Feldenkrais Method in Creative Practice

Robert Sholl has published widely on twentieth-century music, including Stravinsky, Berio, Birtwistle, Ferneyhough, Messiaen, Arvo Pärt. He is the editor of Messiaen Studies (with Sander van Maas); Contemporary Music and Spirituality; and is part of a Leverhulme–funded project on The Phantom of the Opera at the Guildhall School of Music and Drama. He has released improvisation to silent film on YouTube and is currently editing volumes on James MacMillan and Messiaen. Robert Scholl is a trained Feldenkrais practitioner.

An ambitious and informative journey - full of studio insights for the Feldenkrais practitioner, and timely observations at the intersection of art practice, neuroscience, and psychology.

• TABLE OF CONTENTSList of FiguresList of ContributorsForeword by Garet NewellAcknowledgementsIntroduction by Robert Sholl, University of West London, UKPART 1: Historical Perspectives on Creative PracticeChapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UKChapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UKChapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UKPART 2: From Science into Creative PracticeChapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone, University of Oregon, USAChapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, GermanyChapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, CanadaChapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, CanadaPART 3: Studies in Creative PracticeChapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, FranceChapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais’s Philosophy and Methodology for Learning - Lisa Burrell, Lone Star College, Houston, Texas, USAChapter 10: A Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process - Victoria Worsley, Feldenkrais Guild, UKChapter 11: Curing the Acting Habit – The Feldenkrais Method, Actors, compulsion, and the performing-arts industry - Mark Lacey, Independent scholar, UKChapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr, Independent scholar, UKChapter 13: Food for no-thought … meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth, professor at the Dance Department of University du Québec à Montréal, CanadaBibliographyIndex