• Elizabeth Waterhouse - Alexander & the Musician

Contents

• Marjory Barlow - Recollections of my Uncle F.M. Alexander
• Walter & Dilys Carrington - Text of Video-taped Message
• Jeremy Chance - The Enneagram of Change
• Michael Dale - 'Lost Tradition' of Bel Canto
• Dr. Pam Davies - Neural Control of Vocalisation and Speech
• Doris Dietschy - The Meaning of Change
• Michael Frederick - Alexander Congresses and the Alexander Community
• Dr. Brian Freeman - The Embryo's Use of Its Self
• Dr. David Garlick - Recent Physiological Research into the Alexander Technique
• Tony Geeves - Dance Injuries: The Process of Learning in Dance
• Deborah de Graaf - Relevance of Alexander for Musicians under Stress
• Peter Grunwald - Eyesight, Vision and the Alexander Technique
• Jane Heirich - Monkeying Around with Your Voice
• Eva Karczag - Moving the Moving
• Catherine Kettrick - Alexander Technique: 2094
• Yehuda Kuperman - The Kangaroo and the Alexander Technique
• Professor Eugene Lumbers - Welcoming Address
• Vivien Mackie - Surprises in the Music Class
• Don Mixon - The Mind Body Paradox
• Rosslyn McLeod - Alexander: Historial Overview
• Linda Murrow - Reflections on the Psychological Dimension of the Alexander Technique
• Assistant Professor, Graham Pont - Body and Mind in the Thought of FM Alexander and John Anderson
• Chris Raff - Business Aspects of an Alexander Teacher's Practice
• Razia Ross - Ruminations on the Mind/Body Continuum
• Eugene Schlusser - Alexander & TV/Video Media
• Assistant Professor, David Tracey - Welcoming Address
• Ken Thompson - Unreliable Sensory Appreciation
• Lucia Walker - Contact Improvisation
• Elizabeth Waterhouse - Alexander & the Musician
  The Alexander Technique is concerned, among other things, with ongoing growth, change and awareness of 'self' at any moment. The implications for the musician are evident: they grow and change as they acquire skill and experience, and they depend on being able to do what they want to when they want to. Musicians search for ways to improve their performance and often need to have some way of dealing with physical and mental obstacles that may confront them. The Alexander Technique helps to develop their potential as artists by offering them a road along which to travel. Aldous Huxley described Alexander's work as a 'means whereby' the great gap between idealistic theory and actual practice may be bridged. Many parallels may be drawn between teaching the Alexander Technique and teaching an instrument. Both teach the good use of the psycho-physical whole and seek to develop the important ability we have as humans to think before we act. Here are some thoughts on how this learning may be applied to children, to conservatoire students and to professionals.

• Professor Ian Webster - Alexander & Health
• Duncan Woodcock - Balancing Body & Psyche
• Maggie Young - Alexander the Play, The Off-Broadway Production