Indirect Procedures by Pedro de Alcantara.
What Every Musician Needs to Know about the Body – The Practical Application of Body Mapping and the Alexander Technique to Making Music by Barbara Conable.
Mind, Muscle and Music by Elizabeth Langford.
Integrated Practice by Pedro de Alcantara.
The Alexander Technique for Musicians by Judith Kleinman and Peter Buckoke.
‘Posture, tension and technique’ by Niso Ticciati; an introductory to the Technique which was first published in 1953 by the Re-education Centre (Isobel Cripps centre) as Niso Ticciati at that point was a pupil of Charles Neil and/or Eric de Peyer.
‘The organization of awareness’ by Frank Pierce Jones argues that the Alexander Technique is a method for organising awareness so that a performance can be well-learned without becoming stereotyped.
‘Awareness, freedom and muscular control’ by Frank Pierce Jones discusses a typical case of misdirected energy where a musician develops over-relaxed hands and arms at the expense of excessive tension around the spine.
‘Working with musicians’ by Vivien Mackie; making some observations on teaching the Technique to performers, on helping performers beyond ‘posture-as-such’.
‘Playing in a symphony’ by Evangeline Benedetti; the author has been a member of the New York Philharmonic cello section since 1967, qualifying as a teacher of the Technique in 1991, and reports of her experiences.
‘How to play Beethoven’ by Mark McGee; on discovering that his desire to shape music according to his own beliefs about the music amounted to an interference which produced forced and unnatural playing.
‘Conceptions and misconceptions’ by Nelly Ben-Or; on what to realistically expect – and not expect – for a musician from the Technique.
‘The relevance of the Alexander Technique for musicians under stress’ by Debrah de Graaff; a professional clarinet player discusses her experiences of playing with less tension.
‘Surprises in the music class’ by Vivien Mackie discusses working with singers, and the ‘holding habit’ in musicians.
‘The value of the Alexander Technique’ by Patrick Maddams; the Managing Director of the Royal Academy of Music on the importance of the Alexander Technique for musicians.
‘Working to principle’ by Pedro de Alcantara; on the importance of praticising with one’s whole body.
‘Some thoughts on practicing’ by Alex Farkas; on transferring what is learned in the Alexander Technique lesson to the student’s practice session.
‘A warm up for musicians’ by Ilana Machover presents some basic ideas behind her constructive warm-up for musicians.
‘Thoughts on musicians and the Alexander Technique’ by Elizabeth Langford on her experiences of teaching musicians.
‘“An open and shut case”’ by Alun Thomas stresses the importance of the quality of preparation for playing from a musician’s perspective.
‘Anti-technique – Can we learn without exercises, or how can we approach technique using F. M. Alexander’s principles?’ by Alex Farkas, with additional report by Cat Jary, challenges the assumptions that exercises are necessary for the physical means to perform adequately, and the task is something to endure.
‘The use of mime in instrumental learning and teaching with reference to the work of Kato Havas’ by Janet Pinder-Emery explores ideas taken from the teaching of Kato Havas, author of A New Approach to Violin Playing, using mime.
‘Inspiring musical performance’ by Ethan Kind discusses five aspects of playing: Alexander Technique posture, trusting yourself, troubleshooting, breathing, and playing as a gift.
‘A workshop for and about musicians’ by Evangeline Benedetti; on hearing the music you want to play as an aural image (pre-hearing), and on using the squat-sit as a preparation for sitting.
Autobiographical case history
‘Mastering a process can help musicians learn the Alexander Technique’ by Lorin Chisholm.
‘The use of conscious inhibition in the work of a performing artist’ reports on a study in which three musicians and three actors were tested three times over a period of two years (2006–08), before and after 20 Alexander Technique lessons, and then after a further period of six months. Both qualitative and quantitative methods were used to measure changes, and all measurements showed an improvement in performance.
See also under individual musical instruments, String Playing, Stage Fright, Singing.