The Feldenkrais Method in Creative Practice

TABLE OF CONTENTS List of Figures List of Contributors Foreword by Garet Newell Acknowledgements Introduction by Robert Sholl, University of West London, UK PART 1: Historical Perspectives on Creative Practice Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UK Chapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UK Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UK PART 2: From Science into Creative Practice Chapter 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, USA Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, Germany Chapter 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, Canada Chapter 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, Canada PART 3: Studies in Creative Practice Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, France Chapter 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, USA Chapter 10: A Sense of

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.