Second Preface

It is with particular pleasure that I have undertaken the collaboration on the publication of this work. When, as in this case, a scientist arrives at the same conclusions through analytical methods as an artist who reflects on the conditions of his art, it provides a strong impetus for the possibility—even the necessity—of synthesizing artistic and physiological explanatory efforts. A movement researcher who understands how playing works cannot necessarily create a practical playing technique. In the same way, a performing artist cannot scientifically explain which parts of their naturally developed technique are truly essential, and which parts are simply solutions to mechanical problems that the instrument’s design requires.

Both effects are determined by the nature of the instrument; others represent the selection of possibilities for mastering mechanical means—the greater these possibilities, the more significant the expressive capability. For my part, I see an important advancement in pedagogy through understanding the playing process gained by studying movement mechanics—that is, by considering the performing artist as a natural subject of study and by comparing the playing techniques of the finest representatives in their field.

How easily the description of movement patterns can lead to erroneous conclusions when it involves a mediocre instrumentalist whose tone production often relies on all sorts of bizarre techniques. Such poor practices are not necessary for playing, but merely represent the individual trying to make up for imperfect technique, or personal habits based on their particular physical makeup.

For example, we sometimes see pianists making certain movements that they believe will affect the tone of a key they have already pressed. But in reality, the fate of the tone production is determined by the action of the arm at the moment of striking the key. In string players, raising the shoulders (meaning tension in the entire shoulder girdle and neck muscles) often indicates striving to create gradations in the tone. A truly skilled player uses much simpler methods to achieve a goal.

I anticipate the objections people might raise against a book like this. They mostly come down to resistance against any systematic explanation at all. “Why shouldn’t people be able to play in all sorts of different ways, holding and pulling the bow however they want?” To this, one can reply that every arbitrary choice about the physical relationship between bow and instrument has its limits. If you don’t articulate the string in a specific way that makes it vibrate, you cannot get a complete sound. If technical details don’t unite in a way that corresponds to the physiological characteristics of a normal person, one simply cannot achieve perfection at all.

One can see that we cannot precisely map out exactly how far the scientific investigation of instrumental playing can go. But we can recognize the direction this work should take.

My investigation started with the goal of examining all aspects of music-making in terms of movement, to analyze these movements, and to develop better movement sense through the mindful practice of coordination in instrumental playing.

This is not only about increasing manual dexterity. Proper movement of the hands and arms is only possible when the movement sequence from the center of the body takes place correctly. Therefore, I was really trying to create a controllable movement technique based on natural principles. The most productive approach I found was investigating how forces work within the “movement system.”

The results of my research are incorporated into the first part of this book, Mechanics. I was delighted to realize that Hugo Becker’s cello playing had already put these rational movement techniques into practice. It gave me equal pleasure to work with such a sharp-thinking artist. Back in the 1903-4 edition of Musik, issue 23, Steinhausen wrote:

“In Herr Hugo Becker, I met an extraordinarily thoughtful artist who understands the essence of technique in an outstanding manner. Among musicians, and especially in the circles of violin and cello teachers—who, as professionals know, unfortunately often lack comprehensive general education—one encounters the strongest resistance to new ideas.”

More than twenty years have passed since that statement. This work of joint artistic and scientific work has come about late, but not too late. For myself, getting to know this outstanding cellist has expanded my musical horizons. I hope that  my specialized physiological investigations—which will also serve as a test of Becker’s analyses of cello technique—will deepen our understanding of what instrumental technique really is.

Dr. Dago Rynar
Berlin-Charlottenburg