<— back to part 3a
Psychological Aspects of FD
Many recent studies on musician’s dystonia now acknowledge the role of psychological and emotional factors contributing to the emergence or persistence of the disorder. In the previous section, I have already alluded to one of these psychological pressures: the need or expectation for perfection in classical music training. Indeed, this point has been emphasised many times across many research papers, including several by Altenmüller and his colleagues. For example, Altenmüller & Jabusch (2009) is a noteworthy paper, as it compares psychological profiles (“personality structures” is one of the terms used in the paper) of patients with FD and those without. Interestingly, a group of patients suffering from chronic pain was also examined, with the aim of “detect[ing] unspecific secondary psychological reactions in diseased musicians.” I object slightly to the use of the term “diseased”, but you get the idea!
<— back to part 2
In the previous part, I recounted my experience with focal dystonia. In these subsequent installments, I would like to address more general issues, including the prevalence of dystonia in classical musicians and the psychology of dystonia. Finally, I will conclude by describing some possible steps towards overcoming the disorder. Originally, I had intended this to be a single post, but it appears that there are many details worth discussing, and hence, just like the Hobbit movies, I will expand it into three parts.
<— back to part 1
As far back as November 2012, I was noticing a strange sensation in my left hand. During a recording session, I noticed that I could not control my vibrato, and especially when the middle finger was involved. However, I simply attributed this to occupational stress, since there was no pain at all. The holidays were coming up, and I would get a good break, so I was not worried. Near Christmas time, when I was already well rested, I decided to do some practice, which was when I noticed that I had trouble keeping the middle finger on the fingerboard. Any violinist can tell you that already this is a strange turn of events. Typically, the middle finger is one of the strongest, and as far as vibrato is concerned, often the easiest finger to use. Actually, what perplexed me the most was the complete absence of pain. (I’m glad to say that I’ve never experienced pain in my musical practice. Violin playing, or indeed, playing most orchestral instruments, is not inherently comfortable, but I think it’s clear that it should never involve pain!). This made me suspect that there was more to it than the usual repetitive strain injury.
By now, a fair number of people are aware that I am enrolled in a Bachelor of Science (Advanced Mathematics) degree at the University of Sydney. This knowledge has invariably (and to my great relief) been greeted with enthusiasm and kind support, and I am immensely grateful for this. However, I have never really fleshed out the details behind the circumstances – which I intend to do now with this blogpost. Many of my friends and colleagues at the Sydney Conservatorium will know that my retreat from violin performance is due to onset of focal dystonia in my left hand, a neurological condition which severely compromises coordination in the affected area(s). It has occurred to me that it might be useful (and not only to musicians) to describe in detail the symptoms of this condition, how it affects instrumental playing, the treatment I received, and finally, the steps I am taking to recover.