Musical Instrument Ergonomics in Violin and Piano Performance

Abstract

The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players (violinists and violists). The use of adaptive accessories, such as a chin rest and/or a shoulder rest, has been proposed to be a way to improve the interface between the instrument and the player. For pianists, a “one-size-fits-all” keyboard has been the available industry standard with respect to the size of the keyboard in modern piano manufacturing, teaching and performing. However, recent demographic evidence proposes that this standardised piano keyboard discriminates against many pianists who have relatively smaller hand sizes. Controversies persist in best methods to ergonomically fit the instrument to the player among players and pedagogues of both these instruments, and no reviews to date have been conducted to determine whether a collection of evidence to support ergonomic ideals exists. This doctoral thesis presented the synthesis of work on investigating ergonomics in violin and piano performance and addressing knowledge gaps regarding optimising the interface between the instrument and the player.

A systematic review of this topic was undertaken in Chapter 2. The results revealed that only scarce evidence with heterogeneity and low quality of methodology available on instrumental ergonomics in violin and piano performance. An observational study on interaction between hand span and different sizes of keyboards on muscle activity in pianists was conducted in Chapter 3 to investigate the biomechanical responses under ergonomic modifications, while hand size was identified as a potential risk factor for PRMDs (Chapter 2). The results of this experiment showed less muscular loads in pianists while they were playing on a matched size of keyboard regarding their hand spans, suggesting a compatible interface between the player and instrument can enhance performance biomechanics.

Chapter 4 and 5 presented an interview study conducted to explore the factors that contribute to optimising the instrument-player interface in violin playing while the lack of comprehensive understanding of violin set-up was shown in Chapter 2. In Chapter 4, interview data was extracted in a way to present how the violin instrument should fit to a player. The results suggested there were fundamental inconsistencies in the use of physical elements (e.g. violin accessories and position the violin instrument) and the attitudes and beliefs towards instrument set-up while participants held onto different sources of knowledge. On the other hand, comfort and budget were commonly seen as the considerations in selecting the ergonomic set-up. Chapter 5 presents the findings from the aspect of how violinists should fit with their instruments, showing the biomechanics greatly varies but having a neutral posture may be the common aim in violin playing. It is also revealed the phenomenon that violinists tended to prioritise musical performance over monitoring their own posture and movement. Results in both Chapter 4 and 5 showed teacher plays an important role in either pedagogically providing ergonomic suggestions or working with body health professionals on improving a performance interface in violinists, and the process can be time-consuming.

The data presented in this thesis showed the complexity of optimising the interface between the musical instrument and the player. From the investigations on violinists and pianists, interdisciplinary collaborations and crossover trainings in the professionals are recommended so that musicians are able not only to be trained with adequate ergonomic supports but to sustain their desirable musical outcomes. Future research building upon the findings of this thesis will further facilitate the inclusion of ergonomics in the industry of musical performance.