Events.News

Table of Contents
The experience of musicians from Musacell
Keyvan Malek's experience from Musemasel
The experience of Selimi's caravan from Miuzmasel
News on national television
The news of the publication of the video training series Musemasel from the Khanyagar site
Training of myosmuscle exercises of preliminary level online in Khanyagar
Grossman method issues
Ask The Teacher The Grossman Method® was pleased to meet Hamed Erfani and learn of his Muse Muscle program. We are delighted to share this somatic program with you. The idea of Muse Muscle sparked Mr. Babai’s curiosity one day in the class when one of his students was unable to perform a specific technique. After too many repetitions, he vented his anger by sending him out of the class. Following that, he was ashamed of what he did and therefore, he went after him and when he saw the student’s worried face, he tried to soothe him by recommending him to go for a stroll, have a cup of coffee, and relax. Suddenly, out of nowhere, he remembered some elementary Instrument-less exercises and although they had nothing in common with the required technique, he asked the student to do them in the lobby. Surprisingly, when they went back to the class, the student played the same exercise with no difficulty! He was astonished and a couple of questions arose in his mind: First, “How does a simple break accelerate the learning process?!” Second, “Why do some instrumentalists become drained by endless practices and the result is not satisfying at all?!” Third, “Why is music education similar to all students despite their differences and uniqueness?”
The idea of Muse Muscle sparked Mr. Babai’s curiosity one day in the class when one of his students was unable to perform a specific technique. After too many repetitions, he vented his anger by sending him out of the class. Following that, he was ashamed of what he did and therefore, he went after him and when he saw the student’s worried face, he tried to soothe him by recommending him to go for a stroll, have a cup of coffee, and relax. Suddenly, out of nowhere, he remembered some elementary Instrument-less exercises and although they had nothing in common with the required technique, he asked the student to do them in the lobby. Surprisingly, when they went back to the class, the student played the same exercise with no difficulty! He was astonished and a couple of questions arose in his mind: First, “How does a simple break accelerate the learning process?!” Second, “Why do some instrumentalists become drained by endless practices and the result is not satisfying at all?!” Third, “Why is music education similar to all students despite their differences and uniqueness?”

In answer to these tricky questions, he started to learn anatomy with Dr. Rabiei, Assistant Professor at Isfahan University of Medical Sciences. During the course, he learned that every motion in our body is based on a number of motor units that transmit the electrical signals to the muscles. The more adequate and profound these signals, the more natural the body movements, which are according to the right kinesthetic sense. Regarding his athletic background, he started to compare instrumentalists with athletes and he found out despite all the similarities, what musicians do is much more difficult due to two reasons. First, instrumentalists use really small muscles in performance, and training those and working with them are way more delicate than big ones. Second, music performance requires full-body coordination for a top-level result. Ultimately, he came to this conclusion that “Musicians are Athletes of Small Muscles”. After thorough investigation into professional athletes he found that besides their principal sport, they also do fundamental exercises such as cardio, stretching, isometrics, bodybuilding, etc. to maximize their career efficiency. They, for instance, go swimming, sleep early, have regular full-body massage, consult nutrition experts, use meditative techniques to set their minds at rest, and never start physical activities abruptly without warming up enough and cooling down gradually. Musicians, on the other hand, do none of the above and if they do so, their fundamental exercises are elementary, incomplete, and not optimally individual-specific.

Hence, he conducted in-depth research on musicians and the factors that affect their performance such as nutrition, sleep, breaks, environmental stresses, body temperament, blood pressure and density, and non-related activities or jobs that conflict their progress and might be harmful to their career including martial arts, bodybuilding, boxing, lifting and pushing heavy objects, to name a few. On the other hand, he changed his viewpoint and considered music performance as a specialty, not a profession, and consequently, he decided to build some fundamental exercises for musicians. So far, more than 150 detailed instrument-less exercises have been designed for different purposes such as symmetrical body sides, having the same feeling in the upper and lower body, weight transferring from big muscles to the small ones, releasing the possible tension which may occur during the performance, and improving fingers independence and cohesion. To boost musicians’ abilities and unleash their expressive power, he also came up with the idea of writing weekly or monthly Individual-specific practice schedules according to the performer’s age, gender, muscle tone, mental condition, diet, principal instrument, level, background, specific overuse injuries, and ambitions.
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Online Workshop by Aria Torkman at Dosol Institute

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Exclusive National TV Interview with Mohammad Mehdi Babaei

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Online Workshop by Aria Torkman at Ritmitika Institute in Canada

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Hamed Erfani Hosts: Online Series of Global Interviews and Webinars on MuseMuscle

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The  Participation in the Varna Festival

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