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OMUZLUK KULLANIMINDA KEMANCININ ANATOMİK YAPISININ BELİRLEYİCİ ETKİSİ

Yıl 2017, Sayı: 8, 333 - 342, 30.07.2017

Öz

Omuzluk, keman ve viyola gibi üst vücutta tutularak icra edilen yaylı enstrümanlarda enstrümanın altına omuz yüksekliğini eklemek, sol omzun kaldırılmasını engellemek ve performans sırasında enstrümanın kaymasını önlemek amacıyla kemancıya daha rahat bir vücut duruşu sağlamak için kullanılır. Bu çalışmada omuzluğun ne amaçla kullanılması gerektiği ile ilgili genel bilgi verebilmek hedeflenmiştir. Yapılan literatür taraması kapsamında kaynakların omuzlukla ilgili görüşleri üç kategoride incelenmiştir. Omuzluk kullanılmadığında özellikle uzun boyunlu kemancılarda keman tutuşunun nasıl sağlandığı ve enstrümana gerekenden fazla yükseklik oluşturma amaçlı kullanıldığında omuzluk kullanmanın olumsuz etkileri ortaya konmuştur. Doğru amaç ile kullanıldığında omuzluğun olası kas-iskelet sakatlanmalarının önüne geçtiği belirlenmiştir. Tüm bu bulgular ışığında yumuşak ya da sert omuzluk kullanımında tamamen kişinin bireysel anatomik özelliklerinin belirleyici olması gerektiği sonucuna varılmıştır. 

Kaynakça

  • Auer, Leopold. 1921. Violin Playing As I Teach It, New York, Dover Publications. Auer, Leopold. 1926. Graded Course of Violin Playing, Book 1, New York, Carl Fischer Inc. Baillot, Pierre Marie François de Sales. 1991. The Art of The Violin, Evanston, IL: Northwestern University Press.
  • Bytovetzski, Pavel. L. 1917. How to Master The Violin, A Practical Guide for Students and Teachers, Boston, Oliver Ditson Company.
  • Roberts, Cristopher. 1 August 2011. “Strings”, Accessed March 6, 2014. https://www.highbeam.com/doc/1P3-2394005581.html
  • Dalton, David. 1988. Playing the Viola: Conversations with William Primrose, New York, Oxford University Press.
  • Dinwiddie, Liz. 2007. “Set-up: Fitting the Instrument to the Body, When All Bodies Are Different!”, American String Teacher, 57 (3), 38-40.
  • Flesh, Carl. 1939. The Art of Violin Playing, New York, Carl Fischer. Frisch, Gary and Denig, Lynne. (2006). “Chinrest Choice Based on Jaw Type” Erişim: Haziran 15, 2017.
  • http://www.revisemysite.com/pdfs/102-Chinrest-Choice-%20Original.pdf
  • Galamian, Ivan. 1985. Principles of Violin Playing & Teaching, New Jersey, A Simon & Schuster Company Englewood Cliffs.
  • Lacraru, Emanuela, Maria. 2005. Supporting Tour Instrument in aBody-Friendly Manner: A Comparative Approach, Submitted to the Graduate Faculty of the Louisiana State University and Agricaltural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in School of Music, Levy, Charles, et al. 1992. “Electromyographic Analysis of Muscular Activity in the Upper Extremity Generated by Supporting a Violin with and without a Shoulder Rest”, Medical Problems of Performing Artists, 7 (4):103-109.
  • McCullough, Carol Porter. 1996. The Alexander Technique and the Pedagogy of Paul Rolland, DMA diss., Arizona State University.
  • Medakovic, Mirko. 1932. “Shoulder Rest For Violins” Erişim: Haziran 15, 2017. (www.freepatentsonline.com/1879386.html) Menuhin, Yehudi. 1972.
  • Violin: Six Lessons with Yehudi Menuhin, New York, The Viking Press. Rabufetti, Marco et al. 2008, “Experimental Study of the Effects of Postural and Functional Variations and of Chin-Rest Position on Playing Kinematics of Violinists”, Paper presented at Ergonomics in Music: 12th European Congress and 3rd International Congress on Musicians’ Medicine, Milan, in Medical Problems of Performing Artists, 23 (3):136.
  • Roberts, Cristopher. 1 August 2011, “How to Find the Perfect Student Chin & Shoulder Rest,” Erişim: Haziran 15, 2017. https://www.highbeam.com/doc/1P3-2394005581.html
  • Rolland, Paul and Mutscher, Marla. 1974. The Teaching of Action in String Playing: Developmental and Remedial Techniques; Violin and Viola, Urbana, IL: Illinois String Research Associates.
  • Spohr, L. 1852. Spohr’s Grand Violin School, New York, Berry& Gordon.
  • Tietze, Philip. May 2000. “Finding the Right Set-Up: Advice from the Pros”, American String Teacher, 50 (2): 74-77.
  • Wallfisch, Elizabeth. 2004. “Restless World”, Strad, 115 (1373): 906-909.
  • Yankelevich, Yuri. 2016, The Russian Violin School, The Legacy of Yuri Yankelevich, tr. and ed. M. Lankovsky, Oxford University Press. https://tr.wikipedia.org/wiki/Primum_non_nocere

ADAPTATION OF SHOULDER REST USE ACCORDING TO PERSON

Yıl 2017, Sayı: 8, 333 - 342, 30.07.2017

Öz

Shoulder rest is an accessory, which could be attached to instruments such as violin and viola to add height to the shoulder, to avoid elevating left shoulder, to prevent the instrument from slipping during the performance and to provide a more relaxed body posture. The aim of this study is to give general information about the purpose of using shoulder rest. Within the scope of literature review, the opinions of the sources on the shoulder rest were examined in three categories. It has been described, how to get hold of the violin by the long-necked players, when the shoulder rest is not used and it has been put forth the negative effects of using shoulder rest, when the shoulder rest is used to create excessive height. It has been determined that when used correctly, the shoulder rest avoids possible musculoskeletal injuries. According to all these findings, it has been concluded that individual anatomical characteristics must determine the use of soft or hard shoulder rest. 

Kaynakça

  • Auer, Leopold. 1921. Violin Playing As I Teach It, New York, Dover Publications. Auer, Leopold. 1926. Graded Course of Violin Playing, Book 1, New York, Carl Fischer Inc. Baillot, Pierre Marie François de Sales. 1991. The Art of The Violin, Evanston, IL: Northwestern University Press.
  • Bytovetzski, Pavel. L. 1917. How to Master The Violin, A Practical Guide for Students and Teachers, Boston, Oliver Ditson Company.
  • Roberts, Cristopher. 1 August 2011. “Strings”, Accessed March 6, 2014. https://www.highbeam.com/doc/1P3-2394005581.html
  • Dalton, David. 1988. Playing the Viola: Conversations with William Primrose, New York, Oxford University Press.
  • Dinwiddie, Liz. 2007. “Set-up: Fitting the Instrument to the Body, When All Bodies Are Different!”, American String Teacher, 57 (3), 38-40.
  • Flesh, Carl. 1939. The Art of Violin Playing, New York, Carl Fischer. Frisch, Gary and Denig, Lynne. (2006). “Chinrest Choice Based on Jaw Type” Erişim: Haziran 15, 2017.
  • http://www.revisemysite.com/pdfs/102-Chinrest-Choice-%20Original.pdf
  • Galamian, Ivan. 1985. Principles of Violin Playing & Teaching, New Jersey, A Simon & Schuster Company Englewood Cliffs.
  • Lacraru, Emanuela, Maria. 2005. Supporting Tour Instrument in aBody-Friendly Manner: A Comparative Approach, Submitted to the Graduate Faculty of the Louisiana State University and Agricaltural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in School of Music, Levy, Charles, et al. 1992. “Electromyographic Analysis of Muscular Activity in the Upper Extremity Generated by Supporting a Violin with and without a Shoulder Rest”, Medical Problems of Performing Artists, 7 (4):103-109.
  • McCullough, Carol Porter. 1996. The Alexander Technique and the Pedagogy of Paul Rolland, DMA diss., Arizona State University.
  • Medakovic, Mirko. 1932. “Shoulder Rest For Violins” Erişim: Haziran 15, 2017. (www.freepatentsonline.com/1879386.html) Menuhin, Yehudi. 1972.
  • Violin: Six Lessons with Yehudi Menuhin, New York, The Viking Press. Rabufetti, Marco et al. 2008, “Experimental Study of the Effects of Postural and Functional Variations and of Chin-Rest Position on Playing Kinematics of Violinists”, Paper presented at Ergonomics in Music: 12th European Congress and 3rd International Congress on Musicians’ Medicine, Milan, in Medical Problems of Performing Artists, 23 (3):136.
  • Roberts, Cristopher. 1 August 2011, “How to Find the Perfect Student Chin & Shoulder Rest,” Erişim: Haziran 15, 2017. https://www.highbeam.com/doc/1P3-2394005581.html
  • Rolland, Paul and Mutscher, Marla. 1974. The Teaching of Action in String Playing: Developmental and Remedial Techniques; Violin and Viola, Urbana, IL: Illinois String Research Associates.
  • Spohr, L. 1852. Spohr’s Grand Violin School, New York, Berry& Gordon.
  • Tietze, Philip. May 2000. “Finding the Right Set-Up: Advice from the Pros”, American String Teacher, 50 (2): 74-77.
  • Wallfisch, Elizabeth. 2004. “Restless World”, Strad, 115 (1373): 906-909.
  • Yankelevich, Yuri. 2016, The Russian Violin School, The Legacy of Yuri Yankelevich, tr. and ed. M. Lankovsky, Oxford University Press. https://tr.wikipedia.org/wiki/Primum_non_nocere
Toplam 18 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm MAKALELER/ARTICLES
Yazarlar

Nurbanu Aytekin Zeytinci

Yayımlanma Tarihi 30 Temmuz 2017
Gönderilme Tarihi 7 Temmuz 2017
Yayımlandığı Sayı Yıl 2017 Sayı: 8

Kaynak Göster

Chicago Aytekin Zeytinci, Nurbanu. “OMUZLUK KULLANIMINDA KEMANCININ ANATOMİK YAPISININ BELİRLEYİCİ ETKİSİ”. Art - Sanat, sy. 8 (Temmuz 2017): 333-42.