Verdugo Felipe, Pelletier Justine, Michaud Benjamin, Traube Caroline, Begon Mickaël
Laboratoire de Simulation et Modélisation du Mouvement, Faculté de Médecine, École de Kinésiologie et des Sciences de L'activité Physique, Université de Montréal, Montreal, QC, Canada.
Input Devices and Music Interaction Laboratory, Schulich School of Music, McGill University, Montreal, QC, Canada.
Front Psychol. 2020 Jun 10;11:1159. doi: 10.3389/fpsyg.2020.01159. eCollection 2020.
Piano performance involves several levels of motor abundancy. Identification of kinematic strategies that enhance performance and reduce risks of practice-related musculoskeletal disorders (PRMD) represents an important research topic since more than half of professional pianists might suffer from PRMD during their career. Studies in biomechanics have highlighted the benefits of using proximal upper-limb joints to reduce the load on distal segments by effectively creating velocity and force at the finger-key interaction. If scientific research has documented postural and expressive features of pianists' trunk motion, there is currently a lack of scientific evidence assessing the role of trunk motion in sound production and in injury prevention. We address this gap by integrating motion of the pelvis and thorax in the analysis of both upper-limb linear velocities and joint angular contribution to endpoint velocities. Specifically, this study aims to assess kinematic features of different types of touch and articulation and the impact of trunk motion on these features. Twelve pianists performed repetitive loud and slow-paced keystrokes. They were asked to vary (i) body implication (use of trunk and upper-limb motion or use of only upper-limb motion), (ii) touch (struck touch, initiating the attack with the fingertip at a certain distance from the key surface, or pressed touch, initiating the attack with the fingertip in contact with the key surface), and (iii) articulation (, short finger-key contact time, or , sustained finger-key contact time). Data were collected using a 3D motion capture system and a sound recording device. Results show that body implication, touch, and articulation modified kinematic features of loud keystrokes, which exhibited not only downward but also important forward segmental velocities (particularly in pressed touch and articulation). Pelvic anterior rotation had a prominent role in the production of loud tones as it effectively contributed to creating forward linear velocities at the upper limb. The reported findings have implications for the performance, teaching, and research domains since they provide evidence of how pianists' trunk motion can actively contribute to the sound production and might not only be associated with either postural or expressive features.
钢琴演奏涉及多个层次的运动丰富性。识别能够提高演奏水平并降低与练习相关的肌肉骨骼疾病（PRMD）风险的运动策略是一个重要的研究课题，因为超过一半的职业钢琴家在其职业生涯中可能会患上PRMD。生物力学研究强调了使用近端上肢关节的好处，即通过在手指与琴键的相互作用中有效地产生速度和力量来减轻远端节段的负荷。如果科学研究记录了钢琴家躯干运动的姿势和表现特征，那么目前缺乏科学证据来评估躯干运动在声音产生和预防损伤中的作用。我们通过将骨盆和胸部的运动整合到上肢线性速度和关节角度对端点速度的贡献分析中来解决这一差距。具体而言，本研究旨在评估不同类型的触键和连奏的运动学特征以及躯干运动对这些特征的影响。12名钢琴家进行了重复的大声且节奏缓慢的击键操作。他们被要求改变（i）身体参与程度（使用躯干和上肢运动或仅使用上肢运动）、（ii）触键方式（敲击触键，指尖在离琴键表面一定距离处开始弹奏，或按压触键，指尖与琴键表面接触时开始弹奏）以及（iii）连奏方式（，短的手指与琴键接触时间，或，持续的手指与琴键接触时间）。使用3D运动捕捉系统和录音设备收集数据。结果表明，身体参与程度、触键方式和连奏方式改变了大声击键的运动学特征，这些特征不仅表现出向下的速度，还表现出重要的向前节段速度（特别是在按压触键和 连奏方式中）。骨盆前倾在大声音调的产生中起着重要作用，因为它有效地促进了上肢向前线性速度的产生。报告的研究结果对演奏、教学和研究领域具有启示意义，因为它们提供了证据，证明钢琴家的躯干运动如何能够积极地促进声音产生，并且可能不仅与姿势或表现特征相关。
