The effect of jaw joint structural differences and problems on violin and viola performance and suggestions for solutions

Yıl 2022, Cilt: 3 Sayı: 1, 1 - 7, 30.03.2022

Zeynepnaz Yıldız Tan Temel

Öz

A member of the string instrument family, the chinrest, which allows the violin and viola to be held more comfortably, was designed by Louis Spohr, a violinist, composer, conductor and musicologist who lived in 1784-1859. It was invented in the 19th century. It has been observed that the invention of the chinrest had significant effects on the performance technique of violin and viola performers. The chinrest has reached our days by changing its shape and diversity in the historical process. With repetitive movements performed by violin and viola performers during their many years of work, Temporomandibular joint disorders occur due to excessive use of the jaw in an inappropriate position. This condition becomes chronic and affects the performance and health of people. It has also been found that most of those with temporomandibular disorders have a habit of squeezing teeth called bruxism. In this research, the effect of structural differences of the jaw joint on performance in violin and viola performers will be discussed. Considering the physiological problems of the performers during the performance, in order to reduce the problems in the jaw discs and bone caused by squeezing the jawbone, the need to develop a chinrest design created with ergonomic materials has emerged. Within this context, based on all previous exemplary ergonomic model studies, methods of softening the chinrest material are presented. It is thought that improving the chinrest design by softening it with a material that takes a personalized shape will enable the performer to perform in a healthier and more comfortable way.

Anahtar Kelimeler

Chinrest., Jaw Joint, Musician Health, Orthodontics, Temporomandibular Joint Disorder, Violin and Viola

Kaynakça

• Aslı, E., (2010). XVIII. Yüzyıl ve Erken XIX. Yüzyıl Müziğinin Keman Tekniği ve Yorumculuğuna Getirdiği Yenilikler. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Devlet Konservatuvarı Müzik Anasanat Dalı, Yaylı Çalgılar Sanat Dalı Sanatta Yeterlik Tezi, İstanbul.
• Evin, İ., (2009). Zaman İçinde Müzik. Remzi Kitabevi, 9. Basım, Nisan 2019.
• Frisch, G., & Denig. L., (2007). Chinrest choice based on jaw type. (Çeviri: Nurbanu Aytekin Zeytinci). Konservatoryum, Cilt: 4, Sayı: 2. Doi: 10.26650/CONS381696.
• Hasan, A., (2019). Ney Ve Keman İcracılarında Servikal Bölge Problemleri Ve Egzersiz Eğitiminin Etkinliği. Fizyoterapi Ve Rehabilitasyon Anabilim Dalı, Yüksek Lisans Programı. Gaziantep 2019.
• Jang, J.Y., Choi, Y.C., Bae, J.H., & Kim, S.T., (2015). Signs and symptoms of temporomandibular disorders in instrumental performers. Department of Orofacial Pain & Oral Medicine, College of Dentistry, Yonsei University, Seoul, Republic of Korea. Division in Anatomy and Developmental Biology, Department of Oral Biology, College of Dentistry, Yonsei University, Seoul, Republic of Korea.
• Obata, S., & Kinoshita, H., (2012). Chin force in violin playing. Eur J Appl Physiol, 112, 2085–2095. DOI 10.1007/s00421-011-2178-7.
• Okner, A.M., Kernozek, T., Wade, & G.M., (1997). Chin rest pressure in violin players: Musical repertoire, chin rests, and shoulder pads as possible mediators. Medical Problems of Performing Artists. (page 112-121).
• Selanik, C., (1996). Müzik Sanatının Tarihsel Serüveni, Müziğin Görkemli Yolculuğu. Doruk Yayımcılık, 1996, 1. Baskı, Ankara, Ekim 1996. ISBN 975-553-113-0
• Uçar, A., & Tanınmış, G. E. (2021). Kemanın Ayrılmaz Parçası Çeneliğin Tarihsel Gelişimi ve Anatomik Açıdan Etkileri. Sanat Eğitimi Dergisi, 9(1), 10–17. doi: 10.7816/sed-09-01-02.
• Zeytinci, N.A., (2017). Omuzluk kullanımında kemancının anatomik yapısının belirleyici etkisi. Art- Sanat Dergisi, 8, 333-342.