Turner Craig, Mailly Robin, Dal Maso Fabien, Verdugo Felipe
Laboratoire de Simulation et Modélisation du Mouvement, École de Kinésiologie et des Sciences de l'Activité Physique, Université de Montréal, Montréal, QC, Canada.
Front Psychol. 2025 Jan 13;15:1504456. doi: 10.3389/fpsyg.2024.1504456. eCollection 2024.
Expression is a key aspect of music performance. Studies on pianists' gestures and expression have mainly documented the impact of their expressive intentions on proximal segments and head linear kinematics. It remains unclear how pianists' expressive intentions influence joint angular kinematics as well as exposure to risk factors of injury, such as poor overall posture and distal jerky movements, two kinematic factors linked to injury. The first objective of this exploratory case study was to analyze the influence of pianists' expressive intentions on proximal and distal joint range of motion (ROM) across different musical contexts. The second objective was to evaluate the impact of expressive intentions on the posture of joints that are commonly injured in pianists, as well as distal joint angular jerk. Methods: Two expert pianists (P1 and P2) performed six musical excerpts (E1-E6) in two experimental conditions: normal condition (including expressive intentions) and the control condition (strictly playing the composer's notations written in the score with no subjective interpretation). An inertial measurement unit system recorded upper body kinematics.
Two expert pianists (P1 and P2) performed six musical excerpts (E1-E6) in two experimental conditions: normal condition (including expressive intentions) and the control condition (strictly playing the composer's notations written in the score with no subjective interpretation). An inertial measurement unit system recorded upper body kinematics.
Both proximal and distal joint ROM increased when pianists incorporated expressive intentions. Participants exhibited more static, non-neutral wrist postures when incorporating expressive intentions (right and left wrist for P1 and P2, respectively), suggesting an increased risk of distal injury. On the contrary, the thorax exhibited more dynamic, neutral flexion postures, suggesting a reduced risk of proximal injury. These results suggest that expressive intentions may impact proximal and distal postures differently. Incorporating expressive intentions also led to jerkier, less smooth wrist movements in lyrical, non-virtuosic musical excerpts (E1-E4). However, in more virtuosic excerpts (E5-E6), there were generally no differences between conditions. Spatiotemporal constraints might explain these discrepancies between non-virtuosic and virtuosic musical excerpts. These results provide evidence of the impact of expressive intentions on the entire kinematic chain, while highlighting the implications of the subjective dimension of music expression in relation to exposure to risk factors of injury.
表现力是音乐表演的一个关键方面。关于钢琴家手势和表现力的研究主要记录了他们的表现意图对近端节段和头部线性运动学的影响。目前尚不清楚钢琴家的表现意图如何影响关节角运动学以及受伤风险因素，如整体姿势不佳和远端急促动作，这两个运动学因素与受伤有关。本探索性案例研究的第一个目标是分析钢琴家的表现意图在不同音乐背景下对近端和远端关节活动范围（ROM）的影响。第二个目标是评估表现意图对钢琴家常见受伤关节姿势以及远端关节角急动的影响。
两位专家钢琴家（P1和P2）在两种实验条件下演奏了六个音乐片段（E1 - E6）：正常条件（包括表现意图）和对照条件（严格按照乐谱中作曲家的记谱演奏，不进行主观诠释）。一个惯性测量单元系统记录上半身运动学数据。
当钢琴家融入表现意图时，近端和远端关节ROM均增加。在融入表现意图时，参与者表现出更多静态的、非中立的手腕姿势（分别针对P1的右手腕和P2的左手腕），这表明远端受伤风险增加。相反，胸部表现出更多动态的、中立的屈曲姿势，这表明近端受伤风险降低。这些结果表明，表现意图可能对近端和远端姿势产生不同的影响。在抒情的、非炫技性的音乐片段（E1 - E4）中，融入表现意图还导致手腕动作更急促、更不流畅。然而，在更炫技性的片段（E5 - E6）中，两种条件之间通常没有差异。时空限制可能解释了非炫技性和炫技性音乐片段之间的这些差异。这些结果提供了表现意图对整个运动链影响的证据，同时突出了音乐表达主观维度与受伤风险因素暴露之间的关联。
