{"id":11397,"date":"2015-04-22T00:00:00","date_gmt":"2015-04-21T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/ich-dachte-immer-ich-muss-mich-mehr-anstrengen\/"},"modified":"2023-02-03T12:27:07","modified_gmt":"2023-02-03T11:27:07","slug":"ich-dachte-immer-ich-muss-mich-mehr-anstrengen","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/basis\/2015\/04\/ich-dachte-immer-ich-muss-mich-mehr-anstrengen","title":{"rendered":"\"Ho sempre pensato di dovermi impegnare di pi\u00f9\"."},"content":{"rendered":"\"\"\n
<\/div>\n
\n

Data l'enorme individualit\u00e0 della mano umana, con differenze di oltre 9 cm nelle larghezze 2-5 (tra indice e mignolo) e fino a 7 cm nelle larghezze 3-4 (tra medio e anulare), una prima impressione della portata e dei limiti della mano di un musicista difficilmente pu\u00f2 essere ottenuta da una misurazione millimetrica. La Pragmatic Hand Evaluation (PHE) del pioniere della fisiologia musicale Christoph Wagner pu\u00f2 aiutare a identificare le cause dell'eccessivo affaticamento e delle sindromi da overuse. La PHE, la \"sorella minore\" della Biomechanical Hand Measurement (BHM) sviluppata da Wagner e basata dal 2009 presso il Centro di Zurigo per la Mano del Musicista dello ZHdK, registra le dimensioni della mano, tutte le larghezze del pollice e del collo del piede e altre dieci caratteristiche della mano. Utilizzando le schede di misurazione del libro Hand und Instrument di Wagner, i valori individuali vengono confrontati con quelli dei musicisti professionisti.<\/p>\n

L'individualit\u00e0 della mano si contrappone alla tastiera standardizzata e al sogno di molti pianisti di poter attingere anche a quelle gemme della letteratura pianistica i cui requisiti tecnici possono superare i propri limiti. Per un insegnante di pianoforte di 53 anni, suonare sul moderno pianoforte a coda era \"sempre associato ai crampi. Quello che ho sempre trovato difficile \u00e8 suonare gli accordi\". La sua esperienza \u00e8 stata completamente diversa quando ha suonato il fortepiano per la prima volta all'et\u00e0 di 47 anni: \"Ho avuto la sensazione che questo fosse il mio strumento. Potevo suonare in modo pi\u00f9 fluido\".<\/p>\n

Il profilo della mano della pianista tecnicamente esperta mostra un'apertura del pollice e dell'interno piuttosto ridotta, nonostante le mani piuttosto grandi. L'apertura 2-4 era chiaramente limitata e la pianista riusciva a stendere il pollice destro solo fino a un massimo di 65 gradi. Dopo il PHE, quando l'insegnante di pianoforte ha tracciato ancora una volta i passaggi difficili sul moderno pianoforte a coda, si \u00e8 resa conto con stupore: \"Ci sono effettivamente tutti i passaggi che richiedono una tensione interna, che hanno sempre significato uno sforzo supplementare\". Un passaggio Allegro assai dal Trio op. 49 di Mendelssohn. 49. \"Non l'ho mai veramente padroneggiato\". - Presumibilmente a causa della quinta richiesta quasi contemporaneamente con indice e anulare e della settima con indice e mignolo.<\/p>\n

Ripensando al suo periodo di studio, l'insegnante di pianoforte riassume: \"Mi dicevano che avevo una mano grande e dita veloci. Se avessi saputo di avere queste caratteristiche, avrei suonato pezzi completamente diversi, ad esempio. Ho sempre pensato di dover lavorare di pi\u00f9. Il mio insegnante mi diceva: 'Devi solo volerlo'\". E continua: \"Se me ne fossi resa conto prima, il mio approccio a me stessa e i miei metodi di pratica sarebbero cambiati. Per quanto riguarda i brani, mi sono orientata verso la piccola letteratura relativamente presto dopo i miei studi, ma sempre con un leggero risentimento verso me stessa per non avere la tecnica 'giusta' per poter suonare le ballate di Chopin o Brahms\".<\/p>\n

Diverse cose appaiono chiare in queste affermazioni: la percezione abbastanza sensibile dei propri limiti biomeccanici gi\u00e0 durante gli studi, la fiducia nella propria percezione che nel frattempo si era persa, la mancanza di empatia dell'insegnante, l'orientamento verso uno standard di repertorio e lo sforzo..., la percezione riacquistata, gi\u00e0 attraverso la mutata sensazione di suonare sul fortepiano e ulteriormente attraverso il confronto oggettivo - e il sollievo mentale attraverso la conoscenza delle condizioni biomeccaniche individuali.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Come il profilo della mano cambia la percezione.Un caso di studio.<\/strong><\/p>","protected":false},"author":30,"featured_media":10243,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,50],"tags":[],"class_list":["post-11397","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-smm"],"acf":[],"yoast_head":"\n\u00abIch dachte immer,\u2028ich muss mich mehr\u2028anstrengen\u00bb - Schweizer 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