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Analysis of wrist flexion and extens...

Cardinal, Gustavo Daniel.

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Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives./
Author:	Cardinal, Gustavo Daniel.
Description:	383 p.
Notes:	Source: Dissertation Abstracts International, Volume: 71-01, Section: A, page: 0019.
Contained By:	Dissertation Abstracts International71-01A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3389844
ISBN:	9781109569261

Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives.
Cardinal, Gustavo Daniel.

Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives. - 383 p.

Source: Dissertation Abstracts International, Volume: 71-01, Section: A, page: 0019.

Thesis (D.M.E.)--Indiana University, 2009.

The purpose of this study was to examine how expert pianists use wrist flexion and extension (F/E) motions during various representative musical tasks (e.g., trills, octaves, passage work, chords, single vs. double notes), and to evaluate contrasting pedagogical information and practices concerning wrist position and motion. Differences in wrist position between female and male pianists and pianists with different hand spans (i.e., thumb -- little-finger span) were investigated. Potential relationships between wrist F/E motions and a set of anthropometrical variables (right hand and arm measurements) were also explored. The participants were college-level pianists with no concurrent performance-related medical problems ( N = 32). By means of computer analysis of motion (digitally tracked markers placed on the hand and forearm), this study obtained quantitative data of wrist F/E (right hand) during the performance of six short musical tasks (three trials each). These tasks were standardized across participants in terms of tempo, general dynamic level and articulation. In contrast to most previous literature, the performance tasks in this study were designed and segmented (into 30 parts: 20 tasks and 10 subtasks) to focus on specific musical and biomechanical constraints. The participants were selected to form four different groups according to sex and hand span. To this end, and to explore other anthropometrical variables, upper-limb profiles were also obtained from a larger number of participants in a preliminary phase of the study (Phase I) (N = 53). The 27 measurements collected in this first phase included selected linear measurements and ranges of motion from the right upper-limb. Three angular dimensions were collected from the hand in the position of rest (arm relaxed hanging at the side of the body). The anthropometrical measurements obtained replicated in general the findings from previous literature. The measurement of wrist angle in rest position indicated that all 53 pianists exhibited degrees of dorsiflexion (i.e., main knuckles higher than the forearm). The results of the motion analysis phase (Phase II) indicated that wrist F/E motion varied with the musical task performed. With the exception of large hand stretches (e.g., octaves), all other tasks (e.g., passage work, a scale, trills, trill-like figures) were performed mostly in degrees of dorsiflexion (a relatively "low wrist"). Females played these tasks with more dorsiflexion than males, indicating a general difference between sexes in the use of fine motor skills (a finding not previously recorded in the music performance research literature). As intervals required more hand stretch, higher wrist positions were observed. Only the largest intervals tested (i.e., octaves and an extended chord) were performed mostly in volarflexion (i.e., with a relatively "high wrist"). Other patterns of wrist motion were observed: for larger hand stretches (i.e., fifths and octaves) (mostly performed with wrist/forearm/arm motions), wrist positions varied according to the position of these intervals in the context of previous motions; the "topography" of the passage also affected wrist position. Hand span did not show any significant effect on wrist angle. Several relationships were found between various anthropometrical measurements and wrist F/E motions/positions. As observed with wrist motion patterns, these associations also varied according to task constraints. This study obtained relevant information on an important technical aspect of piano playing. Implications for piano performance, pedagogy, and performance-related medical problems are discussed.

ISBN: 9781109569261Subjects--Topical Terms:

516178
Music.

Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives.
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100 1 $a Cardinal, Gustavo Daniel. $3 1671503
245 1 0 $a Analysis of wrist flexion and extension in piano performance: Biomechanical and anthropometrical perspectives.
300 $a 383 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-01, Section: A, page: 0019.
500 $a Advisers: Charles P. Schmidt; John B. Shea.
502 $a Thesis (D.M.E.)--Indiana University, 2009.
520 $a The purpose of this study was to examine how expert pianists use wrist flexion and extension (F/E) motions during various representative musical tasks (e.g., trills, octaves, passage work, chords, single vs. double notes), and to evaluate contrasting pedagogical information and practices concerning wrist position and motion. Differences in wrist position between female and male pianists and pianists with different hand spans (i.e., thumb -- little-finger span) were investigated. Potential relationships between wrist F/E motions and a set of anthropometrical variables (right hand and arm measurements) were also explored. The participants were college-level pianists with no concurrent performance-related medical problems ( N = 32). By means of computer analysis of motion (digitally tracked markers placed on the hand and forearm), this study obtained quantitative data of wrist F/E (right hand) during the performance of six short musical tasks (three trials each). These tasks were standardized across participants in terms of tempo, general dynamic level and articulation. In contrast to most previous literature, the performance tasks in this study were designed and segmented (into 30 parts: 20 tasks and 10 subtasks) to focus on specific musical and biomechanical constraints. The participants were selected to form four different groups according to sex and hand span. To this end, and to explore other anthropometrical variables, upper-limb profiles were also obtained from a larger number of participants in a preliminary phase of the study (Phase I) (N = 53). The 27 measurements collected in this first phase included selected linear measurements and ranges of motion from the right upper-limb. Three angular dimensions were collected from the hand in the position of rest (arm relaxed hanging at the side of the body). The anthropometrical measurements obtained replicated in general the findings from previous literature. The measurement of wrist angle in rest position indicated that all 53 pianists exhibited degrees of dorsiflexion (i.e., main knuckles higher than the forearm). The results of the motion analysis phase (Phase II) indicated that wrist F/E motion varied with the musical task performed. With the exception of large hand stretches (e.g., octaves), all other tasks (e.g., passage work, a scale, trills, trill-like figures) were performed mostly in degrees of dorsiflexion (a relatively "low wrist"). Females played these tasks with more dorsiflexion than males, indicating a general difference between sexes in the use of fine motor skills (a finding not previously recorded in the music performance research literature). As intervals required more hand stretch, higher wrist positions were observed. Only the largest intervals tested (i.e., octaves and an extended chord) were performed mostly in volarflexion (i.e., with a relatively "high wrist"). Other patterns of wrist motion were observed: for larger hand stretches (i.e., fifths and octaves) (mostly performed with wrist/forearm/arm motions), wrist positions varied according to the position of these intervals in the context of previous motions; the "topography" of the passage also affected wrist position. Hand span did not show any significant effect on wrist angle. Several relationships were found between various anthropometrical measurements and wrist F/E motions/positions. As observed with wrist motion patterns, these associations also varied according to task constraints. This study obtained relevant information on an important technical aspect of piano playing. Implications for piano performance, pedagogy, and performance-related medical problems are discussed.
590 $a School code: 0093.
650 4 $a Music. $3 516178
650 4 $a Education, Music. $3 1017808
650 4 $a Performing Arts. $3 896022
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710 2 $a Indiana University. $b Music. $3 1278022
773 0 $t Dissertation Abstracts International $g 71-01A.
790 1 0 $a Schmidt, Charles P., $e advisor
790 1 0 $a Shea, John B., $e advisor
790 1 0 $a Madura Ward-Steinman, Patrice $e committee member
790 1 0 $a May, Lissa F. $e committee member
790 $a 0093
791 $a D.M.E.
792 $a 2009
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3389844