Biomechanics and Motor Control Laboratory, Graduate School of Medicine, Osaka University, 1-17, Machikaneyama, Toyonaka, 560-0043 Osaka, Japan.
Eur J Appl Physiol. 2012 Jun;112(6):2085-95. doi: 10.1007/s00421-011-2178-7. Epub 2011 Sep 28.
Force generated between the left mandible of violinists and the chinrest of the violin was examined using a force-sensing chinrest developed in this study. A strain-gauge force sensor was built, and it was fixed between the violin's top plate and a chin cup. Fifteen professional/amateur violinists held the violin statically, played musical scales with different sound properties and sounding techniques, as well as an excerpt from a Max Bruch concerto. Peak and mean forces were evaluated for each task. In a separate experiment, lateral movement of the lower teeth due to different levels of voluntary chin force exertion was measured. Static holding forces observed were 15 and 22 N with and without the help of the left hand, respectively. Peak force increased from 16 N at soft dynamics to 20 N at strong dynamics during scales. The force further increased to 29 N with the use of vibrato technique and 35 N during shifts. Tempo and hand position did not affect the force. Playing a Bruch concerto induced a mean peak force of 52 N, ranging from 31 to 82 N among the violinists. The developed force-sensing chinrest could accurately record the generated chin force. Typical chin force to stabilize the violin during ordinary musical performance was less than 30 N, but it could momentarily exceed 50 N when technically demanding musical pieces were performed. The lateral shift of the mandible was fairly small (<0.4 mm) even with high chin-force exertion, possibly due to clenching of the molars.
使用本研究开发的力感下巴托，研究了小提琴家左下颌与小提琴下巴托之间产生的力。 制作了一个应变计力传感器，并将其固定在小提琴的上板和下巴杯之间。 15 位专业/业余小提琴家静态地拿着小提琴，用不同音色和发声技术演奏音阶，以及马克斯·布鲁赫协奏曲的一个片段。 为每个任务评估了峰值和平均值。 在单独的实验中，测量了由于不同水平的自愿下巴力施加而导致的下牙侧向移动。 静态保持力分别为 15N 和 22N，有左手和没有左手的帮助。 音阶时，峰值力从软动力学的 16N 增加到强动力学的 20N。 当使用颤音技术时，力进一步增加到 29N，在换档时增加到 35N。 节奏和手的位置不影响力。 演奏布鲁赫协奏曲会产生 52N 的平均峰值力，小提琴家之间的范围为 31 到 82N。 开发的力感下巴托可以准确地记录产生的下巴力。 在普通音乐演奏过程中，稳定小提琴所需的典型下巴力小于 30N，但在演奏技术要求较高的乐曲时，可能会瞬间超过 50N。 即使下巴力很大，下颌的侧向移动也很小（<0.4mm），这可能是由于磨牙咬紧造成的。
