摘要
本研究使用普爾曼螺旋分析（Pullman spiral analysis）（Pullman, 1998）以探討高技能鋼琴彈奏者之手部變異性，此動作變異性之指標為手指震顫，包括震顫嚴重程度、動作流暢度、不規則性及緊張度等變項。實驗參加者為20位主修鋼琴且慣用手為右手之大學生（平均年齡為21.75 ± 0.65歲），實驗要求其分別以左手和右手自然地握住一電子感應筆來畫數個螺旋形狀，左右手之試作次數各為10次；在前測與後測之間，參加者皆練習二個小時較快節奏之鋼琴彈奏練習。本研究以重覆量數二因子變異數分析，檢驗畫螺旋形狀之前後測與左右手交替使用在以下四個依變項之效果：手部動作之震顫嚴重程度、動作流暢度、不規則性及緊張度。主要研究結果為（1）上述二個自變項皆未在練習彈奏快節奏鋼琴二個小時後對震顫嚴重程度有所影響，及（2）右手動作較左手流暢，但左手則較右手顯現出較高之規律性。本研究提出以下結論：雖然鋼琴彈奏者之手部震顫程度並不顯著，研究發現以右手為慣用手之鋼琴彈奏者的右手表現出較不規律、但卻較為流暢之手部動作型態，相反地，其左手則表現出較為規律卻較不流暢之動作結果，究其原因可能與鋼琴彈奏者常以左手練習較為穩定之和弦彈奏有關。本研究發現有助於瞭解音樂知覺之相關知識，尤其是在鋼琴彈奏方面之音樂知識領域。
並列摘要
By utilizing the Pullman spiral analysis (Pullman, 1998), the purpose of the study was to examine the degree of severity (DOS), movement smoothness, irregularity, and tightness of highly skilled piano players, using finger tremors as the index of movement variability. Twenty piano major college-aged students (21.75 ± 0.65 years old) with right dominant hands participated in the study. They were asked to hold an electronic pen and draw several spirals in a natural position, with both hands performing the task 10 times. Two-hour-long piano practice sessions with a relatively fast tempo occurred between the pretests and posttests. The before/after piano playing sessions and the right/left hands were used as the two independent variables in the experiment. The major dependent variables included the DOS, movement smoothness, irregularity, and tightness. The two-way repeated measure ANOVA was applied to examine the effect of the piano playing and hands on the dependent variables. The results determined that: (1) No significant DOS differences exist in before/after piano playing, nor in the interchange between right/left hands; and (2) the right hands appear to generate smoother movements than the left hands, F(1, 19) = 59.68, p ＜ .001, η^2 = .76. However, the left hands displayed more regular movement features than the right ones, F(1, 19) = 24.37, p ＜ .001, η^2 = .56. The conclusion of the study was that, although no apparent practice effect appears in the piano players' hands, their right hands displayed a relatively higher irregularity, but with smoother playing. The pianists' left hands, however, assumingly trained more often in a chord-playing manner, displaying relatively more regularity with less smooth playing. The results of the study are useful in broadening the knowledge and understanding of the prolific perceptions of music, particularly in the arena of piano playing.
參考文獻
延伸閱讀
- 楊景蘭（2008）。穆欽斯基《鋼琴組曲》之創作特徵與彈奏技巧探究。藝術學報，(83)，159-191。https://doi.org/10.6793/JNTCA.200810.0159
- Li, Y. F. (2013). 擬真鋼琴機器人之分散式控制模組設計. 中國機械工程學刊, 34(2), 143-150. https://www.airitilibrary.com/Article/Detail?DocID=02579731-201304-201309230002-201309230002-143-150
- 施以諾、蘇怡如、吳佳慧（2005）。鋼琴活動應用於職能治療之質性研究－個案報告。輔仁醫學期刊，3(1)，1-7。https://www.airitilibrary.com/Article/Detail?DocID=18102093-200506-3-1-1-7-a
- 蘇逸珊（2013）。論德布西之鋼琴演奏風格－彈性速度、觸鍵與雙踏瓣運用。關渡音樂學刊，(17)，49-67。https://www.airitilibrary.com/Article/Detail?DocID=P20110526005-201301-201305030038-201305030038-49-67
- 李孟蓓、郭文貴（2004）。建立鋼琴獨奏曲音樂意象可行性之研究。華岡紡織期刊，11(4)，375-383。https://doi.org/10.29984/JHGT.200412.0006