An Introduction to Body Mapping

Written by Brigid Heitmann, Class of 2024

Though I have played for many years, body mapping and functional anatomy were introduced to me fairly late. My limited knowledge of anatomy had taught me that breathing took place in the lungs, but explained nothing about bodily processes or relationships with other structures. Growing up, my instructors would tell me things like “breathe from the diaphragm” and “your shoulders shouldn’t be moving when you inhale”. My inaccurate understanding of where the diaphragm was located in relation to the lungs, ribs, and spine delayed the realization of my actual full breath capacity. Once I started to explore the dynamic between my instrument and my body and incorporate it into my playing, I immediately noticed a huge change- making my time spent practicing 100% more enjoyable and rewarding!

Where to begin:

1. Use a mirror. Many of you have probably heard this one too many times, but the first step in increasing self-awareness is to switch up your perspective (literally!). There is a lot to observe from your sensory experiences, and it becomes a whole lot easier to notice movement by watching yourself.

2. Look at diagrams and pictures. For anyone who’s a visual learner, this technique is for you! Labeled diagrams and 3D models have helped me to develop a foundational understanding of my body in relationship to playing music. I find models or animated graphics to be especially helpful for understanding interior structures that cannot be easily seen from the outside. That being said, it is extremely important to recognize that everyone’s body is unique and finding movement that feels intuitive to you and your needs won’t always look the same to someone else.

3. Try singing. Anyone who is a singer is familiar with learning about practical anatomy, and the influence it has on encouraging less tension and free movement. Singing forces you to be more cognizant of what’s happening on the inside, as the voice is the instrument itself and cannot be manipulated externally. I am always amazed by the parallels that I can find with my own instrument after I’ve sung, especially for moving efficiently with ease.

4. Taking up space. Prior to starting my undergraduate degree, my understanding of posture was extremely one-dimensional. I felt like I had control over my body from the waist up maybe half of the time on a good day. My music stand and my body were well acquainted with one another, as I was only ever aware of the distance between my music and my instrument. Discovering that I could use my entire body and its full range of motion to open myself up and fill the area around me in all directions with sound has transformed my perception of my own playing.

In conclusion, acquiring a greater knowledge of practical anatomy has enabled me to identify intentional movement that supports my goals of becoming a more relaxed, flexible, and empowered musician. I hope you will find the suggestions listed above to be of some use as well. I wish everyone luck in finishing the semester and preparing for jury season!

Additional Resources:

● The Association for Body Mapping Education

● What Every Musician Needs to Know About the Body:The Application of Body Mapping to Making Music: Barbara Conable, Benjamin Conable: 9780962259562: Amazon.com: Books

● Respiratory System Introduction - Part 1 (Nose to Bronchi) - 3D Anatomy Tutorial - YouTube