The physics inside piano website

July 22, 2007

  1. Instruments - human body interaction
  2. The Aural perception playing piano
  3. The point of touch
  4. The Emotional Machine
  5. Statistical approach to piano playing

Haptic, from the Greek Haphe means pertaining to the sense of touch, we would like to study what is going on with acoustic piano keyboard when interacts with our hands, beyond the artistic deal.

Haptic sense "... is the earliest sense to develop in the fetus and the development of infants; haptic senses, and how that relates to the development of the other senses ...  has been the target of much research".

A well knonwn internet encyclopedia declares the above definition of haptic.  Tactil sense in hands and all matters linked to hearing and kinesthetics perception playing at piano leads to a new frontier in piano technology, in this page are mentioned and briefly examined some aspects of this field and relative theoretical modeling.

Gesture is most a matter for dancers than for musicians, in any case an expontaneous desire to start dancing appears when listening to suggestive harmonies and rhythm, so a musician at playing does enrich his inspirational expression with evocative gestures hearing to its own music. From the other hand any highly sophysticated manual skill requires years of muscular training and the acquisition of exclusive knowledge; for instance typing on the PC keyboard or on the old typewriter can be fast, precise, and efficient; or perhaps not that :-( well ... ; that depends on the body position, the attention concentration degree, etc. Piano playing is but different from typing mainly because very careful hearing and emotions are also involved, moreover, music engages many brain functions as motor control, learning and plasticity, memory, pattern perception, imagery, and even more: music could evoke some states of consciousness. I will devote this page and subpages to briefly expose the central argument I did deffend in my physics graduate thesis, the flux of an haptic entity, the point of touch, through a mechanical device which is the piano action.

I'm currently working on the completion of a full mathematical model of the flux of the "point of touch" through piano action; the point of touch, as you can read in my tesis, is an haptic completely identifiable mechanic entity which correlates all of the following expossed matters, should you be interested on the theoretical or experimental aspects to develop these topic, nor discuss about related aspects, please contact me and follow the feedback SQL database. I wish I could close this section by quoting an asseveration that reports an aphorism of, say, an eminent all-times classical composser (I found somewhere from a recognized biographer):

"I cannot write in verse, for I am not poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am not a painter. Even by signs and gestures I can hardly express my thoughts and feelings, for I am not a dancer... but I can do so by means of sounds, for I am a musician."

Wolfgang Amadeus Mozart (1756 - 1791)

 

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