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Relevant bibliographies by topics / Piano – Physiologie

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Journal articles

Academic literature on the topic 'Piano – Physiologie'

Author: Grafiati

Published: 5 March 2024

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Journal articles on the topic "Piano – Physiologie"

1

Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.

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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correl

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2

Tworko, Paulina. "Fizjologia i ergonomia gry na fortepianie." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–54. http://dx.doi.org/10.4467/23537094kmmuj.20.025.13211.

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Ergonomics and Physiology of Piano Playing Much has been said about performance, styles and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer is much more complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to “feel” the key and certain physical strength which is directly related to the technique we use.

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3

Probst, Stephanie. "From Machine to Musical Instrument." Journal of Musicology 38, no. 3 (2021): 329–63. http://dx.doi.org/10.1525/jm.2021.38.3.329.

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Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical cap

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4

Pascual-Leone, A., D. Nguyet, L. G. Cohen, J. P. Brasil-Neto, A. Cammarota, and M. Hallett. "Modulation of muscle responses evoked by transcranial magnetic stimulation during the acquisition of new fine motor skills." Journal of Neurophysiology 74, no. 3 (1995): 1037–45. http://dx.doi.org/10.1152/jn.1995.74.3.1037.

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1. We used transcranial magnetic stimulation (TMS) to study the role of plastic changes of the human motor system in the acquisition of new fine motor skills. We mapped the cortical motor areas targeting the contralateral long finger flexor and extensor muscles in subjects learning a one-handed, five-finger exercise on the piano. In a second experiment, we studied the different effects of mental and physical practice of the same five-finger exercise on the modulation of the cortical motor areas targeting muscles involved in the task. 2. Over the course of 5 days, as subjects learned the one-ha

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5

Ferrario, Virgilio F., Chiara Macrì, Emilia Biffi, Paolo Pollice, and Chiarella Sforza. "Three-Dimensional Analysis of Hand and Finger Movements during Piano Playing." Medical Problems of Performing Artists 22, no. 1 (2007): 18–23. http://dx.doi.org/10.21091/mppa.2007.1004.

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The movements required for piano playing usually involve low impact loads that do not exceed physiologic limits of human body, but their repetition may provoke microtrauma leading to overuse injuries. Experience may allow a pianist to modify the motor patterns used for a performance, allowing the highest accuracy with minimum effort. In the present study, hand and finger movement patterns were analyzed in 19 pianists (8 concert players, 11 students and teachers) while they played 16 measures of a minuet. The threedimensional coordinates of their right hand and fingers were obtained by a motion

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6

Tseng, Yu-Ting, Chia-Liang Tsai, and Fu-Chen Chen. "Wrist proprioceptive acuity is linked to fine motor function in children undergoing piano training." Journal of Neurophysiology 124, no. 6 (2020): 2052–59. http://dx.doi.org/10.1152/jn.00282.2020.

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We document that improved proprioceptive acuity is a common feature in young pianists. This proprioceptive improvement is associated with both proprioceptive processing and proprioceptive-motor integration. Higher wrist proprioceptive acuity in young pianists is linked to enhanced manual dexterity, which suggests that intensive piano training may improve untrained fine motor skills.

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7

Nakahara, Hidehiro, Shinichi Furuya, Peter R. Francis, and Hiroshi Kinoshita. "Psycho-physiological responses to expressive piano performance." International Journal of Psychophysiology 75, no. 3 (2010): 268–76. http://dx.doi.org/10.1016/j.ijpsycho.2009.12.008.

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8

Winges, Sara A., Shinichi Furuya, Nathaniel J. Faber, and Martha Flanders. "Patterns of muscle activity for digital coarticulation." Journal of Neurophysiology 110, no. 1 (2013): 230–42. http://dx.doi.org/10.1152/jn.00973.2012.

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Although piano playing is a highly skilled task, basic features of motor pattern generation may be shared across tasks involving fine movements, such as handling coins, fingering food, or using a touch screen. The scripted and sequential nature of piano playing offered the opportunity to quantify the neuromuscular basis of coarticulation, i.e., the manner in which the muscle activation for one sequential element is altered to facilitate production of the preceding and subsequent elements. Ten pianists were asked to play selected pieces with the right hand at a uniform tempo. Key-press times we

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9

Draucker, Shannon. "Music Physiology, Erotic Encounters, and Queer Reading Practices in Teleny." Victorian Literature and Culture 50, no. 1 (2021): 141–72. http://dx.doi.org/10.1017/s1060150320000145.

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While music often appears as a “code” for sexual desire in Victorian literature, this article explores music's presence in a text for which no veiled language was needed: the anonymously published pornographic novella Teleny (1893). The authors of Teleny invoke emerging scientific discourses about music physiology to draw explicit parallels between musical and sexual encounters—as when the protagonist Camille orgasms in response to the vibrations of his lover's piano music. In such moments, Teleny offers an insistent defense of queer desire as a natural process rooted in the organic and often

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10

Kostyuk, Aleksei A., and Galina V. Alekseeva. "Emotions as a Phenomenon of Vocal and Opera Music." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 168–77. http://dx.doi.org/10.56620/2782-3598.2023.1.168-177.

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The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions

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