Pappa Eleni, Koutedakis Yannis, Sideris Vassilis, Tsatalas Themistoklis, Giakas Giannis
Dep. of Physical Education and Sport Sciences, University of Thessaly, Karies, 42100 Trikala Greece. Tel +302431047056.
Med Probl Perform Art. 2020 Dec;35(4):202-207. doi: 10.21091/mppa.2020.4030.
Although the significance of upper-body posture in relation to piano performance has often been highlighted, the role of experience remains unclear. The aim of this study was to examine selected upper body posture parameters in adolescent piano students of different performance level (beginners vs advanced).
Thirteen (13) adolescent piano students (14.7±0.5 yrs; 7 beginners and 6 advanced) volunteered. They all performed two specific major scales (G-major and E-major) in five octaves in two predetermined different tempi (slow and fast). An upper body biomechanical model consisting of 27 reflective markers was applied on specific bony landmarks. A 10-T camera Vicon system running Nexus 2 was employed to capture upper body motion--a) sway of the trunk in relation to the instrument, b) finger/hand sway over the keyboard, c) overall hand movement, and d) spinal angles--at selected moments of four different performances.
Beginners demonstrated more trunk sway than their advanced counterparts (p<0.05), more finger/hand sway (p<0.05), more overall hand movement (p<0.05), and more flexed spinal angles at the start of their performance (p<0.05). Most of these differences appeared in the G-fast performances, whereas the G-slow equivalents revealed no differences.
Less-experienced piano players are characterized by more movement in their trunk posture and more upper limb activity than their more advanced colleagues. Future research should examine whether interventional programs designed to alter upper-body posture would have beneficial effects in piano performance.
尽管上半身姿势与钢琴演奏的相关性常常受到关注，但其与经验的关系仍不明确。本研究旨在调查不同演奏水平（初学者与进阶者）的青少年钢琴学生的特定上半身姿势参数。
13名青少年钢琴学生（14.7±0.5岁；7名初学者和6名进阶者）自愿参与。他们均以两种预定的不同速度（慢速和快速）弹奏两个特定的大调音阶（G大调与E大调），跨度为五个八度。一个由27个反光标记组成的上半身生物力学模型被应用于特定的骨标志点。使用运行Nexus 2的10-T摄像机Vicon系统捕捉上半身运动——a）躯干相对于乐器的摆动，b）手指/手部在键盘上的摆动，c）手部的整体运动，以及d）在四种不同演奏的选定时刻的脊柱角度。
初学者在演奏开始时表现出比进阶者更多的躯干摆动（p<0.05）、更多的手指/手部摆动（p<0.05）、更多的手部整体运动（p<0.05）以及更弯曲的脊柱角度（p<0.05）。这些差异大多出现在G大调快速演奏中，而G大调慢速演奏时则未显示出差异。
经验较少的钢琴演奏者的特点是，与经验更丰富的同行相比，他们的躯干姿势运动更多，上肢活动也更多。未来的研究应探讨旨在改变上半身姿势的干预计划是否会对钢琴演奏产生有益影响。
