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大提琴手的音质由其主要姿势行为塑造。

Cellists' sound quality is shaped by their primary postural behavior.

机构信息

Aix Marseille Univ., CNRS, PRISM (Perception, Representations, Image, Sound, Music), 31 Chemin J. Aiguier, CS 70071, 13402, Marseille Cedex 09, France.

出版信息

Sci Rep. 2020 Aug 17;10(1):13882. doi: 10.1038/s41598-020-70705-8.

Abstract

During the last 20 years, the role of musicians' body movements has emerged as a central question in instrument practice: Why do musicians make so many postural movements, for instance, with their torsos and heads, while playing musical instruments? The musical significance of such ancillary gestures is still an enigma and therefore remains a major pedagogical challenge, since one does not know if these movements should be considered essential embodied skills that improve musical expressivity. Although previous studies established clear connections between musicians' body movements and musical structures (particularly for clarinet, piano or violin performances), no evidence of direct relationships between body movements and the quality of the produced timbre has ever been found. In this study, focusing on the area of bowed-string instruments, we address the problem by showing that cellists use a set of primary postural directions to develop fluid kinematic bow features (velocity, acceleration) that prevent the production of poor quality (i.e., harsh, shrill, whistling) sounds. By comparing the body-related angles between normal and posturally constrained playing situations, our results reveal that the chest rotation and vertical inclination made by cellists act as coordinative support for the kinematics of the bowing gesture. These findings support the experimental works of Alexander, especially those that showed the role of head movements with respect to the upper torso (the so-called primary control) in ensuring the smooth transmission of fine motor control in musicians all the way to the produced sound. More generally, our research highlights the importance of focusing on this fundamental postural sense to improve the quality of human activities across different domains (music, dance, sports, rehabilitation, working positions, etc.).

摘要

在过去的 20 年中,音乐家身体动作的作用已经成为乐器练习中的一个核心问题:为什么音乐家在演奏乐器时会做出如此多的姿势动作,例如躯干和头部的动作?这些辅助手势的音乐意义仍然是一个谜,因此仍然是一个主要的教学挑战,因为人们不知道这些动作是否应该被视为提高音乐表现力的必要的体现技能。尽管先前的研究已经确立了音乐家身体动作与音乐结构之间的明确联系(特别是对于单簧管、钢琴或小提琴演奏),但从未发现身体动作与产生的音色质量之间存在直接关系的证据。在这项研究中,我们专注于弓弦乐器领域,通过展示大提琴演奏者使用一组主要的姿势方向来发展流畅的运动学弓法特征(速度、加速度),从而避免产生劣质(即刺耳、尖锐、哨声)声音,来解决这个问题。通过比较正常演奏和姿势受限演奏情况下与身体相关的角度,我们的结果表明,大提琴演奏者的胸部旋转和垂直倾斜作为弓法运动的协调支持,为弓法运动提供了支持。这些发现支持了亚历山大的实验工作,特别是那些表明头部运动相对于上躯干(所谓的主要控制)在确保音乐家精细运动控制顺利传递到产生的声音方面的作用的工作。更一般地说,我们的研究强调了关注这种基本姿势感的重要性,以提高不同领域(音乐、舞蹈、运动、康复、工作姿势等)人类活动的质量。

https://cdn.ncbi.nlm.nih.gov/pmc/blobs/9c86/7431865/ca173bfafe1d/41598_2020_70705_Fig1_HTML.jpg

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