Tuning of the Violin–Performer Interface: An Experimental Study about the Effects of Shoulder Rest Variations on Playing Kinematics

Abstract

Playing a musical instrument is a constrained motor activity; the instrument has a fixed geometry and playing technique that the performer must accommodate. Although the performer progressively adapts to the instrument during years of education, few options are available for adapting the instrument to the performer. The present work is intended to quantitatively describe the effects of using different setups of the violin shoulder rest during performance. Three conditions were considered, the maximum and minimum heights allowed by the shoulder rest and the absence of the shoulder rest. The setups allowed a height variation of <40 mm. Fifteen skilled violin players performed a three-octave scale in G with the three rest setups. An optoelectronic motion capture system measured the positions of passive markers placed on the player's body and on the violin and bow, in order to compute, by means of mathematical models, the kinematics of the body, violin, and bow. The increase in rest height was significantly related to a reduction in head rotation (–7.0°), left shoulder rotation (–8.5°), and left acromion elevation (–17.2 mm) and to an increase in left shoulder flexion (+8.2°) and left forearm pronation (+8.8°). In general, the results demonstrate that a skilled player is able to adapt to any shoulder rest setup and can maintain the quality of sound, and that the adaptations are primarily those of the anatomical systems involved in holding the violin and not in holding the bow. Moreover, adjustment of the shoulder rest setup appears to be the individual's search for a tradeoff position, which possibly may be alleviated by adopting objective assessment and innovative shoulder rests.

A Physiotherapeutic Approach to Musicians' Health – Data From 614 Patients From a Physiotherapy Clinic for Musicians (INAP/O)

“…Fry, 1986;Fishbein and Middlestadt, 1988;Middlestadt and Fisbein, 1989;Schuppert and Altenmüller, 1999;Liu and Hayden, 2002;Sakai, 2002;Rosety-Rodriguez et al, 2003;Moraes and Papini, 2012;Paarup et al, 2012; Ackermann et al, 2002;de Greef et al, 2003;Barton and Feinberg, 2008;Chan et al, 2013aLópez and Martínez, 2013;McCrary et al, 2016 Manual therapy, therapeutic exercises, education and advice (e.g., about performance posture, practice habits, possible injury risks etc. ), music performance biomechanics feedback, ergonomic considerations Ackermann et al, 2002;de Greef et al, 2003;Shafer-Crane, 2006;Rabuffetti et al, 2007;Barton and Feinberg, 2008;Chan et al, 2013b;López and Martínez, 2013;McCrary et al, 2016 Mobility dysfunction Fishbein and Middlestadt, 1988;Middlestadt and Fisbein, 1989;Larsson et al, 1993;Gannon and Bird, 1999;Schuppert and Altenmüller, 1999;Brandfonbrener, 2002;Liu and Hayden, 2002;Sakai, 2002;Day et al, 2011;Driscoll and Ackermann, 2012;Paarup et al, 2012;Artigues-Cano, 2014;Skwiot et al, 2019…”

How Do Violinists Adapt to Dynamic Assistive Support? A Study Focusing on Kinematics, Muscle Activity, and Musical Performance

“…Maintenance of musical performance despite different instrumental setups had already been observed with the introduction of shoulder rests—which elevate the violin (Rabuffetti et al, 2007). Indeed, Rabuffetti et al (2007) found that expert violinists could play scales with no and different heights of shoulder rests, without affecting sound quality (Rabuffetti et al, 2007).…”

Determining factors for compensatory movements of the left arm and shoulder in violin playing

“…The scientific basis for a better understanding of ergonomics in violin playing and teaching is gaining grounds ( Szende and Nemessury, 1971 ; Ackerman and Adams, 2004 ; Wagner, 2005 ; Wagner, 2012 ; Rensing et al, 2018 ; Chi et al, 2020 ), but co-exists with a wide and contradictory spectrum of long-standing teaching and performing traditions ( Flesch, 1978 ; Galamian, 1983 ; Rostal, 1993 ; Rônez-Kubitschek, 2012 ). Gaining insight into the use of the left upper extremity when playing the violin is a research topic often contributed to in recent years ( Blum, 1995a , b ; Zaza, 1998 ; Künzel, 2000 ; Ackermann and Adams, 2003 ; Shan and Visentin, 2003 ; Nyman et al, 2007 ; Rabuffetti et al, 2007 ; Wahlström and Fjellman-Wiklund, 2009 ; Obata and Kinoshita, 2012 ; Lee et al, 2013 ; Reynolds et al, 2014 ; Möller et al, 2018 ). Nevertheless, only few studies focusing on individual physical predispositions concerning the instrument could be identified ( Ackermann and Roger, 2003 ; Steinmetz et al, 2006 ; Storm, 2006 ; Rabuffetti et al, 2007 ; Seidel et al, 2009 ).…”

“…Gaining insight into the use of the left upper extremity when playing the violin is a research topic often contributed to in recent years ( Blum, 1995a , b ; Zaza, 1998 ; Künzel, 2000 ; Ackermann and Adams, 2003 ; Shan and Visentin, 2003 ; Nyman et al, 2007 ; Rabuffetti et al, 2007 ; Wahlström and Fjellman-Wiklund, 2009 ; Obata and Kinoshita, 2012 ; Lee et al, 2013 ; Reynolds et al, 2014 ; Möller et al, 2018 ). Nevertheless, only few studies focusing on individual physical predispositions concerning the instrument could be identified ( Ackermann and Roger, 2003 ; Steinmetz et al, 2006 ; Storm, 2006 ; Rabuffetti et al, 2007 ; Seidel et al, 2009 ). The number of studies dedicated to electromyographic (EMG) measurements of violinists is growing.…”