Time history of upper-limb muscle activity during isolated piano keystrokes

Degrave, Valentin; Verdugo, Felipe; Pelletier, Justine; Traube, Caroline; Begon, Mickaël

doi:10.1016/j.jelekin.2020.102459

Cited by 11 publications

(13 citation statements)

References 37 publications

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“…Detailed data related to the %MVC of the trapezius during piano performance are limitedly presented in peer-reviewed journals. 23,32,33 Yoshie et al ( 2009) 32 asked 18 highly trained pianists to perform, for around 6.5 minutes on an acoustic grand piano, a solo piece of their choice requiring considerable playing skills. Participants attended a practice and competition session on two separate days.…”

Section: Discussion Amplitude Magnitude Componentmentioning

confidence: 99%

“…7,8,[9][10][11][12][13][14][15][16][17] The biomechanical factors that influence the physiological load on the muscles during piano playing have not been fully addressed. [18][19][20][21][22][23][24][25][26] To the best of our knowledge, only a limited number of studies on piano performance have included an EMG analysis with a tendency to concentrate on the forearm muscles. 19,21,[26][27][28][29][30][31][32][33] The long durations of repetitive piano practice in unnatural static postures can cause trigger points in the upper trapezius (UT) up to a condition of trapezius myalgia and cervicalgia.…”

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confidence: 99%

“…The activity of the upper trapezius has been assessed in two experimental contexts. 23,32,33 In the study of Degrave et al (2020), 23 the pianists were asked to perform 4 series of 40 isolated key strokes. In the studies of Yoshie et al, 32,33 pianists were asked to perform from memory a solo score of their choice for a duration around 6.5 minutes requiring considerable technical playing skills in a rehearsal or competition context.…”

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confidence: 99%

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Effects of Rehearsal Time and Repertoire Speed on Upper Trapezius Activity in Conservatory Piano Students

Baeyens¹,

Díez²,

Serrien³

et al. 2022

Medical Problems of Performing Artists

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BACKGROUND: Repetitive piano play may overload neck and shoulder muscles and tendons, leading to playing-related musculoskeletal disorders (PRMDs). METHODS: In this pilot study (EMG data of the extensor carpi radialis have been published separately), surface electromyography (sEMG) activity of the upper trapezius (UT) was captured in 10 conservatory piano students while playing a fast and a slow music score selected from the individual’s repertoire, each 3 minutes long. Measurements were made at baseline and again after 2 hrs and 4 hrs of rehearsal time of the piano études. The amplitude of the sEMG signal was processed by a smoothing algorithm, and the frequency component with a non-orthogonal wavelets procedure. Amplitude of the sEMG was expressed in percent of maximal voluntary contraction (%MVC) at baseline, and the frequency component using median frequency based on the frequency band powers. Statistical analysis encompassed repeated measures ANOVAs for the amplitude and frequency components of the sEMG signal (set at 5%). The students also rated the intensity of rehearsals using a visual analog scale (VAS). RESULTS: The median values for the %MVC presented a global mean for the left trapezius of 5.86 (CI90% 4.71, 6.97) and 5.83 for the right trapezius (CI90% 4.64, 7.05). The rehearsals at moderate intensity increased the amplitude of %MVC of the upper trapezius by around 50% and decreased the median frequency. CONCLUSIONS: Playing faster presented higher magnitudes of activity of the upper trapezius. The decrease in the median frequency in response to long rehearsals may be a sign of muscle fatigue.

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Section: Discussion Amplitude Magnitude Componentmentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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Effects of Rehearsal Time and Repertoire Speed on Upper Trapezius Activity in Conservatory Piano Students

Baeyens¹,

Díez²,

Serrien³

et al. 2022

Medical Problems of Performing Artists

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“…Previous studies of the comparison of keystrokes by professional pianists and novice pianists have shown that the control and organization of complex multi-joint motor action are influenced by long-term extensive training from an early age [74,[78][79][80][81][82][83]. Professional pianists work to reduce muscle load and achieve the physiological efficiency of fatigue-prone muscle by using more proximal joints and gravity, inter-segment, and reaction forces than novice piano players [43,84,85]. In addition, professional pianists have a smaller increase in co-activation of hand and finger muscles than amateurs and less stiffness with tempo, and the use of elbow motions allow fingertipkey contact with low stiffness across a wide range of tempi [74,86].…”

Section: Plos Onementioning

confidence: 99%

Quantitative analysis of piano performance proficiency focusing on difference between hands

et al. 2021

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Quantitative evaluation of piano performance is of interests in many fields, including music education and computational performance rendering. Previous studies utilized features extracted from audio or musical instrument digital interface (MIDI) files but did not address the difference between hands (DBH), which might be an important aspect of high-quality performance. Therefore, we investigated DBH as an important factor determining performance proficiency. To this end, 34 experts and 34 amateurs were recruited to play two excerpts on a Yamaha Disklavier. Each performance was recorded in MIDI, and handcrafted features were extracted separately for the right hand (RH) and left hand (LH). These were conventional MIDI features representing temporal and dynamic attributes of each note and computed as absolute values (e. g., MIDI velocity) or ratios between performance and corresponding scores (e. g., ratio of duration or inter-onset interval (IOI)). These note-based features were rearranged into additional features representing DBH by simple subtraction between features of both hands. Statistical analyses showed that DBH was more significant in experts than in amateurs across features. Regarding temporal features, experts pressed keys longer and faster with the RH than did amateurs. Regarding dynamic features, RH exhibited both greater values and a smoother change along melodic intonations in experts that in amateurs. Further experiments using principal component analysis (PCA) and support vector machine (SVM) verified that hand-difference features can successfully differentiate experts from amateurs according to performance proficiency. Moreover, existing note-based raw feature values (Basic features) and DBH features were tested repeatedly via 10-fold cross-validation, suggesting that adding DBH features to Basic features improved F1 scores to 93.6% (by 3.5%) over Basic features. Our results suggest that differently controlling both hands simultaneously is an important skill for pianists; therefore, DBH features should be considered in the quantitative evaluation of piano performance.

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“…For improving piano performance, most biomechanical and motor behavior research to date has employed protocols that emphasize reductionistic keystroke exercises ( Furuya & Kinoshita, 2008 ; Degrave et al., 2020 ; Oku & Furuya, 2017 ; Verdugo et al., 2020 ). Some have used scales, which are mechanical exercises designed to develop a pianist’s technique ( Ferrario et al., 2007 ; van Vugt et al., 2012 , 2014 ).…”

Section: Introductionmentioning

confidence: 99%

Pursuing Artful Movement Science in Music Performance: Single Subject Motor Analysis With Two Elite Pianists

et al. 2021

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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.

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Time history of upper-limb muscle activity during isolated piano keystrokes

Cited by 11 publications

References 37 publications

Effects of Rehearsal Time and Repertoire Speed on Upper Trapezius Activity in Conservatory Piano Students

Effects of Rehearsal Time and Repertoire Speed on Upper Trapezius Activity in Conservatory Piano Students

Quantitative analysis of piano performance proficiency focusing on difference between hands

Pursuing Artful Movement Science in Music Performance: Single Subject Motor Analysis With Two Elite Pianists

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