Hofmann Alex, Goebl Werner
The Austrian Research Institute for Artificial Intelligence (OFAI)Vienna, Austria; Institute of Music Acoustics (IWK), University of Music and Performing Arts ViennaVienna, Austria.
Front Psychol. 2016 Aug 4;7:1140. doi: 10.3389/fpsyg.2016.01140. eCollection 2016.
Clarinettists close and open multiple tone holes to alter the pitch of the tones. Their fingering technique must be fast, precise, and coordinated with the tongue articulation. In this empirical study, finger force profiles and tongue techniques of clarinet students (N = 17) and professional clarinettists (N = 6) were investigated under controlled performance conditions. First, in an expressive-performance task, eight selected excerpts from the first Weber Concerto were performed. These excerpts were chosen to fit in a 2 × 2 × 2 design (register: low-high; tempo: slow-fast, dynamics: soft-loud). There was an additional condition controlled by the experimenter, which determined the expression levels (low-high) of the performers. Second, a technical-exercise task, an isochronous 23-tone melody was designed that required different effectors to produce the sequence (finger-only, tongue-only, combined tongue-finger actions). The melody was performed in three tempo conditions (slow, medium, fast) in a synchronization-continuation paradigm. Participants played on a sensor-equipped Viennese clarinet, which tracked finger forces and reed oscillations simultaneously. From the data, average finger force (F mean ) and peak force (F max ) were calculated. The overall finger forces were low (F mean = 1.17 N, F max = 3.05 N) compared to those on other musical instruments (e.g., guitar). Participants applied the largest finger forces during the high expression level performance conditions (F mean = 1.21 N). For the technical exercise task, timing and articulation information were extracted from the reed signal. Here, the timing precision of the fingers deteriorated the timing precision of the tongue for combined tongue-finger actions, especially for faster tempi. Although individual finger force profiles were overlapping, the group of professional players applied less finger force overall (F mean = 0.54 N). Such sensor instruments provide useful insights into player-instrument interactions and can also be used in the future to give feedback to students in various learning and practising situations.
单簧管演奏者通过关闭和打开多个音孔来改变音调。他们的指法技巧必须快速、精确,并与舌头的发音协调配合。在这项实证研究中,研究了单簧管学生(N = 17)和专业单簧管演奏者(N = 6)在可控演奏条件下的手指用力情况和舌头技巧。首先,在一个表现力演奏任务中,演奏了韦伯第一协奏曲的八段精选片段。选择这些片段以符合2×2×2设计(音区:低-高;速度:慢-快,力度:弱-强)。还有一个由实验者控制的额外条件,它决定了演奏者的表现水平(低-高)。其次,设计了一个技术练习任务,一个等时的23音旋律,要求不同的效应器来产生这个序列(仅用手指、仅用舌头、舌头-手指联合动作)。该旋律在同步-延续范式下的三种速度条件(慢、中、快)下演奏。参与者使用配备传感器的维也纳单簧管进行演奏,该单簧管可同时跟踪手指用力和簧片振动。从数据中计算出平均手指用力(F均值)和峰值用力(F最大值)。与其他乐器(如吉他)相比,总体手指用力较低(F均值 = 1.17牛,F最大值 = 3.05牛)。参与者在高表现水平的演奏条件下施加的手指用力最大(F均值 = 1.21牛)。对于技术练习任务,从簧片信号中提取了时间和发音信息。在这里,对于舌头-手指联合动作,手指的时间精度会降低舌头的时间精度,尤其是在较快的速度下。尽管个体手指用力情况有重叠,但专业演奏者组总体上施加的手指用力较少(F均值 = 0.54牛)。这种带有传感器的乐器为演奏者与乐器之间的相互作用提供了有用的见解,并且未来还可用于在各种学习和练习情况下为学生提供反馈。