Turner Craig, Visentin Peter, Oye Deanna, Rathwell Scott, Shan Gongbing
Department of Kinesiology, University of Lethbridge, Lethbridge, AB, Canada.
Department of Music, University of Lethbridge, Lethbridge, AB, Canada.
Front Psychol. 2022 Jun 2;13:838554. doi: 10.3389/fpsyg.2022.838554. eCollection 2022.
Playing the piano at expert levels typically involves significant levels of trial-and-error learning since the majority of practice occurs in isolation. To better optimize musical outcomes, pianists might be well served by emulating some of the practices found in sports, where motor learning strategies are grounded in biomechanics and ergonomics in order to improve performance and reduce risk of performance-related injuries. The purpose of the current study is to examine trunk-hand coordination and preparatory movement strategization in piano performance, while considering the influence of anthropometry, skill level of the performer, and musical context. Using a ten-camera motion capture system, movement of C7 and right-hand distal phalanges was tracked at three different playing speeds during performance of an excerpt from Beethoven's "Appassionata" Sonata. There were three participants: two males and one female of differing anthropometric characteristics and skill levels. Motor strategization was examined. Expertise influenced starting trunk position: Initiation intervals and trunk range of motion (ROM) both suggested anthropometry to be a performance factor. For the shortest performer, trunk movement appeared to be used as an efficiency measure to compensate for a shorter arm reach. Skill level was revealed by examining right-hand velocity at the fastest tempo. The current study hypothesizes that an examination of proximal-to-distal preparatory strategies in terms of anthropometry and skill level can help to optimize motor learning for pianists. To realize piano performance as a whole-body skill and encourage healthy practice, pedagogy needs to educate learners regarding fundamental biomechanical and ergonomic principles, movement optimization, and movement strategization in the service of artful performance.
达到专业水平的钢琴演奏通常涉及大量反复试验的学习过程，因为大多数练习都是单独进行的。为了更好地优化音乐表现，钢琴家不妨借鉴一些体育领域的练习方法，在体育领域，运动学习策略基于生物力学和人体工程学，以提高表现并降低与表演相关的受伤风险。本研究的目的是考察钢琴演奏中的躯干-手部协调以及准备动作策略，同时考虑人体测量学、演奏者技能水平和音乐背景的影响。使用十台摄像机的动作捕捉系统，在演奏贝多芬《热情奏鸣曲》的一段节选时，以三种不同的演奏速度跟踪了C7和右手远端指骨的运动。有三名参与者：两名男性和一名女性，他们具有不同的人体测量特征和技能水平。对运动策略进行了考察。专业水平影响起始躯干位置：起始间隔和躯干运动范围（ROM）均表明人体测量学是一个表现因素。对于身材最矮的演奏者，躯干运动似乎被用作一种效率衡量手段，以弥补较短的手臂伸展距离。通过检查最快速度下的右手速度揭示了技能水平。本研究假设，从人体测量学和技能水平方面考察近端到远端的准备策略有助于优化钢琴家的运动学习。为了将钢琴演奏实现为一项全身技能并鼓励健康练习，教学法需要教育学习者关于基本的生物力学和人体工程学原理、运动优化以及为巧妙表演服务的运动策略。
