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APPLYING MUSIC
IN EXERCISE
AND SPORT
Costas I. Karageorghis
PhD, CPsychol, CSci, FBASES, AFBPsS
Brunel University London, UK
Library of Congress Cataloging-in-Publication Data
Names: Karageorghis, Costas I., 1969- author.
Title: Applying music in exercise and sport / Costas I. Karageorghis.
Description: Champaign, IL ; London, UK : Human Kinetics, [2017] | Includes bibliographical references and index.
Identifiers: LCCN 2016010699 (print) | LCCN 2016013475 (ebook) | ISBN
9781492513810 (print) | ISBN 9781492530695 (ebook)
Subjects: LCSH: Music and sports. | Music--Psychological aspects. |
Exercise--Psychological aspects. | Sports--Psychological aspects. |
Exercise music--Discography.
Classification: LCC ML3830 .K36 2017 (print) | LCC ML3830 (ebook) | DDC
781.5/94--dc23
LC record available at http://lccn.loc.gov/2016010699
ISBN: 978-1-4925-1381-0 (print)
Copyright © 2017 by Costas I. Karageorghis
All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any elec-
tronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying, and record-
ing, and in any information storage and retrieval system, is forbidden without the written permission of the publisher.
Notice: Permission to reproduce the following material is granted to instructors and agencies who have purchased
Applying Music in Exercise and Sport: Group Music Selection Tool on p. 48, Attentional Focusing Questionnaire on
pp. 50-52, Mental Preparation Profile on pp. 53-54, Music Mood-Regulation Scale on pp. 57-60, Music-Liking Item
on p. 64, Brunel Mood Scale on pp. 66-68, Motivation Scale Instructions on p. 69, and Figure 3.3 on p. 73. The repro-
duction of other parts of this book is expressly forbidden by the above copyright notice. Persons or agencies who have
not purchased Applying Music in Exercise and Sport may not reproduce any material.
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This book is dedicated to some inspirational teachers I have met along life’s path:
Professor Peter C. Terry, Professor N.C. Craig Sharp,
John J. Myhill, Junior G. Field, and Richard A. Glover (1949-2013).
And to inspirational teachers everywhere.
CONTENTS
Foreword vii Preface xi І
Acknowledgments xv І І
What Do You Know About Music in Exercise and Sport? xvii
iv
Contents v
What Do You Now Know About Music in Exercise and Sport? 211 І
Answers to Quizzes 215 Glossary 219 References 223 І І І
Further Reading 231 Index 239 І
About the Author 244 І
FOREWORD
PART I: THE ATHLETE’S
PERSPECTIVE
W hen I was growing up in South London, I
listened to a lot of the music that my mum
and dad liked—what I would often refer to as
their ’80s mega-mix. Since then I have developed
my own music taste, which has a strong hip-hop
and R&B flavor. The kind of music that I listen
to in my everyday life often has a bearing on the
music that I choose to listen to in preparation for
competition. The songs with which I am most
familiar tend to make me feel most comfortable
in the often inhospitable domain of international
track and field.
For many athletes, music listening has become
a staple for competition because it’s a great way to
block out the pressure and control feelings. In par-
ticular, I find that music is an ideal way to achieve
my desired mood state. Given how much of my
sport depends on psychological readiness, this
can make a telling difference. If I feel extremely
nervous, I will listen to something calming like
Ed Sheeran’s “Thinking Out Loud” that will put me
Mark Shearman
vii
viii Foreword
Mark Shearman
I have to declare from the outset that, like most
athletics coaches, I am not particularly musical!
Nonetheless, I am realizing more and more the
important role that music plays in the preparation
John Blackie has been a track and field coach for
of my athletes and elite sprinter Dina Asher-Smith over 15 years and is one of the directors of the 365
in particular. There is hardly a circuit or strength Athletics Academy, which attracts more than 400
and conditioning session that we do without children to attend coaching sessions each week.
musical accompaniment. It brightens up the atmo- Blackie has been recognized through several honors
sphere and dulls the pain. Having read a draft of for his coaching achievements, including England
this excellent book, I am not sure that I will ever Athletics National Development Coach of the Year
and UK Athletics Development Coach of the Year
again allow the strength and conditioning coach
(both in 2011). He coaches a 25-strong athletics
to monopolize the music selection! squad in southeast London and has facilitated
It is perhaps in the competitive arena that my the progression of his athletes toward numerous
athletes truly experience the power of music. county, regional, and national titles. Among his cur-
Many of them use it to psych up before a race, rent crop of athletes is the fastest woman in British
but Dina tends to use it mostly to switch off and history, Dina Asher-Smith as well as Shannon Hylton
unwind. A big race such as a world championship (UK top-ranked under 20 over 200 meters), Cheriece
final makes Dina super-excited, and sometimes Hylton (UK third-ranked under 20 over 200 meters),
Helen Godsell (multiple European sprint champion
it is hard to put a lid on that excitement, particu- in the veterans’ ranks), and Isabella Hilditch (UK
larly in between the rounds. A playlist of soothing second-ranked under 17 over 60-meter hurdles).
music selections really seems to do the trick in
terms of her mental state. Dina is able to blank the
opposition, ignore the burden of public expecta-
tion, and just lock herself into a listening bubble. When I am coaching sprint hurdles, I find
Because she has been so successful, the younger music to be particularly helpful. Hurdles are a
athletes in my squad tend to copy everything that very rhythmic event and so, in preparation, the
she does—her routine getting into the blocks, athletes need something with a beat to get them
the way she carries her arms, and even listening into the rhythmic mode. One of our drills entails
to some of the same music. From the content of skipping over the side of a row of hurdles with
this book, coaches can get a good handle on how either straight or bent legs; however, some ath-
specific qualities of music, such as the rhythmic letes lack the all-important rhythm that the drill
structure or bass frequencies, can influence the requires. In an attempt to counter this timing
mind-sets of their athletes. issue, I sometimes hum the chirpy tune of the
Foreword ix
can-can out loud, which immediately reminds the Dujardin. It is simply amazing how she gets her
athletes that they need to keep the beat as they horse Valegro to move in perfect time with the
kick up to clear the edge of each hurdle. music. I only wish that I could get my athletes to
Outside of track and field, I am a big fan of dres- exhibit a similar degree of rhythmic skill!
sage. One of my favorite exponents of this sport
is the British 2012 Olympic champion Charlotte John Blackie
PREFACE
Music produces a kind of pleasure which human nature cannot do without.
—Confucius
xi
xii Preface
certainly appeared happier and more animated as mental states, increase their work output, sharpen
they came within earshot of the music. their mental focus, and even enhance their lives.
Although the shuddering floorboards were In this book I share my findings and applied
undeniably a perpetual nuisance, the music experiences as well as the insights of many
played by the lovable rogue downstairs became scientist-practitioners who work in this emerg-
firmly lodged in my subconscious; it would linger ing field. I have aimed to write in an accessible,
in my mind like an unwanted voice that could nonscientific style to ensure that the material
not be silenced. Sometimes I would find myself is fully relevant to practitioners and students
singing short phrases even though I didn’t really with an interest in application and psychological
understand the meaning of the patois (Jamaican interventions. I have also tried to keep the use of
Creole dialect) used in the lyrics: “Hey, fatty bum in-text citations to a minimum to avoid breaking
bum, a sweet sugar dumpling. Hey, fatty bum bum, up the flow of the narrative.
let me tell you something.” It was unsurprising, The citations reappear as full references at the
then, that I grew up musically able as well as end of the book. For those who wish to delve
deeply interested in how music influenced and deeper into the scientific premises of the text, a
was influenced by the human condition. section titled Further Reading includes a broader
In the first decade of the 21st century, tech- range of sources split into two sections: second-
nological advances in personal listening devices ary sources under the heading Books and Book
sparked an explosion in the use of music by indi- Chapters and primary sources under the heading
vidual exercisers and athletes. Consequently, the Journal Articles. For those with an academic
effect of music on the human psyche is an area of interest in this field, the further reading provides
interest to many people. Although myriad books details of scholarly works that I have harvested
have been written about the application of music over 25 years. This section does not include any
in everyday living situations and therapeutic envi- of the sources presented in the references.
ronments (see the Further Reading section), none My purpose in writing this book is to share
has sought to address specifically the domain of contemporary research and applied knowledge
exercise and sport. I have spent almost every day so that exercisers and athletes derive the greatest
of my academic career investigating and writing benefit from music and that they and those who
about the influence of music on exercisers and guide them can select music based on scientific
athletes. I have also had the privilege of working principles. It details the circumstances under
with many Olympic and world championship which exercise participants and athletes are likely
athletes from a wide range of sports and coun- to derive the largest gains from music, as well as
tries as a consultant psychologist. Such work has those in which music use is best avoided. It also
afforded me an opportunity to put my ideas and provides the skills necessary for devising playlists
experimental findings into practice in the highest for both groups and individuals, implementing a
echelons of sport. wide variety of music-related interventions, and
Moreover, I have worked as a consultant for comprehensively assessing the effects of music
major national and international organizations in the field.
such as Nike, Red Bull, England RFU, IMG, I have drawn on the work of scholars in psy-
Spotify, and Universal Music on sport- and exer- chomusicology, psychobiology, psychoacoustics,
cise-related music projects; these engagements and neuroscience to supplement research and
have enabled me to monitor the impact of music applied material from the field of sport and exer-
on various sections of the population. For exam- cise sciences. My guiding principle is to adopt a
ple, most recently I have been examining the balanced approach to help people reach reasoned
influence of music on enjoyment and physical and well-informed decisions about the use of
exertion levels among participants in O2 Touch, a music in the domain of exercise and sport. Wise
new form of physical activity that combines touch choices lead to greater enjoyment and, ultimately,
rugby with high-energy music. Such experiences better outcomes for exercisers and athletes and
have also taught me about the intricacies related to those who train and coach them. There are many
harnessing the power of music to improve people’s examples of music tracks in the book and each of
Preface xiii
these can be located on YouTube—simply type in Chapter 5 takes a similar approach for group-
the name of an artist and the track title. based exercise and workouts and covers interna-
The book is organized in three parts, each tionally popular classes such as spinning, dance
with a distinct theme. Part I addresses the when, aerobics, and circuit training. Chapter 6 provides
how, and why of music use in exercise and sport case studies for individual and group-based exer-
to provide a thorough grounding in the subject. cise along with sample playlists to illustrate the
Chapter 1 is a general introduction to the topic principles outlined in chapters 4 and 5. The vivid
that includes explanations of key concepts and examples are meant to inspire trainers and exer-
several examples to illustrate how music can cise leaders to consider how to incorporate music
influence people’s behavior and feelings. A short into the exercise routines of those in their charge.
section at the end of chapter 1 covers legal con- Exercisers can just as easily apply the principles
siderations for the use of music in exercise and to their own training programs.
sport environments. Chapter 2 delves into the Part III covers the use of music to enhance the
scientific premise of the applications that follow training and performance of competitive athletes
in chapters 4 through 9 to enable practitioners to and teams. This part may also be of interest to
engage in evidence-based practice and fully under- exercise professionals who work with highly
stand the theoretical premise of music-related committed and performance-oriented exercis-
interventions. Chapter 3 provides a broad range ers whose regimens approximate those of elite
of assessment methods that exercise and sport athletes. Chapter 7 contains specific training
professionals can use to inform their selections and performance-related music applications for
of music. These methods are useful for measuring those participating in individual sports such as
how effective music interventions are both with track and field, tennis, golf, cycling, and martial
individuals and groups or teams. arts. Chapter 8 takes a parallel approach for
Part II focuses on music applications in the team sports such as soccer, netball, basketball,
exercise domain, although many of the princi- rugby, and American football. Finally, chapter 9
ples will resonate with sport professionals who provides two case studies—one for an individual
use musical accompaniment in their training and one for a team—as
programs. Chapter 4 addresses music use in well as carefully crafted
individual exercise and workout sessions with playlists that bring the
reference to a range of training modalities that principles of chapters 7
include strength, flexibility, and cardiorespiratory. and 8 to life.
ACKNOWLEDGMENTS
I would like to thank Dr. David-Lee Priest for
the research assistance he has provided since
the inception of this project in the spring of 2011.
and exercise science, Leeds Beckett University).
While addressing the comments of peer reviewers
during 2015, I was ably assisted by my current
David is a former doctoral student of mine (1998- postgraduate students, Jonathan Bird (PhD exer-
2004), who has long since become a close friend cise psychology) and Joel Shopland (MSc sport,
and confidant. He often comes across to others health, and exercise sciences). I thank all of the
as a rather modest and unassuming individual, aforementioned students for their unflinching
although this outward persona belies a broad commitment, enthusiasm, perspicacity, and supe-
array of talents: David is a polymath, a polyglot, rior (to mine!) IT skills.
a multi-instrumentalist, a superb raconteur, and I am grateful to my employer, Brunel Univer-
as he himself would testify, an aspiring racke- sity London, who granted a six-month period of
teer! His meticulous fact finding, encyclopedic research leave that afforded me the time to fully
knowledge of musical subcultures, and critical immerse myself in this project during the spring
commentary on numerous drafts of this opus have and summer of 2014. Our long-serving former
assisted me greatly in its production. David is an head of school, Professor Susan Capel, is deserv-
inspiration to all who know him. ing of a special mention for the constant support
I would also like to thank Dr. Leighton Jones and encouragement she gave throughout the for-
for the research assistance he provided during mative years of my academic career.
the spring and summer of 2014. Another former Ted Miller (vice president of special acquisi-
doctoral student of mine (2010-2014), Leighton tions, USA) and Chris Wright (acquisitions editor,
has been publishing with me for over a decade, Europe) at Human Kinetics have been closely
throughout the course of his bachelor’s and mas- involved with this project since I pitched the
ter’s degrees. During his doctoral studies, Leigh- idea to Ted during his visit to the London 2012
ton blossomed into an independent researcher Olympic Games. Both have provided me with a
with notable recent successes that have included clear sense of direction from the outset, copious
papers in the Journal of Sport & Exercise Psy- feedback on drafts of each chapter, and colorful
chology and Annals of Behavioral Medicine. I am examples from the world of sport that duly found
particularly proud of the fact that Leighton was their way into part III of the book. It has been a
awarded a Vice-Chancellor’s Prize for Doctoral distinct privilege and a pleasure to work with Ted
Research at his graduation in July 2014. and Chris over the last five years.
Numerous work placement students from Finally, I would like to thank my caring wife,
a range of UK institutions provided me with Tina, and our two teenage daughters, Anastasia
research assistance during the course of the and Lucia, who each appear to have grown taller
project. Foremost among these were John Bird by several inches during the course of this proj-
(BSc psychology, University of Bath), Nicole Cara ect—I have only just noticed. My family’s endur-
(BSc psychology, Brunel University London), ing tolerance of the obsessive and unsociable
Jasmine During (BSc psychology, Brunel Uni- behaviors that life in the academic realm demands
versity London), and Daniel Payne (BSc sport can only be described as truly remarkable.
xv
What Do You Know About Music
in Exercise and Sport?
xvii
xviii Quiz 1
exercise or training activity can induce bass guitar, timpani), whereas the con-
migraines over time verse holds for girls (e.g., violin, treble
d. the inner ear is made to vibrate by the recorder, oboe); this creates differences
activity, and the additional vibration in how people respond to high and low
caused by the music causes the audi- frequencies during adulthood
tory system to swell, which leaves it d. the male voice is generally an octave
susceptible to permanent damage lower than the female voice, and this
4. As a broad generalization, Madonna’s music difference may account for gender dif-
is superior to that of Rihanna for middle-aged ferences in how sound frequencies are
white women in exercise classes because processed by the brain
a. women in this demographic don’t tend 7. Music has been shown to enhance the flow
to listen to chart music and so would state during exercise- and sport-related
not be very familiar with the music of tasks. This state can be described as
Rihanna a. complete immersion in an activity to
b. it generally has a better beat for women the point at which nothing else seems
in this demographic to matter
c. Rihanna’s music has a Barbadian dance b. a state in which movements flow to
hall sound that they find difficult to such a degree that they feel technically
relate to superior to the movements of others
nearby
d. these women are likely to have grown
up listening to Madonna’s music, and c. being absorbed in a task to the point
thus, it holds a particularly special of becoming wholly unaware of other
meaning for them people nearby
5. To prime a male athlete with an outgoing d. a mental and physical state similar
personality for a highly explosive task such to a Zen-like state of awareness that
as weightlifting or shot putting, the optimal borders on meditation
music is likely to be 8. Which three key attributes should a piece of
a. of a relatively high tempo, of loud music have to be used as part of a pre-match
routine for a sport team?
intensity, and rather evocative
a. It should rouse the crowd, put the
b. of a moderate tempo, with crashing
coach in a positive mood, and calm
guitars, and a thumping bass line
the players.
c. evocative, loud, and nonlyrical
b. It should be quite aggressive, have
d. either gangsta rap or heavy rock with a high tempo, and build up to a cre-
an aggressive lyric scendo or climax.
6. Male adult exercisers and athletes tend to c. It should lift the mood of the players,
prefer music with stronger bass frequencies create a sense of team identity, and
than their female counterparts do because use predominantly major (happy)
a. they associate this with high bass fre- harmonies.
quencies resonating from their cars, d. It should conjure the type of imag-
which implies social status ery desired by the team for the task
b. males generally have larger frames at hand, instill a sense of unity and
than females and so are better able to cohesion, and include strong lyrical
absorb low-frequency sound affirmations.
c. at school, boys are more drawn to play 9. How does music enhance the efficiency of
ing instruments that produce low- repetitive movements such as running and
frequency sounds (e.g., tenor saxophone, cycling?
Quiz 1 xix
a. People believe that they’re working less to in their own homes, so they tend to
hard with music. perform better when MTV is showing
b. Music reduces inefficiencies in the in the gym
movement chain when applied syn- d. using auditory and visual stimuli in
chronously. combination facilitates greater dis-
c. Synchronous music is akin to exer- traction than using either auditory or
cising with a metronome; a tick-tock visual stimuli alone
pulsation is constantly in the mind as 13. It is long established that the use of music
a significant distraction. during exercise and training activities pro-
d. Because humans have a natural pre- motes dissociation, which means that
disposition to respond to the rhythmic a. attention is focused on things unre-
qualities of music, it makes the activity lated to the task, such as problem
seem easier. solving, daydreaming, or music
10. Music can reduce ratings of perceived exer- b. the mind drifts, heightening the influ-
tion during exercise or training of moderate- ence of sensory information from the
to-low intensity by approximately what body (e.g., a pounding heart or acidosis
percentage? in the muscles)
a. 4 to 8 percent c. external stimuli such as music or video
b. 6 to 10 percent block messages from the musculature
to the central nervous system and
c. 8 to 12 percent
cause a kind of out-of-body experience
d. 10 to 14 percent
d. people daydream and are able to tol-
11. Young adult males find rap music particu- erate the full gamut of exercise inten-
larly beneficial when they run because sities with relatively little pain and
a. the relatively slow tempo is almost per- self-reported perceived exertion
fect for taking a stride cycle to each beat 14. A good way to enhance the intrinsic moti-
b. most harbor an inner desire to appear vation of people in an exercise class is by
in rap videos and be surrounded by a. playing music that the class prefers
attractive females only if they achieve agreed-on perfor-
c. they get drawn into the rapid-fire lyrics mance targets
and thus completely forget about the b. getting members of the class to com-
pain associated with the run pare the suitability of their personal
d. it creates brain wave patterns that are music collections with each other and
perfectly suited to running then integrating the collections of one
12. The combination of music and video in an or two members into the class
exercise environment can be more beneficial c. using really unusual tunes that few
than music alone because people have heard to pique their inter-
a. people are less likely to fixate on the est during the class
appearance of others in the gym and d. canvassing class members and high-
negatively compare them with them- lighting when a track suggested by a
selves particular person is used
b. the visual distraction greatly increases 15. Music can enhance task-specific imagery in
the effects of auditory distraction, exercise and sport because
making all workouts considerably a. people associate music with exercise
easier and sport so strongly that virtually any
c. the combination of sound and vision well-known piece of music promotes
is what people are most accustomed imagery
xx Quiz 1
b. it conjures images that have become 20. Briefly describe the relationship between
associated with the music through exercise or training heart rate and preference
prior life experiences, TV, film, radio, for music tempo (i.e., how should music
or the Internet (e.g., striving for Olym- tempo be selected in response to expected
pic glory and Vangelis’ Chariots of Fire changes in heart rate?).
theme from the movie of the same
______________________________________
name)
c. the rhythmic qualities of music directly ______________________________________
stimulate the occipital lobe, a part of ______________________________________
the brain near the back of the head that 21. What is the optimal range for music volume
is responsible for imagery during exercise or training?
d. the lyrical content of the music acti-
vates visual images as people process ______________________________________
its meaning ______________________________________
______________________________________
SHORT-ANSWER 22. What are three advantages of exercisers or
QUESTIONS athletes using their own music devices when
working out?
16. Which unit is commonly used to measure ______________________________________
music tempo?
______________________________________
______________________________________
______________________________________
______________________________________ 23. Why are music-related interventions partic-
______________________________________ ularly effective when working with young
17. Briefly describe what musical meter is. people in exercise and sport contexts?
______________________________________ ______________________________________
______________________________________ ______________________________________
______________________________________ ______________________________________
18. What are three documented ways well- 24. Briefly describe the application of synchro-
selected music can enhance a person’s nous music.
psychological state during an exercise or ______________________________________
training session?
______________________________________
______________________________________
______________________________________
______________________________________ 25. When should music use be avoided during
______________________________________ exercise and sport instruction?
19. What are the main influences on people’s ______________________________________
music preferences in an exercise or training
context? ______________________________________
______________________________________ ______________________________________
Answers on page 215.
______________________________________
______________________________________
PART I
How Music Can Help
Exercisers and Athletes
1
1
Music in
Exercise and Sport
Music expresses feeling and thought, without language; it was below
and before speech, and it is above and beyond all words.
—Robert G. Ingersoll (1833-1899), politician, orator, and lecturer
3
4 Applying Music in Exercise and Sport
and harpists. This enabled the troops to advance ically uncomfortable (Biddle, Mutrie, & Gorely,
evenly, step in time, and not break their order (a 2015).
common failing of large armies at the moment of Exercise professionals such as Hollywood
engagement). actress-turned-fitness guru Jane Fonda realized
In the American Civil War (1861-1865) between in the late 1970s that if exercise for the masses
the southern Confederate states and northern could be coordinated with music, people would
Union states, music played a big part on both be far more likely to enjoy it and thus maintain a
sides. On occasion, the opposing forces would daily routine. During the 1980s and early 1990s,
engage in a type of battle of the bands on the Fonda released some 22 exercise videos that sold
night before the real battle ensued. At the Battle in excess of 17 million copies worldwide. She was
of Williamsburg in May 1862, it was famously said clearly onto something. The baby boomers, who
that the music was the equivalent of a thousand were seeing the first signs of middle-age spread
men. More recently, U.S. military personnel have at that point, idolized Fonda and everything she
had heavy metal music piped into their tanks as stood for. An exponential rise in the number of
they enter battle to raise their testosterone levels exercise-to-music classes occurred during the
and possibly numb their senses. 1980s, and the decades since have seen many
One of the key roles of music in a military permutations of the original dance-based classes:
context has been to accompany and pace the aqua aerobics, step aerobics, spinning, Boxercise,
advance of marching soldiers. Marching troops Zumba, BodyPump, and so on (see chapter 5).
have different levels of motivation, tolerance, fit- Modern technologies have done much to pro-
ness, and mental endurance. The military’s use of mote the use of music in both exercise and sport
marching bands such as the Royal Artillery Band settings. For example, the popularity of Fonda’s
and the Band of Her Majesty’s Royal Marines in exercise videos compelled many people to buy
Great Britain created a common framework for VHS video players in the 1980s. In terms of activ-
all the men in time and space. Thus, it served to ities at the individual level, the Sony Walkman
instill discipline, enhance esprit de corps, and made walking and jogging to music a popular
even numb the pain of the march. All such ben- form of physical recreation during the same
efits can be translated to the realm of physical decade. Stadium staff have taken advantage of
exercise. Although the context is much different, music editing technologies such as Audacity and
many of the motivational challenges and deeply Cubase to create soundtracks for sporting events
held inhibitions are remarkably similar. to inspire the athletes and engage the fans. From
an individual perspective, the essential personal
music accessory of the 21st century—the iPod—
MUSIC AND EXERCISE has enabled exercise participants and athletes
REVOLUTION to create their own listening bubble. One conse-
quence of this is that music listening and appre-
Many people who are not habitual exercisers ciation has become more of a lone pursuit than
experience difficulties beyond their initial the social pursuit it was for previous generations.
attempts to engage in an exercise routine. The relative merits of lone and group listening are
In addition to a general lack of motivation, explored in later chapters.
well-documented barriers to regular partici-
pation include work and family commitments
taking precedence; gym memberships perceived MUSIC AND THE
to be prohibitively expensive (despite the recent OLYMPIC GAMES
budget gym revolution); a lack of safe outdoor
spaces in large towns and cities; boredom and Music’s place at the pinnacle of human culture is
lack of enjoyment; the absence of companionship shown to stunning effect every two years in the
and social support; and the fact that exercising celebration of the winter and summer olympiads.
makes people feel sweaty, breathless, and phys- This illustrious link was originally forged in the
Music in Exercise and Sport 5
e motional tone of the music can be transmitted by as suspense, anticipation, joy, and tranquility just
the melody. The Rocky theme, for example, signifies by changing the way they blend notes. Of course,
a sense of optimism in the battle against adversity, those who make commercials are just as clever in
as well as striving toward personal achievement. their use of harmony. The next time you watch
TV, compare the music used to sell an everyday
Harmony product such as baked beans with that used to
Harmony is created when notes or melodies sound sell luxury items such as sports cars.
simultaneously, such as the rich sonic blend pro-
duced when members of a barbershop quartet sing
Rhythm
in unison. This meshing of notes acts, in part, to Rhythm concerns the way notes are distributed
shape the mood of the music to make people feel over time and accented. Putting it more simply,
happy, sad, surprised, anxious, or calm. Harmony rhythm concerns how the energy of the music is
is what gives music its distinctive flavor, from the transmitted. When completing any sort of physi-
simplicity of bubblegum pop to the sophisticated cal task in time with music, rhythm is a primary
blend of sonic ingredients in a Beethoven sym- consideration. When I go swimming, for example,
phony. Complex harmony can challenge a listener I often play famous waltzes in my mind because
emotionally and entails waves of aural tension the three beats in a bar, with the emphasis on
and pleasantness—an array of dissonance and the first, coincide with a strong kick to every
consonance. A good example from rock music arm stroke, which is followed by two softer kicks
is Queen’s “Bohemian Rhapsody,” which has a (one two three, one two three). Similarly, when I
particularly complex harmonic structure for a pop perform my conditioning circuit early most morn-
song. A concept that is closely related to harmony ings, I like to play energetic disco classics, which
is the key of a piece of music. This represents the have a strong four-beats-to-the-bar rhythm. Not
tonal center of a piece that can be shifted up or only does the music lift me out of my slumber,
down to create color and challenge the listener’s but its rhythmic regularity directs my push-ups
expectations. In simple terms, the tonal center and abdominal crunches in a way that makes the
is a related series of pitches that serve as a fixed workout seem a little more bearable for my aging
reference point to the ear—a kind of aural home body. So, Johann Strauss’ Blue Danube Waltz for
base, to use a sporting analogy. the front crawl and “Disco Inferno” by The Tram-
mps for circuits!
To watch a video of Queen’s “Bohe- Syncopation
mian Rhapsody,” search “Queen
Another aspect of musical rhythm that is relevant
Bohemian Rhapsody” on YouTube. to the exercise sphere (see chapter 4) is known
as syncopation. This occurs when rhythmic
Composers of film scores are particularly adept emphasis is placed off the main beat to create
at manipulating the feelings of moviegoers during an unexpected rhythmic feel that many people
each scene through their masterful use of har- equate with the notion of groove (e.g., That track
mony and key changes; they may move a piece out has an infectious groove—it really makes me want
of its initial tonal center—the home base—and to move!). In the case of common time, which has
sometimes return to it to give the listener a sense four quarter-note beats to the bar, the strongest
of resolution or satisfaction. A much-loved sport beat is the first in the bar, and the second strongest
film such as the classic Hoosiers is rendered every is the third in the bar. Popular styles of music such
bit as gripping and evocative by its well-crafted as swing and reggae that place strong emphasis
soundtrack as it is by the imagery and storyline on the second and fourth beats of the bar (what
of a small-town Indiana high school team that musicians call the backbeat) are based on the
overcomes considerable odds to win the state principle of syncopation.
basketball championship. As well as evoking Most forms of popular music use syncopation
primary emotions such as sadness and happiness, to great effect, particularly when the music is used
composers create subtler shades of feeling such for dancing (e.g., funk, hip-hop, dubstep). Some
Music in Exercise and Sport 7
forms of music are based on a highly syncopated might be used in the exercise and sport domain
rhythmic feel; Latin music is particularly well (column 2) along with examples of tracks that
known for its use of syncopation (e.g., samba have straighter rhythms or are relatively unsyn-
and salsa styles). This means that keeping in time copated (column 1).
with the rhythms used in classes such as Zumba A musical technique that is closely related to
may require greater information processing and syncopation is that of the breakbeat. This is when
coordination than those used in classes such as the music cuts out for a syncopated percussive
step or aqua aerobics. Of course, if you have grown break (typically a drum solo), or even a series of
up in Havana, Cuba, syncopated salsa rhythms breaks. These breakbeats often introduce a new
will be the norm for you and will not necessarily rhythm into the piece that is busier and more
require greater mental effort for you to translate complex than the elementary rhythmic structure.
the music into movement! The technique was popularized in early hip-hop
Although virtually all forms of popular music music, which used samples from funk recordings
employ syncopation to a degree, as an illustra- of the late 1960s and early 1970s. To complicate
tion of the concept, and to assist you in your matters, this sampled beat (examples of which
own selection processes, table 1.1 provides some appear in table 1.2) is sometimes referred to as a
classic examples of highly syncopated tracks that breakbeat in its own right, regardless of how it is
About the latter part of the seventeenth century, there was living at
Aldersferry, in the Soke of Godsport in Hampshire, a worthy
clergyman of the name of Barnabas Winthrop. The little living of St.
Ascham’s—a perpetual curacy in the Archdeaconry of Winchester—
supplied the moral and material needs of this amiable man; his
granddaughter, Miss Joan Seabird, kept house for him; and never
were cream and ripe fruit happier in contact than were these two
playful and reasonable intellects in their relations of child and sage.
A hysteromaniac, however, is Fortune, who, charmed for a while
with the simplicity of these her protégés, soon began to construe
their contentment into self-sufficiency, and to devise some means to
correct their supposed presumption on her favour, by putting it into
the head of the artless divine how silence on questions which one
felt called loudly for reform might be comfortable, but was shameful
and an evasion of one’s duty. In short, Dr. Winthrop, entertaining
original views on sanitation and the prevention of epidemics, was
wickedly persuaded by her to expound them, and so to invite into his
harmless Eden the snake which was to demoralize it. In one day he
became a pamphleteer.
Now the Plague, in that year of 1682, was not so remote a
memory but that people lived in a constant terror of its
recrudescence. Pandects, treatises, expositions, containing
diagnoses, palladiums and schemes of quarantine, all based on the
most orthodox superstitions, did not cease to pour from the press, to
the eternal confusion of an age which was yet far from realizing the
pious schism of the aide-toi. What, then, as might be supposed, was
the effect on it, when a clergyman of the Establishment was seen to
enter the arena as a declared dissenter from the fata obstant of
popular bigotry?
For a time Godsport, startled and scandalized, watched aloof the
paper warfare; and it was not until after the appearance of the
Doctor’s tract, “De omni re Scibili”—wherein he sought, boldly and
definitely, and withal with a characteristic humour, to lay the
responsibility for pestilence, not upon the Almighty’s shoulders, but,
literally, at the doors of men, at their face-to-face proximity, and at
“the Castynge of Noisome filth in their neare neighbourhood”—that it
brought down its official hand with a weight and suddenness which
shook St. Ascham’s to its roots. In brief, there was flung at the
delinquent one morning his formal citation to the Sessions Court,
there to answer upon certain charges of having “in divers Tracts,
Opuscules and Levrets, sought insidiously to ingrafte the minds of
his Majesty’s liege subjects with such impudent heresies as that it is
in the power of man to limit the visitations of God—a very pestilent
doctrine, and one arrogating to His servants the Almighty’s high and
beneficent prerogatives; inasmuch as Plague and Fire and other His
scourges, being sacriligeously wrested from His graspe, the world
would waxe blown with overlife, till it crawled upon the face of the
heavens like a gross putrid cheese.”
Under this bolt from the blue the liberal minds of grandsire and
child sank amazed for the moment, only to rally to a consciousness
of the necessity for immediate action.
“Up, wench!” cried the Doctor, “and saddle our Pinwire. I will go lay
my case instanter before the Bishop.”
“Alas, dearest!” answered the weeping girl, “you forget; he is this
long while bedridden.”
Her imagination, which had been wont secretly to fondle the idea
of her grandfather’s enlightened piety rewarded with a bishopric,
pictured it in a moment turned to his confusion, and himself,
perhaps, through the misrepresentations of a blockhead Corporation,
disgraced and beggared in his old age. But, though she knew the
Churchman, she had not calculated the rousing effects of criticism
on the author.
“Then,” roared he, “I will seek the fount itself of reason and justice.
It was a good treatise, a well-argued treatise; and the King shall
decide upon the practical merits of his own English.”
“The King!” she cried, clasping her hands.
“The King,” he answered. “Know you not that he moves daily
between Southampton, where he lies, and Winchester, where he
builds? We will go to Winchester. Nay, we, child; blubber not; for who
knows but that, the shepherd being withdrawn, the wolves might
think to practise on the lamb.”
He checked himself, and hung his head.
“The Lord pardon and justify me indignation,” he muttered. “I was
a priest before an author.”
It was fine, but a loaded sky, when they set forth upon their
journey of twenty or so miles, Joan riding pillion behind her
grandfather on the sober red nag. After much cross work over
villainous tracks, they were got at last into the Southampton turnpike,
when they were joined by a single horseman, riding a handsome
barb, who, with a very favourable face for Joan, pulled alongside of
them, as they jogged on, and fell into easy talk.
“Dost ride to overtake a bishopric, master clergyman,” says he,
“that you carry with you such a sweet bribe for preferment?”
Joan looked up, softly panting. Could he somehow have got wind
already of their mission, and have taken them by the way to forestall
it? But her eyes fell again before the besieging gaze of the cavalier.
He was a swart man of fifty or so, with a rather sooty expression,
and his under-lip stuck out. His eyes, bagging a little in the lower lids,
smouldered half-shut, between lust and weariness, under the
blackest brows; and, for the rest, he was dressed as black as the
devil, with a sparkle of diamonds here and there in his bosom. Joan
looked down breathless.
“I seek no preferment, sir, but a reasonable justice,” said the
curate; and, in a little, between this and that, had ingenuously,
though with a certain twinkling eye for the humour of it all, confessed
his whole case to the stranger. But Joan uttered not a word.
The cavalier laughed, then frowned mightily for a while. “We will
indict these petty rogues of office on a quo warranto,” he growled.
“What! does not ‘cleanness of body proceed from a due reverence of
God’? Go on, sir, and I will promise you the King’s consideration.”
Then he forgot his indignation, leering at the girl again.
“And what is your business with Charles, pretty flower?” said he.
But, before she could answer, whish! went Pinwires’s girth out of
its buckle, and parson and girl tumbled into the road.
The cavalier laughed out, and, while the Doctor was ruefully
readjusting his straps, offered his hand to the girl.
“Come, sweetheart,” said he. “Since we go a common road, shalt
mount behind me, and equal the odds between your jade and my
greater beast.”
Joan appealed in silence to her grandfather.
“Verily, sir,” he said nodding and smiling, “it would be a gracious
and kindly act.”
In a moment she was mounted, with her white arms belted about
the stranger’s waist; the next, he had put quick spurs to his horse,
and was away with a rush and clatter.
For an instant the Doctor failed to realize the nature of the
abduction; and then of a sudden he was dancing and bawling in a
sheer frenzy.
“Dog! Ravisher! Halt! Stop him! Detain him!”
He saw the flight disappear round a bend in the road. It was
minutes before his shaking hands could negotiate strap and buckle,
and enable him to follow in pursuit. But he carried no spurs, and
Pinwire, already over-ridden, floundered in his steps. Distraught,
dumbfounded, the old man was crying to himself, when he came
upon Joan sitting by the roadside. He tumbled off, she jumped up,
and they fell upon one another’s neck.
“O, a fine King, forsooth!” she cried, sobbing and fondling him. “O,
a fine King!”
“Who? What?” said he.
“Why, it was the King himself!”
“The King!”
“The King.”
“How?” he gasped. “You have never seen him?”
“Trust a woman,” quoth she.
“A woman!” he cried. “You are but half a one yet.”
“It was the King, nevertheless.”
“Joan, let us turn back.”
“He had a wooing voice, grandfather.”
“Retro Satanas! How did you give him the slip?”
“We were stayed by a cow, the dear thing, and like an eel I slid
off.”
“Dear Joan!”
“He commanded me to mount again, laughing all the while, and
vowing he’d carry me back to you. But I held away, and he said such
things of my beauty.”
“That proves him false.”
“Does it? But of course it does, since you say so. And while he
was a-wheedling in that voice, I just whipt this from my hair on a
thought, and gave his beast a vicious peck with it.”
She showed a silver pin like a skewer.
“Admirable!” exclaimed her grandfather.
“It was putting fire to powder,” she said. “It just gave a bound and
was gone. If its rider pulls up this side of Christmas, I’ll give him——”
“What, woman?”
“Lud! I’ve come of age, in a minute. And it’s beginning to pour,
grandfather; and where are we?”
He looked about him in the dolefullest way.
“If I knew!” he sighed. “We must e’en seek the shelter of an inn till
this storm is by, and then return home. Better any bankruptcy than
that of honour, Joan.”
They remounted and jogged on in the rain, which by now was
falling heavily. The tired little horse, feeling the weight of his own
soaked head, began to hang it and cough. Presently they
dismounted at a wayside byre, and, eating the simple luncheon
which their providence had provided, dwelt on a little in hopes of the
weather clearing. But it grew steadily worse.
“I have lost my bearings,” said the clergyman in a sudden
amazement. “We must push on.”
About four o’clock, being seven miles or so short of Winchester,
they came down upon a little stream which bubbled across the road.
The groaning horse splashed into it and stood still. Dr. Winthrop,
wakened by the pause from a brown reverie, whipped his right leg
over the beast’s withers, landed, slipped on a stone, and sat down in
two feet of water. Uttering a startled ejaculation, he scrambled up, a
sop to the very waist of his homespun breeches. Their points—old
disused laces, fragrant from Joan’s bodice—clung weeping to his
calves. He waded out, cherishing above water-mark the sodden
skirts of his coat, his best, of ‘Colchester bayze.’ The horse, sensibly
lightened, followed.
“O, O!” cried Joan. “Wasn’t you sopped enough already, but you
must fill your pockets with water?”
“Joan!” he cried disconcerted. “I am drowned!”
Luckily, in that pass, looking up the slope of the hill, they espied
near the top a toll-booth, and, beyond, the first houses of a village.
Making a little glad haste, they were soon at the bar.
The woman who came to take their money looked hard at the tired
girl. She was of a sober cast, and her close-fitting coif showed her of
the non-conforming order.
“For Winchester, master?” said she.
“Nay,” answered the clergyman; “for the first hostelry. We are beat,
dame.”
“The first and the last is ‘The Five Alls,’ ” said she. “But I wouldn’t
carry the maiden there, by your leave. There be great and wild
company in the house, that recks nothing of anything in its cups.
Canst hear ’em, if thou wilt.” And, indeed, with her words, a muffled
roar of merriment reached them from the inn a little beyond.
“One riding for Winchester, and the rest from,” she said, “they met
here, and here have forgathered roistering this hour. Dare them so
you dare. I have spoken.”
“Nunc Deus avertat!” cried the desperate minister. “The Fates fight
against us. At all costs we must go by.”
“Nay,” said the good woman; “but, an you will, seek you your own
shelter there, and leave this poor lamb with me. I have two already
by the fire—decent ladies and proper, and no quarry for licence. I
know the company; ’twill be moving soon; and then canst come and
claim thine own.”
He accepted gladly, and, leaving Joan in her charge, rode on to
the inn, where, dismounting, he betook himself to the stable, which
was full of horses, and, after, to the kitchen.
The landlord, cooking a pan of rashers alone over a great fire,
turned his head, focussed the new-comer with one red eye, and
asked his business.
“A seat by the hearth, a clothes-rack for my breeches, a rug for my
loins while they dry, and a mug of ale with a sop in it,” answered the
traveller, with a smile for his own waggish epitome. And then he
related of his mishap.
The landlord grunted, returned to his task, blew on an ignited
rasher, presently took the skillet off the coals, forked the fizzing mess
into a dish, and disappeared with it. All the while an ineffable racket
thundered on the floor above.
“Peradventure they will respect my cloth,” thought the clergyman.
“The Lord fend me! I am among the Philistines.”
The landlord returned in a moment with a horn of ale in one hand,
and a rug in the other, which he threw down.
“Dod, man!” he cried; “peel, peel! This is the country of continence!
Hast no reason to fear for thy modesty.” And he went out between
chuckling and grumbling.
Very decently the curate doffed his small-clothes, hung them over
a trestle before the fire, wrapped and knotted the rug about his loins,
and sat down vastly content to his sup. In ten minutes—what with
weariness, warmth, and stingo—he was asleep.
He woke with a little shriek, and staggered to his feet. Something
had pricked him—the point of a rapier. The flushed, grinning face of
the man who had wielded it stood away from him. The kitchen was
full of rich company, which broke suddenly into a babble of
merriment at the sight of his astounded visage. In the midst, a swart
gentleman, who had been lolling at a table, advanced, and taking
him by the shoulders, swung him gently to and fro till his eyes
goggled.
“Well followed, parson!” said he, chuckling, and lurching a little in
his speech. “What! is the cuif not to be spoiled of his bishopric
because of a saucy baggage?”
He laughed, checked himself suddenly, and, still holding on,
assumed a majestic air, with his wig a little on one side, and said
with great dignity: “But, before I grant termsir, you shall bring the slut
to canvass of herself what termsir. Godsmylife! to hold her King at a
bodkin’s point! It merits no pardon, I say, unless the merit of the
pardon of the termsir—no, the pardon of the merit of the termsir.
Therefore I say, whither hast brought her, I say? Out with it, man!”
The clergyman, recognizing Joan’s abductor, and listening
amazed, sprang back at the end with a face of horror, almost
upsetting His Majesty, who, barely recovering himself, stood shaking
his head with a glassy smile.
“Ifhicakins!” said he: “I woss a’most down!”
“Avaunt, ravisher!” roared the Doctor.
Charles stiffened with a jerk, stared, wheeled cautiously, and
tiptoed elaborately from the room. His suite, staggering at the
balance, followed with enormous solemnity; and the Doctor, still
pointing denunciatory, was left alone.
At the end of a minute, after much whispering outside, a young
cavalier re-entered, and approached him with a threatening visage,
as if up the slope of a deck.
“His Maj’ty, sir,” said he, “demands to know if you know who the
devil you was a-bawling—hic—at?”
“To my sorrow, though late, I do, sir,” answered the Doctor in a
grievous voice.
“O!” said the cavalier, and tacked from the room. He returned
again in a second, to poke the clergyman with his finger, and
suggest to him confidentially, “Betteric la’ than never—hic!” which
having uttered, he took himself off, after a vain attempt to open the
door from its hinge side. In two minutes he was back again.
“His Maj’ty wan’s know where hast hidden Mrs. Seabird. Nowhere
in house, says landlord. Ver’ well—where then?”
“Tell the King, where he shall reach her only over my body.”
The cavalier vanished, and reappeared.
“His Maj’ty doesn’t wan’ tread on your body. On contrary, wan’s
raise you up. Wan’s hear story all over again from lady’s lips.”
“I am His Majesty’s truthful minister. There is nothing to add to
what I have already reported to him.”
The cavalier withdrew, smacking his thigh profoundly. Sooner than
usual he returned.
“His Maj’ty s’prised at you. Says if you won’t tell him where’ve laid
her by, he’ll beat up every house within miles-’n’-miles.”
“No!” said the simple clergyman, in a sudden emotion.
“Yes,” said the gentleman, not too drunk to note his advantage.
“For miles-’n’-miles. His Maj’ty ver’ s’prised her behaviour to him.
Wan’s lil word with her. Tell at once where she is, or worse for you.”
The clergyman looked about him like one at bay. His glance
lighted on the trestle before the fire, fixed itself there, and kindled.
“The Lord justify the ways of His servant!” he muttered; and drew
himself up.
“Tell His Majesty,” he said in a strong voice, “that, so be he will
honour a toast I shall call, the way he seeks shall be made clear to
him.”
The other gave a great chuckle, which was loudly echoed from the
passage.
“Why, thish is the right humour,” he said, and retired.
Within a few moments the whole company re-entered, tittering and
jogging one another, and spilling wine from the beakers they carried.
The King called a silence.
“Sir,” said the clergyman, advancing a little, “I pray your Majesty to
convince me, by proof, of a reputed custom with our gallants, which
is that, being to drink a lady’s health, the one that calleth shall cast
into the flames some article of his attire, there to be consumed to her
honour, and so shall demand of his company, by toasters’ law, that
they do likewise.”
“Dod!” said the King, chuckling; “woss he speiring at? Drink man!
drink and sacrifice, and I give my royal word that all shall follow suit,
though it be with the wigs from our heads.”
The Doctor lifted his horn of ale and drained it.
“I toast Joan!” he cried.
“Joan!” they all shouted, laughing and hiccuping, and, having
drunk, threw down their beakers helter-skelter.
The clergyman took one swift step forward; snatched up his small-
clothes from the trestle; displayed them a moment; thrust them deep
into the blazing coals, and, facing about, disrugged himself, and
stood in his shirttails.
“I claim your Majesty’s word, and breeches,” said he.
A silence of absolute stupefaction befell; and then in an instant the
kitchen broke into one howl of laughter.
In the midst, Charles walked stately to the table, sat down, and
thrust out his legs.
“Parson,” said he, “if you had but claimed my hair. The honours lie
with you, sir; take ’em.”
He would have none but the Doctor handle him; and, when his
ineffable smalls were burning, he rose up in his royal shift, and
ruthlessly commandeering every other pair in the room, stood, the
speechless captain of as shameful and defenceless a crew of
buccaneers as ever lowered its flag to honesty.
Then the Doctor resumed his rug.
“Sir,” said he, trembling, “I now fulfil my bond. My granddaughter is
sheltering, with other modest ladies, in the pike-house hard by.”
But the King swore—by divine right—a pretty oath or two, while
the chill of his understandings helped to sober him.
“By my cold wit you have won! and there may she remain for me.
And now, decent man,” he cried, “I do call my company to witness
how you have made yourself to be more honoured in the breach
than the observance; and since you go wanting a frock, a bishop’s
you shall have.”
And with that he snatched the rug, and, skipping under it, sat on
the table, grinning over the quenching of his amazed fire-eaters.
And this, if you will believe deponent, is the true, if unauthorized,
version of Dr. Winthrop’s election, and of the confounding of
Godsport on a writ of quo warranto.
THE STRENGTH OF THE ROPE
Si finis bonus est, totum bonum erit.