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Recommended Reading
Most musicians at some point in their career, professional or amateur, will encounter some form of musical injury. These are commonly recognised; for violinists and violists: "tennis elbow", rsi, tendonitis, neck bruising; for singers: nodules on the vocal chords, polyps, strain... the list is endless.
As a violist I have, though early in my career, already had a fairly hefty encounter with musical injury, leading to intense pain, personal expense and possible problems later in life. From my own experiences it has become clear that injury will only remain inevitable as long as we perpetuate it through bad teaching. Teaching comfortable technique, appropriate to each student (rather than keeping archaic rules that lead to serious problems later on - i.e the "frying pan wrist") and ensuring that every student, from the very start is aware of the importance of their body's health to their music (particularly concerning warm ups and comfortable technique).
However, should the worst occur, isolation and ignorance of the situation always serve to increase the damage an injury can do. Firstly; it is not a weakness to admit that you are in pain, it does not mean you're a bad musician or even that you've been badly taught. It just means now is the time to listen to your body and take a step back. Talk to someone; a teacher or a health professional.
Secondly; there is help available for injured musicians, both financial and medical through BAPAM, the MBF, the MU and the RSM - all of whom have details on their websites and are ready to help.
Once you have help, there is one crucial fact that is almost always ignored: your relationship with your instrument has changed. You will feel differently, consciously and subconsciously, about the prospect of playing or singing. You may perceive your body or instrument (or as in my case, yourself) of having let you down. This can lead to depression, performance anxiety or simply the avoidance of playing. This is not laziness or weakness, it is a natural coping technique for a physical and mental scar. There is very little treatment available for those recovering from this - though it should be treated similarly to any major trauma - with therapy and instrospective counseling. Whilst there is new research, currently ongoing, into the treatment and rehabilitation of musicians recovering from injury, it is not readily available to all.
However, this does not prevent you (and those around you) from helping yourself! Musical psychology books (such as The Inner Game of Music by Barry Green), books focusing on the application of technique (Stagefright: Its Causes and Cures In Violin Playing by Kato Havas) and inspirational books about players and practitioners (in my case, Lionel Tertis' Cinderella No More) can really help to improve your positive mental outlook and understanding of what has occured. Also useful to look into are Alexander technique (to target the physical causes of injury) and Pilates (to strengthen the core, and increase general muscular well being).
Above all, don't give up. Stay positive. Listen to music, and remember why you love it and your instrument. You are not alone.
