Hirano Takeshi, Kudo Kazutoshi, Ohtsuki Tatsuyuki, Kinoshita Hiroshi
Department of Medicine, Osaka University, Toyonaka, Japan.
Motor Control. 2013 Jul;17(3):256-72. doi: 10.1123/mcj.17.3.256.
This study investigated activity of the embouchure-related orofacial muscles during pre- and postattack phases of sound production by 10 trained French-horn players. Surface electromyogram (EMG) from five selected facial muscles, and related facial skin kinematics were examined in relation to pitch and intensity of a tone produced. No difference in EMGs and facial kinematics between the two phases was found, indicating importance of appropriate formation of preattack embouchure. EMGs in all muscles during the postattack phase increased linearly with an increase in pitch, and they also increased with tone intensity without interacting with the pitch effect. Orofacial skin movement remained constant across all pitches and intensities except for lateral retraction of the lips during high-pitch tone production. Contraction of the orofacial muscles is fundamentally isometric by which tension on the lips and the cheeks is regulated for flexible sound parameter control.
本研究调查了10名训练有素的法国号演奏者在发声攻击前和攻击后阶段与口型相关的口面部肌肉的活动情况。对五块选定面部肌肉的表面肌电图（EMG）以及相关的面部皮肤运动学进行了检测，检测内容与所发出音调的音高和强度有关。未发现两个阶段之间的肌电图和面部运动学存在差异，这表明攻击前口型的适当形成很重要。攻击后阶段所有肌肉的肌电图随着音高的增加呈线性增加，并且它们也随着音调强度的增加而增加，且不与音高效应相互作用。除了在高音调发声时嘴唇的侧向回缩外，口面部皮肤运动在所有音高和强度下都保持不变。口面部肌肉的收缩基本上是等长收缩，通过这种收缩来调节嘴唇和脸颊上的张力，以便灵活控制声音参数。
