches Orchestral Injury Prevention Toolkit appeared first on World's Leading Classical Music Platform.

Eszter will cover topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s first video, Eszter discusses the key elements of good posture.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Born in Budapest, Hungary, in 1969, Eszter Haffner studied for 13 years in the Gifted Musician Class at the Budapest Liszt Ferenc Music Academy with Andras Kiss, Ferenc Rados and György Kurtag. After completing her studies in Hungary, she came to the University of Music and Performing Arts in Vienna, Austria, to study with Gerhard Schulz ( Alban Berg Quartet ) and Josef Sivo. She received her Diploma with unanimous distinction and a prize from the Department of Culture Vienna. In 1995, she completed postgraduate study in Holland with Viktor Libermann and Philip Hirschhorn.

She has been a prize winner in numerous international competitions: Concertino Praha, Koncz Violin Competition Hungary, Jugend Musiziert, Stephanie Hohl Vienna, International Chamber Music Competition Trapani, and Caltanissetta Italy. As a result of her successful career in the arts, she received Austrian citizenship.

Since 2002, she has served as a Professor of Violin at the KUG University of Music Graz, Austria, and since 2010, also at the Royal Academy of Music Copenhagen, Denmark. As a guest professor, she regularly taught at Royal College London, Liszt Academy Budapest, Aurora Stockholm, Sibelius Academy Helsinki, etc. Other teaching experiences include being an assistant to Prof. Gerhard Schulz and violin lecturer at the University of Music in Vienna, as well as being a violin and viola instructor at Neuberger Seminare, Casals Festival France, Danish Strings, Macau and Hong-Kong Festivals, among others.

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

Eszter plays the 1750 "ex Hamma Segelmann" Violin by Michelangelo Bergonzi on loan to her of the Austrian Nationalbank. She is a member of  Haffner Strings, Haffner Trio, and "Aurora Chamber" in Sweden. She is a consultant for the Organisation Live Music Now, Vienna, founded by Lord Yehudi Menuhin. You can learn more about her, here.

The post Violinist Eszter Haffner on Having Good Posture appeared first on World's Leading Classical Music Platform.

The Young Classical Artists Trust (YCAT) has partnered with the Musicians’ Union (MU), British Association for Performing Arts Medicine (BAPAM), and Tonic Rider, to raise awareness of mental health resources available to early-career musicians. 

This annual month-long campaign is now in its second edition. From April 3–28, 2023, several free events and resources will be made available, including one-to-one coaching sessions with arts consultant Marion Friend MBE and an “Introduction to Mental Health” webinar from Tonic Rider.

New to the campaign, Tonic Rider is part of the charity Tonic Music for Mental Health, which supports those in the music industry with training, support, and resources. 

Tonic Rider’s mental health webinar and discussion will cover common mental health difficulties that young musicians may face, and provide guidance on how to support the self and others in similar positions. To register and apply for the events, click here. 

Another contributor to the campaign is BAPAM — the largest performing arts medicine service in the UK for over 30 years. The organization provides free clinical assessments for those with health problems affecting their performing arts practice. 

“Young classical artists encounter many stressors as part of the early stages of their career, therefore, it is important to highlight the impact these can have on mental health and teach skills for musicians to support themselves, their colleagues and the wider music community,” said Tonic Rider coordinator Jeordie Shenton.

Also part of the initiative, free mental health zines are available for download here, and MU’s Young Freelancers’ Guide to Mental Health in the Music Industry is free to access here. 

“The UK cost of living crisis is a major concern for us all, and the impact it has on our members’ mental health is just one of the areas it impacts,” added Rose Delcour-Min, MU’s wellbeing officer. “[We are] committed to helping musicians get help and access the much-needed support and services that protect their careers and their health. 

Founded in 1984, YCAT helps bolster the careers of emerging artists internationally. Providing professional career guidance and performance networks, YCAT also offers multi-year management of selected artists, plus online career development for all freelance musicians.

“In the last year I have seen musicians being a lot more open to talking about mental health in the industry, which is so key to breaking the taboos that can still exist,” explained YCAT project manager, Kate Blackstone. “That’s why it’s more important than ever to be signposting musicians to sources of advice and support. We are very proud to be reiterating our commitment to the maintenance of Early Career Musicians’ Mental Health.”

The post The UK’s Young Classical Artists Trust Launches Musicians’ Mental Health Month appeared first on World's Leading Classical Music Platform.

Dear VC reader,

We all have recordings of our performances living somewhere — tucked inside our phone, privately archived in the conservatory library, or posted on YouTube. While most of us would agree that these recordings are potentially instructive tools for measuring progress and setting technical and artistic goals for the future, reviewing and studying them is another story. The listening experience can be accompanied by anxiety or upset, as we fixate on each phrase, a few errors, or what we wore.

Musicians care deeply about how they present themselves, and when their performances don’t meet their expectations, they can often become downright mean to themselves.

Let's explore a few strategies for using performance recordings for maximum impact. These strategies, long studied and tested by behavior scientists, increase the probability of you approaching, rather than avoiding, your performance. Because that is what it takes—putting a nonjudgmental eye and ear on your practice and performance, rather than doing that work after the fact, when it’s too late.

Idea 1: Adopt this mindset: Recording my performance is an essential part of my learning and development. Rather than wait to record your performance at the semester recital, set up more frequent simulated performances with people you trust and record them! As you prepare for each performance, think about what happens to your body, mind, and playing when you enter a high-stakes performance setting. What is that environment like? Clothing, audience, temperature, and lighting are some factors in a performance setting. So, recreate those and practice as if they are happening. For example, wear concert attire, turn up the heat so that you might feel yourself start to sweat while playing, post pictures of an audience (your teachers, parents, peers) in front of you, and definitely play a video of a noisy audience in the background. Make these simulated experiences as close to real as possible.

Idea 2: Listen to your recordings with a trusted music friend. Explain your intentions for the exercise, that you want to listen for a new technique you tried or why you can get a phrase to ring. Pause at key points and describe what you're seeing, thinking, and hearing. Ask your friend to describe what they see and hear and compare those impressions with your perception.

Idea 3: Practice cognitive defusion. When negative thoughts or feelings arise while listening to yourself, defusion exercises can help you separate from them long enough to regard your experience for what it is. Behavior scientists have developed countless strategies, but some of my favorites are Leaves on a stream, sing along, and the 30-second loop. Take the sing-along technique, for example. If the thought, "I hate my playing" crops up as you listen to and watch your playing, start singing that thought aloud on top of the recording as if they were the lyrics. Weird, I know, but it creates distance between you and your thoughts. The negative thoughts become words and sounds rather than you being needlessly harsh on yourself. Try this several times to fully understand its impact.

These ideas are the start of a journey to learn from snapshots of our performance. Like most things, the more you do it, the easier it gets, and the more useful it becomes. Good luck!

Adam Hockman has coached students at major conservatories and presented lectures and workshops at such institutions as the Heifetz International Music Institute, Northwestern University, Greater Twin Cities Youth Symphonies, and at international and national behavior science conferences.

Outside of the performing arts, Adam oversees the design, development, and implementation of behavior-based learning programs for ABA Technologies, Inc. Formerly, Adam was research associate to Dr. Francis Mechner at the Mechner Foundation in New York City. Alongside Dr. Mechner and his colleagues, Adam assisted in developing educational technologies and implementing behavioral education programming in school settings.

Adam served as managing editor for the Standard Celeration Society and continues to coach behavioral scientists in publishing their research and ideas. Adam received his academic training from Utah State University, Florida Institute of Technology, and MGH Institute of Health Professions (PhD candidate).

The post Adam Hockman on Listening to Yourself to Learn and Grow appeared first on World's Leading Classical Music Platform.

Tell us about the special Minuendo hearing protection earplugs for musicians. When and where were they invented?

Minuendo was founded in Oslo, Norway in 2018 to commercialize three years of research at one of Europe’s largest research institutions, SINTEF. We started off with some fundamental technology but incorporating it into a product that fit the needs of the market and our own quality ambitions was a huge undertaking.

Why were you so passionate about creating something like this especially for musicians?

We are very focused on helping people retain their sense of hearing and are deeply concerned about the amount of hearing damage in our society. We hope to bring awareness around the importance of hearing protection. We want to improve people’s perception of hearing protection as something important to consider over the long term, and also become perceived as cool. For that to happen, the products need to sound better and be more user-friendly, more comfortable, aesthetically pleasing, and lighter than previously available.

Experiencing music physically is very emotionally powerful. When I’ve done live sound engineering at concerts, sometimes concertgoers may not be happy when the sound level is too low, even if I want to make the listening levels safe. Certain percentages of concertgoers also cannot tolerate loud sound, or have tinnitus, and want to experience the sound the way it is supposed to be heard, just at a lower volume. So, there is a definite need for earplugs that are as transparent as possible, to meet the needs of both the performers and the concertgoers who choose to protect their hearing.

How are the Minuendo different from the other products on the market such as regular foam earplugs and custom-made earplugs?

Cheap and simple foam earplugs are effective at blocking sound coming into the ear canal, for those that manage to fit them well. The problem is that they ruin the sound experience. A key benefit of Minuendo is the adjustable membrane. The Minuendo membrane is six microns thin, only a tenth of a human hair. Still, it is robust and well-protected by acoustic meshes that are placed on the inlets and outlets.

Most other universal-fit earplugs use ports/vents which is basically the same as putting your fingers in your ears and varying the seal. This simple approach of venting is the same as a low pass filter — coloring the sound, removing high frequencies and naturalness, and decreasing speech intelligibility. The low-pass characteristic of vented earplugs is perceived as wooly or bass-heavy, without brightness or life.

Singing, chewing, or any movement of the jaw often introduces leaks and thereby audible and annoying changes of the sound. Even newly molded earplugs can have bass leaks, decreasing the protection and perceived flatness. Ear canal anatomy changes with age and is quite sensitive to weight fluctuations, thereby compromising fit. Compared to other earplugs, Minuendo in the open position almost feels like you’re wearing nothing, since the sound is so natural.

How do they differ from those currently designed specifically for industrial workers?

The design goal for classical earplugs and earmuffs is to attenuate as much as possible for the lowest price, natural sound not being an objective. We wanted to create something that was as transparent and open as possible and providing the best possible product for our target users.

Can you tell us about the testing and development process you undertook?

In our user research, we interviewed and tested prototypes with dozens of Norway’s most prominent professional musicians. We also performed sound level measurements of a violin player and were surprised to learn that levels can reach up to 110 dB in the closest ear.

Also, it can be hard to avoid sitting next to very loud instruments like drums or trumpets. The need to finely adjust the attenuation of each ear became apparent. There were also musicians in the orchestras that had multiple sets of custom molds with different attenuation that they used dynamically throughout pieces. The user research supported that there was a definite need for transparent and finely adjustable earplugs.

3D printing was essential to our development process, and the printing technology had just been able to reach the precision and accuracy that we needed. After close to one hundred prototypes, we had managed to create a design that was miniaturized, simplified, more robust, elegant, and designed for manufacturing.

How durable are the Minuendo earplugs?

We are very confident in the durability, and therefore provide a 10-year warranty on the earplugs themselves. We are also so confident that people will like and be able to fit the product, that we offer a liberal 30-day return policy. The environmental impact with Minuendo earplugs is considerably reduced. The neck leash, magnet snap, and protective case prevent them from being lost as easily, so that helps as well.

Does one size suit and fit all? 

Yes, data so far suggests that 99 percent of customers are able to fit the earplugs. We deliver 11 sets of different sizes and types of ear tips, more than any other that we have come across. If you are one of the 1 percent that struggles with out-of-the-ordinary ear canal anatomies, it is also possible to create a custom-molded tip with some of our partners.

For which musicians would you recommend the use of Minuendo earplugs?

I would say almost everyone would benefit from them. I don’t know of any musicians that never go to any concerts, or go to bed with ringing ears or hearing fatigue. Moderate sound levels in practice situations can also be harmful over time, including for acoustic instruments such as violins. For those who have continued this practice regimen for years or decades, it often results in hearing damage and tinnitus. The daily exposure over time is what creeps up on most of us and takes away years of healthy hearing and enjoying music. I think we all could be kinder to ourselves and give our older self the gift of hearing a bit better, a bit longer.

Enter now to 1 of 5 Minuendo Musicians' Lossless Hearing Projection Earplugs

Entries close Wednesday, May 19th, 2021.

The post VC INTERVIEW | Tom Trones on Minuendo's Lossless Hearing Protection Earplugs appeared first on World's Leading Classical Music Platform.

We sat him down to get a better understanding of the role of psychology in a musicians' life - on stage, and now during these challenging times.

How did you decide to become a performance psychologist?

"Well, it was a few things that all converged at around the same time. I first came across performance psychology when I was doing my masters at Juilliard.

I had never heard of this field, so when I saw they were offering a class taught by a sport psychologist (Don Greene), I was intrigued.

The class was pretty eye-opening, as it answered all sorts of questions I had always had about why my performances were so hit or miss.

Like why sometimes I’d be super nervous and play really poorly even though I was really well prepared, and why there were also times when I’d not be especially nervous even though I wasn’t very well prepared - and end up playing really well.

It changed my experience of performing, and even had a pretty significant effect on how I practiced and prepared for performances, so after the semester was over, I was curious to learn more.

Meanwhile, I was struggling to figure out what to do after graduation.

I mean, I had never really thought in a conscious way about what I wanted to do when I “grew up,” and just kept playing the violin because it’s what I had always done.

But as I had more conversations with friends about their plans after graduation, I began to realize that I wasn’t nearly as interested as I ought to be in all the sorts of things that they were excited to pursue.

I didn’t want to play in an orchestra, I didn’t want to be in a quartet or chamber music group, I wasn’t interested in teaching, and even if I were to win some big competition and have the opportunity to make a living by performing, that wasn’t something I was especially excited about either.

The option that felt most intriguing to me at the time, was actually the idea of putting down the violin, and seeing where a degree in psychology might take me.

I had no idea where that might lead, but I felt more excitement about that than anything else I could think of, so off I went!

And fortunately, it all ended up working out!"

Can you tell us about your work and how you're able to assist musicians?

"A typical week for me is split between classroom teaching, working with clients one-on-one, and writing/blogging/podcasting.

All of which tends to revolve around helping musicians with two basic challenges that were, at least for me, a recurring source of frustration. Specifically, that of performing more effectively under pressure, and practicing more effectively on a daily basis, so more of what you do “sticks” from one day to the next, and transfers more effectively to your performance.

As I learned myself in that first performance psychology class I took years ago, there’s a lot of research out there on building confidence, learning how to manage nerves and pressure, getting into “the zone” more consistently, quieting the critic in your head and focusing past distractions, dealing more effectively with mistakes and setbacks, and all the sorts of mental skills that athletes rely on to be at their best when it really counts.

I think all musicians know that confidence, focus, resilience, etc. are important, but it’s not intuitively obvious how we’re supposed to develop these sorts of skills, let alone how we’re supposed to make time for this in our daily practice.

So I try to find ways to translate the research in this area into practice strategies or exercises that don’t take a ton of time on a day-to-day basis, but lead to skills that are more “pressure-proof” in stressful performances or auditions."

What are the main questions that musicians ask you again and again?

How to get rid of nerves, is probably the number one thing that people ask about.

"The answer is interesting and complex and multi-faceted, but the short, somewhat oversimplified version is that there are actually two aspects of the stress response, and they have different effects on performance.

The physical aspect of nerves (heart racing, sweaty hands, shaking, etc.) is certainly unpleasant, and can be controlled to some degree through strategies like diaphragmatic breathing, but believe it or not, the physical discomfort doesn’t actually have as much of an effect on performance as it feels like it does (as long as we can avoid excess physical tension).

The psychological aspect of nerves on the other hand (doubts, worrying about the audience or memory slips, obsessing about our physical symptoms, etc.), is quite predictive of performance.

Which is why most of your best performances probably happened when you felt like you were in “the zone,” and instead of overthinking technique or analyzing or judging your performance in the moment, your inner critic was pretty quiet.

One of the keys to “beating” nerves thus has to do with learning to focus and make sure you’re thinking about the most useful, performance-enhancing thoughts as you’re playing, while embracing your heightened physical state of activation not as anxiety, but as excitement.

There’s some interesting research by Harvard Business School professor Alison Wood Brooks, which suggests that even simply saying “I’m excited” to yourself before giving a performance (or taking a stressful test) leads to better performance than saying “I’m anxious” or trying to calm yourself down."

Why do you think having a good understanding of performance psychology is important for music students?

"I think when we’re really young kids, performances of any kind feel like a privilege and a joy.

Whether it’s doing cartwheels for our parents in the backyard, or wanting our grandparents to see us do some sort of magic trick we just learned, many kids seem to naturally love being in the spotlight.

Over time, of course, we tend to start becoming more self-conscious, experience the weight of expectations, and I think performing feels less like a fun thing to do and more like a necessary aspect of navigating a successful career in music.

Yet I think we’ve all had at least a few really great experiences on stage too - so we know that performing can also be an incredibly positive and meaningful experience as well.

On good days, being on stage and fully engaged with the music and your musicmaking colleagues can be a moving, inspiring, and thrilling experience. Which often elevates the listener’s experience too.

I think we all want more of these kinds of days, and fewer of the I-just-want-to-avoid-any-major-train-wrecks-and-get-off-stage-as-quickly-as-possible days.

And performance psych is all about developing the skills that facilitate these kinds of optimal performance experiences.

Which I think can make it easier for musicians to not only perform their best on stage, but (hopefully) enjoy themselves a bit more too."

What is your best advice for staying focused and relaxed?

"This is probably not going to be the answer that most people want to hear (sorry!), but one of the keys to being more mentally focused, more physically relaxed, and in a better place emotionally under pressure, is to do more of the one thing that I think we all try to avoid - practicing under pressure!

There’s a 2009 study, for instance, of two comparable Dutch national-level basketball teams, where half of the players practiced free throws the normal way, and the other half practiced free throws under pressure (videotaped for review and evaluation by experts, while watched by their coach and teammates, and competing for a prize).

Before this “pressure training,” both groups shot better in practice and worse under pressure.

And after five weeks, the players who engaged in regular practice continued to shoot worse under pressure.

However, the players who practiced under pressure, no longer saw their shooting performance drop under pressure. In fact, they ended up shooting the ball better under pressure conditions than they did in normal practice settings.

Whether it’s playing for friends, colleagues, teachers, family members, neighbors, your cat, or even a recording device, doing run-throughs, practice performances, and mock auditions gives you more opportunities to not only practice retrieving the motor skills you need on the very first try, but it also gives you a chance to practice all the mental skills - like focus, quieting the mind, being present, recovering from mistakes, etc., that you’ll need on stage as well."

What would be your advice for musicians during these challenging times?

"I wish I had a general, one-size-fits-all sort of answer that would work for everyone.

But I think it really depends on a lot of different factors, like whether you’re just about to go into college, finishing up grad school, freelancing, already well into your career, whether your career is primarily oriented towards performing or teaching or both, etc.

The one thing that I would say though, is that while for some this could be a great time to double down on developing one's skills and investing time and energy into practicing even more or better, it may not be the right answer for everyone - and that’s ok.

I worry that going on Facebook and seeing what some folks are doing could lead to increased stress and pressure or even some degree of guilt for not doing as much as you feel you could or “should” be.

Which could ultimately lead to overtraining or burnout or even an increased risk of injury.

There’s a sport psychology book from the 90’s that is popular in some musician circles called 'The New Toughness Training for Sport', by Jim Loehr.

Despite the title, and chapter titles like 'Are You Tough Enough?' and 'Challenging Your Weaknesse's, the book is fundamentally about recovery, and learning how to balance training with sleep food, rest, time off, and rejuvenating activities that are totally non-sport-related.

Loehr explains how pushing yourself at the expense of self-care will ultimately hold you back from reaching your potential, because insufficient recovery and balance will undermine your training and performance.

In other words, toughness isn’t just about sucking it up and willing your way through adversity, but also about taking care of yourself. Which seems like a helpful thing to remember during these times."

The post VC INTERVIEW | Dr Noa Kageyama - "The Role Of Psychology In a Musicians' Life" [INSIDER] appeared first on World's Leading Classical Music Platform.

"Welcome to a little “Intermission” from your regularly scheduled programming! 

We're Melissa White and Elena Urioste — violinists, yoginis, and dear friends — who spend much of our lives on the road, performing and jet-setting around the world.

We’re also the co-founders of an organization called – you guessed it –  Intermission, which helps musicians unite body, mind, breath, and music-making through yoga and meditation.

Intermission is comprised of Sessions for music students, Retreats for professionals, and an App for absolutely everyone.

The two of us met in 2003 via a combination of the Curtis Institute of Music, the Sphinx Organization, and ENCORE School for Strings, and quickly became wonderful friends and natural collaborators.

(Fun fact: we actually both began playing the violin as a result of watching the very same episode of Sesame Street in 1988!)

And speaking of coincidental timings, we stumbled upon our respective yoga practices during the same summer in two different cities.

Over the past decade, the benefits that we've both experienced as a result of a regular yoga practice have been innumerable, from improved muscular control in our violin playing to an increase in self-discipline to a greater sense of peace with the world around us. 

More recently, we became so passionate about our yoga practices that we each received our 200-hr RYT teaching certifications, Melissa at the Sampoorna Yoga School in Goa, India; and Elena at the Kripalu Center in Stockbridge, Massachusetts.

Our hope is that through exploring mindful movement, alignment, breath-work, and self-compassion, musicians of all ages and stages can begin to unite their physical, mental, and emotional selves so that music-making may become a more holistic, healthy, joyful practice.

The following is a compilation of some of our favorite moves that we’ve been able to take “off the mat” and incorporate into our lives as busy musicians.

For more thorough explanations, be sure to watch the full video for guidance in and out of each posture, stretch, or grounding exercise; if you’ve only got a moment to skim, here’s an overview of 10 of our favorite yoga moves for musicians"

1. Full-Body Buzz

"One of the leading causes of injury amongst musicians is overworking our muscles when they haven’t been properly warmed up.

This exercise – in which we tap along the outsides and insides of the limbs and up onto the head – stimulates blood-flow, creates a full-body humming sensation, and prepares the body for any movements that might follow"

2. Shoulder Circles

"These various shoulder and arm motions bring a sense of awareness and warmth into the upper part of the body, and lubricate that precious set of ball-and-socket joints which do so much for us (especially if we’re making larger motions with the arms like playing chords or using the bow for other powerful, broad strokes)"

3. One Spine, Six Directions

"The spine has six basic directions of movement: it bends from side to side, flexes forwards and extends backwards, and it twists.

By stretching the spine, the nervous system can better communicate with the rest of the body, which means that a command can make its way much more easily from the brain to the fingers (read: MUCH less drilling needed in the practice room!)

A healthy spine also aids the body in quicker transitions from “fight-or-flight” by activating the parasympathetic nervous system – super-important for musicians, many of whom spend a lot of time feeling nervous and then coming down from those adrenaline surges"

4. Eagle Arms

"'Eagle wrap' arms (to be perfectly honest, we’re not entirely sure why they’re called that) can help to open up a tight upper back and flush fresh blood through the arm joints once released.

If the hand palms are far from touching, no worries – grab whatever you can, or even just hug opposite shoulders to feel a satisfying opening in the upper back"

5. Mountain and Chair Pose (with Prop)

"Many an unsuspecting student has been puzzled when, in an instrumental masterclass, we’ve whipped out… a yoga block!

This is one of the simplest (if slightly unorthodox) tools to help with feeling grounded, engaged, and in control of where our bodies’ energies are being focused.

By stabilizing the lower half and core, we direct any excess tension away from our instruments and into our prop, leaving the upper body free and flexible to produce a sound that’s uninhibited and flowing from the inside out.

Explore these sensations by using a block or rolled-up towel to activate the lower half of the body in mountain pose, chair pose, or even while you’re doing your instrumental practice!"

6. Wrist Rolls on All Fours

"Weight-bearing on your hands can feel scary if you’ve never been set up properly, but with a few simple alignment cues, you can safely and effectively begin to build strength in your fingers, wrists, forearms, and shoulders – and in this case, some flexibility, too.

You can always draw your hips back towards your heels to reduce the load on your wrists when you’re in a table-top position; in any case, take it slow and rest if the sensations feel overwhelming"

7. Thread the Needle

"While we’re on all fours, “threading the needle” can be a delicious, passive way to stretch those tough-to-reach muscles behind the shoulder blades.

By feeding one arm through the space between the opposite arm and leg, the area usually hidden behind the scapula is gently stretched. For a more intense sensation, try pressing the back of the hand more actively into the ground"

8. Seated Twist

"There’s nothing like a gentle twist to relieve lower back pressure, create a feeling of more space between the vertebrae, and soothe the nervous system.

A good rule of thumb for any twist: inhale to lengthen the spine, exhale to deepen the twisting sensation."

9. Breathing Exercise with Lengthened Exhales

"Most of us are probably accustomed to some version of a “fight-or-flight response” in the moments before we walk onstage, or in any situation that causes us to feel a little out of sorts. Whatever your coping mechanism for dealing with pre-concert jitters, learning to calm the sympathetic nervous system – the control center that’s in charge of responding to stressful scenarios – will make us much happier campers, onstage and in life.

Any breathing exercise where you can exhale for longer than you’re inhaling will calm you down, even if it does take a bit of practice. Try this one – in which we constrict the flow of air on its way out of the body by narrowing the passageway through the lips – if you’re feeling scattered, jittery, nervous, or even just looking for a feeling of deeper grounding in everyday life"

10. Wrist Rolls and Finger Stretches

"A runner wouldn’t begin sprinting without first preparing his or her legs, right?

Whether your performance, rehearsal, or practice session is a sprint or a marathon, please make sure to show your hands, wrists, and forearms the TLC they deserve.

These wrist rolls and finger extensions are so simple (and addictive) that you can do them anywhere – even onstage during a long rest.

These movements are only a few out of HUNDREDS that can be used to prepare the body, mind, and breath for a day of instrumental playing.

One of the best things about a mindful movement practice like yoga is that it builds a deeper sense of awareness and familiarity with what feels good for each individual, so that we’re able to check in and discover what it is we need – additional stretches, deep breaths, stillness, etc. – in any given moment.

Use these ten ideas as a starting point and then see what other needs or wishes come up for you, or you can sneak a peek at our free Intermission App for more suggestions.

Take care of your body, always treat yourself with the kindness that you would show a loved one, and happy practicing!

- Elena & Melissa"

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Cellist Alexander Ramm Opens Up About Facing Adversity

Our entire world, including the music world, is facing a truly apocalyptic situation right now: we have been stopped in our tracks and no one can tell us when, if ever, life will get back to normal.

This reminds me of something I experienced in 2018, albeit on a very private scale.

That year I realized that some things happen to us not because of something we did in the past but for something we’re supposed to accomplish in the future.

Two winters ago, on February 23, I fell on slippery ice and broke my left arm.

As I came to after the explosion of searing pain, my schedule for the next few months flashed across my mind. March and April were supposed to be extremely busy with concerts, rehearsals, photoshoots and a recording.

I knew right then and there that none of those things would be taking place.

I had never broken a bone in my life, and I was in shock. The same night the surgeons studied the x-rays of what used to be my elbow and estimated that it would take at least three months for the fractures to heal, giving no guarantee that I would ever play the cello again.

I froze up as it sunk in: it was not just a couple of months of concerts, it was possibly my very identity as a cellist that I was losing on that horrific night.

The next day I underwent the first of two operations to reconstruct my arm: two titanium pins were inserted into the elbow joint to reinforce it as it healed.

By then I had gone through the initial shock, the stupor, and utter despair.

Then, gradually, came the acceptance, but only after a curious thought took hold of my mind. I realized I was having this experience in order to prepare for something I must do in the future.

I put all my energy and determination into my recovery, sparing no effort to resume playing the cello as soon as possible.

The process was arduous with hours upon hours of physical therapy.

After the first surgery my arm refused to open. But in just two months I played the Shostakovich Second Concerto in Irkutsk, Russia.

With the titanium pins still inside my elbow, I did not feel any physical restraint, however I had to give up my new tux: the pins were scratching and sticking into the soft fabric of the lining.

My debut album, which I was meant to record that spring for the legendary Russian label, Melodia, had to be postponed until the summer.

Those three days of recording sessions at my Alma Mater, the Moscow State Conservatory were a milestone: if I could record all three of Sir Benjamin Britten's magnificent suites for the cello, I would know that I had come out of this ordeal personally and musically stronger, for all my titanium pins and profound emotions.

And I did. Two months after those memorable nights of recording Britten at the Conservatory, the pins were removed.

Life resumed its normal course, except I was no longer the same.

Looking back, I am certain: although this freak accident made my life temporarily unbearable, it turned out to be a positive experience, a forced pause, and a chance to re-think some of the most fundamental things.

Why do I do this? Why is the cello so important? Is my musical contribution to the world worth fighting for?

The few days of despair followed by the two months of uncertainty and frustration – this was one of the most decisive periods in my life. It taught me to consciously love what I do.

I feel that my natural optimism, my boundless desire to make music, and the support and encouragement of my family, friends, and colleagues were the most important resources I drew upon for my complete and relatively quick recovery.

My wife, son, daughter, and the cello are the best gifts life has given me.

My injury forced me to focus on the wonderful things I have, including my own resilience.

I no longer take for granted the opportunity to go on stage, to perform the music I love, and to share the joy with the audience.

Now when we are locked in our homes, trying to cope with this extraordinary and disorienting situation, we have no choice but to shift our focus to the essential.

So what if we just assume that this is an ultimately positive thing, a chance to grow? What are our true sources of strength and inspiration? And how can this moment help us prepare for something we want to accomplish in the future?

Alexander Ramm

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

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American violinist, VC Artist Stefan Jackiw shares his expert advice on the topic.

Stefan Jackiw shares his journey of Physically & Mentally Recovering from an Injury

Previously, The Violin Channel asked me if I would write about my experience being injured. I’ve put off writing about this period in my life, both because revisiting the experience brings back stressful memories, and also because I wanted to be sure that I could tell my story in a way that could be helpful for other violinists dealing with injuries.

In September of 2012, I injured my neck through a nasty fall while running in Central Park. This injury caused me to lose significant strength and coordination in both my hands. In an instant, I went from performing concertos and recital programs around the world to being unable to play the violin for more than thirty minutes without dropping my bow, and being unable to get through a simple scale without losing coordination in my left hand.

I was forced to stop playing the violin altogether for six months and canceled all my concerts for nearly a year. Over the course of the next five years, with the help of a brilliant physical therapist, I gradually healed. My hand strength and coordination fortunately returned, and I’ve been able to resume my life as a performing violinist.

Here are two important things I learned along the way:

1. Listen to your body.

While the proverbial straw that broke this camel’s back was a fall during a run, I now believe that years of playing the violin with an unhealthy posture took a physical toll on my body and made me much more susceptible to seriously injuring myself.

The more I think about everything leading up to this, the more convinced I am that the big culprit for me was the decision I made at 17 to begin to play without a shoulder rest. Back then, I took a few lessons with a violin teacher who was dogmatic in his insistence that the only way to correctly play the violin was without a shoulder rest.

He pointed out, correctly, that all my violin heroes at the time - Heifetz, Milstein, Grumiaux - played without a shoulder rest. I remember this teacher once proclaiming, ''It’s impossible to play in tune with a shoulder rest. Period.'' I was convinced.

So, I ditched my shoulder rest. I remember having significant neck pain for the first couple of months, but I convinced myself that this was just an ''adjustment period'' and that the discomfort was a small price to pay to be on the road to playing like Heifetz.

The initial pain eventually went away, but the physical tension brought about by this shoulder-rest-less existence persisted and was reinforced through hours of daily practice. I wish I could go back in time to tell my 17-year-old self that this obsession with playing without a shoulder rest is nonsense at best, and dangerous at worst.

There are of course so many violinists who play brilliantly with a shoulder rest, and so many who play brilliantly without a shoulder rest. And that’s precisely the point: each of our bodies is unique and no sweeping rule can possibly yield an ideal solution for every violinist.

I knew that switching to playing without a shoulder rest was causing me some pain, but I ignored all the warning signs that my body was giving me. I pushed through because I was convinced that this was the best way to play the violin.

Now, I play with a shoulder rest, and it has made my body so much more relaxed. And I play equally in or out of tune as I did when I played without a shoulder rest.

No one can feel what you are feeling in your body. Be open to suggestions and don’t be rigid in your beliefs, but if it doesn’t feel right, don’t do it, even if the person giving you advice is your teacher.

If someone is trying to change your bow grip, left hand position, or shoulder/chin rest setup and it causes pain, don’t blindly follow their advice.

2. The stigma around injury among violinists, and in the classical music industry in general, is harmful and misguided.

The majority of musicians I’ve spoken to who have dealt with an injury have felt pressured to keep their injury a secret.

I find that it’s usually for one of two reasons. Either the injured musician fears that others will attribute their injury to ''bad technique'' and therefore will hold them in lower esteem if word of the injury gets out, or the injured musician worries that employers – whether it’s a symphony orchestra looking to hire a soloist or a contractor looking to engage a string quartet for a wedding – will be reluctant to hire them if they learn that the musician is injured.

So, we keep quiet about the fact that we’re injured. We’re vague. We say that we have to cancel a gig because we’ve come down with a cold, rather than because we have tendonitis and might not be able to play for several weeks. Or worse, we force ourselves to play through the pain, thereby compounding the injury.

This shame and secrecy prevents musicians from having a healthy, open dialogue about injury prevention and treatment.

So, let’s just get it out in the open: getting injured doesn’t mean that you’re not good at your instrument or that you won’t heal and be a reliable hire down the road.

As I spoke to more and more violinists, I found out that nearly all of them, at some point in their career, struggled with aches and pains and physical issues caused by playing the violin, and have a massage therapist, or physical therapist, or acupuncturist on speed dial to help them deal with the injuries.

It’s just part of the life of a violinist.

One physical therapist I worked with for a while in New York City had a ''wall of fame'' featuring nearly every top violinist from the last half century who had come to him looking for treatment and relief.

Most of these people never spoke publicly of their problems and, even as a ''violin insider,'' I had no idea they were dealing with bad enough pain that they sought professional help.

I was fortunate that my managers (the people whose job it is to find me concerts and help me build my career) were totally supportive of my decision to cancel a year’s worth of concerts.

They told me to take as much time as I needed and never pressured me to get back to playing concerts quickly. I feel very lucky that they are such thoughtful, empathetic people.

However, a few classical music industry insiders warned me that I should keep quiet about the fact that I was canceling all these concerts due to an injury. ''If people find out that you’re canceling because you’re injured, they’ll be reluctant to hire you in the future, because they won’t want to take on the risk that you might cancel on them as well.''

This mindset leads to more shame and secrecy, which leads to less open discussion about injury prevention and treatment, which leads to more injury, perpetuating a sad and unhealthy cycle.

So to sum this all up: if it hurts, don’t do it. If you get injured, don’t be ashamed or secretive. Tell people, seek help, minimize your practice time, get better, and go back to playing the violin in a healthier, more relaxed and sustainable way.

–Stefan

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Stefan Jackiw is one of America’s foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others.

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What are some ways you have discovered that could help reduce tension while playing fast passages on stringed instruments? Please leave a comment below, we are keen to know your thoughts.

Miriam Fried lets us in on a Secret to Play Fast Passages Without Tension

Dear Michelle,

Tension is one of the more serious issues facing every violinist. If left unresolved, it can seriously limit one's playing ability, and in extreme cases it can also cause serious injury. The causes of tension are varied, and so are the solutions. Let us look at tension as it relates to fast playing.

Our body is a symmetrically constructed "machine". Therefore, it naturally does best when both arms are asked to do the same thing, preferably mirroring one another.

One of the inherent difficulties of violin playing stems from the fact that the right and left hands are required to engage in totally different activities. This discrepancy is often the root cause of tension. The faster we need to move, the tenser we seem to get. Understanding what each hand needs to do and figuring out the coordination between the two is an important step to success.

The left hand is the one responsible for pitch. The way the fingers move on the fingerboard can be likened to walking: as you put one foot on the ground, you prepare the next step by lifting the other. While the pitch is produced by placing the finger on the fingerboard, agility and speed depend on lifting the fingers off the fingerboard. The faster you want to move, the lighter the touch of the fingers should be, the more you should focus on lifting the fingers. In order to move quickly it is important to keep the thumb loose. Since the thumb wants to instinctively grip anything it comes in contact with, it is necessary to monitor it closely. Also, the thumb needs to accommodate the ability of the fingers to reach the string easily by constantly adjusting its position. So keep it as flexible as possible.

Fingerings are important in that it is easier to move fast and efficiently when the notes are grouped into patterns that repeat themselves.

The right hand: When playing spiccato, it is best to play in the middle of the bow or higher. Using the lower half of the bow makes the arm heavy and that in turn creates tension.

String crossing is a main concern, both when playing separate notes and in legato passages. It is necessary to actually memorize how many notes are played on each string in order to cross strings properly. You want your elbow to guide the crossing motion and bring you closer to the new string before you actually need to play on it.

Think that the elbow is actually tracing the shape of the bridge on a large scale. The smoother the string crossing, the easier it is to play.

Economy of motion is another important principle to remember. The faster you want to move, the less bow you should use.

Just as with the left hand, it is important to avoid squeezing the thumb. A squeezed thumb locks the wrist, which in turn locks the elbow and shoulder. That kind of tension is unwise no matter what the speed, but is detrimental when we need to move quickly.

Because of our body's symmetry, tension in the left arm will often cause reciprocity in the right and vice versa, and so releasing one will almost always help to release the other.

Lastly, breathing releases tension in the arms and neck, and is essential to relaxation. As one never forgets to inhale, it is exhaling that needs to be the focus when playing. It is easiest to exhale just before a difficult passage. I find it useful to plan points where one can easily exhale. You actually need to practice doing so. Happy practicing,

–Miriam

Do you have a burning question for one of the Pros? Simply email: hello@theviolinchannel.com

Miriam Fried has been recognized for many years as one of the world’s preeminent violinists. A consummate musician – equally accomplished as recitalist, concerto soloist or chamber musician – she has been heralded for her “fiery intensity and emotional depth” (Musical America) as well as for her technical mastery. Her supreme blend of artistry and musicianship continues to inspire audiences worldwide.

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What are some stretching exercises that you know of? How have they been working for you? Please leave a comment below, we are keen to know your thoughts.

(Photo credit: David Zentz)

Anne Akiko Meyers discusses the Essential Stretching Exercises for String Players

Dear Richard,

Having performed professionally for more than 30 years, I am keenly aware of how my body is affected and feels before, during and after practice/performing. Musicians are definitely athletes. We use our fine motor skills and muscles repetitively and require our bodies to be able to hold up to demanding practice and touring schedules. Not to mention the strain of carrying our suitcases, carry-on luggage and violin case. Fly 15 hours scrunched in a plane and jump 10 time zones to perform a Prokofiev Concerto without getting hurt or jet lagged, sure, no problem!

I believe deeply in cardio exercise, stretching, deep tissue massage, rolfing, acupuncture, rest.

Eastern medicine remedies for our very Western music making. Many of the therapies have helped me tremendously to stay active, keep my tissue healthy and body calm with the challenging travel and strenuous performance schedule.

Playing the violin or viola puts tremendous strain on one’s body. Your head is torqued, while compressing the instrument with your neck. Your arms are working in opposite directions and the weight in your body is not evenly distributed, with the bow arm resembling a bow and arrow. It puts great strain on your shoulders, arms, hands, neck and back.

The door jam is extremely helpful for stretching shoulders and arms and requires no equipment to pack in your already overstretched luggage (I am speaking for myself!) Put your arms in the door jam, like you are in a hold-up and walk into the stretch.

Another great one is to go into a corner and put your weight into the stretch in your chest. For your wrists, make a fist, with your arms in front of you and gently push down the wrist using your opposite hand.

In addition to stretches and therapies, being aware of your breath is incredibly helpful. Walking while playing or warming up with your scales, will focus you on your breathing. Music making is not possible without your body feeling relaxed and calm.

-Anne

Do you have a burning question for one of the Pros? Simply email: hello@theviolinchannel.com

Anne Akiko Meyers has enraptured audiences around the world for decades. Regularly performing on the leading stages, Anne has collaborated with many of today’s most important composers, resulting in significant works for the violin. She has made close to 40 recordings, many of them debuting at #1 on the Billboard charts, which are staples of classical music radio stations and streaming platforms.

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How do you cope with stage anxiety? Do you have a particular routine? Please leave a comment below, we are keen to know your thoughts.

Cellist Josephine Knight shares tips on different ways to overcome performance anxiety

Dear Janet,

Firstly there is a big difference between nerves and anxiety. Nerves are a natural part of a musician`s life. As performers, we care very much and want to do our best, and part of playing well is to be nervous. Anxiety is more complex and tricky. Anxiety equals worry and uncertainty. Take away the uncertainty and there is less place for anxiety.

As a teacher, I do have students who wish to discuss nerves, but interestingly I find that once technical foundations are established and musical knowledge and ideas activated, there is less talk of nerves. Having no 'grey' area of how you achieve your best, but clarity of thought enables you to channel those nerves into positives and ultimately allows yourself to become free and at one with the music. The mind can play tricks on you, fear of perhaps failing and messing up; but it's training the mind to focus.

I often discuss preparation tactics with my students; making sure they have practiced intelligently, implementing formulas and with clear musical intent. Feeling in control, knowing you have prepared well, can only be a positive mantra for a successful concert.

Visualising the moment of walking on stage has also proved very helpful, picturing the venue, or stage of the concert hall will already increase your heart rate and therefore enable the brain to get used to the feeling and take away any shock.

I remember when I gave my BBC Proms concerto debut at the Royal Albert Hall in London which seats around 6,500 people and was going out `Live` on BBC Radio 3. I made time to go and play in the hall early one morning to give myself a taste of what it would feel like to fill such a huge space with sound. How one draws the bow across the string in such a huge hall as this, is completely different from a practice room scenario. Hearing the sound drifting away into this vast area, was invaluable for me before such an important concert. Also, the experience of traveling down through the dark narrow corridor before walking on to this magnificent stage, the history present from years of other musicians, conductors, and orchestras who had walked the same path, who perhaps would have had the same anticipation and nerves, was both humbling and inspiring.

For me, to practice well and prepare myself both mentally and physically enables me to enjoy the important aspects of the performance. When I'm nervous I will go into a zone of thinking about what I want to say musically and try not to get tied up with technical thoughts as this would have been covered in my practice. Even down to what you eat and how much you exercise can make a difference to how you feel. I always have a fixed routine on the day of a performance, musicians love routine and I have the same one (if it would make a difference if I didn't follow the routine who knows!) but my performance day always allows time for sleep, my preferred meal before a concert is a honey sandwich and a banana and lastly I always try to jog on the spot for about 5-6 minutes about half an hour before walking on stage as this will raise your heart rate and improve circulation which helps warm the fingers and increase oxygen to the brain.

Ultimately it's about emotionally feeling something and sharing this with your listeners.

-Josephine

Do you have a burning question for one of the pros? Simply email: hello@theviolinchannel.com

Professor Josephine Knight currently serves as the Alfredo Piatti Chair of Cello at the Royal Academy of Music in London. She has performed concertos with leading orchestras in Europe and the U.K. and has appeared as a soloist at the BBC Proms. She has recorded CDs for Deutsche Grammophon, EMI, and Chandos. Josephine studied at Yale University and the prestigious Juilliard School in the USA, studying with Aldo Parisot, and at the Royal Academy of Music with David Strange. Following her studies in the USA, Josephine won a place to study with Mischa Maisky at the Accademia Musicale Chigiana, Siena, Italy, as one of only nine international cellists to be selected. Josephine plays on a 1728 Johannes Guidantus, purchased from Florian Leonhard.

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