RESEARCH

BODY MAPPING STUDIES

Wiedemer, Lauren E. (2025) Anatomical literacy and Body mapping in flute performance: Strategies for addressing and preventing upper extremity injuries. DMA Dissertation, University of Kentucky.

This document investigates the benefits of incorporating the study of anatomy and Body Mapping into flute performance, specifically focusing on addressing and preventing injuries related to the upper extremities. As the physical demands on musicians continue to grow, this research advocates for recognizing flutists as “musical athletes.” It highlights the importance of anatomical literacy and somatic awareness in sustaining performance longevity. The practical applications of Body Mapping are explored in detail and presents strategies for alleviating strain and fostering ease of movement, supported by research and experiential insights. Pedagogical recommendations are offered to integrate these principles into flute instruction, helping musicians approach their craft with greater awareness and efficiency. This document serves as both a guide and a resource for flutists, educators, and performers seeking to enhance their understanding of the body's role in music-making. Part II of the document includes recital programs and corresponding program notes from performances given in partial fulfillment of the Doctor of Musical Arts in Flute Performance degree.

Reyneke, Amalia. 2024. Cellists' experiences of learning and teaching Body Mapping for musicians:

An Interpretive Phenomenological Analysis. MM Thesis, Stellenbosch University.

This qualitative study examines cellists' experiences of learning and teaching Body Mapping for musicians (BMg) aiming to better understand and explore the challenges, impacts and changes the cellists went through during their BMg training. Aspects investigated include technique, musicianship, movement, posture, and pedagogy, as well as the cellists’ self-maps as cellist-artist-performer-teacher and somatic educator. Data collection took place in the form of semi-structured interviews with four professional cellists who are also BMg educators. The interview transcriptions were analysed using Interpretative Phenomenological Analysis to examine how the participants made sense of their BMg training, by exploring their perceptions, understandings, and feelings in relation to the meaning of significant experiences. The analysis encompasses five superordinate themes: BMg Training, Fundamental BMg Principles, Change, Broader Understandings, and Teaching; and is supported by 20 subordinate themes. Findings illustrate that the cellists experienced enhanced performance and teaching capacities. BMg was effective in increasing kinaesthetic skills, enabling appropriate awareness of movement and balance during performance, as well as improving technical aspects and playing posture through corrected body maps. BMg provided cellists with a 'toolkit' to address physical and psychological challenges and artistic needs. The fundamental BMg principles were not only suitable to guide instrumental performance and teaching, but also everyday life activities. BMg gave the participants agency for change, intrinsic motivation, self-acceptance, and access to physical and artistic freedom.

Moreno, Amanda Marie (2022). An examination of the effects of Body Mapping instruction on singers' static standing posture and posture while singing. In partial fulfillment of the requirements for the degree of PhD in Music Education. University of North Dakota.

This quantitative study focused on the application of BMG instruction for choral singers. The author used a motion capture system to measure angles of the six places of dynamic balance in 49 undergraduate choir students. The study also measured chest expansion to look for changes in breath capacity. A control group received six sessions of only basic postural instruction, while an experimental group received six session of specific BMG instruction. The experimental group showed significant improvement in A/O alignment while singing; significant improvement in lumbar alignment in both the static and singing positions; and significant improvement across the entire body while singing. View Pdf Document

Slade, T., Comeau, G., Russell, D. (2020). Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop. Journal of New Music Research. In press.

Many participants and observers of Body Mapping workshops report immediate audible improvements to performance. In this study, we chose to study specific quantitative aspects of piano scales and arpeggios one day before and one day after a “What Every Pianist Needs to Know About the Body” workshop. We used MIDI data to capture aspects of note accuracy, evenness of loudness, articulation, and timing. While there were subtle changes in the MIDI data, these changes were generally neither statistically significant, nor a magnitude that would be audible. These findings suggest that reports of immediate improvements to piano performance are not related to these specific technical aspects. We theorize that participants and observers of Body Mapping workshops report immediate audible improvements in part because of the perceptual theory of visual dominance: audience members observe changes in bodily movement and audiences perceive this as improved sound quality.

Salonen, B.L. (2018). Tertiary music students’ experiences of an occupational health course incorporating the Body Mapping approach. PhD thesis. Bloemfontein: University of the Free State, South Africa. [Online]. Available: http://hdl.handle.net/11660/9652

This study explored the experiences of tertiary music students participating in a comprehensive occupational health course, in which Body Mapping (BMg) was incorporated as the somatic component. The findings emphasise the reciprocal interactions of the physiological, psychological, behavioural and musical aspects of music-making, and suggest that BMg was effective for the integrated teaching of musicians’ biopsychosocial and artistic requirements. The study underscores the need for musicians’ health courses in higher music education, the benefits of comprehensive musicians’ occupational health training, the value of somatic learning, and particularly the value of BMg as a somatic approach for musicians. The results also provide information on aspects such as essential course content, the advantages of interdisciplinary collaboration, the need for practical and experiential activities, the importance of cooperation with music teachers, and the consideration of students’ motivation to attend and their readiness for change.

Holt, Micah. (2016). Applied anatomy in music: Body Mapping for trumpeters. DMA Dissertation, University of Nevada, Las Vegas.

Musicians must move in order to produce sound. The body is the vehicle for movement, therefore, understanding the body structure can provide more effortless and efficient music making. The conceptual creators of Body Mapping, Barbara and William Conable, define a body map as, “One’s self-representation in one’s own brain.” Body Mapping provides a relatively new somatic approach to musical pedagogy. A number of existing dissertations and articles discuss the specific application of Body Mapping to keyboard, voice and woodwind instruments. Currently, however, very few resources have integrated Body Mapping into brass pedagogy. This document provides a resource for teachers and students that presents specific pedagogical lessons on Body Mapping for the trumpet player.

Wong, G. (2015). The immediate effects of somatic approach workshops on the body usage and musical quality of pianists. DMA thesis. Ottawa: University of Ottawa.

This research evaluated the immediate effects on pianists’ body usage and musical quality after a single 50-minute somatic session in either the Alexander Technique (AT), the Feldenkrais Method (FM), or Body Mapping (BMg). There were objectively measured and consistent improvements in almost all rating parameters, with significant improvements in two parameters: head and neck, and tone. The results demonstrated changes in both body usage and musical quality. Findings suggest that the post-somatic playing clip was more easily identified through body usage than musical quality. Despite limitations, such as discrepancies in delivery of somatic teaching (AT and FM lessons were given in person; BMg lesson was taught online), the small sample size (10 participants), and only one measurement point, the study yielded objectively verifiable data showing the value of somatic learning. It paves the way for future larger studies with longer interventions and more than one measurement point.

Buchanan, H. J., & Hays, T. (2014). The influence of body mapping on student musician’s performance experiences. International Journal of Education & the Arts, 15 (7).

In this qualitative study, the researcher-instructor gathered video, interviews, notes, and other documents from 12 student participants in her Body Mapping class, and 10 of their applied teachers, in order to examine how students perceived the effect of this instruction on their music-making. According to the authors, the majority of the students reported a positive experience, stating that BMG enhanced their ability for musical expression (e.g. dynamics, phrasing, conveying emotional information), the ability to focus more easily on elements contributing to expressive outcomes, and facilitated greater personal confidence in being more musically expressive.

Carpinteyro-Lara, G. (2014). The application of the kinesthetic sense: An introduction of body awareness in cello pedagogy and performance. DMA thesis. Cincinnati: University of Cincinnati.

This research presents a kinaesthetic approach to cello playing, incorporating the Alexander Technique, Feldenkrais Method, and Body Mapping. The development of the kinesthetic sense facilitated improved conscious body awareness, with skills to sense muscular effort, tension, relaxation, balance and spatial orientation, so that cello playing became an integrated musical, physical, aerobic and intellectual activity. Poor habits had often occurred when there was a learned insensitivity to kinesthetic feedback in that the musician had grown accustomed to muscular tension and imbalance. Many pedagogical sources focus on external body position, overlooking the value of utilising “the body’s natural ability to organize itself and the psychophysical preparation before a movement takes place” (Carpinteyro-Lara 2014:2).

Griffin, Shelley M. (2014). Meeting musical experience in the eye: Resonant work by teacher candidates through Body Mapping. Visions of Research in Music Education, 24 (4).

When considering the possibility of teaching elementary music, many teacher candidates experience fear and lack of self-confidence. Addressing this issue points to the necessity of honoring teacher candidates’ informal music experiences in shaping music teacher identity. Integrating visual art into this process fosters a deeper understanding and connection with musical experience. Engaging students in creating visual narratives through body mapping allows for transformation in the teacher preparation process. In this article, the theoretical and methodological roots of body mapping are traced and situated in arts-based inquiry. Findings from a two-year narrative inquiry are uncovered as teacher candidates reveal their sentiments regarding how they experienced the unique process of body mapping. Findings lead to deepened conceptualizations of the role body mapping can play in becoming resonant work in music teacher education by enlightening lived experience through the formation of music teacher identity.

Klein, S.D., Bayard, C., and Wolf, U. (2014). The Alexander Technique and musicians: a systematic review of controlled trials. BMC Complementary and Alternative Medicine, 14, 414.

The researchers looked at 237 article citations and selected 12 high-quality studies to analyze in detail. They concluded that:

Evidence from RCTs and CTs suggests that AT sessions may improve performance anxiety in musicians. Effects on music performance, respiratory function and posture yet remain inconclusive. Future trials with well-established study designs are warranted to further and more reliably explore the potential of AT in the interest of musicians.

Sehic, Alma. (2014). The Conscious Guitarist: Alexander Technique and Body Mapping for Guitarists. DMA Dissertation, University of South Carolina.

Musicians “move” for a living, yet many guitarists (among other instrumentalists) seem to be unaware of the quality of their movements in playing and teaching the instrument. This may simply be due to the lack of appropriate movement training and body awareness incorporated into current teaching practices, which leaves guitarists vulnerable to playing-related injuries, pain, and frustrating technical limitations. The purpose of this dissertation is to introduce somatic education into guitar pedagogy and performance, as a means of enhancing performing abilities and preventing injury. After introducing the basis and principles of Alexander Technique and Body Mapping, the author provides practical information about anatomy, followed by an exploration of movement necessary for the process of discovering and changing the faulty body maps/perceptions. As a trainee in Body Mapping, the author is permitted to use training materials, including the course information and anatomical images, developed by Andover Educators®.

Chan, C; Driscoll, T & Ackermann, B. (2013). Can experienced observers detect postural changes in professional musicians after interventions? Conference paper, International Symposium on Performance Science.

In this study, the authors photographed individual musicians before and after a 10-week program in either exercise or the Alexander Technique. Experienced observers, either Alexander and/or Body Mapping teachers, or health professionals, observed the photos in a random order, each for a short amount of time. Results demonstrated that the Alexander/Body Mapping teacher group and the physical therapist group were significantly (i.e., not by chance) able to distinguish the before and after photos as pre and post intervention for either the exercise or Alexander intervention. The observer groups were also statistically equally able to do this. They observed no differences between the Alexander and the exercise group.

Woodman, J.P. and Moore, N.R. (2012). Evidence for the effectiveness of Alexander Technique lessons in medical and health-related conditions: a systematic review. International Journal of Clinical Practice 66, 1, 98–112.

The authors reviewed 271 publications on the Alexander Technique, either in a private or group setting. Using rigorous criteria for the quality of the studies, they selected 18 to analyze. Their conclusion:

Strong evidence exists for the effectiveness of Alexander Technique lessons for chronic back pain and moderate evidence in Parkinson’s-associated disability. Preliminary evidence suggests that Alexander Technique lessons may lead to improvements in balance skills in the elderly, in general chronic pain, posture, respiratory function and stuttering, but there is insufficient evidence to support recommendations in these areas.

Woodard, K. (2009). Recovering disembodied spirits: Teaching movement to musicians. British Journal of Music Education, 26(02):153.

This paper examined the teaching of movement to musicians, using Body Mapping, to develop musicians’ integrated kinesthetic and musical embodiment. It provides a methodology for music educators, supported by an interdisciplinary theoretical framework drawn from neuroscience, anthropology, phenomenology and ethnomusicology. Woodard illustrates musicians’ need for movement awareness and embodiment to address the complex performance demands and demonstrates that “training movement through the practice of body mapping enhances musical performance with fluidity and expressiveness” (Woodard 2009:170).

Little, P. et al. (2008). Randomised controlled trial of Alexander technique lessons, exercise, and massage (ATEAM) for chronic and recurrent back pain. British Medical Journal 337:a884.

In this study, 579 patients were divided into 8 treatment groups: a control (normal care), 6 massage sessions, 6 massage sessions followed by exercise prescription and counseling, 6 Alexander lessons, 6 Alexander lessons followed by exercise and counseling, and 24 Alexander lessons with exercise and counseling starting at 6 weeks. They were subsequently tested for pain and discomfort at different intervals of time. Researchers concluded that:

A series of 24 lessons in the Alexander technique taught by registered teachers provides long-term benefits for patients with chronic or recurrent low back pain. Both six lessons in the Alexander technique and general practitioner prescription for aerobic exercise with structured behavioural counselling by a practice nurse were helpful in the long term; classic massage provided short term benefit. Six lessons in the Alexander technique followed by exercise prescription was almost as effective as 24 lessons.

Grossman, D.T. 2005. The effects of Body Mapping lessons on the musical performance of elementary students. MMus thesis. Portland: University of Portland.

The effects of six Body Mapping lessons on the playing of 22 elementary string pupils were documented in this mixed methods study. The qualitative and quantitative data were obtained through analysis and scoring of pre- and post-test videos, with observations quantified by a scoring rubric. There were measurable, statistically significant improvements in aspects such as students’ balance whilst sitting, ease of movement and tone quality.

Knaub, M.J.H. (1999). Body Mapping: An instructional strategy for teaching the Alexander Technique to music students. EdD thesis. Pittsburgh: University of Pittsburgh.

This qualitative study explored student musicians’ perceptions of their training in the Alexander Technique, including Body Mapping principles, which they applied in both musical and non-musical situations. The data was taken from 500 journals and reports written over 25 years. The changes noted included less tension and pain, particularly in the back and arms, a calmer attitude in stressful environments, improved arm mobility and sound production, and improved body awareness.

GENERAL AND RELATED RESEARCH STUDIES

Seidler, R. D., & Carson, R. G. (2017). Sensorimotor learning: Neurocognitive mechanisms and individual differences. Journal of Neuroengineering and Rehabilitation, 14(1), 1-7.

In this overview of findings and viewpoints on the mechanisms of sensorimotor learning presented at the 2016 Biomechanics and Neural Control of Movement conference, this paper examines the current evidence on sensorimotor adaptation and learning. A greater understanding of the cognitive, neural, neurocomputational and/or genetic predictors of individual differences in adaptation rates is proposed to lead to improved individualization of sensorimotor learning and adaptation. The paper discusses evidence that supports declarative (knowing what to do) and procedural (knowing how to do) processes contribute to sensorimotor adaptation. Of note in this review is that once the state of motor learning reaches a procedural representation, engagement of declarative processes can impair more skilled learners. Additional research with increased sample sizes is needed to identify the individual factors that contribute to rates of motor learning.