Fundamentos biomecânicos da postura e suas implicações na performance da flauta

Abstract

Resumo: O estudo sistemático de um instrumento musical não é uma tarefa simples e implica numa demanda física e emocional difícil de imaginar por quem não se dedica a essa atividade. Pesquisadores reconhecem que tal demanda afeta significativamente a carreira do músico instrumentista e pesquisas importantes têm sido conduzidas sobre este assunto. Diante deste contexto, este artigo apresenta um estudo dos fundamentos da biomecânica da postura e suas implicações na performance da flauta. A partir da conceituação da postura normal, considerando o centro de gravidade corporal, a musculatura da estática e a postura normal em pé e sentada, foram elencados os aspectos fundamentais da biomecânica da postura na performance da flauta e as alterações posturais inerentes à sua performance. A conclusão do artigo é que se essas alterações posturais, próprias da performance, não forem conscientizadas pelo flautista, a qualidade da execução e a longevidade de sua carreira poderão ficar seriamente comprometidas. Palavras-chave:Música e biomecânica; postura; flauta; performance; saúde do músico.The fundamentals of posture's biomechanics and their implications on the performance of the flute Abstract: The systematic practice of a musical instrument is not a simple issue and involves physical and emotional demands which are difficult to understand by those who are not engaged with this activity. Researchers recognize that such demand may significantly affect the musician's career. Important studies have been conducted on this subject. Given this context, this paper presents a study of the fundamentals of the posture's biomechanics and their implications on the performance of the flute. From the concept of normal posture (gravity of body center, the static muscle, and the normal posture -standing and seated), the fundamental aspects of the posture's biomechanics during flute's performance, and the inherent postural changes in this performance were considered. Results show that if the flutists unaware of the inherent postural changes during the flute's performance, may have the quality of his performance and the longevity of his career seriously compromised.

Prevalence of temporomandibular joint disorders and neck pain in musicians: a sytematic review

“…Furthermore, there are the trunk, arms, hands and lower limbs positioning and maintenance of a postural balance while holding the instrument during a performance (35,36). These anti-physiologic postures are necessary for the instrumental technique, however, these postural arrangements lead to muscle fatigue and, later, to the emergence of acute injuries which may become chronic, what corroborates the findings of this study (38).…”

“…Another referenced point in literature is the right hand thumb that will press the flute in the opposite direction from the first point of support. These two forces have the function of balancing the instrument when the instrument is positioned between the flutist chin and the lower lip which favors an isometric trapezoidal region and upper limbs establishing the emergence of pains found in this study (36).…”

“…Through various nozzles, which is the position of the lips in a specific way to direct the air column against the nozzle, for producing bass, middle and treble, as well as control of pitch and vibrato, directly influences the complex work of the temporomandibular joint and may cause TMJD as found in this study (36).…”

“…Authors state that the flute support, for example, is performed by a support point at the proximal phalange of the left hand index finger which presses the flute against the chin at the height of the piper lower lip (36). Another referenced point in literature is the right hand thumb that will press the flute in the opposite direction from the first point of support.…”

“…These postures can contribute to the emergence of chronic misalignment, disturbance of the static, joint rigidities, compressions, muscle weakness and changes in fascias, contributing to the emergence of pain (36). Associated with this, the frequency of instrumental practice and the profession time also that have been directly related to the musculoskeletal complaints in such instrumentalist (40,41).…”