In 1988, a group of prominent researchers conducted a study on musicians’ health in which they surveyed 4,025 symphony orchestra members. This group constituted a representative sample of 47 major orchestras in the United States. Two of the researchers, M. Fishbein and S. E. Middlestadt, divided their results among instruments, including the harp. Of all harpists, 55% perceived significant occupational stress, and 93% of harp soloists experienced some form of stress. These are the highest figures for all instruments. The findings led to the conclusion that, in general, there is a strong correlation between job stress and the incidence of mental and physical problems among symphony musicians, especially harpists.

In the Spring, 1997 edition of Harpa-Piano, this writer drew attention to another significant piece of research initiated in 1958-59 at the Franz Liszt Academy of Music in Budapest, Hungary. The result of this research, which took place at an earlier date, correlated with the material cited above, but more importantly led to the development of a program for the prevention of physical and mental problems related to musicians’ work. The Hungarian physical fitness program, “The Care of Musicians’ Work Capacity” is the only complete and existing method of its kind relative to the field of music. This program was created by Professors Géza Kovács and Zsuzsa Négyesi-Pásztor. Their method is a pedagogical approach for improving physical, mental, and spiritual capacities of musicians. In bringing these traits to their highest capabilities, this method enables musicians to achieve their utmost performance level. This writer participated in this successful program for ten years and gained invaluable information concerning prevention of injuries and management of physical hardships that are associated with a musical career in harp.

Alternative training techniques similar to “The Care of Musicians’ Work Capacity” are widely recognized in the sports profession. Cross-training and training which emphasizes the mind-body link help athletes to prevent injury and excel in their chosen sports. Maura Rhodes, in an article written for Women’s Sports and Fitness (Jan-Feb. 1995), discusses five mind-body workouts for five specific sports: Yoga for runners, Alexander Technique for swimmers, Pilates Technique for skiers, Tai Chi for hikers, and Feldenkrais Method for cyclists. Such exercises show that complete fitness programs are more highly developed in the area of sports training to the point where these mind-body programs have been connected with specific sports.

In contrast to the high degree of development and interest in the area of sports training, surprisingly little has been done to care for musicians’ physical, mental, and spiritual needs. There is a serious need for musicians to appreciate the importance of even something as basic as daily physical exercises, which help prepare them always to give their best in body, mind, and spirit when they perform. There are a number of broadly applicable mind-body and alternative healing therapy techniques that musicians have adopted such as those derived from ancient Asian culture: Yoga, Acupressure, Acupuncture, Massage, Reiki, Seitai, Tai Chi; and others of modern Western culture: Feldenkrais Method, Hellerwork, Neuromuscular Integrative Action, Rolfing, and Alexander Technique to mention a few. The Alexander Technique in fact is taught to musicians at the Royal Academy in London as well as at a few other music institutions, even though it was not developed specifically for instrumentalists and does not address their special needs.

In Holland, Ans Samama developed a physical therapy program specifically for musicians which addresses posture, breathing technique, and muscle relaxation exercises for certain instruments. Based on a recent survey of harpists that this writer conducted worldwide, however, it appears obvious what is needed is a therapy program of a broader scope for musicians, one that would take into consideration for example preventive methods, stress reduction, therapeutic strengthening exercises, and well-being of musicians as a mind-body balanced unit. The physical fitness program developed by Professors Kovács and Négyesi-Pásztor and taught in Budapest, Hungary takes such a wholistic approach. Because its success has been well documented it is unfortunate that few outside Hungary know of it and that its wisdom has not been the basis for programs worldwide. Generally speaking, therapy programs for musicians, whatever the technique, are few in number. In addition, among the therapeutic programs for harpists, there is no data that allows assessment of their success.

The research study this author conducted in the summer of 1997 addressed specifically the “Physical and Mental Problems Among Harpists.” This survey included a questionnaire sent to harpists residing in 47 countries of the world. The questionnaire dealt with physical and mental fatigue, physical discomfort, practice habits, and physical wellness, seeking to discover these and other problems that appear to be of special concern to harpists. There was a significant reply of 38% to a mailing of 500 questionnaires. These returns showed a real awareness and an overwhelming concern for answers on how to deal with these and other important problems for harpists.

The responses to the questionnaire revealed some startling information. Almost half of the harpists who replied, ranging in age from 31 to 40 and who had played the harp for a span of 11 to 20 years, felt that they had reached the zenith in their harp playing and were on a decline because of physical and mental disturbances. It is all the more serious at this early age in that these young harpists should continue to improve their harp playing rather than to experience such a reversal in their performance which might be expected at a much later age. One harpist said, “I have noticed that as I am getting older, my body needs more warm-up and stretching to play harp pain-free. It would be valuable to learn these habits in school, so that when you really need it, perhaps some time later, you already have established good work habits and can avoid injury.” In addition, another harpist expressed the thought, “I think these issues are extremely important both pedagogically and on a human level. Training in physical and mental wellness is not just teaching music: it is teaching students to live fuller, happier lives.”

Such replies naturally raise the question of the cause or causes of this decline in harp performance at such a relatively early age following a rather short playing career. One such issue concerns a professional lifestyle centering around, as stated succinctly in the West Journal of Medicine, Jan. 1994, “early exposure to high expectations of excellence, incessant demands for perfection, long periods of intense practicing, fierce competition, high levels of anxiety associated with performance, and uncertain careers.” In addition, the scarce employment opportunities for harpists and the irregularities associated with various jobs for additional income can make life even more strenuous for harpists than for other musicians.

A second issue can be identified with the instrument itself. According to those who returned the questionnaire, among the various musical instruments the harp is perhaps the most unique in its physical demands, both in its playing and in its transporting.

A third issue, introduced above, is the lack of physical wellness training as it applies to those specific problems incurred while playing the harp including how to handle physical tension, how to practice and how long, and how to adjust to different harps. Almost all of the harpists’ responses indicated that they experienced physical fatigue while playing the harp. A large percentage of harpists said that fatigue begins within thirty minutes of harp playing; others said within one hour; most harpists indicated within three hours. Those harpists who have experienced physical fatigue report that the most natural way for them to regain strength is to rest or stop playing. However, a small percentage of those harpists who returned the questionnaire indicated that they completely disregarded their physical fatigue and kept playing the harp, saying that “most of the time you have to.” From this it would appear that whenever urgent work needs to be done, there is neither time for rest nor time for stop playing the harp. This is the worst possible condition for harpists.

The majority of respondents reported that physical fatigue is a natural condition following their harp playing. These harpists experience such fatigue for as much as an hour. A smaller percentage indicated two, three, four, eight hours, or even five days of physical fatigue following their harp playing. It is not only important to meet the physical demands incurred from practice or performance but also the stresses and the strains of everyday living. Musicians spend only a part of their time in musical pursuits; the greater part of their time is devoted to their worldly cares.

In addition to physical fatigue, the same number of harpists experienced mental fatigue while playing the harp. There were some harpists who experienced mental fatigue during the first thirty minutes, others after one hour of playing the harp. A larger number of harpists stated that they experience mental fatigue after two or three hours of playing, “depend[ing] on repertoire, 40 minutes if memorizing”, as well as “depend[ing] on how well rested I am.” These harpists, as they stated in the questionnaire, seek to regain their mental freshness in the same way that they try to overcome physical fatigue, namely, by resting or quitting. Some harpists endeavor to keep playing even though they are fatigued mentally which can result in physical disabilities. More than half of the harpists who returned the questionnaire indicated that mental fatigue remains with them for as long as thirty minutes to eight hours, and sometimes for as long as three days.

A very high percentage of those returning the questionnaire also reported that they experienced - beyond physical fatigue - physical discomfort, pain or injury, ultimately. The time before physical discomfort set in varied widely. Responses included two minutes, thirty minutes, one hour, with a goodly number reporting two hours. The bodily areas most affected, as reported by the harpists, were the back, shoulders, and the neck. This might suggest the importance of checking the sitting position at the harp, or the harp bench itself. “I have noticed that correct posture and position at the harp reduces back and neck discomfort.” In addition, another respondent suggests strengthening exercises, “I have had two major back operations due mostly to playing so much. Had I known before how to strengthen my body for playing, I know I would not have needed this last one.” Again, the two most common ways for harpists to find relief from physical discomfort, were to rest or to stop playing. These two methods are at times helpful, but they never achieve long-lasting results.

According to the survey, most harpists do not do any kind of general body warm-up exercises, or even finger warm-up exercises before they practice, even though they acknowledge that such exercises could prevent injury. As one respondent commented, “It amazes me how often my colleagues seem to fail to use common sense - an athlete would not expect to sprint 100m from cold, yet musicians frequently do!” In addition, a large number of harpists reported that they have no strategy for organizing their practice sessions, i. e. how the most physically demanding pieces should be practiced and incorporated into the rest of the practice regime.

Many harpists indicated that they practice two hours in one sitting before taking a break. If physical or mental fatigue and physical discomfort appear within the first thirty minutes of practice time, why do harpists keep playing for two hours without taking a break? The first break should be inserted into a practice schedule before experiencing any physical or mental fatigue, or physical discomfort. Also, the short regular breaks that must be part of the practice session should vary in content; some should contain proper physical exercises that relax the body, others deep breathing of fresh air to provide oxygen to the brain; and others drinking pure water in order to aid the work of the body cells.

The harpists surveyed believe that a well-prepared, well-planned and a well-managed practice session can result in a better quality of accomplishment in a shorter time. The time that one invests in learning how to take care of one’s physical and mental well-being will result in work of better quality and this caliber of performance will be better stabilized. As one harpist stated, “I think, that if harpists feel even a slight discomfort - physical or mental fatigue it reduces the quality of practicing and playing the harp a lot. If we have strong, [fit] body, if we feel in control of our body we would really improve and be able to show our full potential.”

In daily living, harpists can find several activities to support their profession. Physical activities such as walking, gardening, dancing, or golfing increase and enhance blood circulation which also heightens mental capabilities. A respondent agrees that it is necessary not only to maintain a good physical balance at all times when performing, but also a good balance in everyday lifestyle. “As a child, I started music study on the piano. Then I went into ballet study, then the harp in my late teens. All along, I was very actively involved in sports (swimming, tennis, horseback-riding, bicycling). I have remained active in all physical activities to this day. Consequently, I have a great amount of physical stamina and endurance which carries over to the great amount of harp playing and practices and performances I do on a weekly basis. Yes, I do get tired! But a good night’s sleep is all I need to re-charge my battery.”

Regarding stress, most of the harpists surveyed drew a connection between physical and mental condition. Almost all harpists in this study agreed that the ability to maintain the highest level of performance was attributed to a good physical and mental condition. However, many of the harp instructors disclosed in the questionnaire that they do not include any physical wellness training along with their harp instruction, though they would like to do so. The survey responses suggest that harpists need to develop good practice habits in order to avoid specific problems encountered in their work, including stress, or they must learn how to handle these problems if they occur. “It is so very important for harpists to learn how not to injure themselves, it would be nice to see a program incorporated [in] their study.” Furthermore, the instruction should start at the beginning of any harp study. “Every harpist I have ever known has suffered some type of ongoing pain or disability. Some time of education might help prevent these problems. It is because physical problems of this nature occur gradually over time that prevention must begin early...preferably at the onset of harp instruction.” If the prevention is included in the harp instruction from its beginning, harp playing should not cause any physical problem but rather should feel good and be enjoyable. As one harpist stated, “Because the harp is demanding, it forces me to take care of myself. It is therapy itself!”

Nearly all of the harpists who answered the questionnaire indicated that good practice habits relative to the harp, and a knowledge of physical wellness can prolong the enjoyment of harp playing. As one of the harpists stated, “I think it’s important for any instrumentalist to be in good physical shape. It should not be part of a music degree, but music degrees should be planned so that there still is time for exercising besides practice and course work. In order to plan a good practice time, it is also good to know a little bit about concentration and memory (and memorization). A balanced way of life is a sure help, not only for harp playing, but for a whole life: eat well, exercise, sleep well, pray, have an active but not oppressive social life, do useful things for other people.”

The results of the survey, “Physical and Mental Problems Among Harpists” in conjunction with the wisdom of the Hungarian physical fitness program, “The Care of Musicians’ Work Capacity” emphasize the critical need for programs that would enable musicians to gain further education and training in their health and fitness, and also meet the demands of their profession. More research needs to be done to determine how to prevent occupational hazards and how to educate and reeducate musicians so they understand the importance of a wholistic approach to their physical and mental health. In addition, the opportunity to exchange and publicize new research findings relating to physical fitness programs at an international level would be a much needed step toward better cooperation among all musicians, especially among harpists as outlined in this study. There can be many participants in a harp competition, but only one winner. It would be most desirable to see all harpists winning in life, resulting in a long, happy, healthy, and contented professional career. As one harpist said, “It’s true that we must be in good physical condition to play the harp, but also for everything in life in general!”




References:

1. Fishbein, M., S. E. Middlestadt, V. Ottai, S. Straus and A. Ellis. “Medical Problems Among ICSOM Musicians: Overview of a National Survey.” Medical Problems of Performing Artists 3:1 (March 1988), 1-8.

2. Gaál, E., ”Physical Fitness Program for Musicians.” Harpa-Piano 1 (Spring 1997), 48-9.

3. Lassu, T., “The Care of Human Work Capacity.” Privately Produced Video Program (1997)

4. Ostwald, P. F., B. C. Baron, N. M. Byl, F. R. Wilson. “Performing Arts Medicine” West Journal Medicine 160:1 (Jan. 1994), 73-4.

5. Rhodes, M., “Complementary exercise: five mind-body workouts, five sports, five new ways of thinking about training.” Women’s Sports and Fitness (Jan-Feb. 1995), 45-6.

6. Samama, Ans. Muscle Control for Musicians: A Series of Exercises for Daily Practice. Utrecht: Bohn, Scheltema and Holkema, 1981.