Effects of Trunk Motion, Touch, and Articulation on Upper-Limb Velocities and on Joint Contribution to Endpoint Velocities During the Production of Loud Piano Tones.

articulation biomechanics inverse kinematics piano performance touch trunk motion

Journal

Frontiers in psychology
ISSN: 1664-1078
Titre abrégé: Front Psychol
Pays: Switzerland
ID NLM: 101550902

Informations de publication

Date de publication:
2020
Historique:
received: 06 12 2019
accepted: 05 05 2020
entrez: 27 6 2020
pubmed: 27 6 2020
medline: 27 6 2020
Statut: epublish

Résumé

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 (

Identifiants

pubmed: 32587549
doi: 10.3389/fpsyg.2020.01159
pmc: PMC7298114
doi:

Types de publication

Journal Article

Langues

eng

Pagination

1159

Informations de copyright

Copyright © 2020 Verdugo, Pelletier, Michaud, Traube and Begon.

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Auteurs

Felipe Verdugo (F)

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.
Centre for Interdisciplinary Research in Music Media and Technology, Schulich School of Music, McGill University, Montreal, QC, Canada.

Justine Pelletier (J)

Laboratoire de Recherche sur le Geste Musicien, Faculté de Musique, Université de Montréal, Montreal, QC, Canada.

Benjamin Michaud (B)

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.

Caroline Traube (C)

Centre for Interdisciplinary Research in Music Media and Technology, Schulich School of Music, McGill University, Montreal, QC, Canada.
Laboratoire de Recherche sur le Geste Musicien, Faculté de Musique, Université de Montréal, Montreal, QC, Canada.

Mickaël Begon (M)

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.
CHU Sainte-Justine Research Center, Montreal, QC, Canada.

Classifications MeSH