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TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT vi LISTOFTABLES viii LIST OF FIGURES ix CHAPTERS I. INTRODUCTION 1 Justification 1 Review of Related Literature 5 Biomechanical Models of Fingertip Position 5 Biomechanical Models of the Hand 8 Correlation of Hand Characteristics with Overuse Injuries 12 Wrist Motion 13 Upper Arm and Torso ...16 Control of Horizontal and Vertical Motion at the Piano . . 18 Ergonomics of Virtuosity 19 Summary of Literature 21 Methodology 22 n. TWENTIETH CENTURY PEDAGOGICAL VIEWS OF THE PLAYING APPARATUS 24 Historical Survey of Piano Technique 24 LudwigDeppe (1828-1890) 25 Theodore Leschetizky (1830-1915) 26 Josef Lhevinne (1874-1944) 27 Tobias Matthay (1858-1945) 29 Paul Pichier (1873-1955) 35 Abby Whiteside (1881-1956) 41 Otto Ortmann (1889-1979) 43 George Kochevitsky (1903-1993) 47 General Principles of Twentieth Century Piano Pedagogy 49 Views Concerning The Use of Technical Exercises 52 Use of Exercises Versus Isolation of Technical Problems Contained Within Repertoire 52 Finger Independence Exercise 59 111
III. BIOMECHANICAL DESCRffTIONS OF SELECTED SKILLS 67 Constraints Upon Movement 67 Environmental Constraints 67 Biomechanical Constraints 69 Morphological Constraints 69 Interactions of Constraints 71 The Playing Apparatus: A Kinesiological Description 72 Structure of The Shoulder 72 Structure of The Elbow 79 Structxire of The Wrist 84 Structure of The Hand and Fingers 86 Biomechanical Description of Selected Piano Skills 91 Scales 94 Arpeggios 118 TriUs 132 Double Notes 145 Broken Chords and Octaves 166 IV. PREVENTION OF KEYBOARD <strong>INJURIES</strong> BASED ON MEDICAL, BIOMECHANICAL, <strong>AND</strong> ERGONOMIC OBSERVATIONS 174 Overuse Injuries in Pianists 174 Overuse Injury Terminology Conflicts 175 Acute Versus Overuse Injuries 176 Force Characteristics 178 Muscle Characteristics 179 Actions of Muscles 180 Muscular Strength 181 Muscular Power 182 Muscular Endurance 182 Tendon Characteristics 184 Elastic Properties of Tendons 185 Viscoelastic Properties of Tendons 187 Summary of Forces Relevant to Tendon Loading 188 Preventing Keyboard Injuries 189 Common Sites and Types of Injuries 189 Risk Factors for Developing Keyboard Injuries 202 Recommendations for Preventing Keyboard Injuries . . 227 V. CONCLUSION 230 The Need For Biomechanical Analysis of Piano Technique 230 Instructions for Performing Qualitative Analysis 234 Suggestions for Further Research 251 iv
Page 1 and 2: OVERUSE INJURIES AND PIANO TECHNIQU
Page 3: ACKNOWLEDGEMENTS I would like to ex
Page 7 and 8: ABSTRACT Of the total number of mus
Page 9 and 10: LIST OF TABLES 3.1 Extrinsic Muscle
Page 11 and 12: 4.6 Thoracic Outlet Syndrome 199 4.
Page 13 and 14: Fingers."! Laires, a student of Phi
Page 15 and 16: The motions used in piano playing a
Page 17 and 18: tendons and joints during piano pla
Page 19 and 20: keyboards and acoustic grands. Thou
Page 21 and 22: male pianists ranging in age from 1
Page 23 and 24: and hand weight were the only two e
Page 25 and 26: determine how the wrist was being u
Page 27 and 28: which the hammer of the piano mecha
Page 29 and 30: least for practice if not for publi
Page 31 and 32: processes leading into a given cycl
Page 33 and 34: execution of a technical skill at t
Page 35 and 36: CHAPTER II TWENTIETH-CENTURY PEDAG
Page 37 and 38: finger motions. The finger muscles
Page 39 and 40: that the player poise the hands abo
Page 41 and 42: is only a successfully musical play
Page 43 and 44: strong flexors, there is a momentar
Page 45 and 46: Matthay declared that there is no s
Page 47 and 48: exclusively to one of the three cat
Page 49 and 50: potential to generate excessive ten
Page 51 and 52: inappropriate. Pichier claimed that
Page 53 and 54: fingers. She addressed the role of
Page 55 and 56:
described in great detail the skele
Page 57 and 58:
otation of the upper arm. The finge
Page 59 and 60:
a piece. He therefore asserted that
Page 61 and 62:
amount of resistance differs from k
Page 63 and 64:
and vertical movement at the keyboa
Page 65 and 66:
problem in repertoire which is rela
Page 67 and 68:
way to develop physical technical c
Page 69 and 70:
interference. Contextual interferen
Page 71 and 72:
"-^ '"(«>1" iiH^'*^"^-J J^"t o)
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Gyorgy Sandor claimed that practici
Page 75 and 76:
the relative strength of the finger
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ability to independently extend the
Page 79 and 80:
of variation. If control of the mov
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muscle and tendon structure and fun
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the observations wiU be broad enoug
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Acromion process Long bead ofbi Tic
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extension fi»:Cri Utfrrif totabon
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stabiUty and greater freedom of mov
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This muscle contributes most to elb
Page 93 and 94:
Radius Figure 3.4. Pronator Quadrat
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outside lower end of the humems and
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flexion are located on the anterior
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Figure 3.7. Joints of the Fingers 8
Page 101 and 102:
Flexion Extension Abduction Adducti
Page 103 and 104:
Table 3.1. Major Extrinsic Muscles
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Therefore, some of the motions whic
Page 107 and 108:
accomplished by a lateral shifting
Page 109 and 110:
that both elbow extension and humer
Page 111 and 112:
After this exerdse is mastered, the
Page 113 and 114:
scale, and the upper arm and elbow
Page 115 and 116:
should be the last technical skiU t
Page 117 and 118:
motion of the thumb is exceeded if
Page 119 and 120:
In summary, the thumb and the cross
Page 121 and 122:
The goal in scale playing is a smoo
Page 123 and 124:
continue to the next odave of the s
Page 125 and 126:
the hands are lifted from the lap a
Page 127 and 128:
gravity begins a shift back to the
Page 129 and 130:
hand, and are generally higher duri
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analyzing movements instead of conc
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in position will result in slight b
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esponsible for initiating movement.
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Rapid exerdses which require a quie
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independently from the hand and arm
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land on its key. In rapid arpeggios
Page 143 and 144:
hand coUapses somewhat, giving grea
Page 145 and 146:
the hand is in its neutral aUgnment
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acceleration and velocity are not t
Page 149 and 150:
conunonly used 2-3 fingering.! 5! U
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level at which the tone is produced
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is conceivable that the process wou
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finger. However, if the thumb is ex
Page 157 and 158:
playing, it is a question of which
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of chromatic-double-note passages.!
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esuh in a "kind of diagonal pull" a
Page 163 and 164:
does not tine up behind the second
Page 165 and 166:
Last has acknowledged that hand siz
Page 167 and 168:
tightens vmst adion, necessitating
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onto the appropriate keys. As inten
Page 171 and 172:
This rebounding effect is fadtitate
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Biomechanical Description of Double
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Octave Scales Odave scales are usua
Page 177 and 178:
to the demands of the task anyway)
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wrist in the frontal plane. Newman
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"unfolding" fingers.228 pink pointe
Page 183 and 184:
moment of key impad, the joints of
Page 185 and 186:
CFL\PTER rV PREVENTION OF KEYBOARD
Page 187 and 188:
Motions made at the piano are not m
Page 189 and 190:
Force Charaderistics Mechanical cha
Page 191 and 192:
equire more than a single stimulus
Page 193 and 194:
area. It is also possible that stre
Page 195 and 196:
waste products, resulting in increa
Page 197 and 198:
12 Apphed 10 Stress (N/mm2) 8 0 'To
Page 199 and 200:
does not take place instantaneously
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these injuries may be theoreticaUy
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termed "tenosynovitis." If the teno
Page 205 and 206:
Figure 4.3. 'Trigger" Finger TRIGGE
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Ulnar Nerve Transverse Carpal Ligam
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Ulnar Nerve Cubital Tunnel Rexor Ca
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tingling and pain along the ulnar s
Page 213 and 214:
treatment. Conservative measures, s
Page 215 and 216:
Performing Artists in Chicago, reco
Page 217 and 218:
joints and the transverse axis thro
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Observations Regarding the Entire P
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typists) this recommendation might
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fingers are required to produce the
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playmg.106 He did claim, however, t
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(sti-aight) or sUghtly drooped betw
Page 229 and 230:
more overuse injuries are reported
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and isolated segment of the "work c
Page 233 and 234:
sudden exposure to temperatures bel
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of key at rest and the point at whi
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Meuike generalized that the single
Page 239 and 240:
epetition. The pianist can ameliora
Page 241 and 242:
CHAPTER V CONCLUSION The Need For B
Page 243 and 244:
strength in the fingers themselves.
Page 245 and 246:
individual differences, all human b
Page 247 and 248:
movement in all the involved planes
Page 249 and 250:
quatitative analysis was developed
Page 251 and 252:
III. C. What environmental factors
Page 253 and 254:
Table 5.1 Continued Right Hand Asce
Page 255 and 256:
Table 5.3. Checktist for Trills' MO
Page 257 and 258:
Table 5.5. Checklist for Octave Sca
Page 259 and 260:
inversion at a time. The goal is ev
Page 261 and 262:
student's technique based upon thes
Page 263 and 264:
fingers, may be defined. Quantified
Page 265 and 266:
Chaffin, Don B. and Gunnar B.J. And
Page 267 and 268:
KeUa, John J., Ph.D. "Musculoskelet
Page 269 and 270:
Rempel, David. "Musculoskeletal Loa
Page 271 and 272:
APPENDDC A GLOSSARY OF TERMS 260
Page 273 and 274:
Deltoid-muscle of the glenohumeral
Page 275 and 276:
Pennate-vdth regard to muscle fiber
Page 277 and 278:
APPENDDC B ADDITIONAL ANATOMIC FIGU
Page 279 and 280:
trtctips mMial epiconttyle olecrano
Page 281 and 282:
^^_: y.. > i \->-" i ' • • p. )
Page 283 and 284:
Sternal oectoralis maior Anterior d
Page 285 and 286:
Muscle Fiber Types and Architecture
Page 287 and 288:
move body segments through a greate
Page 289 and 290:
about the normal length of a muscle
Page 291:
provide lubrication, protection, an
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