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1
Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
Повний текст джерелаАнотація:
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 correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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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.
Повний текст джерелаАнотація:
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. Achieving a high level in playing requires years of diligent work, perseverance and determination. Technical proficiency, in turn, facilitates the expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. So we are talking about two things that inexorably influence each other – the workshop and its result, the hape of latter depends largely on the first. This article deepens the knowledge of piano workshop so that in the end nothing comes in the way between performers, listeners and music.
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.
Повний текст джерелаАнотація:
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 capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players.
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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 (September 1, 1995): 1037–45. http://dx.doi.org/10.1152/jn.1995.74.3.1037.
Повний текст джерелаАнотація:
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-handed, five-finger exercise through daily 2-h manual practice sessions, the cortical motor areas targeting the long finger flexor and extensor muscles enlarged, and their activation threshold decreased. Such changes were limited to the cortical representation of the hand used in the exercise. No changes of cortical motor outputs occurred in control subjects who underwent daily TMS mapping but did not practice on the piano at all (control group 1). 3. We studied the effect of increased hand use without specific skill learning in subjects who played the piano at will for 2 h each day using only the right hand but who were not taught the five-finger exercise (control group 2) and who did not practice any specific task. In these control subjects, the changes in cortical motor outputs were similar but significantly less prominent than in those occurring in the test subjects, who learned the new skill.(ABSTRACT TRUNCATED AT 250 WORDS)
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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 (March 1, 2007): 18–23. http://dx.doi.org/10.21091/mppa.2007.1004.
Повний текст джерелаАнотація:
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 analyzer. Three-dimensional finger velocity was determined, unitary kinetic energy was computed, and movements were divided into useful (for sound production) and erratic (extraneous movements not used for sound production). The number of key presses for each pianist was counted, and singlefinger unitary kinetic energy computed. On average, the concert players used more total unitary kinetic energy than the students and teachers (p < 0.05, Wilcoxon test), while the useful unitary kinetic energy was similar. The number of key presses for each finger did not differ (p > 0.05, chi-squared test). The useful unitary kinetic energy per single key press differed between groups (p = 0.035, with concert players greater than students and teachers, analysis of variance) and among the five fingers (p = 0.008, with second and first fingers larger). In conclusion, the same piano exercise was performed with different movement patterns depending on the pianist’s experience. The patterns of extraneous hand and finger movements during playing could be investigated to assess their relationship to overuse injuries.
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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 (December 1, 2020): 2052–59. http://dx.doi.org/10.1152/jn.00282.2020.
Повний текст джерелаАнотація:
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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Nakahara, Hidehiro, Shinichi Furuya, Peter R. Francis, and Hiroshi Kinoshita. "Psycho-physiological responses to expressive piano performance." International Journal of Psychophysiology 75, no. 3 (March 2010): 268–76. http://dx.doi.org/10.1016/j.ijpsycho.2009.12.008.
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Winges, Sara A., Shinichi Furuya, Nathaniel J. Faber, and Martha Flanders. "Patterns of muscle activity for digital coarticulation." Journal of Neurophysiology 110, no. 1 (July 1, 2013): 230–42. http://dx.doi.org/10.1152/jn.00973.2012.
Повний текст джерелаАнотація:
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 were recorded along with the electromyographic (EMG) activity from seven channels: thumb flexor and abductor muscles, a flexor for each finger, and the four-finger extensor muscle. For the thumb and index finger, principal components of EMG waveforms revealed highly consistent variations in the shape of the flexor bursts, depending on the type of sequence in which a particular central key press was embedded. For all digits, the duration of the central EMG burst scaled, along with slight variations across subjects in the duration of the interkeystroke intervals. Even within a narrow time frame (about 100 ms) centered on the central EMG burst, the exact balance of EMG amplitudes across multiple muscles depended on the nature of the preceding and subsequent key presses. This fails to support the idea of fixed burst patterns executed in sequential phases and instead provides evidence for neuromuscular coarticulation throughout the time course of a hand movement sequence.
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Draucker, Shannon. "Music Physiology, Erotic Encounters, and Queer Reading Practices in Teleny." Victorian Literature and Culture 50, no. 1 (October 18, 2021): 141–72. http://dx.doi.org/10.1017/s1060150320000145.
Повний текст джерелаАнотація:
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 involuntary actions of the muscles and nerves—a particularly powerful intervention at a time when sexual “inversion” was most often denigrated as unnatural. In its use of biological science in the service of sexual representation—science that many twenty-first-century queer theorists might deem “essentialist”—Teleny presents a compelling challenge to scholars grappling with conversations about normativity, resistance, utopian desires, and idealized cultural objects.
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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.
Повний текст джерелаАнотація:
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 of the stage settings, as well as nuances of stage motion and plastic, in order to bring out emotional colors to a greater degree by means of pantomime. In such situations it is important to research the means of operatic expression not merely from the point of view of musicology or theater studies. The phenomenon of opera requires study in a direct connection with psychology, physiology and sociology of culture. The authors of the article update the concept of the emotional score of the vocal parts of the operatic composition presenting a completed form from the positions of psycho-physiology of emotions and emphasizing the importance of its examination. The vocal part of Herman from Tchaikovsky’s The Queen of Spades is chosen as the object of studies.
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Kirchner, Joann Marie. "A Qualitative Inquiry into Musical Performance Anxiety." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 78–82. http://dx.doi.org/10.21091/mppa.2003.2015.
Повний текст джерелаАнотація:
This study examined the experience of performance anxiety in solo piano playing from the perspective of the participants. Research questions focusing on the following categories were addressed: (1) What does the experience of performance anxiety feel like to a solo pianist? (2) What are the ways in which performance anxiety manifests itself? A qualitative methodology was employed in this study. Six pianists on the faculties of southwestern colleges and universities were chosen selectively for participation. A survey questionnaire and an individual interview were used to collect data. The researcher analyzed the transcripts of the interviews, and codes were developed accordingly. The categories of research questions were used for the interpretation of the findings. The symptoms of performance anxiety manifested themselves through a combination of thought processes, feelings, and physiologic responses, activated by the perception of a threat by the performer. Negative thoughts and feelings dominated the experience of musical performance anxiety and undermined the self-confidence level of the performer. The identity of the performer was affected by how the individual viewed himself or herself and the individual’s perception of how others viewed him or her.
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Dawson, William J. "Performing Arts Medicine-–A Bibliographic Retrospective of the Early Literature: An Historical Examination of Bibliographic References Pre-1975." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 47–53. http://dx.doi.org/10.21091/mppa.2013.1008.
Повний текст джерелаАнотація:
Performing arts medicine (PAM) emerged as a medical specialty around 1985. Prior to this time, relatively few publications addressed the identification and concerns of musicians’ and dancers’ medical problems. To determine what number and types of publications occurred prior to the actual beginnings of PAM as a discipline, and to determine how these original topics compared with present-day publications, a retrospective review of the current bibliographic database of the Performing Arts Medicine Association (PAMA) was undertaken. Out of a total of 12,600 entries to date, 489 references were found published from 1798 through 1974, which represent only 3.9% of the current database listings. One-sixth of the references were originally written in a language other than English. Journal articles were by far the most numerous type of publication. Topics with the highest number of entries included the neurobiology of music (n=77), dental/orofacial matters (71), and biographical accounts of composers or musicians and their illnesses (59). Other frequently published topics included hearing loss, physiology of playing instruments, and instrumental technique and teaching. Early topics with multiple publications included composers’ biographies, dystonias, and surgery to improve finger independence for playing piano. Subjects whose publications occurred principally in the last two decades of this review included dermatological disorders, hearing loss, and ballet physiology, teaching, and technique. Those which remain popular to the present day include hearing loss, performance anxiety, focal dystonia, and dental/orofacial problems.
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Krasovskaya, Elena P. "Development of Concentration Future Musician-Teacher in the Class of Solo Musical and Instrumental Performance." Musical Art and Education 7, no. 1 (2019): 132–52. http://dx.doi.org/10.31862/2309-1428-2019-7-1-132-152.
Повний текст джерелаАнотація:
The article examines the basic characteristics of concentration as most important property of attention of future teachers-musicians and the methods which help its effective formation during piano lessons. Studying of scientific approaches to this concept of a context of physiology, the general psychology, pedagogy showed that concentration acts as the most important psychological condition of deeper understanding of objects and the phenomena, optimum course of cognitive and practical activities of the person, especially in the course of the learning and creativity. A person activity, enthusiasm and continuing interest in a concentration subject help increase of attention concentration. The success of development of this property of attention in many respects depends on application by the teacher of special receptions for the organization of activity with an object, allocations in new aspects, their analysis and comparison, search for new properties of an object, ways and opportunities of its application or improvement. Special focus is placed on characteristics of the conceptual ideas of music pedagogy for development of attention concentration of students. The carried-out analysis of positions of authoritative representatives of performing art and music pedagogy showed that concentration is a starting point of musical and performing creativity and an important condition of efficiency of pianist work. Summarize experience of outstanding representatives of piano performance and theatrical pedagogy allowed to suggest the effective approaches to development of concentration as the significant quality in no small measure influencing disclosure of creative potential of future musician-teacher and defining a possibility of his productive self-realization in an instrumental and performing activity. The author comes to a conclusion that the ability to concentrate can be developed under the leadership of the teacher during training in a class, on rehearsals and also in homework when performing specially organized exercises. The persistence in mastering the concentration equipment by performance of specially organized exercises will allow the musician to operate consciously process of attention, it is essential to increase concentration time on the solution of a creative task.
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Houdayer, E., M. Cursi, A. Nuara, S. Zanini, R. Gatti, G. Comi, and L. Leocani. "ID 261 – Motor cortex plasticity after short-term piano training in adults." Clinical Neurophysiology 127, no. 3 (March 2016): e95-e96. http://dx.doi.org/10.1016/j.clinph.2015.11.321.
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Gaertner, Henriette, and Renzo Pozzo. "Feedback on force, Sound and video sequence of keystroke during piano playing." International Journal of Psychophysiology 108 (October 2016): 27. http://dx.doi.org/10.1016/j.ijpsycho.2016.07.085.
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Vitouch, O., C. Lamm, H. Bauer, and E. Vanecek. "484 Functional mapping in time and space: A SPT investigation of piano playing." International Journal of Psychophysiology 30, no. 1-2 (September 1998): 186. http://dx.doi.org/10.1016/s0167-8760(98)90483-4.
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Zhu, Wei-Na, Jun-Jun Zhang, Hai-Wei Liu, Xiao-Jun Ding, Yuan-Ye Ma, and Chang-Le Zhou. "Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study." Neuroscience Bulletin 24, no. 1 (February 2008): 21–28. http://dx.doi.org/10.1007/s12264-008-0928-2.
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Straffi, Laura, Raffaella Chieffo, Alberto Inuggi, Francesca Spagnolo, Giancarlo Comi, and Letizia Leocani. "P030 Long-term cortical plasticity of interhemispheric inhibition in piano players: a transcranial magnetic stimulation study." Clinical Neurophysiology 119 (May 2008): S78—S79. http://dx.doi.org/10.1016/s1388-2457(08)60301-6.
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Houdayer, E., M. Cursi, A. Nuara, S. Zanini, R. Gatti, G. Comi, and L. Leocani. "101. Functional changes of cortical motor circuits after piano training in adults: TMS and EEG evidence." Clinical Neurophysiology 127, no. 4 (April 2016): e155. http://dx.doi.org/10.1016/j.clinph.2015.09.109.
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Gärtner, H., and R. Pozzo. "Visual-auditory and force feedback in piano playing to improve the regulatory processes and performance of students." International Journal of Psychophysiology 188 (June 2023): 61. http://dx.doi.org/10.1016/j.ijpsycho.2023.05.157.
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Kent-Braun, J. A., A. V. Ng, J. W. Doyle, and T. F. Towse. "Human skeletal muscle responses vary with age and gender during fatigue due to incremental isometric exercise." Journal of Applied Physiology 93, no. 5 (November 1, 2002): 1813–23. http://dx.doi.org/10.1152/japplphysiol.00091.2002.
Повний текст джерелаАнотація:
The purpose of this study was to compare the magnitude and mechanisms of ankle dorsiflexor muscle fatigue in 20 young (33 ± 6 yr, mean ± SD) and 21 older (75 ± 6 yr) healthy men and women of similar physical activity status. Noninvasive measures of central and peripheral (neuromuscular junction, sarcolemma) muscle activation, muscle contractile function, and intramuscular energy metabolism were made before, during, and after incremental isometric exercise. Older subjects fatigued less than young ( P < 0.01); there was no effect of gender on fatigue ( P = 0.24). For all subjects combined, fatigue was modestly related to preexercise strength ( r = 0.49, P < 0.01). Neither central (central activation ratio) nor peripheral (compound muscle action potential) activation played a significant role in fatigue in any group. During exercise, intracellular concentrations of Piand H2PO[Formula: see text] increased more and pH fell more in young compared with older subjects ( P < 0.01) and in men compared with women ( P < 0.01). These varied metabolic responses to exercise suggest a greater reliance on nonoxidative sources of ATP in young compared with older subjects and in men compared with women. These results suggest that the mechanisms of fatigue vary with age and gender, regardless of whether differences in the magnitude of fatigue are observed.
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MacRitchie, Jennifer, Steffen A. Herff, Andrea Procopio, and Peter E. Keller. "Negotiating between individual and joint goals in ensemble musical performance." Quarterly Journal of Experimental Psychology 71, no. 7 (January 1, 2018): 1535–51. http://dx.doi.org/10.1080/17470218.2017.1339098.
Повний текст джерелаАнотація:
Successful joint action requires negotiation, especially in the event of goal incongruence. This article addresses goal incongruence in joint musical performance by manipulating the congruence of score instructions (congruent/incongruent) regarding tempo (speed) and dynamics (sound intensity) given to piano duos. The aim is to investigate how co-performers negotiate incongruent instructions for tempo and dynamics by balancing the prioritisation of individual goals versus the joint outcome and how this negotiation is modulated by musical expertise and personality (locus of control). In total, 14 pairs of pianists, who were not informed of the congruence manipulation, were placed back-to-back and were directed to achieve a successful performance over four repeated performances without verbal communication. Interpersonal coordination generally improved from the first to final performance in the congruent and incongruent conditions for both the tempo and dynamics tasks. Furthermore, in incongruent conditions, results suggest that performers prioritise the joint performance in the tempo task, but prioritise their own performance in the dynamics task. Although individual performance appears to be modulated by musical expertise, the balance of individual/joint performance across the duo is not influenced by musical part (melody vs accompaniment), expressive instruction, musical expertise or locus of control.
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Hwi, L. P., and J. W. Ting. "36. Practicing medicine and music II: Ophthalmology and music." Clinical & Investigative Medicine 30, no. 4 (August 1, 2007): 46. http://dx.doi.org/10.25011/cim.v30i4.2796.
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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years.
The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing.
Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278.
Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93.
Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.
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Pozzo, Renzo, and Henriette Gaertner. "The Coordination Between Pedal and Finger Forces During Piano Playing in Classical Passage With Respect to the Quality of Sound." International Journal of Psychophysiology 168 (October 2021): S159. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.446.
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Pozzo, Renzo. "The Coordination Between Pedal and Finger Forces During Piano Playing in Classical Passage With Respect to the Quality of Sound." International Journal of Psychophysiology 168 (October 2021): S50. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.149.
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Reschechtko, Sasha, and Mark L. Latash. "Stability of hand force production. II. Ascending and descending synergies." Journal of Neurophysiology 120, no. 3 (September 1, 2018): 1045–60. http://dx.doi.org/10.1152/jn.00045.2018.
Повний текст джерелаАнотація:
We combined the theory of neural control of movement with referent coordinates and the uncontrolled manifold hypothesis to investigate multifinger coordination. We tested hypotheses related to stabilization of performance by covarying control variables, translated into apparent stiffness and referent coordinate, at different levels of an assumed hierarchy of control. Subjects produced an accurate combination of total force and total moment of force with the four fingers under visual feedback on both variables and after feedback was partly or completely removed. The “inverse piano” device was used to estimate control variables. We observed strong synergies in the space of hypothetical control variables that stabilized total force and moment of force, as well as weaker synergies stabilizing individual finger forces; whereas the former were attenuated by alteration of visual feedback, the latter were much less affected. In addition, we investigated the organization of “ascending synergies” stabilizing task-level control variables by covaried adjustments of finger-level control variables. We observed intertrial covariation of individual fingers’ referent coordinates that stabilized hand-level referent coordinate, but we observed no such covariation for apparent stiffness. The observations suggest the existence of both descending and ascending synergies in a hierarchical control system. They confirm a trade-off between synergies at different levels of control and corroborate the hypothesis on specialization of different fingers for the control of force and moment. The results provide strong evidence for the importance of central back-coupling loops in ensuring stability of action.NEW & NOTEWORTHY We expand analysis of action in the space of hypothetical control variables to hierarchically organized multieffector systems. We also introduce the novel concept of ascending synergies, which reflect covariation of control variables to individual effectors (fingers) that stabilize task-specific control variables at a hierarchically higher, task-specific level (hand).
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Tryfonidou, M. A., M. A. Oosterlaken-Dijksterhuis, J. A. Mol, T. S. G. A. M. van den Ingh, W. E. van den Brom, and H. A. W. Hazewinkel. "24-Hydroxylase: potential key regulator in hypervitaminosis D3in growing dogs." American Journal of Physiology-Endocrinology and Metabolism 284, no. 3 (March 1, 2003): E505—E513. http://dx.doi.org/10.1152/ajpendo.00236.2002.
Повний текст джерелаАнотація:
A group of growing dogs supplemented with cholecalciferol (vitamin D3; HVitD) was studied vs. a control group (CVitD; 54,000 vs. 470 IU vitamin D3/kg diet, respectively) from 3 to 21 wk of age. There were no differences in plasma levels of Piand growth-regulating hormones between groups and no signs of vitamin D3intoxication in HVitD. For the duration of the study in HVitD vs. CVitD, plasma 25-hydroxycholecalciferol levels increased 30- to 75-fold; plasma 24,25-dihydroxycholecalciferol levels increased 12- to 16-fold and were accompanied by increased renal 24-hydroxylase gene expression, indicating increased renal 24-hydroxylase activity. Although the synthesis of 1,25-dihydroxycholecalciferol [1,25(OH)2D3] was increased in HVitD vs. CVitD (demonstrated by [3H]1,25(OH)2D3and increased renal 1α-hydroxylase gene expression), plasma 1,25(OH)2D3levels decreased by 40% as a result of the even more increased metabolic clearance of 1,25(OH)2D3(demonstrated by [3H]1,25(OH)2D3and increased gene expression of intestinal and renal 24-hydroxylase). A shift of the Ca set point for parathyroid hormone to the left indicated increased sensitivity of the chief cells. Effective counterbalance was provided by hypoparathyroidism, hypercalcitoninism, and the key regulator 24-hydroxylase, preventing the development of vitamin D3toxicosis.
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Rieznik, Olena. "Children’s orchestral set “Harmonika” by H. T. Statyvkin as a source of developing initial skills of ensemble and orchestral music playing for preschool children." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, no. 64 (December 7, 2022): 75–91. http://dx.doi.org/10.34064/khnum1-64.05.
Повний текст джерелаАнотація:
The figure of Hennadii Tymofiyovych Statyvkin as a reformer of the methodology of teaching the button accordion has always interested researchers for its versatility: ideas of restructuring the educational process of primary music education; experimental introduction of new methodological principles in the educational process; introduction of a seven-year period of training for button accordionists in children’s music schools; production of special training children’s selectable and ready-made button accordions; development and publication of a new curriculum and teaching aids. The above-mentioned ranges of H. Statyvkin’s activity have been covered by scholars at different times exclusively from the point of view of changing the methodology of teaching the button accordion from a selectable to a ready-made instrument. The problem of studying the structure of children’s accordion instruments created by H. Statyvkin has never acquired the format of a special separate study. The proposed article aims to reveal the design activity H. Statyvkin by analysing the design features of children’s musical instruments created by him for ensemble and orchestral music for preschool children. The scientific novelty of the research results is due to the introduction of some facts about the design features of the children’s orchestra set “Harmonika” into the scientific circulation of musicology, which made it possible to reveal the specifics of H. Statyvkin’s design thinking. Based on the analysis of the system of sound disposition at the right keyboards of the “Solo-1” and “Solo-2” instruments, we can conclude that H. Statyvkin’s system corresponds to the right keyboard of the piano-type accordion, but in the button version. Unusual for the button accordion disposition of the sounds at the right keyboard and grouping of major and minor triads in one row of the left keyboard is based on ergonomic and physiological data of preschool children (height and width of the chest, length of hands and forearms). It was this design that made it possible to reduce the overall sizes of the instruments and to make them in accordance with the physiology of a preschool children.
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Lega, Carlotta, Zaira Cattaneo, Noemi Ancona, Tomaso Vecchi, and Luca Rinaldi. "Instrumental expertise and musical timbre modulate the spatial representation of pitch." Quarterly Journal of Experimental Psychology 73, no. 8 (January 22, 2020): 1162–72. http://dx.doi.org/10.1177/1747021819897779.
Повний текст джерелаАнотація:
Humans show a tendency to represent pitch in a spatial format. A classical finding supporting this spatial representation is the Spatial–Musical Association of Response Codes (SMARC) effect, reflecting faster responses to low tones when pressing a left/bottom-side key and to high tones when pressing a right/top-side key. Despite available evidence suggesting that the horizontal and vertical SMARC effect may be differently modulated by instrumental expertise and musical timbre, no study has so far directly explored this hypothesis in a unified framework. Here, we investigated this possibility by comparing the performance of professional pianists, professional clarinettists and non-musicians in an implicit timbre judgement task, in both horizontal and vertical response settings. Results showed that instrumental expertise significantly modulates the SMARC effect: whereas in the vertical plane a comparable SMARC effect was observed in all groups, in the horizontal plane the SMARC effect was significantly modulated by the specific instrumental expertise, with pianists showing a stronger pitch–space association compared to clarinettists and non-musicians. Moreover, the influence of pitch along the horizontal dimension was stronger in those pianists who started the instrumental training at a younger age. Results also showed an influence of musical timbre in driving the horizontal, but not the vertical, SMARC effect, with only piano notes inducing a pitch–space association. Taken together, these findings suggest that sensorimotor experience due to instrumental training and musical timbre affect the mental representation of pitch on the horizontal space, whereas the one on the vertical space would be mainly independent from musical practice.
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Azarpaikan, Atefeh, Hamid Reza Taherii Torbati, Mehdi Sohrabi, Reza Boostani, and Majid Ghoshuni. "The Effect of Parietal and Cerebellar Transcranial Direct Current Stimulation on Bimanual Coordinated Adaptive Motor Learning." Journal of Psychophysiology 35, no. 1 (January 1, 2021): 1–14. http://dx.doi.org/10.1027/0269-8803/a000254.
Повний текст джерелаАнотація:
Abstract. Many daily activities, such as typing, eating, playing the piano, and passing the ball in volleyball, require the proficient coordination of both hands. In this study, the effects of anodal transcranial direct current stimulation (atDCS) on the acquisition, retention, and transfer of bimanual adaptive motor tasks were investigated. To this end, 64 volunteers ( Mage = 24.36 years; SD = 2.51; 16 females) participated in this double-blind study and were categorized randomly into 4 groups. During the pretest, posttest, 24-h and 48-h retention, and transfer tests, two forms of bimanual coordination (BC) of the Vienna test system were performed. Between the pretest and posttest, all participants were trained in a bimanual coordination adaptive task with concurrent brain stimulation (1.5 mA for 15 min) for two consecutive days. The first experimental group (parietal-stim) received atDCS over the right parietal cortex (P4), while the second experimental group (cerebellar-stim) received atDCS over the bilateral cerebellum (2.5 cm bilateral to the inion). The third group (sham) received a sham stimulation. Finally, the control group did not receive any stimulation at all (control). Repeated-measure analysis of variance (ANOVARM) results indicated that parietal tDCS affected motor performance in the posttest, while overall mean duration and overall error mean duration of movement decreased. The results also revealed a significant impact of cerebellar tDCS on the posttest, 24-h and 48-h retention, and transfer tests. The overall mean duration and overall error mean durations of movement in this group were significantly lower than those in the other groups. Accordingly, we found evidence that atDCS over the cerebellum leads to more improvement in motor performance and transfer in a bimanual coordination task than atDCS over the right parietal. Finally, these results point to the possibly beneficial application of atDCS for learning and recovery of bimanual motor skills, especially when subjects are faced with a new challenging situation.
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Shumilina, Olha. "PIANO SONATS BY SIGNOR BER FROM KRAKOW MANUSCRIPTS AND CZECH MUSIC CULTURE OF THE SECOND HALF OF 18TH CENTURY." Ukrainian music 41, no. 3 (2021): 24–32. http://dx.doi.org/10.32782/2224-0926-2021-3-2.
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Telekhovska, Sofiia. "MANIFESTATIONS OF THE CHARACTERISTICS OF THE ROMANTIC STYLE ON THE EXAMPLE OF THE EVOLUTION OF BEETHOVEN'S PIANO SONATA FORMS." Ukrainian music 42, no. 4 (2021): 189–91. http://dx.doi.org/10.32782/2224-0926-2021-4-11.
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Bermúdez, L., M. A. Enciso, G. Rojas, R. Alvis, and M. Valdivia. "195 EVIDENCE OF SEASONALITY IN SEMEN CHARACTERISTICS OF CAPTIVE ANDEAN HAIRY ARMADILLO (CHAETOPHRACTUS NATIONI)." Reproduction, Fertility and Development 22, no. 1 (2010): 256. http://dx.doi.org/10.1071/rdv22n1ab195.
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Chaetophractus nationi is an armadillo species that inhabits in the high Andes of Peru, Chile, and Bolivia at altitudes of over 3000 m. The main threats to this species are habitat loss and over-hunting; in the last 10 years it has been estimated that the population has declined by 30%. The species is categorized as Vulnerable (VU, A2d) by International Union for Conservation of Nature (IUCN) and Peruvian legislation (DS-034-2004-AG) and is listed in appendix II of Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). Chaetophractus nationi is 1 of 7 species of armadillos in which further studies on their reproductive biology and physiology are considered to be urgently needed. The aim of the present study was to determine the semen ejaculate values of C. nationi males in 2 opposite seasons. Six adult males of C. nationi belonging to the Huachipa Zoological Park (Lima, Peru) collection under the same captive conditions were used. Semen samples were collected coinciding with the Peruvian warm season (February) and cold season (June). The animals were chemically immobilized using ketamine (15 mg kg-1), xylazine (1 mg kg-1), and midazolam (0.4 mg kg-1) i.m. Semen was collected by an electroejaculation technique using commercial equipment (Eletrojet®, Eletrovet, São Paulo, Brazil) and a rectal probe specifically designed in Peru for the species. Progressive electrical stimulation from 2 to 6 V was applied in a protocol of 30 stimuli divided into 3 series: series 1, with 10 stimuli of 3 sec at 2 V; series 2, with 10 stimuli of 3 sec at 4 V; and series 3, with 10 stimuli of 3 sec at 6 V The results (mean ± SEM) for the warm season (26-28°C) were n = 6; volume = 80 ± 10.34 μL; pH = 8.2 ± 0.3; progressive motility = 77% ± 0.06; and sperm concentration/mL = 46.2 ± 2.9 × 106. The results (mean ± SEM) for the cold season (13-18°C) were n = 6; volume = 8.6 ± 2.27 μL; pH = 8.7 ± 0.18; and progressive motility = 80%. Sperm concentration could not be determined on the cold season samples because of the low volume collected. In summary, our results are suggestive of a seasonal pattern in semen characteristics of the Andean hairy armadillo that may be related to its reproductive activity in the wild. J. Pino and B. Shiga (UNMSM), for help with the rectal probe elaboration.
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Galliani, Anna. "Una prosa liberata. Nel condominio di carne di Valerio Magrelli." DILEF. Rivista digitale del Dipartimento di Lettere e Filosofia, no. 3 (July 10, 2023): 1–17. http://dx.doi.org/10.35948/dilef/2023.4326.
Повний текст джерелаАнотація:
Valerio Magrelli è uno dei più importanti scrittori italiani della nostra contemporaneità. La sua prima raccolta poetica, Ora serrata retinae, esce nel 1980 (e poi, a seguire, Nature e Venature, Esercizi di tiptologia, Didascalie per la lettura di un giornale, Disturbi del sistema binario, Il sangue amaro). Ma nel 2003 pubblica un libro in prosa, Nel condominio di carne, che segna inesorabilmente un momento di svolta per Magrelli, aprendo all’autore anche le vie della narrativa (si pensi a La vicevita, Addio al calcio, Geologia di un padre). Un testo davvero bizzarro, centaurico, tra prosa e poesia. Questa “prosa” sembra apparire “liberata” su due diversi piani: svincolata da qualsiasi tipo di convenzione propria dei generi della narrativa e, al contempo, espulsa fisiologicamente dallo scrittore, come una sua creatura scatologica. Valerio Magrelli is one of the most remarkable italian writers of our times. His first collection of poems, Ora serrata retinae, came out in 1980 (and then he published Nature e Venature, Esercizi di tiptologia, Didascalie per la lettura di un giornale, Disturbi del sistema binario, Il sangue amaro). But in 2003 he published a book in prose, Nel condominio di carne, which inexorably marks a turning point for Magrelli and opened the universe of prose up to its author (just think of La vicevita, Addio al calcio, Geologia di un padre). A really bizarre work, centaurian, between prose and poetry. This “prose” appears to be “liberated” on two different levels: because on the one hand it is stranger to every norm of traditional novels and on the other it is physiologically expelled by the author himself, almost as if some sort of eschatological creature.
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Ting, Olivia. "Between Piano and Forte: Hearing with Aids." Leonardo, January 25, 2024, 149–57. http://dx.doi.org/10.1162/leon_a_02496.
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Abstract The author connects reviving her piano practice after a 20-year hiatus with her deaf right ear “learning” to hear again with a cochlear implant. She touches upon parallels between the physiology of the instrument and her own body, and how they inform the inquiry for her Leonardo CripTech Incubator/Thoughtworks residency project Song Without Words.
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Ito, Kanami, Tatsunori Watanabe, Takayuki Horinouchi, Takuya Matsumoto, Keisuke Yunoki, Haruki Ishida, and Hikari Kirimoto. "Higher synchronization stability with piano experience: relationship with finger and presentation modality." Journal of Physiological Anthropology 42, no. 1 (June 19, 2023). http://dx.doi.org/10.1186/s40101-023-00327-2.
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Abstract Background Synchronous finger tapping to external sensory stimuli is more stable for audiovisual combined stimuli than sole auditory or visual stimuli. In addition, piano players are superior in synchronous tapping and manipulating the ring and little fingers as compared to inexperienced individuals. However, it is currently unknown whether the ability to synchronize to external sensory stimuli with the ring finger is at the level of the index finger in piano players. The aim of this study was to compare the effect of piano experience on synchronization stability between the index and ring fingers using auditory, visual, and audiovisual combined stimuli. Methods Thirteen piano players and thirteen novices participated in this study. They were instructed to tap with their index or ring finger synchronously to auditory, visual, and audiovisual combined stimuli. The stimuli were presented from an electronic metronome at 1 Hz, and the tapping was performed 30 times in each condition. We analyzed standard deviation of intervals between the stimulus onset and the tap onset as synchronization stability. Results Synchronization stability for visual stimuli was lower during ring than index finger tapping in novices; however, this decline was absent in piano players. Also, piano players showed the higher synchronization stability for audiovisual combined stimuli than sole visual and auditory stimuli when tapping with the index finger. On the other hand, in novices, synchronization stability was higher for audiovisual combined stimuli than only visual stimuli. Conclusions These findings suggest that improvements of both sensorimotor processing and finger motor control by piano practice would contribute to superior synchronization stability.
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Lafferty, Margaret A., Amy Mackley, Pam Green, Deborah Ottenthal, Robert Locke, and Ursula Guillen. "Can Mozart Improve Weight Gain and Development of Feeding Skills in Premature Infants? A Randomized Trial." American Journal of Perinatology, June 22, 2021. http://dx.doi.org/10.1055/s-0041-1731279.
Повний текст джерелаАнотація:
Objective The study aimed to assess in a prospective randomized study the effect of Mozart's music on time to regain birth weight (BW) and development of oral feeding skills in babies born between 280/7 and 316/7 weeks of gestation. Study Design Healthy premature infants born between 280/7 and 316/7 completed weeks of gestation were randomized within 3 days of birth to either music or no music exposure. Infants in the music group were exposed to Mozart's double piano sonata twice per day for 14 days. The primary outcome was time to regain birth weight. The secondary outcome was development of oral feeding skills as evaluated by a speech/language pathologist blinded to the intervention. We hypothesized that exposure to Mozart's double piano sonata would decrease time to regain BW and improve feeding skills. A total of 32 newborns were needed to detect a 3-day difference in time to regain BW. Results Forty infants were enrolled and randomized. There were no significant differences between the two groups regarding the time to regain BW (p = 0.181) and the time to achievement of full oral feeds (p = 0.809). Conclusion Exposure to Mozart's double piano sonata for 14 days after birth did not significantly improve time to regain BW or time to achieve full oral feedings in very premature infants. It is possible that Mozart's music has no effect or that the duration of music exposure was not sufficient to have a physiologic effect on growth and oral feeding skills. Key Points
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Doi, Hirokazu, Kazuki Yamaguchi, and Shoma Sugisaki. "EXPRESS: Timbral Perception is Influenced by Unconscious Presentation of Hands Playing Musical Instruments." Quarterly Journal of Experimental Psychology, September 10, 2021, 174702182110480. http://dx.doi.org/10.1177/17470218211048032.
Повний текст джерелаАнотація:
Timbre is an integral dimension of musical sound quality, and people accumulate knowledge about timbre of sounds generated by various musical instruments throughout their life. Recent studies have proposed the possibility that musical sound is crossmodally integrated with visual information related to the sound. However, little is known about the influence of visual information on musical timbre perception. The present study investigated the automaticity of crossmodal integration between musical timbre and visual image of hands playing musical instruments. In the experiment, an image of hands playing piano or violin, or a control scrambled images was presented to participants unconsciously. Simultaneously, participants heard intermediate sounds synthesized by morphing piano and violin sounds with the same note. The participants answered whether the musical tone sounded like piano or violin. The results revealed that participants were more likely to perceive violin sound when an image of a violin was presented unconsciously than when playing piano was presented. This finding indicates that timbral perception of musical sound is influenced by visual information of musical performance without conscious awareness, supporting the automaticity of crossmodal integration in musical timbre perception.
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Weinstein-Reiman, Michael. "Printing Piano Pedagogy: Experimental Psychology and Marie Jaëll's Theory of Touch." Nineteenth-Century Music Review, May 11, 2020, 1–27. http://dx.doi.org/10.1017/s1479409819000715.
Повний текст джерелаАнотація:
In her 1899 pedagogy manual Touch: Piano Instruction on the Basis of Physiology, the composer and pianist Marie Jaëll (1846–1925) describes pianistic touch as a ‘polyphony of sensations’, a synthesis of vibrations that is both physical and psychical. This article examines Jaëll's recourse to nineteenth-century experimental science, specifically experimental psychology, to develop a theory of pianistic touch. Touch, Jaëll contends, necessitates a pianist's attention to haptic and aural impulses in an elusive, ‘simultaneous and successive’ process that collates the pianist's tangible sensation of the keyboard and the ineffable mental impressions conjured by sound. This braided sense of musical touch can be cultivated in performers and transmitted to listeners. Jaëll makes this assertion using a novel kind of visual evidence: fingerprints. Fingerprinting her students before and after the execution of selected piano études and treating the prints as diagnostic documents, Jaëll posits that isolating and attending to minute variations in touch is akin to attuning to the aesthetic content of a musical work. Jaëll crystallized her methodology in a vibrant collaboration with Charles Féré (1852–1907), a criminologist and one-time student of Jean-Martin Charcot. More broadly, Jaëll's treatise is a striking exponent of the era's ‘graphical method’, pioneered by Étienne-Jules Marey, which sought to supplant scientific rhetoric with ‘objective’ truth, depicted as machine-generated wave forms. The ethos that motivated the creation of such representations, propagated by an array of influential scientists including Ernst Heinrich Weber and Hermann von Helmholtz, underscores a tendency to intertwine physiology and psychology in an enterprise that quantified sensation as a fact of mechanistic causes. Jaëll's emphasis on attention – how thought modifies touch and sound – sets her theory apart from experimental psychology's more determinist premises. In Jaëll's experimental apparatus, fingerprints are not objective; rather, they index the variable haptic and sonic sensations experienced by the pianist. As a nascent theory of embodied cognition, Jaëll's pedagogy bespeaks a fluid relationship between mind and body at the dawn of the twentieth century.
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Aranceta-Garza, Alejandra, Alessandro Russo, Samuel D’Emanuele, Francesca Serafino, and Roberto Merletti. "High Density Surface Electromyography Activity of the Lumbar Erector Spinae Muscles and Comfort/Discomfort Assessment in Piano Players: Comparison of Two Chairs." Frontiers in Physiology 12 (December 1, 2021). http://dx.doi.org/10.3389/fphys.2021.743730.
Повний текст джерелаАнотація:
Introduction: At a professional level, pianists have a high prevalence of playing-related musculoskeletal disorders. This exploratory crossover study was carried out to assess and compare quantitatively [using high density surface electromyography (HDsEMG)], and qualitatively (using musculoskeletal questionnaires) the activity of the lumbar erector spinae muscles (ESM) and the comfort/discomfort in 16 pianists sitting on a standard piano stool (SS) and on an alternative chair (A-chair) with lumbar support and a trunk-thigh angle between 105° and 135°.Materials and Methods: The subjects played for 55 min and HDsEMG was recorded for 20 s every 5 min. For the quantitative assessment of the muscle activity, the spatial mean of the root mean square (RMSROA) and the centroid of the region of activity (ROA) of the ESM were compared between the two chairs. For the qualitative assessment, musculoskeletal questionnaire-based scales were used: General Comfort Rating (GCR); Helander and Zhang’s comfort (HZc) and discomfort (HZd); and Body Part Discomfort (BPD).Results: When using the A-chair, 14 out of 16 pianists (87.5%) showed a significantly lower RMSROA on the left and right side (p < 0.05). The mixed effects model revealed that both chairs (F = 28.21, p < 0.001) and sides (F = 204.01, p < 0.001) contributed to the mean RMSROA variation by subject (Z = 2.64, p = 0.004). GCR comfort indicated that participants found the A-Chair to be “quite comfortable,” and the SS to be “uncomfortable.” GCR discomfort indicated that the SS caused more numbness than the A-Chair (p = 0.05) and indicated the A-Chair to cause more feeling of cramps (p = 0.034). No difference was found on HZc (p = 0.091) or HZd (p = 0.31) between chairs. Female participants (n = 9) reported greater comfort when using the A-Chair than the SS (F = 7.09, p = 0.01) with respect to males. No differences between chairs were indicated by the BPD assessment.Conclusion: It is concluded that using a chair with lumbar support, such as the A-chair, will provide greater comfort, less exertion of the ESM and less discomfort than the standard piano stool.
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Jha, Shreya, Nicolette Stogios, Adriana Sarmento de Oliveira, Scott Thomas, and Robert P. Nolan. "Getting Into the Zone: A Pilot Study of Autonomic-Cardiac Modulation and Flow State During Piano Performance." Frontiers in Psychiatry 13 (April 13, 2022). http://dx.doi.org/10.3389/fpsyt.2022.853733.
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BackgroundMusic performance anxiety is a common experience among elite and professional musicians and impedes performers from achieving flow state, or a state of focused, sustained engagement that promotes optimal performance.ObjectiveThe aim of this study was to use heart rate variability (HRV) to determine the psychophysiological underpinnings of optimal music performance.MethodsWe assessed HRV to study how autonomic-cardiac modulation was associated with flow during piano performance. Twenty-two pianists (15–22 years) with at least a Grade 8 Royal Conservatory of Music certification prepared two standardized pieces and a self-selected piece. Performer heart rate data were measured with a Polar 800 watch in 5-min periods immediately before performances, during performances and post-performance. HRV was employed to assess autonomic modulation of cardiac intervals. HRV indices of sympathetic and parasympathetic modulation of the heart were analyzed in 2.5-min segments to monitor short-term autonomic adjustments using the Kubios HRV Software. Flow state was measured using the 36-item Flow State Scale (FSS). Relationships were analyzed using zero-order correlations and multiple linear regressions.ResultsOur sample consisted of 22 RCM Grade 8 certified pianists. Participants achieved the highest level of flow during performance of the Bach piece. Decreased HRV was observed during performance, as indicated by a significant drop in total power. Flow state was positively associated with High Frequency (HF) power during the pre-performance phase, and inversely associated with Low Frequency (LF) power during performance.ConclusionInverse association of flow with LF-HRV during performance affirms the importance of vagal-HR modulation for achievement of flow state. Increased HF-HRV and reduced LF-HRV immediately prior to performance suggests that flow state may be shaped as much by physiological preparation during pre-performance as it is by physiologic responses during performance. Further research is required to validate the correlation between autonomic modulation of the heart and flow state. Evidence of this correlation between autonomic modulation of the heart and achievement of flow state may pave the way for further research on enhancing musical performance and targeting MPA through HRV-based interventions.
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Börner, Hendrik, Gerolamo Carboni, Xiaoxiao Cheng, Atsushi Takagi, Sandra Hirche, Satoshi Endo, and Etienne Burdet. "Physically interacting humans regulate muscle coactivation to improve visuo-haptic perception." Journal of Neurophysiology, January 18, 2023. http://dx.doi.org/10.1152/jn.00420.2022.
Повний текст джерелаАнотація:
When moving a piano or dancing tango with a partner, how should I control my arm muscles to sense their movements and follow or guide them smoothly? Here we observe how physically connected pairs tracking a moving target with the arm modify muscle coactivation with their visual acuity and the partner's performance. They coactivate muscles to stiffen the arm when the partner's performance is worse, and relax with blurry visual feedback. Computational modelling shows that this adaptive sensing property cannot be explained by the minimization of movement error hypothesis that has previously explained adaptation in dynamic environments. Instead, individuals skillfully control the stiffness to guide the arm towards the planned motion while minimizing effort and extracting useful information from the partner's movement. The central nervous system regulates muscles' activation to guide motion with accurate task information from vision and haptics while minimizing the metabolic cost. As a consequence, the partner with the most accurate target information leads the movement.
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Асатрян, Ани Оганнесовна. ""GENERAL PIANO" SUBJECT TEACHING PECULIARITIES IN MUSIC HIGHER EDUCATION INSTITUTIONS." Innovations and Tendencies of State-of-Art Science, no. 20 (June 20, 2022). http://dx.doi.org/10.32743/netherlandsconf.2022.6.20.342457.
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Laczika, Klaus, Oliver P. Graber, Gerhard Tucek, Alfred Lohninger, Nikolaus Fliri, Gertraud Berka-Schmid, Eva K. Masel, and Christoph C. Zielinski. "“Il flauto magico” still works: Mozart’s secret of ventilation." Multidisciplinary Respiratory Medicine 8 (March 19, 2019). http://dx.doi.org/10.4081/mrm.2013.498.
Повний текст джерелаАнотація:
Background: Synchronisation/coupling between respiratory patterns and musical structure.
Methods: Healthy professional musicians and members of the audience were studied during a performance of W.A. Mozart’s Piano Concerto KV 449. Electrocardiogram (ECG)/Heart Rate Variability (HRV) data recording (Schiller: MedilogWAR12, ECG-channels: 3, sampling rate: 4096 Hz, 16 Bit) was carried out and a simultaneous synchronized high definition video/audio recording was made. The breathing-specific data were subsequently extracted using Electrocardiogram-derived respiration (EDR; Software: Schiller medilogWDARWIN) from the HRV data and overlaid at the same time onto the musical score using FINALE 2011 notation software and the GIMP 2.0 graphics programme. The musical score was graphically modified graphically so that the time code of the breathing signals coincided exactly with the notated musical elements. Thus a direct relationship could be produced between the musicians’ breathing activity and the musical texture. In parallel with the medical/technical analysis, a music analysis of the score was conducted with regard to the style and formal shaping of the composition.
Results: It was found that there are two archetypes of ideally typical breathing behaviour in professional musicians that either drive the musical creation, performance and experience or are driven by the musical structure itself. These archetypes also give rise to various states of synchronisation and regulation between performers, audience and the musical structure.
Conclusions: There are two archetypes of musically-induced breathing which not only represent the identity of music and human physiology but also offer new approaches for multidisciplinary respiratory medicine.
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Voudouris, Dimitris, Immo Schuetz, Tabea Schinke, and Katja Fiehler. "Pupil dilation scales with movement distance of real but not of imagined reaching movements." Journal of Neurophysiology, June 7, 2023. http://dx.doi.org/10.1152/jn.00024.2023.
Повний текст джерелаАнотація:
Pupillary responses have been reliably identified for cognitive and motor tasks, but less is known about their relation to mentally simulated movements (known as motor imagery). Previous work found pupil dilations during the execution of simple finger movements, where peak pupillary dilation scaled with the complexity of the finger movement and force required. Recently, pupillary dilations were reported during imagery of grasping and piano playing. Here we examined whether pupillary responses are sensitive to the dynamics of the underlying motor task for both executed and imagined reach movements. Participants reached or imagined reaching to one of three targets placed at different distances from a start position. Both executed and imagined movement times scaled with target distance, and they were highly correlated, confirming previous work and suggesting that participants did imagine the respective movement. Increased pupillary dilation was evident during motor execution compared to rest, with stronger dilations for larger movements. Pupil dilations also occurred during motor imagery, however they were generally weaker than those during motor execution and they were not influenced by imagined movement distance. Instead, dilations during motor imagery resembled pupil responses obtained during a non-motor imagery task (imagining a previously viewed painting). Our results demonstrate that pupillary responses can reliably capture the dynamics of an executed goal-directed reaching movement, but suggest that pupillary responses during imagined reaching movements reflect general cognitive processes, rather than motor-specific components related to the simulated dynamics of the sensorimotor system.
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Xue, Biyun, and Jiameng Wang. "Effects of piano music of different tempos on heart rate and autonomic nervous system during the recovery period after high‐intensity exercise." Annals of Noninvasive Electrocardiology, June 16, 2022. http://dx.doi.org/10.1111/anec.12981.
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Chew, E., P. Taggart, and P. Lambiase. "P478Cardiac response to live music performance: effect of large-scale musical structure on action potential duration." EP Europace 22, Supplement_1 (June 1, 2020). http://dx.doi.org/10.1093/europace/euaa162.136.
Повний текст джерелаАнотація:
Abstract Funding Acknowledgements This work has received funding from the ERC under the EU’s Horizon 2020 R&I programme (Grant agreement No. 788960) Background Strong emotions can trigger cardiac arrhythmias, but the heart-brain mechanism by which they do so is not well understood. Music induces strong emotions, precipitated by musical changes and intensified during live performance; it thus serves as a powerful tool through which to investigate heart-brain interaction. However, existing studies use short, artificial or pre-recorded music excerpts, out of context and classified into singular, simple emotion classes over which aggregate response are reported, ignoring the range of responses possible for the same music stimulus. None has considered electrical response to music as measured from the heart muscles. Purpose To evaluate the impact on action potential duration due to musical changes at large-scale structural boundaries in live music performance. Methods Patients implanted with biventricular pacemakers/ICDs are invited to a live classical piano concert. Prior to the concert, the patients’ pacemakers are programmed from CRT to dual chamber pacing at 80 bpm or ten above their intrinsic heart rate. Following a ten-minute adjustment period, they listen to three pieces lasting 15 minutes; this was subsequently expanded to five lasting 30 minutes. Continuous recordings of the intracardiac electrogram (EGM) signals are downloaded from the ICD lead connected to the left ventricle whilst the patients listen to the music. The pacemakers are returned to their original settings after the concert. The patients further provide annotations for perceived change boundaries and tension, as well as information on their music training/experience. We approximate the action potential duration (APD) using the action recovery interval (ARI) extracted from the EGM signal, and compare the ARIs before and after each structural boundary indicated in the music score. Results We analyze the ARI data surrounding 24 music structural boundaries. The first results are for the three patients (two male; one female) from the initial study day. We perform a two-sample t-test to assess the population means in ARI values before and after each of the 24 structural boundaries. The figure attached shows the statistically significant changes across structural boundaries for α = 0.05; the bar plots show the sample means and 95% confidence intervals (CI) for the 80 ARIs before and after a boundary, and report the p-values of the t-tests. Patients 1 and 3 each reacted significantly to three out of the 24 boundaries (12.5%), sometimes in opposite directions, and Patient 2 to 15 out of the 24 boundaries (62.5%). The CIs for the significant differences spanned the range (–4.4896,4.8745). Conclusions We show that structural boundaries, where music features change or transition, can produce significant changes in APD. A range of significant responses are observed, including contradictory ones, that span a nearly 10ms range, which could play a contributory role to clinical understanding of arrhythmias and emotion responses. Abstract Figure.