No abstract

No existing studies of badminton technique have used full-body biomechanical modeling based on three-dimensional (3D) motion capture to quantify the kinematics of the sport. The purposes of the current study were to: 1) quantitatively describe kinematic characteristics of the forehand smash using a 15-segment, full-body biomechanical model, 2) examine and compare kinematic differences between novice and skilled players with a focus on trunk rotation (the X-factor), and 3) through this comparison, identify principal parameters that contributed to the quality of the skill. Together, these findings have the potential to assist coaches and players in the teaching and learning of the forehand smash. Twenty-four participants were divided into two groups (novice, n = 10 and skilled, n = 14). A 10-camera VICON MX40 motion capture system (200 frames/s) was used to quantify full-body kinematics, racket movement and the flight of the shuttlecock. Results confirmed that skilled players utilized more trunk rotation than novices. In two ways, trunk rotation (the X-factor) was shown to be vital for maximizing the release speed of the shuttlecock – an important measure of the quality of the forehand smash. First, more trunk rotation invoked greater lengthening in the pectoralis major (PM) during the preparation phase of the stroke which helped generate an explosive muscle contraction. Second, larger range of motion (ROM) induced by trunk rotation facilitated a whip-like (proximal to distal) control sequence among the body segments responsible for increasing racket speed. These results suggest that training intended to increase the efficacy of this skill needs to focus on how the X-factor is incorporated into the kinematic chain of the arm and the racket.

This study explores the utility of movement analysis technology as a means of contributing to a performance pedagogy informed in part by science. Two research questions were investigated: Can biomechanical skills needed for performance on the violin be accurately and objectively characterized and generalized? Can these data be used to inform performance pedagogy to maximize efficiencies and minimize injury? Movement analysis technology was used to study biomechanical phenomena associated with legato bowing on the violin. Results identified and described generalizable characteristics or markers among expert violinists, interactions between right shoulder and elbow, and three discrete tempo-dependent phases of motor control. Such markers may provide new ways of accurately identifying, assessing, and communicating when teaching. Results hold implications for factors related to overuse injuries and underscore the need for more systematic collaborative inquiry into performance pedagogy.

Kicking in soccer has been the subject of scientific research for more than 40 years yet review articles summarizing the biomechanical fundamentals of kick optimization as a guide to coaching are scarcely to be found. The current review article aims to bridge the gap between scientific research into the maximal instep kick (including studies employing 3D motion capture and full-body biomechanical modelling) and the application of such research in coaching. It does so by supplying a scientifically founded, coaching-friendly article explaining identifiable characteristics and motor control sequencing that define this skill. Relevant biomechanical factors are identified in a way that should help coaches better develop training programmes and, at the same time, foster better understanding of the skill among athletes. Such information will contribute to both accelerated skill acquisition and, by concomitant gains in skill efficiency, the development of programmes that minimize risk of injury to athletes during training.

Piano performance motor learning research requires more “artful” methodologies if it is to meaningfully address music performance as a corporeal art. To date, research has been sparse and it has typically constrained multiple performance variables in order to isolate specific phenomena. This approach has denied the fundamental ethos of music performance which, for elite performers, is an act of interpretation, not mere reproduction. Piano performances are intentionally manipulated for artistic expression. We documented motor movements in the complex task of performance of the first six measures of Chopin’s “Revolutionary” Etude by two anthropometrically different elite pianists. We then discussed their motor strategy selections as influenced by anthropometry and the composer’s musical directives. To quantify the joint angles of the trunk, shoulders, elbows, and wrists, we used a VICON 3 D motion capture system and biomechanical modeling. A Kistler force plate (1 N, Swiss) quantified center of gravity (COG) shifts. Changes in COG and trunk angles had considerable influence on the distal segments of the upper limbs. The shorter pianist used an anticipatory strategy, employing larger shifts in COG and trunk angles to produce dynamic stability as compensation for a smaller stature. Both pianists took advantage of low inertial left shoulder internal rotation and adduction to accommodate large leaps in the music. For the right arm, motor strategizing was confounded by rests in the music. These two cases illustrated, in principle, that expert pianists’ individualized motor behaviors can be explained as compensatory efforts to accommodate both musical goals and anthropometric constraints. Motor learning among piano students can benefit from systematic attention to motor strategies that consider both of these factors.