Muscular Language of Communication between String Players and Pianists
	When we leave the Eurhythmics studio and walk into the practice room, too frequently we leave behind the concepts we have learned on the floor. Using the alchemy of Eurhythmics, we transmute music into movement, feeling the physicality of musical concepts deep in our bones. When we cross over into the practice room, we must learn how to retain these physical sensations which represent music and express them on our instruments. If the lessons learned in Eurhythmics classes are to live on in performance, we need to examine the translation process. The logistics of real-life transfer of Eurhythmics training to instrumental performance has been largely ignored, at least in the case of string players. When playing Eurhythmics games, we are usually free to use our whole bodies to express the music. In playing an instrument, however, we are limited to a smaller set of muscle movements. Though our bodies as a whole should certainly be involved in feeling the impulses of the music, we are hampered by the reality of the instrument in our hands and by the physical techniques required to produce the sound. How can we replicate the whole-body sensations of the Eurhythmics class using only the muscular language (the available set of muscle movements) of the string player? And, using this language, how do we communicate our musical intentions to our chamber music or sonata partners -- particularly those, such as pianists, who inherently use a different muscular language? This article will examine the mechanics of musical communication between string players and pianists from a physical, muscular perspective, with an eye to improving this communication through Eurhythmics.
Classical Improvisation for String Quartets
	This book will develop improvisational skills in the classical style for string quartets. I am currently field-testing some of these improvisation games with string quartets in the New York/Connecticut area. If you or your group would like to participate in these trials, please email me at nbrockmann@oocities.com.