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Musical Instrument Ergonomics
Abstract
David Nabb's interview of Maarten Visser on page 159 of this issue and Brenda Wristen's article on the 7/8ths keyboard from the March issue are two recent examples of articles on musical instrument ergonomics. Ergonomics, literally the study of work, is defined as "the applied science of equipment design intended to maximize productivity by reducing operator fatigue and discomfort." When I was an undergraduate student at Tufts University in the 1970s, my engineering roommate studied "human factors engineering" (but never applied it to music, as far as I know). In 2006, a Google search for "ergonomic musical instruments" yields over 1 million websites; a search for "musical instruments" yields 16 million websites.
... It was expressed that the linkage between the sculptor and the musical instruments (Drums) was based on the merit of functionality. Musical instrument design has evolved over time, and that is part of the problem individuals now faces (Manchester, 2006). Modernism and man's quest for money has really redirected the focus of drumming and its construction (Chernoff, 1979). ...
Traditional musical instruments have been handed down from generation to generation although in most instances there has been a change in its development and production. Sculptors, over the years have played a very vital role in the making of such musical instruments. For someone to be able to make a music instrument, the person needs to have an idea about the material and its characteristics. This article establishes the link between traditional musical instruments and the sculptor as a depository of indigenous knowledge systems in music. Through qualitative research approach, it employed descriptive research design and aesthetic analysis as for the processes used in the making of some of the traditional musical instruments; and the symbolic meaning of material content in describing these music instruments for indigenous knowledge systems respectively. Data were collected through face-to-face interview and observation. Sculptors,
... Musical instruments should ideally produce high-quality sounds, while not being too challenging to play, be durable, and relatively affordable (Manchester 2006). Manipulating an acoustic musical instrument for an extended period of time will almost certainly lead to injuries resultant of the accumulation of micro traumas when the human physiological limits are exceeded. ...
Recent works recognize musicality is based on and constrained by our cognitive and biological system. Taking in account a concept from cognitive science - cognitive offloading - as a principle for technology-supported musical activities, in this paper we discuss some principles (guidelines) to be taken into account when designing, developing and evaluating computer music technologies, especially those related to ubimus. We think that Ubimus technology can shape the way we think about music and have a positive (or negative) influence on our musicality.
... Musical instrument must sound good, but also must be not too difficult to play, relatively durable, and more or less affordable [16]. Manipulating an acoustic musical instrument for an extended period of time will almost certainly lead to injuries resultant of the accumulation of micro traumas. ...
All humans share a predisposition for music even those who consider
themselves to be “unmusical”. Until recently, most scholars were wary of the
notion that music cognition could have a biological basis, and this fact reflects
on the limited support HCI offers to the design of ubimus technology. In this
paper, we present a preliminary discussion on five main aspects of human nature
that can be applied to ubimus interaction design including (i) materiality and
physicality of musical instruments; (ii) consciousness achieved when skills and
challenges are in equilibrium during musical learning; (iii) natural mappings of
gestures and movements; (iv) ability to recognize and synchronize with auditory
signals; and finally (v) usage of (true) imitation as an strategy to musical learning
and communication. It is our intention to point some ideas, concepts and principles
that could be used as initial set of interaction design guidelines for improving
User eXperience (UX) when developing digital music instruments in ubimus
context.
... The size of an instrument and the playing position should be individualized as much as possible, and in certain situations, ergonomic adaptations of instruments have been designed and used. [216][217][218] Musicians who march in military bands, drum corps, college bands, and other, similar groups report health problems related to the outdoor environment, loud sounds, and marching while carrying their instruments. 219 Research has suggested that the physical demands of participating in marching band are similar to athletics. ...
Objective:
Workplace hazards in the performing arts cause injuries, disabilities, and deaths every year. Occupational health professionals are familiar with most of these hazards and are particularly qualified to contribute to efforts to reduce them. This article reviews current health issues in the performing arts and highlights opportunities for occupational health contributions.
Methods:
Recognized experts in performing arts medicine were consulted and articles illustrating performing arts health issues were reviewed. Literature sources included medical databases, unindexed art-health publications, and popular press articles.
Results:
Resources discussing hazards and health issues in theater, dance, voice, and instrumental musicians were located and reviewed.
Conclusions:
Treatment providers have a history of involvement with segments of the performing arts. The occupational health approach to workplace health issues can effectively complement these efforts. Sources of further information on performing arts health concerns are available.
... We consider as OP a posture which is effective and efficient for each musical instrument examined based on different studies and observations done by other authors. 2,6,9,[11][12][13]16,17 We consider a "nonoptimal posture" (NOP) a clinically significant deviation from OP based on the observer's experience. ...
Prolonged and incorrect postures are one of the main risk factors for the development of musculoskeletal pathologies. The aims of this study were to study the prevalence of incorrect postures among conservatory students; to identify if the use of an asymmetric instrument represents a risk factor for developing postural disorders; and to investigate whether a correlation exists between years of study, physical activity, and prevalence of postural disorders.
The subjects were recruited among students of the Giuseppe Verdi Conservatory of Milano. All musical instruments were investigated and classified as asymmetric and symmetrical. The observed student posture was classified without instrument as "correct posture" or "postural disorder" and with an with instrument as "optimal posture" or "non-optimal posture." While playing, the postural disorder was classified as "unchanged" or "increased." The data were analyzed with chi-square and linear regression methods.
Of the 148 conservatory students entered into the study, 66.2% had a postural disorder; 73.4% had a non-optimal posture, and playing an asymmetric instrument was the only variable associated (p=0.01). While playing, the postural disorder was increased in 59.2%; playing an asymmetric instrument (p=0.01) and years of practice (p=0.007) were the significantly associated variables.
To play an asymmetric instrument exposes musicians to an increased risk of non-optimal postures and to a worsened postural disorder when present. Considering that the years of practice have an additional negative impact on postural disorders, further studies are needed to clarify the role of non-optimal postures in the development of musculoskeletal complaints among students and professional musicians.
The width of piano keys became standardised approximately 120 years ago, based on the needs of European male pianists. Only recently has piano keyboard size come into question, as more pianists experience the benefits of reduced-size keyboards.
There is strong evidence that small-handed pianists are more likely to suffer pain and injury than those with larger hands. Many pianists, particularly women and children, are unable to reach their full potential with the standard keyboard.
The lecture/demonstration will include statistics, literature review, live and recorded performances, and a rationale for encouraging the use of smaller piano keyboards.
Several articles in this issue touch on some of the more athletic components of the performing arts. The article by Twitchett et al. describes fitness aspects of ballet, Gabrilo et al. discuss lung function in synchronized swimmers, and we also learn about how one flutist prepared for a very difficult piece by exercising (and practicing) in the letter by Borkowski. Of course, these are not the first articles in MPPA that look at performers as individuals who call on a variety of physical skills to create an artistic performance; examples of studies looking at both dancers and musicians dating back nearly a decade or more are easy to find. And this column has drawn on certain concepts borrowed from the world of sports medicine on more than one occasion. The connection between performing arts medicine and sports medicine is mentioned early on by Dr. Brandfonbrener in the new edition of Performing Arts Medicine. In this editorial I outline some of the similarities and differences between performing artists and athletes in an attempt to highlight opportunities for improving the health of performing artists in the future.
This pilot study examined whether the use of a 7/8 keyboard contributed to the physical ease of small-handed pianists as compared with the conventional piano keyboard. A secondary research question focused on the progression of physical case in pianists making the transition from one keyboard to the other. For the purposes of this study, a hand span of 8 inches or less was used to define a "sinall-handed" pianist. The goal was to measure muscle loading and hand span during performance of a specified musical excerpt. For data collection, each of the two participants was connected to an 8-channel electromyography system via surface electrodes, which were attached to the upper back/shoulder, parts of the hand and arm, and masseter muscle of the jaw. Subjects also were fitted with electrogomometers to capture how the span from the first metacarpophalangeal (MCP) joint to the fifth MCP joint moves according to performance demands, as well as wrist flexion and extension and radial and Ulnar deviation. We found that small- handed pianists preferred the smaller keyboard and were able to transition between it and the conventional keyboard. The maximal angle of hand span while playing a difficult piece was about 5 degrees smaller radially and 10 degrees smaller ulnarly for the 7/8 keyboard, leading to perceived case and better performance as rated by the pianists.
Maarten Visser, of Amsterdam, is one of the world's leading authorities on adapting woodwind instruments for people with disabilities. He has successfully adapted numerous wind instruments, including a flute with a one-handed mechanism that has a three octave chromatic range, now played by Edit van der Burg-Mayer. This interview was held in Amsterdam on June 29, 2006.