To musicians, the most useful books among this class of literature are those which give good advice concerning the preservation of health.
F. W. Hunnius, a Doctor of Medicine in Weimar, wrote a book entitled 'Der Arzt für Schauspieler und Sänger' (The Physician for Actors and Singers. Weimar, 1798,) which, no doubt, has been useful to many. Another German publication of the kind, in which especial attention is given to the practice of musical instruments in so far as it affects the health, bears the title 'Aerztlicher Rathgeber für Musiktreibende' (Medical Adviser for those who cultivate Music) by Karl Sundelin, Berlin, 1832. The author, a Doctor of Medicine in Berlin, wrote his book with the assistance of his brother, who was a professional musician in the orchestra of the King of Prussia. This treatise is so noteworthy that the following account of it will, it is hoped, be of interest to the reflecting musician. Its table of contents is:—
"I. Of Singing. On the means of facilitating the practice of singing. Dietary and general rules for male singers, and for female singers. Of the different human voices.
II. Of the Clavier-Instruments, or Keyed-Instruments. The Pianoforte. The Organ. The Harmonica with a key-board.
III. Of the Stringed Instruments. The Violin and the Viola (or Tenor). The Violoncello. The Double Bass. The Guitar. The Harp.
IV. Of the Wind Instruments. Means for facilitating the practice and dietary rules for players on wind instruments. The Flageolet and the Czakan. The Flute. The Oboe and the English Horn. The Clarionet and the Basset Horn. The Bassoon and the Contra-Fagotto. The Horn. The Trumpet. The Trombone. The Serpent. General dietary and medical rules for those who cultivate music. Of the disturbances and injuries to the nervous system through disadvantageous influences by the practice of music. Care and treatment of particular diseased parts and structures. Of the chest and the lungs. The especial attention and care required by the organs of the voice. Of the diseases to which the mouth is subjected. The Teeth. The Lips. Of the Fingers. The Eyes and the Face. Prescriptions for some of the medicaments alluded to in the preceding dissertation."
The author is of opinion that the practice of music may be in many ways injurious to bodily health. However, he remarks, that since music is capable of expressing emotions which cannot be expressed by words or pictures, it relieves the heart of anything which is oppressive and distressing, and thus through the mind generally acts beneficially upon the body. He asserts that music has healed many a sufferer whose life was embittered by the fetters of melancholia, or the tortures of hypochondria. To persons suffering from indigestion and its harassing effects, he recommends a daily practice on some instrument which requires a rather fatiguing exertion of the body; such as the organ, on which hands and feet are occupied. His remarks on singing are judicious; but many of them would naturally suggest themselves to any thinking musician. No doubt, moderation in eating and drinking is recommendable, and the singer has to take care not to catch a cold; but it may be useful to him to be told by a medical man what kind of food is most conducive to the preservation of his voice, and how he can best protect himself against the injurious effects of sudden changes from heat and cold, to which professional singers are often exposed.
Pianoforte playing our medical adviser considers rather hurtful to health. The exertion of the hands and arms, while the position of the body remains nearly immovable, causes a stronger flow of blood to the chest than is natural. The pressure of the points of the fingers, where the nerves are especially sensitive, is apt to be injurious to the nervous system. This is still more the case in practising on instruments on which the strings are pressed down with the points of the fingers, as for instance on the violin; and also, though in a less degree, on instruments the strings of which are twanged with the fingers, as they are on the harp. The practice, however, causes the skin at the finger-ends to harden, and the touch becomes consequently less sensitive. Decidedly hurtful to the nerves is the sensation produced by the friction of the moistened fingers in playing the glass-harmonica and similar instruments. Among the wind instruments blown by being placed to the mouth, those which require a sudden and prolonged retardation of the breath, or a forcible compression of the air in the lungs, are especially liable, by constant practice, to prove injurious to health. The author has much to say on this subject, and he particularly warns against too continuous playing on the oboe, trumpet, horn, trombone, and serpent. As regards the clarionet, its practice, he says, is likely to be injurious on account of the quantity of air which it requires. The player is often compelled to take a deeper inspiration than is natural, and constantly to pay regard to being provided with a supply of air compressed in his lungs. Furthermore, considering that musical performances very frequently take place in artificial light, the eyesight of the musician is apt to be disadvantageously affected. In this respect also the playing on some instruments is more injurious than on others. The Double Bass player, for instance, is compelled, from the size of his instrument, to have the musical notation placed at a greater distance before him than is naturally convenient for his sight, which renders it necessary for him to exert his eyes in an extraordinary degree. Thus much from Sundelin's 'Medical Adviser,' to which the following remarks may be added.
The musical instruments used by our forefathers, two or three centuries ago, were softer and more soothing in quality of sound than our present ones; at any rate, this was the case with the stringed instruments, and the wind instruments of the flute kind. Certain wind instruments of the trumpet kind had a very harsh sound; but these were intended especially to be played in the open air. Of the stringed instruments principally favoured in family circles—such as the lute, cither, clavichord, virginal, harpsichord, etc.,—almost all possessed a less exciting quality of sound than our present substitutes for them. The same was the case with the music composed for the instruments; it did not possess the passionate modulations which characterize much of our music of the present day. It was, therefore, evidently more conducive to social comfort, and consequently to health, than is our modern music, notwithstanding the progress which has been made in the cultivation of the art. Martin Luther said to an old hypochondriac schoolmaster who complained to him of his miserable feelings: "Take to the Clavichord!" Everyone acquainted with the character of the clavichord will probably admit that Luther's advice was judicious. The soft and unpretending sound of the clavichord is so expressive that the instrument may be said to respond to the sufferer as a sympathizing friend; while its successor, the loud and brilliant pianoforte, is apt to convey the impression of being cold and heartless, unless it is touched by a master-hand. Thus also the "trembling lute," and some other antiquated instruments appear to be remarkably suitable for consoling and calming the anxious heart.
The glass-harmonica is evidently hurtful to the health of the performer. We have seen that Sundelin attributes its injurious effect to the friction of the fingers upon the bowls, which revolve on a spindle. But it is a well-ascertained fact that the fascinating sound of this instrument exercises a distressing influence also upon persons who do not play it, but who often listen to it. Likewise, certain wind instruments of a so-called reedy quality of sound, as, for instance, the harmonium, are probably injurious rather than beneficial to the health of the players. Sounds of this nature are generally very pleasant when heard for a short time, but soon become harassing. They might be compared with confectionery, a little of which may be very palatable and innocuous, but which if made a meal of would probably produce sickness.