| Foreword |
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xiii | |
| Acknowledging a Simpler Truth |
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xiv | |
| Tracing Steps |
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xv | |
| Prologue |
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1 | (10) |
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Defining the Issues and the Ideas |
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5 | (6) |
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PART I The Power of the Breath |
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11 | (6) |
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17 | (8) |
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The Clairvoyant Breath: The Moment of Choice |
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25 | (6) |
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28 | (3) |
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31 | (10) |
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Musical Will or Musical Intention? |
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34 | (7) |
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Breathing into the Vulnerable Opening that Is the Soul |
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41 | (8) |
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46 | (3) |
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Understanding the Mechanics of Breathing through Somatics: How Does Breath Come into the Body? |
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49 | (8) |
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Eight-Handed Breathing: Understanding Inhalation and Exhalation |
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52 | (1) |
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The Body Mechanics of Breathing |
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53 | (2) |
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The Awareness of Lengthening and Gathering |
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55 | (2) |
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Breath Defines Our Interiority |
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57 | (3) |
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60 | (3) |
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The Birth of Internal Spaciousness: Childhood |
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61 | (2) |
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The Idea Informs the Body |
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63 | (8) |
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The Power within the Rest |
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66 | (1) |
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Rests as Respites: The Clairvoyant Opportunity |
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67 | (1) |
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Breathing into the Idea: The Musician's Deepest Challenge |
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68 | (3) |
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71 | (8) |
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What Is Audiation and What Is Its Power? |
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74 | (5) |
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79 | (8) |
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82 | (1) |
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Gaining an Understanding of Breath Entrainment |
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83 | (1) |
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84 | (3) |
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Where Is "In the Moment"? |
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87 | (4) |
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Past, Present, and Future |
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88 | (1) |
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Mimetic Envy that Handicaps the Breath |
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89 | (2) |
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Toward a Deeper Artistry: Breath Is Unto Itself |
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91 | (8) |
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PART II Interpretations and Applications |
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The Conductor's Intimate Connection to Breath |
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99 | (24) |
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1 Acceleration/Deceleration: A Mirror of Breath Energy and Flow |
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101 | (1) |
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2 The Breath Impulse Gesture |
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102 | (2) |
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3 Empathetic Constant Exhalation |
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104 | (2) |
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Breathing the Score: Marking the Score for Rehearsal and Performance |
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106 | (1) |
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107 | (12) |
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119 | (4) |
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Breath: The Mind/Body Connector: A Classical Yoga Perspective on the Creative Process |
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123 | (22) |
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127 | (3) |
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130 | (2) |
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Pranayama (Breath/Vital-Force Control) |
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132 | (1) |
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133 | (3) |
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Alternate Nostril Breathing (Channel-Balancing) |
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136 | (2) |
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Active Abdominal Breathing (Kapalabhati) |
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138 | (1) |
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139 | (4) |
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143 | (2) |
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145 | (22) |
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The Psycho-Physical Connectionq |
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148 | (2) |
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The Breath Connection: New Language for Function |
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150 | (1) |
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Inhalation, Inspiration...Exhalation, Expression |
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151 | (1) |
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152 | (2) |
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An Exercise to Assist the "Process" |
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154 | (1) |
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155 | (1) |
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Regarding Quantity and Quality |
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156 | (2) |
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Exhalation/Expression: Lock or Leap? |
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158 | (2) |
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160 | (3) |
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163 | (1) |
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164 | (3) |
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Qigong Practice: Balancing Energy and Gaining Awareness of Breath |
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167 | (16) |
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A Qigong Primer for Musicians: Cultivating Qi |
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168 | (3) |
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Energy Flow and Breath in Qigong |
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171 | (1) |
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The Pattern of Energy Flow in Qigong |
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172 | (1) |
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Two Paradigms for Energy Sharing or Dispersion for Musicians |
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173 | (2) |
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The Basic Qigong Exercise Sequence: The Twenty-Six Repetitions |
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175 | (2) |
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177 | (1) |
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178 | (1) |
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Starting Position and Recitation |
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178 | (1) |
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Exercise: Left Side Motion |
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179 | (1) |
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Exercise: Motion Transfer from Left to Right |
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179 | (1) |
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Exercise: Right Side Motion |
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180 | (1) |
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180 | (1) |
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Exercise: Drawing Open Motion |
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181 | (1) |
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Exercise: Drawing Close Motion |
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181 | (1) |
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Exercise: Flower Focusing Motion |
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182 | (1) |
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A Final Admonition: Breathe into the Idea |
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183 | (12) |
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Understanding the Power of the Breath |
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186 | (1) |
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The Breath Is a Submissive Act |
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187 | (2) |
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The "Trinity" Dilemma of the Artist |
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189 | (6) |
| About the Authors |
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195 | (6) |
| Bibliography |
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201 | (6) |
| Symbols |
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207 | |
