<— 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.