Nora Krohn explains why trying to control dystonic symptoms usually doesn't lead to recovery. According to her, the symptoms are only the visible peak of a deeper problem arising from a long-term combination of factors in the brain, body and nervous system. True recovery therefore requires a change in movement patterns based on physical logic and a gradual rebuilding of the relationship with the instrument, leading to a natural resolution of symptoms.

In this article, Nora Krohn explains why, in her experience, recovery from musician's focal dystonia is not based on trying to control the symptoms themselves. It shows that the symptoms are only a visible manifestation of a much wider and longer-term problem, and that the real solution lies in changing movement patterns and the overall relationship of the body and brain to the tool.

1. Why it's natural to want to control

symptoms

Dystonic manifestations are unpleasant and often deeply stressful. They appear seemingly suddenly, for no apparent reason, so it's completely understandable that a musician becomes fixated on them. The most common intuition is to try to "force" the affected part of the body to function normally - that is, to consciously control the symptoms.

However, Nora says that this very strategy tends to be a dead end.

2. Controlling symptoms creates new compensations

The first problem is that when we try to control something that is behaving uncontrollably, the body starts looking for alternative ways. Compensatory movement patterns arise that can overload the organism, cause pain and lead to further injuries.

So often, instead of solving the problem, we just move the problem to another area of movement.

3. Symptoms are not the root of the problem

Even if we managed to isolate the effort only to the affected part of the body, it still does not solve the essence. Nora reminds that the exact mechanisms of musician's focal dystonia are not completely scientifically understood. But it follows from her practice that the symptoms are not random or isolated.

It is often an understandable reaction to biomechanically inefficient use of the body. This means that symptoms are the result of a long-term interplay of factors in the brain, nervous system, and movement that have developed over years—perhaps even decades.

The dystonic manifestations themselves are then only the "tip of the iceberg".

4. What this means for recovery

If the symptoms are only the result of the wider context, then recovery cannot be built on their control. There is a need to find an approach that covers all the key factors that led to dystonia.

Nora describes that she herself was helped by the Till Approach. This system builds instrumental technique on physical logic – i.e. on natural movement principles that we use in everyday life.

Step by step learning this logical technique with the guidance of a teacher changes the way the brain, nervous system and body perceive and operate the instrument, according to Nora. As new, healthy neural pathways are built, dystonic symptoms gradually disappear.

5. Comparison to house repair

Nora compares it to a house with a leaky roof. Controlling symptoms is like constantly patching a hole and painting over wet spots on the ceiling. However, the real solution is to go "behind the wall" and find out what is causing the water leak.

Only by removing the cause will the surface problem stop appearing.

6. The benefits go beyond the dystonia

itself

Nora emphasizes that well-managed recovery can bring more than just the return of movement control. At the same time, changing the physical logic of playing can:

• fundamentally improve the emotional and cognitive relationship to gaming,
• stabilize the nervous system during exercise and performance,
• open greater possibilities for musical growth than before dystonia.

According to her, recovery is not only a return to playing, but a new quality of playing as such.

Notes

This article was co-created by ChatGPT.
Nora Krohn channel link: https://www.youtube.com/@norakrohn