Academic literature on the topic 'Pianist posture'

We present research for automatic assessment of pianist hand posture that is intended to help beginning piano students improve their piano-playing technique during practice sessions. To automatically assess a student's hand posture, we propose a system that is able to recognize three categories of postures from a single depth map containing a pianist's hands during performance. This is achieved through a computer vision pipeline that uses machine learning on the depth maps for both hand segmentation and detection of hand posture. First, we segment the left and right hands from the scene captured in the depth map using per-pixel classification. To train the hand-segmentation models, we experiment with two feature descriptors, depth image features and depth context features, that describe the context of individual pixels' neighborhoods. After the hands have been segmented from the depth map, a posture-detection model classifies each hand as one of three possible posture categories: correct posture, low wrists, or flat hands. Two methods are tested for extracting descriptors from the segmented hands, histograms of oriented gradients and histograms of normal vectors. To account for variation in hand size and practice space, detection models are individually built for each student using support vector machines with the extracted descriptors. We validate this approach using a data set that was collected by recording four beginning piano students while performing standard practice exercises. The results presented in this article show the effectiveness of this approach, with depth context features and histograms of normal vectors performing the best.

This study proposes a method to reduce the playing-related musculoskeletal disorders (PRMDs) that often occur among pianists. Specifically, we propose a feasibility test that evaluates several state-of-the-art deep learning algorithms to prevent injuries of pianist. For this, we propose (1) a C3P dataset including various piano playing postures and show (2) the application of four learning algorithms, which demonstrated their superiority in video classification, to the proposed C3P datasets. To our knowledge, this is the first study that attempted to apply the deep learning paradigm to reduce the PRMDs in pianist. The experimental results demonstrated that the classification accuracy is 80% on average, indicating that the proposed hypothesis about the effectiveness of the deep learning algorithms to prevent injuries of pianist is true.

Playing the piano in the correct position is important because the correct position helps to produce good sound and prevents injuries. Many studies have been conducted in the field of piano playing posture recognition that combines various techniques. Most of these techniques are based on analyzing visual information. However, in the piano education field, it is essential to utilize audio information in addition to visual information due to the deep relationship between posture and sound. In this paper, we propose an audio-visual tensor fusion network (simply, AV-TFN) for piano performance posture classification. Unlike existing studies that used only visual information, the proposed method uses audio information to improve the accuracy in classifying the postures of professional and amateur pianists. For this, we first introduce a dataset called C3Pap (Classic piano performance postures of amateur and professionals) that contains actual piano performance videos in diverse environments. Furthermore, we propose a data structure that represents audio-visual information. The proposed data structure represents audio information on the color scale and visual information on the black and white scale for representing relativeness between them. We call this data structure an audio-visual tensor. Finally, we compare the performance of the proposed method with state-of-the-art approaches: VN (Visual Network), AN (Audio Network), AVN (Audio-Visual Network) with concatenation and attention techniques. The experiment results demonstrate that AV-TFN outperforms existing studies and, thus, can be effectively used in the classification of piano playing postures.

AIMS: Although the significance of upper-body posture in relation to piano performance has often been highlighted, the role of experience remains unclear. The aim of this study was to examine selected upper body posture parameters in adolescent piano students of different performance level (beginners vs advanced). METHODS: Thirteen (13) adolescent piano students (14.7±0.5 yrs; 7 beginners and 6 advanced) volunteered. They all performed two specific major scales (G-major and E-major) in five octaves in two predetermined different tempi (slow and fast). An upper body biomechanical model consisting of 27 reflective markers was applied on specific bony landmarks. A 10-T camera Vicon system running Nexus 2 was employed to capture upper body motion—-a) sway of the trunk in relation to the instrument, b) finger/hand sway over the keyboard, c) overall hand movement, and d) spinal angles—-at selected moments of four different performances. RESULTS: Beginners demonstrated more trunk sway than their advanced counterparts (p<0.05), more finger/hand sway (p<0.05), more overall hand movement (p<0.05), and more flexed spinal angles at the start of their performance (p<0.05). Most of these differences appeared in the G-fast performances, whereas the G-slow equivalents revealed no differences. CONCLUSION: Less-experienced piano players are characterized by more movement in their trunk posture and more upper limb activity than their more advanced colleagues. Future research should examine whether interventional programs designed to alter upper-body posture would have beneficial effects in piano performance.

BACKGROUND: Professional musical performance requires static postures and repetitive movements that may cause musculoskeletal problems in performers. Elite pianists are especially at risk for these disorders, which may cause discomfort but also affect their work. The objective of this study was to describe the most frequent musculoskeletal problems observed in pianists, and to explore the influence of these disorders on their professional activities from the perspective of the pianists themselves. METHODS: Musculoskeletal problems were defined in accordance with the International Classification of Diseases (ICD-10), and an analysis was conducted of medical records of 183 professional pianists held by a performing arts clinic (Terrassa, Spain). In addition, in-depth interviews were conducted with 20 pianists (6 students, 12 teachers, and 2 performers), followed by content analysis of the transcripts to explore musicians’ perceptions. RESULTS: We identified a total of 20 different problems, which principally involved the upper body (arms and back). Regardless of occupation or age, all respondents reported having musculoskeletal problems and that these impacted on their professional activity. Interviewees also identified a lack of support or advice on how to prevent these problems. CONCLUSION: Musculoskeletal problems, principally those involving the upper body, are very common among pianists and affect their professional activity. It is necessary to include risk prevention information starting in the early stages of musicians’ training programs.

Musicians are at risk of playing-related musculoskeletal disorders (PRMD) with incidence ranging from approximately 30% to 90% in the shoulder-arm-hand region and within the spine. Pianists are one of the high risk groups of PRMD due to the nature of playing posture and practice habits. The number of pianists in Malaysia has increased significantly due to the growth of music programmes in tertiary institutions. Although extensive research has been carried out into PRMD for decades, investigation of PRMD among pianists in Malaysia is very limited. This paper aimed to identify the extent of PRMD occurring among classical piano students in tertiary institutions in Malaysia. A survey was conducted and 192 set of data collected through administration of a questionnaire. Results showed that 35.8% (68) students reported having PRMD, of whom 17.6% were male (12) and 82.4% (56) were female. There is a great necessity to introduce ways to prevent PRMD which was reported at various levels among classical piano students. Keywords: Playing-related musculoskeletal disorders, classical piano students, music

Este trabalho apresenta a genuína iniciativa da pianista Beatriz Balzi (1936-2001) para enriquecer o repertório pianístico do século XX com escolhas alternativas. Entre 1984 e 2000, a intérprete argentino- brasileira produziu uma série de sete CDs, exemplificando 13 países da América Latina através de 54 gravações por ela realizadas. Ciente do desconhecimento do público acerca desta música, então pouco divulgada pela mídia ocidental, Balzi adota uma postura pedagógica na organização de tais composições em seus CDs, como mostramos neste artigo.

Complex human behavior is hierarchically organized. Whether or not syntax plays a role in this organization is currently under debate. The present ERP study uses piano performance to isolate syntactic operations in action planning and to demonstrate their priority over nonsyntactic levels of movement selection. Expert pianists were asked to execute chord progressions on a mute keyboard by copying the posture of a performing model hand shown in sequences of photos. We manipulated the final chord of each sequence in terms of Syntax (congruent/incongruent keys) and Manner (conventional/unconventional fingering), as well as the strength of its predictability by varying the length of the Context (five-chord/two-chord progressions). The production of syntactically incongruent compared to congruent chords showed a response delay that was larger in the long compared to the short context. This behavioral effect was accompanied by a centroparietal negativity in the long but not in the short context, suggesting that a syntax-based motor plan was prepared ahead. Conversely, the execution of the unconventional manner was not delayed as a function of Context and elicited an opposite electrophysiological pattern (a posterior positivity). The current data support the hypothesis that motor plans operate at the level of musical syntax and are incrementally translated to lower levels of movement selection.

La présente étude porte sur la réception des 24 Préludes de François Dompierre créés par Alain Lefèvre le 14 juillet 2012 à l’Amphithéâtre Fernand-Lindsay du Festival de Lanaudière. La soirée, placée sous le signe de la découverte d’une nouvelle oeuvre et de la célébration de la création québécoise, a été perturbée en première partie de concert par les applaudissements d’une partie du public, lequel répondait positivement à la virtuosité du pianiste entre chaque prélude. Les responsables du festival avaient pourtant demandé d’applaudir uniquement entre les parties, donc à l’entracte et en fin de concert. Dès lors, l’une des conventions les plus solidement établies dans l’écoute de la musique classique en concert (c’est-à-dire le fait d’applaudir une fois l’oeuvre terminée) est devenue, d’un prélude à l’autre, la source d’une tension sociale au sein du public entre ceux qui voulaient applaudir et ceux qui revendiquaient le droit au silence. Finalement, le silence fut rétabli à partir du huitième prélude, mais au prix d’un recours à l’autorité qu’il importe de décrire avec précision pour en comprendre les incidences sur le concert, la portée culturelle et la dimension historique. Par le fait même, c’est la pratique d’écoute en concert qui est questionnée quant à ses finalités esthétiques. D’autant que dans le contexte festivalier où a été créée l’oeuvre de Dompierre, la posture générale d’écoute favorise une situation plus relâchée, où peuvent intervenir des formes de dissension entre les valeurs des uns et des autres. C’est la raison pour laquelle l’étude s’appuie sur la sociomusicologie, qui est la discipline la mieux placée pour analyser les conventions et les rituels au fondement de notre relation à la musique, tout en dévoilant le contenu historique des pratiques culturelles comme celle de l’écoute de la musique classique.

A healthy posture protects the body-supporting functions and prevents injuries by maintaining balance. Literature in performing arts medicine suggests that posture is an important component to prevent piano-playing related injuries. However, no known research studies have quantified, characterized, and compared pianists' sitting postures. The purpose of this study was to explore the relationship between playing postures and perceived pain among pianists. This study applied innovative approach using qualitative and quantitative methods, combined with three-dimensional motion captured technology. To examine risk factors related pianists' postures, three-dimensional motion-capture cameras recorded approximate 40 pianists' postures in various situations; data recordings were combined with a statistical method to investigate pain-posture correlations. Results reveal that the degrees of head-neck or body tilt angles are the tendency of risk factors for piano-playing related pain. Results from this study may have multiple practical implications among which are: (1) a risk factor pain, injury index, or indicator (2) a performance habits profile and (3) practice guide to prevention of piano-playing related musculoskeletal disorders.

The Feldenkrais Method of somatic education has become popular with pianists for improving ease of motion and musculoskeletal health. This thesis contains three studies investigating motion-tracking technologies as means to objectively assess the impact of Feldenkrais training on pianist posture. The first study investigates the accuracy and reliability of Dartfish 2D motion tracking software. Results indicate that Dartfish tracking error is within +/- 0.25 centimeters. The second study uses Dartfish to track head, shoulder, and spine positions of 15 pianists during performance before and after receiving a Feldenkrais Functional Integration Lesson. Comparisons of pre- and post-test measurements indicate no group trends in posture change. However, intriguing changes to movement quality in the head and torso were observable for two participants. The third study compares tracking quality of Dartfish and the Microsoft Kinect for the head, shoulders, and arms of four pianists attending a weeklong Feldenkrais workshop. Results reveal frequent tracking errors with the Kinect sensor, making it unsuitable to measure the impact of somatic training on pianist posture.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation looks at the results of an investigation of piano performance (the author's, who is also the research subject) under the light of a dialogue between performance and Ergonomics, applied to the practice of pieces asking for extended techniques. In order to optimize musical and instrumental performance, the dissertation intends to investigate the applicability of ergonomical axioms to the performer's postural behavior in three specific situations during extended techniquepractice. The piano repertoire chosen for study was: Twin Suns, from the set Makrokosmos II, by George Crumb (b. 1929); Aeolian Harp by Henry Cowell (1987- 1965); and Profiles to A, from Vox Victimae, by Didier Guigue (b. 1954), and the practice procedure utilized by the author for these pieces was described. From the same repertoire, three specific situations of instrumental performance containing extended technique were chosen, more specifically string piano technique, in order to discuss them from an ergonomical perspective. Different possibilities for technical and postural situations, as found during practice in two pianos of different models and brands, were investigated. Ergonomics is an interdisciplinary area which deals with the relationship between work and man; it cherishes, first of all, his health and comfort, in order to optimize a given activity and diminish its damaging effects. This research is the result of theoretical reflections which were originated by practice, and the main focus was on physical Ergonomics, which deals with anatomical and postural aspects. In the discussion of the technical-instrumental procedures, a subjective method for the optimization of work was used. Having applied ergonomical concepts to the practice and performance of extended technique pieces, this research and its results may guide similar piano performance situations and eventually be applied or adapted by other pianists in search of optimal solution to their problems, according to their individual physical particularities
Esta dissertação reflete os resultados de uma investigação sobre a prática pianística, neste caso da autora e sujeito da pesquisa, realizada sob a perspectiva de pressupostos da técnica pianística em diálogo com abordagens da ergonomia aplicadas ao estudo de obras com técnicas expandidas. Visando a otimização do desempenho músico-instrumental, objetiva investigar sobre a aplicabilidade de pressupostos ergonômicos a partir do comportamento postural em três situações específicas de estudo envolvendo técnicas expandidas. As peças do repertório pianístico selecionadas para o estudo foram: Twin Suns do caderno Makrokosmos II de George Crumb (1929), Aeolian Harp de Henry Cowell (1897- 1965) e Profiles to A de Vox Victimae- de Didier Guigue (1954), sobre a quais foi realizada uma descrição dos processos de estudo utilizados pela autora. Do mesmo repertório foram selecionadas três situações específicas de execução instrumental contendo técnicas expandidas, mais especificamente string piano, para serem discutidas sob o ponto de vista da ergonomia. Foram investigadas possíveis variedades de situações técnicas e posturais encontradas durante a prática pianística quando da utilização de dois pianos de marca e modelos diferentes. A ergonomia é uma área interdisciplinar que trata da relação entre o trabalho e o homem; preza, em primeiro lugar, pela sua saúde e conforto, visando a diminuição de efeitos nocivos e a otimização da atividade realizada. Esta pesquisa é fruto de indagações surgidas em decorrência de uma prática e a ênfase foi pelo domínio da ergonomia que trata, sobretudo, de aspectos anatômico-posturais. Para a discussão de procedimentos técnicopianísticos foi utilizado o método subjetivo de otimização do trabalho. Tendo sido elencadas contribuições da ergonomia ao estudo e desempenho de peças que contêm tais técnicas, os resultados desta pesquisa poderão servir de orientação para a prática de situações de execução pianística equivalentes àquelas apresentadas e, oportunamente, poderão ser aproveitados, ou adaptados, por pianistas, sempre de acordo com suas características físicas individuais, em busca de solução ótima a problemas

Mestrado em Ensino de Música
O presente projeto educativo consiste na recolha, estudo e implementação de estratégias de correção postural e qualidade do movimento na performance num conjunto de sessões individuais feito com quatro alunos de piano do Conservatório de Música de Cascais. No início de cada sessão foi gravado um momento performativo, avaliado em matriz própria, que serviu para monitorizar o progresso de cada aluno e para orientar a planificação específica de cada aula, garantindo um acompanhamento individualizado. De forma a recolher dados relativos à consciência e à incidência de problemas médicos em músicos profissionais em Portugal, e assim averiguar a pertinência da implementação de medidas de prevenção em escolas de música, foi feita uma sondagem a nível nacional com a adaptação de um questionário de música e saúde preexistente.
The present educative project consists on the gathering, study and implementation of strategies of postural training and improvement of quality of movement in the performance on a set of individual sessions done with four piano students of the Music Conservatoire of Cascais. At the beginning of each session a performative moment was recorded and evaluated on a proper matrix, in order to monitor the progress of each student and to guide the specific planning of each session, therefore guaranteeing an individualized accompaniment. In order to gather data about the awareness and incidence of medical problems in professional musicians in Portugal, and therefore to access the pertinence of implementing preventive measure in music schools, a national survey has been done with an adapted pre-existing music and health questionnaire.

Mestrado em Ensino de Música
A opção por uma carreira na área da Música resulta de um processo complexo que envolve factores intrínsecos e extrínsecos ao indivíduo. Os hábitos de estudo estão relacionados com este processo na medida em que a prática deliberada e optimizada do instrumento é essencial para uma actividade musical de sucesso. No entanto, a adopção de hábitos de estudo incorrectos do ponto de vista ergonómico constitui um factor de risco para o desenvolvimento de patologias músculo-esqueléticas. Estas podem chegar a ser suficientemente graves para serem impeditivas de uma carreira musical. Assim, este estudo tem como objectivo principal compreender de que forma a escolha de uma carreira em música é ou não afectada pelos hábitos de estudo e pela presença de sintomas de dor associada à prática musical. Foi elaborado um inquérito com questões relacionadas com: escolha de carreira musical; prática instrumental; ansiedade na performance; adaptação do Nordic Questionnaire; traços de personalidade; auto-conceito; auto-eficácia; informações pessoais. Este foi distribuído a alunos de piano do 8º grau do conservatório e do último ano da licenciatura em música. Da análise multivariada dos dados infere-se que hábitos de estudo resultantes de estratégias metacognitivas de conhecimento influenciam positivamente a escolha de uma carreira musical. A maioria dos inquiridos (n=21; 65,6%) reportou desconfortos músculo-esqueléticos associados à prática instrumental; no entanto, apesar dos resultados sugerirem uma relação entre hábitos de estudo incorrectos e presença de desconfortos músculo-esqueléticos, estes últimos não parecem influenciar a escolha de uma carreira musical. Pelo contrário, 46,875% (n=15) dos inquiridos que pretendiam prosseguir os estudos na área apresentavam sintomatologia de dor. Estes resultados apontam para a necessidade de intervenções pedagógicas que apostem na prevenção da dor e na implementação de estratégias de estudo promotoras de saúde e bem-estar nos estudantes de ensino em música, na fase crucial do desenvolvimento das suas competências musicais, i.e. passagem do ensino secundário para o superior.
The choice to pursue a music career results from a complex process that involves intrinsic and extrinsic factors to the musician. Practice habits are connected to this process since deliberate and optimized practice is essential to a successful musical activity. However, the use of ergonomically incorrect practice habits constitue a risk factor for the development of musculoskeletal disorders. These can become severe enough to impair a career in music. Thus, this study aims to understand the extent to which the choice of a career in music is affected by studying habits and the presence/absence of pain associated with musical practice. A questionnaire was designed which included questions related to: music career choice; instrumental practice; performance anxiety; an adaptation of the Nordic Questionnaire; personality traits; self-concept; self-efficacy; personal information. The questionnaire was sent to conservatoire 8th grade piano students and piano major finalists. Multivariate analysis suggested that study habits resulting from metacognitive knowledge strategies positively influence the choice of a musical career. The majority of participants (n=21; 65.6%) reported playing-related musculoskeletal discomforts. Thus, although the data suggests a correlation between incorrect study habits and musculoskeletal discomforts, the latter does not seem to influence the choice of a musical career. In fact, 46.875% (n=15) of the participants had the intention of continuing their studies in music despite presenting playing-related pain. These results emphasize the need for educational interventions focusing on playing-related pain prevention as well as the implementation of practice strategies which promote music students’ health and well-being at early stages of their performance development skills.