Proceedings of the Second Vienna Talk, Sept. 19−21, 2010, University of Music and Performing Arts Vienna, Austria

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MUSCLES MADE FOR BRASS PLAYING VISUALIZATION OF TRUMPET PLAYERS’ WARM UP BY INFRARED

THERMOGRAPHY

Matthias Bertsch

Interdisciplinary Music Research. Institute 13 / 3 www.MusikundGesundheit.at, www.DrTrumpet.eu

University of Music and Performing Arts Vienna, Austria bertsch@mdw.ac.at

ABSTRACT

During the warm up, muscle contractions and increased blood flow result in a higher temperature of the overlying skin. This effect can be visualized and quantified by infrared-thermography. The analysis demonstrates that the main facial muscle activity during warm-up is restricted to only a few muscle groups (M.orbicularis oris, M.depressor anguli oris, M. zygomaticus). The "trumpeter's muscle" (M.buccinator) proved to be of minor importance. Less trained players expressed an inhomogenous thermographic pattern compared to well- trained musicians. Infrared thermography could become a useful tool for documentation of a trumpeter's playing technique.

REFERENCES Fulltext Literature can be found and downloaded at http://web.mac.com/miq0101/Bertsch-Literatur-Web/MB-Lit.htm Publication in 5 languages; english, german, french, spanish and Italian: Bertsch, Matthias; Maca, Thomas. Visualization of Brass Players´Warm up by infrared Thermography. Brass Bulletin: International magazine for brass players. (Ed. Jean-Pierre Mathez) 114. Vuarmarens (CH): BRASS BULLETIN, 2001. (26-33) Bertsch, Matthias. Studien zur Tonerzeugung auf der Trompete: Variablen der Tonerzeugung; Vorstudien und-Versuche; "Warm-up"-Studie zum Einblasvorgang; Studien zur Intonation auf Trompeten. Schriftenreihe des Instituts für Wiener Klangstil (Musikalische Akustik) an der Universität für Musik und darstellende Kunst Wien., Band 4. Wien: Institut für Wiener Klangstil (Musikalische Akustik), 2002. Bertsch, Matthias und Thomas Maca. Visualisierung des Einblasvorgangs [Warm up] bei Blechbläsern mittels Infrarot-Thermographie. Zeitschrift für Musikphysiologie und Musikermedizin (DGfMM), Blum, Jochen (Ed). 2008 1. Mainz: DGfMM, 2008.

Fig. 1: Simplified images of the muscles that need to be controlled for the typical “sweet-sour”-embouchure.

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Proceedings of the Second Vienna Talk, Sept. 19−21, 2010, University of Music and Performing Arts Vienna, Austria

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Fig. 2: Temperate of the skin before an after the warm-up of a professional player. While the area at the inner-eyes always is activated, the main difference can be seen at the corner of the mouth.

Fig. 3: Muscles surrounding the embouchure

Fig. 4: Temperature changes have been measured at several numbered areas. Graphics at the right side show the temperature changes before and after warming-up at two areas for 15 trumpet players. (5 students, 5 professionals and 5 beginners). The outer cheek is only warmed up by 3 degrees of one beginner, using a very different playing technique, using the trumpeter’s muscle, like Dizzy Gillespie did.

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