Abstract

Theoretical and empirical evidence suggests that accurate and efficient motor performance may be achieved by task-specific exploitation of biomechanical degrees of freedom. We investigate coordination of the right arm in a task requiring a sudden yet precisely controlled reversal of movement direction: bow reversals during continuous (“legato”) tone production on a stringed instrument. Ten advanced or professional cello players (at least 10 years of practice) and ten age-matched novice players took part in the study. Kinematic data from the bow and the right arm were analyzed in terms of velocity and acceleration profiles, as well as temporal coordination along the arm. As expected, experts' bow velocity and acceleration profiles differed markedly from those of novice participants, with higher peak accelerations and quicker direction changes. Importantly, experts achieved the change in movement direction with a single acceleration peak while novices tended to use multiple smaller acceleration peaks. Experts moreover showed a proximal-distal gradient in timing and amplitudes of acceleration peaks, with earlier and lower-amplitude reversals at more proximal joints. We suggest that this coordination pattern allows generating high accelerations at the end effector while reducing the required joint torques at the proximal joints. This may underlie experts' ability to produce fast bow reversals efficiently and with high spatiotemporal accuracy. The findings are discussed in terms of motor control theory as well as potential implications for musicians' performance and health.

Highlights

  • Stringed instrument bowing is a complex coordinative sensorimotor ability acquired through years of deliberate practice (Ericsson et al, 1993)

  • We investigate coordination of the right arm in a task requiring a sudden yet precisely controlled reversal of movement direction: bow reversals during continuous (“legato”) tone production on a stringed instrument

  • Kinematic data from the bow and the right arm were analyzed in terms of velocity and acceleration profiles, as well as temporal coordination along the arm

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Summary

Introduction

Stringed instrument bowing is a complex coordinative sensorimotor ability acquired through years of deliberate practice (Ericsson et al, 1993). Experienced cello players do not show the same tradeoff between movement distance, speed and end point accuracy during shifting movements (Chen et al, 2006) as typically found in non-trained individuals (Fitts, 1954; Schmidt et al, 1979) This makes string instrument bow technique an excellent model for studying general questions about motor coordination and its development (Bernstein, 1967, 1996). Texts on cello technique emphasize the flexible control of the joints of the arm in bowing This suggests, that differentiated use of the right arm’s degrees of freedom (DOF), as suggested by Bernstein’s theory of skill acquisition (Bernstein, 1967) may be at work when experts change bow direction. How the DOF of the bowing arm are coordinated and how this coordinative skill is acquired is not understood

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