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The Philosophy of Aaron Copland

The Philosophy of Copland

The American voice was predicted to come from several places and to take much time; however, Aaron Copland created the American voice by incorporating the political and social views of America of his day and giving those views a sound. These views include Multi-ethnic Pluralism, Left-wing Ideals, Imposed Simplicity (which is used as musical term to describe Copland’s music), Progressivism, New Deal Liberalism, Social Democracy, and Wartime Patriotism. Examples will be given from the first movement from Rodeo, “Buckaroo Holiday.”

At a time when American was still a new nation, most of its music was imported and imitated European music.[1] There were different ideas as to where American music would come from. Dvorak advised the National Music Conservatory that African American Spirituals and Native American songs could be the source of the American voice and classical tradition.[2] Mahler believed America was too diverse to be represented by one kind of folk music and that many generations of blending the styles would be needed to create this American Voice.[3] This however was not the case; Copland did much more than that with his belief and support of Multi-ethnic Pluralism. Multi-ethnic Pluralism is a system in which multiple ethnic sources of authority coexist.[4] Two examples of this are Copland’s sound incorporating Big Band Jazz through his use of noise and clangorous themes (see figure 1.1):

Figure 1.1

As well as Yiddish or Klezmer theater music and Easter European village music. He does this through the tradition of improv. on the raised and lowered intervals, most commonly a 3rd. This created different moods and juxtaposition. A single song could begin happy, then move to sad, or develop into something ironically in between.[5] (See figure 1.2 and 1.3)

Figure 1.2
Figure 1.3

            After WWI and the start of WWII, much of America held Left-wing Ideals. Copland shared these political views in support of social equality and egalitarianism, and in opposition to social hierarchy.[6] Copland upheld his ideals by simplifying his music to support public audiences. He was devoted to public accessibility to art and relevance of his work to the audience.[7] Copland worked on and refined his style in Paris, studying under Natalie Boulanger. He paired down his combined traditions and developed his simplistic style whilst there.[8] The music Copland composed at the time, carried some of the new French tradition and leaner quality.[9] He embraced the avant-garde tone cluster (see figure 1.4):

Figure 1.4

            Copland also believed in Progressivism, which is based on the idea of progress in which advancements in science, technology, economic development, and social organization are vital to the improvement of the human condition.[10] Copland taught lectures on the idea of drawing on America’s past to create a better future. He believed in the idea that the voice of America is now, not something to come. Copland’s Piano Variations, a tough and uncompromising piece with few notes, marks the start of Copland settling into his style.[11] This piece is an exemplar of Copland’s style for many reasons. He takes the notes, separates, and recombines them, exploring different moods, with a clear sound of the primary notes. The theme’s notes are then stacked in dissonant ladders, which are reduced to create a pulsing chord and Latino style baseline underneath. He lays out a theme and rhythmically interrupts it with the bass, in a stylistically similar way to jazz.[12] (See Figure 1.5) Copland skilfully simulates the defiant feeling of being young, like American at the time.

Figure 1.5

New Deal Liberalism was very popular during the Great Depression and Copland was no exception to following its ideals. As a series of programs, public work projects, financial reforms, and regulations,[13] New Deal Liberalism was to give the power back to the people and foster equality between the poor and the rich. Copland believed that every young composer should ally himself with the proletarian movement, making his work a “permanent value to the workers and their cause.”[14] This was done by merging his pieces with folk songs (see figure 1.7 for Buckaroo Holiday score). The first folk song merged in Copland’s Buckaroo Holiday is Sis Joe (See figure 1.6), also known as Sacramento Sis Joe:

Figure 1.6

Figure 1.7

            The second is If He’d by a Buckaroo by His Trade (see Figure 1.8), also shortened to If He’d be a Buckaroo:

Figure 1.8

Figure 1.9

            Social Democracy, a government system that has similar values to socialism, but within the capitalist frame, is named from democracy where people have a say in government actions, supports a competitive economy with money while also helping people who do not earn a lot of money.[15] Copland integrated these ideals in his music with a sense of mythical classical tradition in America. Folk songs often played on fiddles and guitars in the west are now played by brass instruments in orchestra formation (see figure 1.10). Having orchestral instruments voice traditional folk idioms enriched and evolved the meaning of these traditions.

Figure 1.10

            America at this point had been through WWI, the Great Depression, and was gearing up for WWII. The sense of wartime Patriotism was high and most citizens felt a sense of national pride and devotion. Protecting one’s country and doing your part to help the soldiers abroad were common sentiments among individuals at the time.[16] These sentiments were the impetus behind Copland’s  American music. Bolstering this musical style, Copland often used repeats and syncopation in his music. This repetition of segments of music helps drive home his point and really supports the driving force of his compositional style. The syncopation gives it a sense of anticipation. (see figure 1.11)

Figure 1.11

Together with the folk songs, imposed simplicity, jazz styles, tone clusters, the separation and recombining of single notes into dissonant ladders, as well as the use of noise and clamour, Copland creates something that Americans can call their own, thus creating the American Voice.

[1]Keeping Score: Aaron Copland and the American Sound, approx. 5:53-7:10

[2] How the ‘New World’ Symphony Introduced American Music to Itself

[3] Keeping Score: Aaron Copland and the American Sound, approx. 7:38-8:15

[4] Britannica: ‘Pluralism’

[5] Keeping Score: Aaron Copland and the American Sound, approx. 9:08-11:00

[6] Britannica: ‘Left’

[7] Music for the Common Man: Introduction, pg. 7

[8] Aaron Copland: The Man Behind the Music, para. 10-11

[9] Keeping Score: Aaron Copland and the American Sound, approx. 13:35-13:55

[10] Britannica: ‘Progressivism”

[11] Boosey & Hawkes: Piano Variations

[12] Keeping Score: Aaron Copland and the American Sound, approx. 16:22-17:33

[13] History: Great Depression, ‘New Deal’

[14] The American Stravinsky: Copland’s Journey Left, pg. 172

[15] Britannica: ‘Social Democracy’

[16] The Washington Post: “In WWII Patriotism Unified A Nation”

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Argue for Enjoyment – El Grillo

“Study without desire spoils the memory, and it retains nothing that it takes in.”
— Leonardo da Vinci

Josquin De Prez – El Grillo

Josquin De Prez wrote eighteen masses and over one-hundred Motets during his life. Three of the most popular of his Motets today are ‘El Grillo’, ‘Ave Maria … Virgo serena’, and ‘Benedicta es, coelorum regina’. ‘El Grillo’ is considered the most popular. However, its meaning is often argued and debated. This bibliography identifies different sources that help distinguish the meaning of ‘El Grillo’ and shed light on it’s debates.

Christopher H. Gibbs and Richard Taruskin. “The Oxford History of Western Music: College Edition”, Chapter 5. Eds Adams, Byron; Gooley, Dana; Holzer, Robert; Levitz, Tamara; Levy, Beth; Maloy, Rebecca; Moricz, Klara; Pederson, Sanna; Rothenberg, David; Schneider, David; Treadwell, Nina. New York: Oxford University press, Inc., 2013

A comprehensive look into Josquin’s style of music and the different legends that are associated with his music. This source also gives details concerning his career and personal life including a timeline and examples of his work in modern notation. Give insights into how Josquin’s music effected the generations after him and the overall feel of his music. The different techniques he uses and perfects, including imitation and word-painting are exampled.

Marianne Hund and Elders Willem. “Unravelling Josquin’s Quant Je Vous Voy, with a Postscript on El Grillo.” Early Music, vol. 41, no. 4, Nov. 2013, pp. 633–644. EBSCOhost, libsecure.camosun.bc.ca:2443/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=94394187&site=eds-live

This source focuses on the word ‘breve’ or ‘beve’ from ‘El Grillo’ for the cricket drinking and the controversy on how it has been translated over the years. The source makes an argument against the idea that the text of this Motet was meant to convey the idea that the cricket was intoxicated with alcohol or even singing of being intoxicated. This source uses the word ‘beve’ as the proper translation which do not keep the parallels of intoxication from being drawn. It draws conclusions on the cricket consuming water rather than alcohol from the historical context as well as the typesetting reading. It also refers to the word painting that Josquin uses to back up it’s claim on the meaning of ‘beve’ as not being of alcohol. Contains a fragment of early ‘El Grillo’ notation and some modern examples.

David Fallows. “What Happened to ‘El Grillo.’” Early Music, no. 3, 2003, p. 391. EBSCOhost, libsecure.camosun.bc.ca:2443/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.3138101&site=eds-live.

‘El Grillo’ was debated for a long time as not a composition by Josquin De Prez. David Fallows follows historians to find source and understanding behind ‘El Grillo’ labelled as Josquin De Prez’s composition although under the ascription of ‘Iosquin Dascanio’. The source shows why many historians believed that Iosquin could not possibly be Josquin, while proving that it is by Josquin. This source provides examples and much background to ‘El Grillo’ undoubtedly being a Josquin composition. Contains an early example of ‘El Grillo’ as a whole notated piece of music and a few fragments.

Marianne Hund. “Fresh Light on Josquin Dascanio’s Enigmatic ‘El Grillo.’” Tijdschrift van de Koninklijke Vereniging Voor Nederlandse Muziekgeschiedenis, no. 1, 2006, p. 5. EBSCOhost, libsecure.camosun.bc.ca:2443/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.20203933&site=eds-live.

An invaluable source on the history of rewrites for ‘El Grillo’ by Josquin and understanding what the composer initially conveyed. It starts with the original print by Petrucci, to Petrucci’s reprint, all the way into the revises of modern notation. It also investigates word choice and changes within the generally accepted words of choice. The word that comes under the most speculation is ‘breve’ or ‘beve’. The word ‘beve’ is the considered correct translation of drinking. There is an in-depth explanation of each change and reprint and why it was revised. Includes an modern notated example of ‘El Grillo’.

McDonald, Grantley. “Josquin’s Musical Cricket: El Grillo as Humanist Parody.” Acta Musicologica, vol. 81, no. 1, May 2009, p. 39. EBSCOhost, libsecure.camosun.bc.ca:2443/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edo&AN=43800378&site=eds-live.

An interesting and thought-provoking look at El Grillo as a Humanist Parody. This source contradicts the others in use of word choice and translations but backs up this contradiction with historical references and contexts of the time-period. Crickets were often associated with erotic dialogues in Italian poetry and this source draws parallels between them. It suggests that ‘El Grillo’ is a parody of a scene in the Hesiodic ‘Shield of Heracles’ which has erotic subtext because the dew is feminine ‘beve’ instead of ‘breve’.

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A little Obession…..

Ever fallen in love with a piece of music so much that you research it and do a full analysis on it?

Just me then….Well here you are, Piangero la sorte mia from Giulio Cesare in Egitto

Operatic Arias in the Baroque era were songs that challenged the singer in areas of breath control, affekt, virtuosity, and ornamentation. Although all arias in the Baroque era have at least one of these musical characteristics, composers would sometimes take away from the beauty of the music to create a song to show off the singer’s skill. This is not the case in Handel’s Piangero la sorte mia from Giulio Cesare in Egitto. Not only does this song challenge the singer, it stays true to the original idea even within the melismatic passages and emotion of the piece. To understand the essence of the beauty of an aria, it is important also to look at the composer, the librettist, the historical background, the storyline of the opera of which the aria belongs as well as the structure and characteristics of the opera and the aria itself.

George Fredric Handel, the composer of this piece, was born in Halle in 1685 to a family that was not musicians. Before his tenth birthday he began formal music training and by 17 he was employed as a church organist. His love of music was in Opera though, so in 1703, he went to Hamburg and composed his first opera, Almira. He received patronage with both the nobility and the clergy and had many successes, making it all the way to London. There he composed Giulio Cesare in Egitto in 1728, today this opera is considered his masterpiece. 18 years later, Handel died at the age of 74 in the year of 1759.

Giulio Cesare in Egitto is an Opera seria in three acts and for simplicity will be referred to as just Giulio Cesare throughout the rest of this essay. Handel’s Librettist for Giulio Cesare was Nicola Francesco Haym. Haym was born in 1678 in Rome and began his career as a cellist in Italy. He travelled to London in 1701 and became the master of the 2nd Duke of Bedford’s chamber music, he worked much with Handel and died in 1729.

Haym loosely based this opera on the History of the Roman Empire and “Haym duly listed his classical sources”[1] However, Haym more closely follows the retelling of Julius Cesare written by librettist Francesco Bussani which was set to music by Antonio Sartorio in 1677, which he does not cite.

The Original cast of Giulio Cesare include many stars from the Baroque era, as follows: Francesca Cuzzoni (Soprano), Margherita Durastanti (Soprano), Francesco Bernardi, called “Senesino” (Alto castrato), Gaetano Berenstadt (Alto castrato), Signor Bigonzi (Alto castrato), Anastasia Robinson (Contralto), Giuseppe Maria Boschi (Baritone), and John Lagarde (Bass)[2]. Francesca Cuzzoni is of particular interest because she was known as a “spit-fire”. However, Handel did not put up with her theatrics, an example is as follows. “When Handel was rehearsing his opera Ottone, Cuzzoni, who had been engaged for 2,000 guineas, refused to sing. So Handel threatened to drop her out of the window.”[3]

Handel revived Giulio Cesare with various changes three times during his lifetime, starting in 1725, then again 1730, and lastly in 1732. Exact dates as to when this Opera was composed are also unknown, but it is thought to be in 1723. One historian mentions that “Handel probably began the composition in the early summer of 1723. He forgot to date it exactly; the words anno 1723 in pencil seem to have been added later.”[4]

After looking at the composer and librettist in detail, a brief Synopsis of Giulio Cesare is important to understanding the focus of this essay, the aria, Pangero la sorte mia. Act 1 starts in Egypt, where Giulio Cesare celebrates his victory over Pompey in battle. Pompey’s wife, Cornelia comes and begs for mercy for her husband’s life. Cesare grants it, only to have Tolomeo, king of Egypt, presents Cesare with Pompey’s head. Everyone is appalled and Tolomeo invites Cesare to his quarters, the Emperor refuses. Before leaving, Tolomeo notices Cornelia and is fascinated by her. Sesto, Cornelia’s son, swears to avenge his father’s death and as mother and son part ways from each other, they sing their goodbyes. In Act 2, Cleopatra attempts to seduce Cesare disguised as Lydia, claiming to be a servant of Cleopatra’s. Since Tolomeo has killed Pompey and is tyrannical, Cleopatra has decided to become the sole ruler of Egypt. Cleopatra hopes Cesare will support her, but before anything can happen, he flees, as Tolomeo’s men plot to kill him. He sings an aria. Once Cesare has leaves, Cleopatra sings a prayer for Cesare. In Act 3, Cleopatra’s army is defeated by Tolomeo’s men, and she is captured. She is left thinking he is dead. Cesare comes to her rescue and Sesto successfully avenges his father. Cesare and Cleopatra sing a song of eternal love and Cornelia hands Cesare Tolomeo’s royal seal. The Opera ends.

Focusing on Scene III of Act 3 where Piangero la sorte mia is, the scene starts out as “One of the Guards puts Cleopatra in Chains, and her brother gloats over her humiliation. Alone, with Cesare reported dead and no one to help her, she bewails her fate;”[5] Shocked, Cleopatra sings in a recitativo secco “E pur cosi in un giorno (And yet so in one day)” and quickly moves into the aria “Piangero la sorte mia, crudele (I shall weep, my cruel fate)”. This Aria is a da capo aria in ternary form: ABA with basso contineo. The A section starts out in Larghetto in 3/8 in Cleopatra’s home key E major. Having this aria start out in Cleopatra’s signature key helps tie all the previous emotions into this climatic song like a motif. The music laments, word-painting Cleopatra’s cry “Piangero (I shall weep)” and creating a perfect artist challenge with breath control, embellishment notes, and virtuosity.  When Cleopatra reaches the B section, the music quickly wraps into Allegro and the relative minor key, C# minor. The meter also changes into cut-time and the bars is more rhythmic and melismatic. In this B section Cleopatra claims “her ghost will haunt Tolomeo.”2 and speaks of her revenge before suddenly returning back into her lament “Piangero (I shall weep)” with the return of the A section.


In the early Baroque is was popular to go see Operas in languages you did not know, thus Handel set the music of Giulio Cesare to Italian words even though he was in an England. Words are poetic of Piangero la sorte mia: Piangerò la sorte mia sì crudele e tanto ria finché vita in petto avrò. Ma poi morta d’ogn’intorno il tiranno e notte e giorno fatta spettro agiterò. Which roughly translate to: I shall weep over my fate cruel so long as there remains life in my chest. But once I have perished, I shall become a ghost and torment the tyrant from all directions, day and night. The chose of words creates a strong image of pain and suffering “I shall weep” and then that of desired vengeance “torment the tyrant”.

Handel’s Piangero la sorte mia from Giulio Cesare in Egitto successfully incorporates many different structural and textural aspects into a beautiful compositionthat stays true to the original idea. The essence of the beauty of music is better appreciated when we look at the composer, the librettist, the historical background, the storyline of the opera of which the aria belongs as well as the structure and characteristics of the opera and the aria itself.

ANNOTATE BIBLOGRAPHY

Dean, Winton; Knapp, John Merril. Handel’s Operas: 1704-1726, Oxford: Claredon Press, 1987. Hardcover.

This volume has a chapter devoted completely to Giulio Cesare in Egitto, offering a full synopsis, study of the libretto, full discussions of the music, the performance history, and a comparison of the different versions of the opera. As well, there are several general chapters on the historical and stylistic context of Handel’s operatic career up to 1726, and a number of Appendices including a list of performances during Handel’s life and the location of librettos, Handel’s borrowings, Handel’s singers, and modern stage productions up to the end of 1993.

Meynell, Hugo. The Art of Handel’s Operas, Lewiston/Queenston: Edward Mellen Press, 1986. Hardcover.

This volume contains information on Handel’s operas and how they contribute and changed the opera tradition in late 18th century, this also contains detailed discussions on Handel’s work between 1705 and 1741. Under the chapter “Full Maturity” we are given a full synopsis of Giulio Cesare in Egitto with details given to instrumental accompaniment and comparisons between the arias and the arias of earlier works by Handel. Contains a detailed timeline of Handel’s Operas, Librettists, and Singers start in 1705 and ending in 1741.

Monson, Craig. “‘Giulio Cesare in Egitto’: From Sartorio (1677) to Handel (1724)” in Music & Letters, Vol. 66 No. 4, pages 313-343, Oxford University Press October, 1985. JSTOR Journal Article

This Journal Article is considered a manuscript study and give historical background on what most likely inspired the storyline and plot of Giulio Cesare in Egitto. Handel’s Librettist, Haym, revised Bussani’s Giulio Cesare and created the much loved Giulio Cesare in Egitto. Music and Letters, where this Journal Article has been taken, has been established as the leading British journal of musical scholarship, covering all fields of musical enquiry.

Dean, Winton. “Handel’s ‘Giulio Cesare’” in The Musical Times, Vol. 104, No. 1444, pages 402-404, Musical Times Publications Ltd. June, 1963. JSTOR Journal Article

This Journal Article The Musical Times is the oldest continuously-published music journal in the world, founded in 1844. It explores the emotion and feel of the different pieces within Giulio Cesare in Egitto and some musical characteristic of each piece.

Hicks, Anthony., “Giulio Cesare in Egitto (ii)” Volume Grove Music Online – The New Grove Dictionary of Opera, issue Published in print December 1992, Published online January 2001 | e-ISBN: 9781561592630, Oxford Music Index http://oxfordindex.oup.com/view/10.1093/gmo/9781561592630.article.O004424

Reference to Guilio Cesare in Egitto by Handel, a libretto by Nicola francesco Haym adapted from Bussani’s Giulio Cesare in Egitto (1677).

Steen, Michael. The Lives & Times of Great Composers, Icon Books Ltd. March 30, 2010. Hardcover

An informative book on composer’s personal lives and the historical events that happen in the time they lived and an interesting read.

[1] Monson, Craig. “‘Giulio Cesare in Egitto’: From Sartorio (1677) to Handel (1724)” in Music & Letters, Vol. 66 No. 4, page 313

[2] Meynell, Hugo. The Art of Handel’s Operas, page xvi

[3] Steen, Michael. The Lives & Times of Great Composers, Icon Books Ltd. Page 84

[4] Dean, Winton; Knapp, John Merril. Handel’s Operas: 1704-1726, page 500

[5] Dean, Winton; Knapp, John Merril. Handel’s Operas: 1704-1726, page 485

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Should We Care What We Wear?

An inspiration to do better as a performer.

Many people look at clothes as only that: clothing. This includes me. However, if we really take an in depth look at clothing, it is the outward demonstration of who we are on the inside. Therefore, maybe it becomes important. When we take care to reflect and plan our appearance, we prepare our audiences for the performance we deliver. When we do not take care with our material look, we cause disorientation in the preconceived notions of our show-goers. This takes away from our shows. Five simple ways we demonstrate a good presence to our audiences are with personal fashion and style, cleanliness, tidiness, fresh clothes, and knowing the fashion of our audiences.

Clothing is an integrated part of our society and we tend to wear things that are similar to each other. However, there is fashion to the wardrobe of each person. Fashion is the following of treads. Whether the treads are of now or the trends of certain era in history, you declare your personality with the fashion you choose to wear. “What you wear is how you present yourself to the world, especially today, when human contacts are so quick. Fashion is instant language.” —Miuccia Prada

Your individual style is something different from fashion. Style is the unique way that each one of us dress and accessorize. If we take time to developed our own style, our audiences have the opportunity to understand us.  “Fashion is about dressing according to what’s fashionable. Style is more about being yourself.” —Oscar de la Renta

Another important part of presentation to your audience is cleanliness. Being clean isn’t only for your physical health but shows a level of ‘put togetherness’ that any on-looker will appreciate. It could be argued that, when playing a character like a street rat, a level of dirt and grim brings more thoroughness to your character, but cleanliness is still important. Makeup can be used to make you look dirty and grimy, while being clean shows a strong level of professionalism and personal standard.  “Cleanliness is the Hallmark of perfect standards and the best quality inspector is the conscience.“– J. R. D. Tata

Next, and an equally important aspect of presentation is being tidy. Tidiness is the order within the chaos of performing. You can wear fifty different pieces of jewelry and accessories and still be so tidy that it all fits and you look organized. On the other hand, when we are not tidy, even one single piece of accessory or jewelry can be a distraction. That distraction can be so bad that some people may not even remember your performance, but remember trying to figure out your outfit. “He longed for cleanliness and tidiness: it was hard to find peace in the middle of disorder.”—Robin Hobb, City of Dragons

Worn out clothes make us look worn out too. Every time we perform, we are presenting something new to an audience. We need to look our best and overused clothes take away from such performances. A metaphor, referring to the new believers of a faith in old habits, it can be applied to costuming a performance. When we deliver a ‘new’ performance we should not do so in decaying clothes. “And no one puts new wine into old wineskins. If he does, the wine will burst the skins—and the wine is destroyed, and so are the skins. But new wine is for fresh wineskins.”—Mark 2:22, New International Version Bible

Lastly, being approachable to your audience by understanding their material tastes is paramount, they make you relatable. Punk-stars wear black and dark striking makeup while opera singers wear formal gowns and soft toned makeup. If you were to wear a formal gown with warm tones to a punk-star concert, you would seem out of place and your audience would have a hard time relating to you. Therefore, we need to understand the fashionable taste of our audiences and our relatability should be demonstrated in our appearances. “It’s a wild thing, that people have the ability to help each other by just relating to one another.”—Natasha Lyonne

With our personal flair and style, being clean and tidy, by wearing clothes that are intact and in tasteful fashions, we pick the appearances that will speak to our audiences. When we do not take care with our physical presentation, we cause disorientation that takes away from this. Clothes are the outward expression of who we are and when we take care to pick our clothing, we are ready to perform for our audiences.

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Musician’s Naturopathy and Performance

Sickness is never fun. However, a common cold can be a huge problem for musicians as it can keep them from performing. This is especially true for singers. Singers should not use their voice whenever their throat is sore or swollen. They turn to sugary cold syrups and decongestions, but these have can have costly side effects such as dryness, nausea, and drowsiness. Because of this, many singers turn to naturopathy. Naturopathy is described by the google dictionary as “A system of alternative medicine based on the theory that diseases can be successfully treated or prevented without the use of drugs.“ This system includes many natural remedies such as changes in your diet, avoidance of things that prolong sicknesses, using natural symptom reliefs found in simple forms, and aroma and hydro therapies.

One of the most widely ignored natural remedies for common colds is eating lightly. Eating lightly causes your body not to focus on digestion and it focuses on producing white blood cells. It’s okay not to be hungry when you are sick because of this fact. When you are hungry though, one great way to eat lightly is to consume small amounts of steamed vegetables, soups, and broths. These foods are soft and smooth for easy consumption through out the day. As well, they are packed full of nutrients and vitamins that your body uses to fight off sicknesses. In addition to these super foods, herbal teas are another way to booth your immunity system when you are sick. Herbal teas contain properties that fight off infections and when mixed with honey and lemon, sooth a sore throat better than over the counter medications.

Together with adding healthier and overall beneficial foods into your diet when you are sick, some food should be avoided. Refined sugar can restrain immune system cells that attack bacteria. This effect can last for several hours after drinking a few sugary drinks. Fruit juices are also guilty of these sugary tendencies. These slippery creatures hid behind their ‘all natural’ labels while secretly being stuffed full of sugar. It is recommended to stay away from fruit juices when sick to help beat a common cold just that much faster. Another, but unusual, suggestion is to stay away from Dairy products. Dairy has been blamed for decreases in white blood cells and depressing the immune system. This is because of the antibodies that the body produces against the compound Neu5Gc which is found in most dairy and red meat products. Each person’s body reacts different to this compound, so this is not the case for everyone.

Over and above the recommended diet of a person suffering from a common cold, is natural immunity system boosters and symptom reliefers. Firstly listed is Vitamin C. It is no secret that vitamin C has been used to help prevent colds, less symptoms, and shorten their duration for a very long time. It is a vitamin as well as an antioxidant that the body uses in the maintenance of bones, muscles, and blood vessels. Vitamin C shortens the duration of an average cold to about 3-4 days. This is the difference between a performance on a weekend to no performance at all which is why it is often turned to. Secondly, Zinc is also known to shorten the duration and weaken the severity of a sickness, but there is less scientific proof to back up this claim as studies within the medical field are fewer then that of Vitamin C. Thirdly listed is oregano oil, as it has made a name for its self with a long history of symptom relief. This history goes back as far as ancient Greece. The oil of oregano oil relieves respiratory ailments, sinus, conditions, and digestive complaints. It is an active antimicrobial and antioxidant. This makes it a notable natural symptom reliefer. Lastly of our symptom reliefs is Ginger. Ginger fits the bill when it comes to common colds. It is an anti-inflammatory which relieves sore throats and kills rhinoviruses which cause the common cold in the first place.

Consumption is not the only way to treat a common cold. One of these treatments is aromatherapy. Healthline.com describes aromatherapy as “A holistic healing treatment that uses natural plant extracts to promote health and well-being. Sometimes it’s called essential oil therapy.” These include nonabrasive essential oil nasal sprays, oil diffusers, application to skin, and more. Some of the essential oils that are used include essence of lavender, eucalyptus, peppermint, tea tree oil, and Melissa oils. Hydrotherapies are also recommended for the common cold. Google dictionary describes these as “Hydrotherapy is a part of alternative medicine that involves the use of water for pain relief and treatment.” Warm baths, showers, and inhaling steam do wonders to break up phlegm and get the cold on its way out.

In conclusion, over the counter medications can be harmful to singers. Many singers turn to naturopathy to help fix their common colds and their symptoms. The natural remedies of changing in your diet, avoiding refined sugars, and using symptom reliefs found in nature, as well as aromatherapies and hydrotherapies are all great naturopathy relief for singers to get back on the stage.


Resources: Information Bases


https://www.thesaurus.com/

http://www.voicecouncil.com/singers-with-colds-dos-donts/

https://www.webmd.com/cold-and-flu/cold-guide/10-immune-system-busters-boosters#1

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Muscian’s Injuries – Temporomandibular Joint (TMJ) Syndrome

Classical singers face many risks in their profession which includes getting injuries. One known injury for classical singers is Temporomandibular Joint Syndrome. This affects the preparation, practice, and performance of many classical musicians around the world. This makes studying such a musician’s injury important. Temporomandibular Joint Syndrome is best described and analyzed by it’s causes, symptoms, risks, duration, medical assistance available and treatment methods.

Temporomandibular Joint Syndrome is an injury to the jaw joint know as the Temporomandibular Joint or (TMJ). This joint is on either side of the jaw, connecting the lower jaw (mandible) to the skull (temporal bone). It is made up of muscles, blood vessels, bones, and nerves. Temporomandibular Joint or (TMJ) Syndrome is defined by Mayo Clinic as “a type of temporomandibular disorder, that can cause pain in your jaw joint and in the muscles that control jaw movement.” In layman’s terms, a type of injury that causes pain in your jaw.

There are two causes of (TMJ) Syndrome: Microtrauma and Macrotrauma. Microtrauma is known as an overuse injury. It happens from frequent and repeated use of muscles, tendons, ligaments, and joints. Common types of microtrauma for the (TMJ) Syndrome are misalignment or trauma to the teeth or jaw, teeth grinding, poor posture, stress or anxiety, and inflammatory disorders like arthritis. Macrotrauma is defined as a single traumatic or forceful blow or event which results as a sprain, joint dislocation, and/or ruptured tendon.

(TMJ) Syndrome’s symptoms vary from pain to stiff movement, sometimes even including emotional distress and tinnitus. The most obvious symptom of (TMJ) Syndrome is jaw pain. This is normally a dull ache which is most often accompanied by clicking or popping noise when moving the jaw. Another sign is ear pain and headaches, specially headaches in the temple area. Because the (MTJ) wraps across the cheek to the temple and above the ear, often tension headaches, migraines and pressure in ears result. As well, stiffness and tenderness when trying to move the jaw are symptoms. This stiffness and tenderness can also radiate down the neck and back. Severe cases have the jaw locking. Muscle spasms, tinnitus, hearing loss and emotional distress are the last of the symptoms. These four symptoms can come and go as the severity of pain and stiffness changes.

Some people are at higher risk of getting (TMJ) Syndrome then others. Gender is the first on the list of risk factors, women are more likely to get (TMJ) Syndrome then men. People between the ages of 18-44 have an increased risk. Another increased risk is poor posture or holding phones between the cheek and shoulder. Playing an instrument often calls for different postures, neck bending and control over the jaw and mouth, because of this, musicians are more likely to have a (TMJ) Syndrome than people who complete other physically demanding work.

(TMJ) Syndrome tends to fall into two categories for duration. These categories are acute and chronic (TMJ) Syndrome. Acute (TMJ) Syndrome lasts anywhere from a few days to a few weeks. The symptoms disappear once the cause of the injury or discomfort has resolved. Chronic (TMJ) Syndrome lasts for much longer. Symptoms and discomfort can be ongoing with episodes of sharp and/or dull pain that occurs over months to even years.

Health care professions diagnose (TMJ) Syndrome. They will often determine if a patient has (TMJ) Syndrome through educated questioning, physical examination and health care technologies. Educated question occurs in the form of a verbal questions and responses which if found to be useful, are recorded by the doctor. This is often conducted by a person’s primary care physician on a regular medical clinic visit. Physical examination can be conducted by few different professionals. These professionals are a person’s primary care physician, dentist or a physiotherapist. These doctors will check the muscles in and around the jaw, jaw movement, and base pain sensory. Technologies in the medical field may need to be used to rule out other injuries and determine the extent of damage. Three technologies often used are x-rays, ultrasounds, and blood work equipment. X-rays of the jaw and it’s surrounding areas shows the extent of muscle injury or can even show if there is bacteria living in the sinus passages. Ultrasounds can be used to see the jaw in motion, this is helpful because it shows the inside of the (TMJ) rather than just the outside and surrounding tissues. Finally, blood work equipment. Getting blood work done helps rule out most of all other causes of pain in the jaw. Doctors use this is there are not completely sure if a person is suffering from (TMJ) Syndrome or some other ailment.

After being properly diagnosed, treatment options will vary from injury to injury. However, all treatment options should include a team approach. A team approach means involving two or more healthcare professionals, some of which are specialist in their field. Theses healthcare professionals could include, but are not limited to, dentists, ENT surgeons, pain specialists, physiotherapists, and primary care physicians.

Home remedies are also an excellent recovery resources because they are normally readily available and maintainable for a very small cost. Over the counter medication like anti-inflammatory and pain killers are often used to lessen the discomfort and swelling of an injury. Anti-inflammatory teas and natural muscle relaxers are another good option. A diet of soft foods is not only easy to maintain, it adds in the avoidance of reinjury. Soft foods like bananas, mashed root veggies, and dairy products are recommended. Most junk food is also soft, but for the best results, the healthy the food the better. Avoidance of exact strenuous chewing also helps a person avoid reinjuring themselves. Reducing stress and applying warm compresses keep the jaw relaxed and ready to heal.

In conclusion, the causes, symptoms, risks, duration, medical assistance available, and treatment methods of Temporomandibular Join Syndrome are vital to identify because they help us understand and describe the syndrome. As a possible injury for musicians, learning about (TMJ) Syndrome is important.

Resources: Information Bases