Konsten att spela tillsammans med kroppen

Efter att undervisat tusentals elever i snart 15 år i Timani och musikfysiologi, gör Tina Margareta Nilssen det hon länge har önskat: ger ut en bok om metoden. Om du vill utöka din egen och dina elevers potential som musiker, hitta helt nya klangmöjligheter och få ditt instrument att bli en hjälp snarare än ett hinder för ditt uttryck, dessutom utan fysisk smärta och obehag, då är det här boken för dig.

Interview With The Creator Of Timani, by Nilcole Wilson – April 2017 (Musical Orbit)

In this interview you will hear about the background of Tina Margareta Nilssen’s own journey to discovering the importance of working with the body and mind in connection with music performance. You will also learn how Timani is taught, and why awareness of the body is not enough to understand and develop the musician’s finely tuned coordination skills.

Centre of Excellence in Music Performance Education (CEMPE) 2015

(Document in Norwegian only) In the fall of 2015 there was a CEMPE – project at the Norwegian Academy of Music in Oslo, Norway. Timani teacher and Associate Professor at the Norwegian Academy of Music Vibeke Breian, participated at Timani seminars with her 6 saxophone students led by pianist Tina Margareta Nilssen. Here you can read the summary written by Harald Jørgensen and Vibeke Breian.

Master Thesis By Marit Lid Skorstad, 2015

(Document in Norwegian only) Timani teacher Marit Lid Skorstad collected information from singing students about their relationship to breathing: The information showed that the students do have awareness of their breathing, but that the physiological and anatomical knowledge about breathing for singers is low.  They say that they wish that they had more knowledge about the body at an earlier stage, and that concrete knowledge about breathing for singers is a difficult subject.

Bachelor Thesis By Benedicte Brænden 2015

(Document in Norwegian only) Benedicte Brænden has taken a look at how increased body awareness and control can influence technique in singing. As shown in this Bachelor Thesis it can be said that an increase of body awareness and control can give better singing technique. And that Timani and Pilates are methods that positively can be incorporated in singing education and training and that Timani is specifically directed towards instrumentalists and singers.

Visjon 2015 (Norwegian Magazine)

(Document on Norwegian only) Read about the first students at the Timani Academy who became Timani teachers! They tell about what Timani has done for them physically and mentally.

Written by Kai Eldøy

Musikkultur 2014 (Professional Journal For Musicians And Music Teachers In Norway)

(Document in Norwegian only) Meet Tina Margareta Nilssen, the founder of Timani, talking about the Timani teacher training and the importance of anatomical knowledge for musicians. Also Heide Görtz tell us about her visions around physical mastery that she has taught at the University of Arts in Berlin, Germany.

Soma 2014 (Natural Health Magazine)

(Document in Norwegian only) Read about Tina Margareta Nilssens personal journey. How she got help and what led her to want to know more about the body, mind and spirit. You will also learn her thoughts on what it takes of the body to play and sing, and what it means to make music from the inside out.

Master Thesis by Marit Danielsen, 2013

(Document in English) The aim of the present study is to find out if seeing musicians as movers and having knowledge about the body can contribute to music performance teaching by facilitating nuanced insight in and reflection over the embodied know-how of performing music. This is done by interviewing three musicians attending a Timani introductory course.

Master Thesis by Linda Cecilie Halvorsen, 2011

(Document in Norwegian only) Timani teacher Linda Cecilie Halvorsen looks at the Görtz Method (one of the foundations of Timani) and its possible effects on developing good sound at the piano. Linda Cecilie Halvorsen, a pianist herself, has been taught in the Görtz method by Tina Margareta Nilssen, who is a former student of Heide Görtz. She explains the method and compares it to other methods of piano teaching.