The keynote speaker at the 2005 National Conference on Keyboard Pedagogy was Karl Bruhn. This dynamic musician gave an exciting address on his work with Recreational Music Making (RMM). Mr. Bruhn has collaborated with Barry Bittman, M.D. — a leading researcher in the field of mind-body medicine, who is actively leading a series of research projects focused on developing and scientifically testing the bio-psycho-social aspects of Recreational Music Making. Bittman and his team were involved in collaboration with one of the world’s foremost genomic laboratories which has pioneered advanced state-of-the-art molecular biology techniques, and they studied the reversal of stress-mediated immune responses by Recreational Music Making strategies. It was my honor to talk with Mr. Bruhn and learn more about RMM. Here is part of our conversation.

The interview

RJ  Do you have any initial comments before we get started?

KB Yes. I’d just like to tell you how much I appreciated the opportunity to address attendees at the NCKP. It was a privilege to attend some of the concerts and workshops. I especially enjoyed the session that Brenda Dillon did on RMM. The Conference was wonderful and I learned a lot.

RJ  We were delighted to have you come and speak to us! During your opening remarks at the Conference you said you would be commenting on Recreational Music Making and wellness, demographics, dropouts, and recent scientific research involving the human genome. To start with, I’d like to ask you to comment on the demographic changes you mentioned.

KB Demographics are all about changes in the population — size, structure, educational status, employment, and so on. Things change rapidly. We need to be aware of those changes. For example, it’s reported that in the next 16 years the number of people over 50 will grow by about 75%. On the other hand, the number of people under 50 will grow by only 1%. Over the next few decades, the world’s elderly population (those over 65) will more than double while the world’s youth (population under 15) is expected to grow by only 6%. This unprecedented shift will result in enormous economic and societal challenges that will range from purely resource-based considerations to a host of psychosocial issues.

RJ  Those are certainly alarming numbers and educators need to be aware of what is going in this area. You also talked about stress. I recall you saying that over 70% of the visits to a doctor are stress related. Please tell us more about that.

KB An article that appeared in the September 27, 2004 issue of Newsweek reported that “experts claim that 60-90% of doctor visits involve stress related complaints.” On September 5th, 2004, The New York Times reported that “workplace stress costs the nation more than $300 billion each year.” According to Braun Consulting News, “Depression in the US population affects about 19 million people, and about 70% of these people are in the workforce.” The economic impact of depression in the workforce includes direct costs of approximately $11 billion annually for treatment, indirect costs totaling $12 billion for absenteeism, and $11 billion from decreased productivity while on the job.”

RJ  I had no idea that stress and depression were such serious problems. At the conference you told us that in recent years research has shown that music has deep biological roots and is a fundamental part of human nature. You also said that scientific research has shown that RMM has the potential to reduce stress.

KB Dr. Barry Bittman points out that “medical research is finally showing what our grandparents knew all along — music-making at any age has great potential for helping us reduce the impact of stress in our lives.” He points out that “if you’ve never played a musical instrument or haven’t touched one since grade school, you might assume it’s too late to begin.” He goes on to say: “Frankly, nothing could be further from the truth. Multiple biological and psychological benefits of group-based music making activities have been clearly demonstrated through recently published scientific investigations focused primarily on adults without prior music making experience.”

RJ  Karl, at the conference you talked about the human genome and the fact that the research Dr. Barry Bittman has done in this area is landmark in nature. Tell us more about this project.

KB The human genome project was started in 1990 and completed a decade later. This is an astonishing accomplishment because the human genome is nothing less than the instructions for the construction and maintenance of a human being, It’s been said of the human genome project that it is “bigger than splitting the atom” and that it “dwarfs going to the moon.” It changes everything. In Dr. Bittman’s research it has helped to accurately identify and measure genetic markers relating to stress.

RJ  And what did your investigations find?

KB In 2001 a study demonstrated that participation in group drumming classes enhanced the activity of “Natural Killer” cells which help the body fight off cancer and other ailments.  A later study provided RMM activities to employees of long-term care facilities and found that RMM participation significantly reduced burnout and stress and manifested a real cost savings to these health care facilities.

In some of the most recent research Dr. Bittman and his team were able to identify specific DNA markers associated with increased stress levels. They measured these markers in participants in Clavinova Connection, an RMM activity centered around keyboard playing. We found that the RMM participants demonstrated a reversal of 19 of these genetic markers, more than non-RMM control groups.

Dr. Joseph R Dunn of Psychology Online Journal wrote that “the most important finding from this study is that active engagement in recreational music making can reduce the impact of stress on the DNA level. In addition we can now document each person’s unique response to stress.”

RJ  Can you comment on the importance of these findings?

KB It has been said that the scientific method demands, at a minimum, that findings must be verifiable before they can be accepted. If not verifiable, they are often relegated to the realm of the probable, the dubious, or the ignorable. When it comes to Barry’s research I think we can safely say that it is an unparalleled first for the global music community, the most important medical research discovery in the history of music-making, and the most significant strategic breakthrough in our understanding of the health benefits of music-making.

RJ  Those are powerful findings that document some real health and wellness related benefits of music making. What was the protocol Dr. Bittman used for his genome research?

KB Let me quote from an interview Dr. Bittman recently did for an important scientific publication: “The specificity of our protocol must be taken into consideration. The Clavinova Connection (the RMM program used in this study) was carefully designed to progressively condition a sense of success from the start. Our goal was to inspire far more than just creative non-verbal expression and communication. We wanted each participant to immediately sense a great deal of personal success and feel supported by the group. We deliberately deemphasized technology yet focused on the use of technology in the background as an enabler of creativity. Our findings must be considered within this context and should not be generalized. I do not support the notion that playing a musical instrument under all circumstances reduces stress. In fact, the quest for high levels of mastery and performance may be stress-inducing.”

RJ  Now that we know about the research, can you tell us more about what RMM is?

KB Before talking about what RMM is I want to point out that RMM is not a “traditional” way of teaching music, and that RMM programs are not intended to diminish the importance of formal music instruction. Therefore, it should not compete with or replace formal music instruction. Once teachers understand what RMM is, they won’t view it as a conflict. Instead some will see it as an opportunity to serve a large and vastly underserved market, and as an adjunct to what they are already doing. In fact some already are.

RJ  That’s an important point because I’ve heard a few teachers, without knowing what RMM is, comment that they view it as a “dumbing-down” of the curriculum.

KB Nothing could be further from the truth! RMM deliberately chooses to avoid emphasis on performance and mastery so that students can learn to play a musical instrument in a compassionate and caring environment. This is not “dumbing-down”, but is instead an approach that seeks to make music and music participation accessible and fun for anyone, whatever their background or experience.

RJ  Can you give us a definition of the RMM philosophy?

KB Recreational Music Making encompasses enjoyable, accessible, and fulfilling group music-making activities. Group programs that emphasize quality of life and non-musical outcomes rather than competition or heightened performance meet the RMM criteria. The benefits extend far beyond music. Recreational Music Making ultimately affords unparalleled creative expression that unites our bodies, minds, and spirits. The points of the RMM philosophy are:

•  RMM is NOT about inspiring extraordinary music-making. It is about inspiring extraordinary living.

•  RMM is NOT about exceptional performance. It is about exceptional support and personal experience.

•  RMM is NOT about teaching people to play. It is about giving people permission to play.

•  RMM’s best facilitators are NOT just talented musicians. They are caring, compassionate, and intuitive guides.

As you can see, the emphasis is clearly not on performance, but rather on people having fun and learning to make their own music.

RJ  Where can students find RMM instruction?

KB Some suppliers in the music products industry are now offering RMM programs through select music dealers on a variety of instruments. While RMM programs such as NAMM’s New Horizons Band and Weekend Warriors promote performance opportunities, they also emphasize the joy and camaraderie of joining a band to enable a person to feel young at heart at any age. Sterling Ball, a music industry executive, recently commented: “Never underestimate the power of a three chord song.” I think there’s a lot of wisdom in that statement.

Music industry suppliers currently offer RMM programs through Lowrey’s Magic Organ Course, Remo’s HealthRHYTHMS, Roland’s Club Roland Express, and Yamaha’s Clavinova Connection. These “whole person” programs promote non-musical outcomes that enable participants to transcend their greatest challenges.

At the conference I showed a video clip of a participant who is involved in the Yamaha Clavinova Connection, and you can view that video on the Keyboard Companion website.

The description and objectives for that program include:

The Clavinova Connection

A RMM Adult Group Keyboard Program

•  For adults with non-musical backgrounds or for those who do not consider themselves musical.

•  For adults who do not believe they have any musical ability, or who may think they’re too old to learn to play.

•  For adults who just want to have fun making their own music and do not care if they ever play in Carnegie Hall.

•  For adults who want to create meaningful music from their very first lesson.

RJ  You’ve made numerous mentions of group activities. Can RMM be used in a private lesson setting?

KB Absolutely! In fact, in the next issue of Keyboard Companion Brenda Dillon will discuss details about how to implement the RMM philosophy into the independent studio. As you may know, Brenda has been active in teaching adults and promoting accessible programs throughout her career, and she has recently been presenting informative sessions on RMM. I hope your readers will “tune-in” to her article in the next issue!

RJ  What kinds of people are good candidates for RMM?

KB RMM programs are ideal for adults who don’t consider themselves musical, who think they have no talent, or who have non-musical backgrounds. The fastest growing segment of our population is made up of people who are over 50 years old and would like to learn to make their own music. A large number of them probably missed the opportunity to learn to play when they were younger. Those who are retired may just be looking for an opportunity to get involved in something like a RMM program. Let’s face it, humans have a need to belong, to be part of a group of individuals who share interests and come together for a common purpose. Such needs are as important to adults and seniors as they are to children and teens.

RJ  What can you tell us about RMM teachers?

KB First of all, let me make a point of distinction. In RMM, we prefer to work with teachers who are willing to assume the role of facilitators.

RJ  What’s the difference?

KB Teachers are taught to teach a subject, while the primary responsibility of an RMM program facilitator is to guide a person from where they are to where they want to be. Teachers often lead students to the teacher’s goals, while facilitators walk beside the student and guide the way to the student’s goals. The objective is to have students realize a great deal of success from the very beginning. The dropout rate in RMM classes tends to be very low and a number of the students move on to more traditional music instruction.

RJ  If someone is interested in getting more information about RMM, especially the research, what would you suggest?

KB We’ve placed a great deal of information, resources, and media about RMM at http://rmm.namm.org, and we encourage anyone who is interested to visit that site.  Another resource is Meadville Medical Center’s Mind-Body Wellness Center website at www.mind-body.org. The research section provides additional information, video clips and important links. Dr. Bittman can be reached via email at doctorb @mind-body.org. and I can be reached at bruhnassoc@aol.com. Additional information can be found at www.yamaha.com and www.remo.com (click on HealthRHYTHMS).

Editor’s Note: If you would like to know more about how to incorporate the RMM philosophy into your independent studio, please watch for Brenda Dillon’s article on this page in the next issue of Keyboard Companion. p

Rebecca Grooms Johnson, Ph.D., NCTM, serves on the Conservatory faculty at Capital University (Columbus, OH) as the Director of Keyboard Pedagogy and is the Director of the Community Music School. She recently completed a term as the National Chair of the MTNA’s Pedagogy Committee, and she publishes a tri-annual feature titled “What's New in Pedagogy Research” in the American Music Teacher.

This issue’s contributor:

Karl Bruhn served for many years as Senior Vice President for Marketing with the Yamaha Corporation of America. After retirement he was invited to become the first Director of Market Development for the National Association of Music Merchants (NAMM). Karl has served as both the Executive Director and President of the American Music Conference, President of the National Piano Foundation, President of Piano Manufacturers Association International and Presidential Advisor to the American Music Therapy Association. He is recognized world-wide as the “Father of Music-making and Wellness.”

www.keyboardcompanion.com