Hand kinematics of piano playing

Video-based diagnosis support system for pianists with Musician's dystonia

Background

Musician's dystonia is a task-specific movement disorder that deteriorates fine motor control of skilled movements in musical performance. Although this disorder threatens professional careers, its diagnosis is challenging for clinicians who have no specialized knowledge of musical performance.

Objectives

To support diagnostic evaluation, the present study proposes a novel approach using a machine learning-based algorithm to identify the symptomatic movements of Musician's dystonia.

Methods

We propose an algorithm that identifies the dystonic movements using the anomaly detection method with an autoencoder trained with the hand kinematics of healthy pianists. A unique feature of the algorithm is that it requires only the video image of the hand, which can be derived by a commercially available camera. We also measured the hand biomechanical functions to assess the contribution of peripheral factors and improve the identification of dystonic symptoms.

Results

The proposed algorithm successfully identified Musician's dystonia with an accuracy and specificity of 90% based only on video footages of the hands. In addition, we identified the degradation of biomechanical functions involved in controlling multiple fingers, which is not specific to musical performance. By contrast, there were no dystonia-specific malfunctions of hand biomechanics, including the strength and agility of individual digits.

Conclusion

These findings demonstrate the effectiveness of the present technique in aiding in the accurate diagnosis of Musician's dystonia.

Evolution, biomechanics, and neurobiology converge to explain selective finger motor control

Humans use their fingers to perform a variety of tasks, from simple grasping to manipulating objects, to typing and playing musical instruments, a variety wider than any other species. The more sophisticated the task, the more it involves individuated finger movements, those in which one or more selected fingers perform an intended action while the motion of other digits is constrained. Here we review the neurobiology of such individuated finger movements. We consider their evolutionary origins, the extent to which finger movements are in fact individuated, and the evolved features of neuromuscular control that both enable and limit individuation. We go on to discuss other features of motor control that combine with individuation to create dexterity, the impairment of individuation by disease, and the broad extent of capabilities that individuation confers on humans. We comment on the challenges facing the development of a truly dexterous bionic hand. We conclude by identifying topics for future investigation that will advance our understanding of how neural networks interact across multiple regions of the central nervous system to create individuated movements for the skills humans use to express their cognitive activity.

A Model of Multi-Finger Coordination in Keystroke Movement

In multi-finger coordinated keystroke actions by professional pianists, movements are precisely regulated by multiple motor neural centers, exhibiting a certain degree of coordination in finger motions. This coordination enhances the flexibility and efficiency of professional pianists' keystrokes. Research on the coordination of keystrokes in professional pianists is of great significance for guiding the movements of piano beginners and the motion planning of exoskeleton robots, among other fields. Currently, research on the coordination of multi-finger piano keystroke actions is still in its infancy. Scholars primarily focus on phenomenological analysis and theoretical description, which lack accurate and practical modeling methods. Considering that the tendon of the ring finger is closely connected to adjacent fingers, resulting in limited flexibility in its movement, this study concentrates on coordinated keystrokes involving the middle and ring fingers. A motion measurement platform is constructed, and Leap Motion is used to collect data from 12 professional pianists. A universal model applicable to multiple individuals for multi-finger coordination in keystroke actions based on the backpropagation (BP) neural network is proposed, which is optimized using a genetic algorithm (GA) and a sparrow search algorithm (SSA). The angular rotation of the ring finger's MCP joint is selected as the model output, while the individual difference information and the angular data of the middle finger's MCP joint serve as inputs. The individual difference information used in this study includes ring finger length, middle finger length, and years of piano training. The results indicate that the proposed SSA-BP neural network-based model demonstrates superior predictive accuracy, with a root mean square error of 4.8328°. Based on this model, the keystroke motion of the ring finger's MCP joint can be accurately predicted from the middle finger's keystroke motion information, offering an evaluative method and scientific guidance for the training of multi-finger coordinated keystrokes in piano learners.

Reliability, accuracy, and minimal detectable difference of a mixed concept marker set for finger kinematic evaluation

The study of finger biomechanics requires special tools for accurately recording finger joint data. A marker set to evaluate finger postures during activities of daily living is needed to understand finger biomechanics in order to improve prosthesis design and clinical interventions. The purpose of this study was to evaluate the reliability of a proposed hand marker set (the Warwick marker set) to capture finger kinematics using motion capture. The marker set consisted of the application of two and three marker clusters to the fingers of twelve participants who participated in the tests across two sessions. Calibration markers were applied using a custom palpation technique. Each participant performed a series of range of motion movements and held a set of objects. Intra and inter-session reliability was calculated as well as Standard Error of Measurement (SEM) and Minimal Detectable Difference (MDD). The findings showed varying levels of intra- and inter-session reliability, ranging from poor to excellent. The SEM and MDD values were lower for the intra-session range of motion and grasp evaluation. The reduced reliability can potentially be attributed to skin artifacts, differences in marker placement, and the inherent kinematic variability of finger motion. The proposed marker set shows potential to assess finger postures and analyse activities of daily living, primarily within the context of single session tests.

Coordinating upper limbs for octave playing on the piano via neuro-musculoskeletal modeling

Understanding the coordination of multiple biomechanical degrees of freedom in biological organisms is crucial for unraveling the neurophysiological control of sophisticated motor tasks. This study focuses on the cooperative behavior of upper-limb motor movements in the context of octave playing on the piano. While the vertebrate locomotor system has been extensively investigated, the coherence and precision timing of rhythmic movements in the upper-limb system remain incompletely understood. Inspired by the spinal cord neuronal circuits (central pattern generator, CPG), a computational neuro-musculoskeletal model is proposed to explore the coordination of upper-limb motor movements during octave playing across varying tempos and volumes. The proposed model incorporates a CPG-based nervous system, a physiologically-informed mechanical body, and a piano environment to mimic human joint coordination and expressiveness. The model integrates neural rhythm generation, spinal reflex circuits, and biomechanical muscle dynamics while considering piano playing quality and energy expenditure. Based on real-world human subject experiments, the model has been refined to study tempo transitions and volume control during piano playing. This computational approach offers insights into the neurophysiological basis of upper-limb motor coordination in piano playing and its relation to expressive features.

Chord skill: learning optimized hand postures and bimanual coordination

This reaction time study tested the hypothesis that in the case of finger movements skilled motor control involves the execution of learned hand postures. After delineating hypothetical control mechanisms and their predictions an experiment is described involving 32 participants who practiced 6 chord responses. These responses involved the simultaneous depression of one, two or three keys with either four right-hand fingers or two fingers of both hands. After practicing each of these responses for 240 trials, the participants performed the practiced and also novel chords with the familiar and with the unfamiliar hand configuration of the other practice group. The results suggest that participants learned hand postures rather than spatial or explicit chord representations. Participants practicing with both hands also developed a bimanual coordination skill. Chord execution was most likely slowed by interference between adjacent fingers. This interference seemed eliminated with practice for some chords but not for others. Hence, the results support the notion that skilled control of finger movements is based on learned hand postures that even after practice may be slowed by interference between adjacent fingers.

Generalization indicates asymmetric and interactive control networks for multi-finger dexterous movements

Finger dexterity is manifested by coordinated patterns of muscle activity and generalization of learning across contexts. Some fingers flex, others extend, and some are immobile. Whether or not the neural control processes of these direction-specific actions are independent remains unclear. We characterized behavioral principles underlying learning and generalization of dexterous flexion and extension movements, within and across hands, using an isometric dexterity task that precisely measured finger individuation, force accuracy, and temporal synchronization. Two cohorts of participants trained for 3 days in either the flexion or extension direction. All dexterity measures in both groups showed post-training improvement, although finger extension exhibited inferior dexterity. Surprisingly, learning of finger extension generalized to the untrained flexion direction, but not vice versa. This flexion bias was also evident in the untrained hand. Our study indicates direction-specific control circuits for learning of finger flexion and extension that interact by partially, but asymmetrically, transferring between directions.

Movement-specific keyboard playing for hand function in adolescents and young adults with acquired brain injury

Background

Patients with acquired brain injury (ABI) suffer from deficits in fine motor function in hands which affect independent self-care function in daily life. This study aimed to examine the effects of movement-specific keyboard playing for improved hand function in adolescents and young adults with ABI.

Method

A total of 23 patients with ABI participated in this study. Twelve were assigned to the intervention group and eleven to the control group. The intervention group engaged in movement-specific keyboard playing three to four times a week for 3 weeks in addition to standard care, while the control group received only standard care.

Results

The results of a mixed model of repeated measures ANOVA showed that the time effects were significant in the functional independence measure, key-pressing force, and most of the hand function tests measured. In terms of the interaction effect between group and time, a significant effect was found only in the checker-stacking task as a subtest of the Jebsen-Talyor Hand Function Test.

Discussion

These results indicate that the specified movements required to play the keyboard may involve more precise and dexterous manipulation with hands and fingers. These results also suggest that movement-specific keyboard playing has potential in optimizing the intervention effect of keyboard playing while maximizing the benefits of music for motivating young patients with ABI.

Sensorimotor Incoordination in Musicians' Dystonia

To acquire and maintain outstanding sensorimotor skills for playing musical instruments inevitably requires extensive training from childhood. However, on the way toward musical excellence, musicians sometimes develop serious disorders, such as tendinitis, carpal tunnel syndrome, and task-specific focal dystonia. Particularly, task-specific focal dystonia in musicians, which is referred to as musician's dystonia (MD), has no perfect cure and therefore often terminates professional careers of musicians. To better understand its pathological and pathophysiological mechanisms, the present article focuses on malfunctions of the sensorimotor system at the behavioral and neurophysiological levels. Based on emerging empirical evidence, we propose that the aberrant sensorimotor integration, possibly which occurs in both cortical and subcortical systems, underlies not only movement incoordination between the fingers (i.e., maladaptive synergy) but also failure of long-term retention of intervention effects in the patients with MD.

The role of auditory feedback in the motor learning of music in experienced and novice performers

Musical learning is related to the development of audio-visuomotor associations linking gestures with musical sounds. To study the role of auditory feedback in learning, 115 students (56 guitarists, 59 pianists) at the beginner, intermediate and advanced levels were recruited. Playing with sound (audio-motor feedback), mute practice (motor feedback), and piece listening (auditory feedback) were compared to first sight reading to assess the role of auditory and motor feedback in procedural learning. The procedure consisted of the execution of a standard piece for determining the students' level and 4 further music executions (every week for 4 weeks), preceded by different practice conditions (for 12 min, once a day, for 5 days). Real musical pieces (e.g., Segovia, Schubert, Bartók) were used. Performance evaluation focused on four macro-categories: note, rhythm, dynamics and smoothness. For both instruments, first-sight reading (A - M -) was associated with the worst performance: silent motor practice (A - M +) resulted in learning the rhythmic structure of the piece and in a smoother performance. Listening to pieces (A + M -) resulted in learning the agogics and in improving articulation and smoothness. Listening during performance (A + M +) resulted in fewer intonation errors. Interestingly, auditory feedback was more relevant for beginners than for advanced students, as evidenced by the greater benefits of listening during practice.

Decomposition into dynamic features reveals a conserved temporal structure in hand kinematics

The human hand is a unique and highly complex effector. The ability to describe hand kinematics with a small number of features suggests that complex hand movements are composed of combinations of simpler movements. This would greatly simplify the neural control of hand movements. If such movement primitives exist, a dimensionality reduction approach designed to exploit these features should outperform existing methods. We developed a deep neural network to capture the temporal dynamics of movements and demonstrate that the features learned allow accurate representation of functional hand movements using lower-dimensional representations than previously reported. We show that these temporal features are highly conserved across individuals and can interpolate previously unseen movements, indicating that they capture the intrinsic structure of hand movements. These results indicate that functional hand movements are defined by a low-dimensional basis set of movement primitives with important temporal dynamics and that these features are common across individuals.

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Hand movements are comprised of a low-dimensional set of movement primitives

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Primitive movements have an important temporal component

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Spatiotemporal movement primitives are conserved across individuals

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New complex movements can be flexibly reconstructed using these primitives

Transition between individually different and common features in skilled drumming movements

Why do professional athletes and musicians exhibit individually different motion patterns? For example, baseball pitchers generate various pitching forms, e.g., variable wind-up, cocking, and follow-through forms. However, they commonly rotate their wrists and fingers at increasingly high speeds via shoulder and trunk motions. Despite the universality of common and individually different motion patterns in skilled movements, the abovementioned question remains unanswered. Here, we focus on a motion required to hit a snare drum, including the indirect phase of task achievement (i.e., the early movement and mid-flight phases) and the direct phase of task achievement (i.e., the hit phase). We apply tensor decomposition to collected kinematic data for the drum-hitting motion, enabling us to decompose high-dimensional and time-varying motion data into individually different and common movement patterns. As a result, individually different motion patterns emerge during the indirect phase of task achievement, and common motion patterns are evident in the direct phase of task achievement. Athletes and musicians are thus possibly allowed to perform individually different motion patterns during the indirect phase of task achievement. Additionally, they are required to exhibit common patterns during the direct phase of task achievement.

How the hand has shaped sign languages

In natural languages, biological constraints push toward cross-linguistic homogeneity while linguistic, cultural, and historical processes promote language diversification. Here, we investigated the effects of these opposing forces on the fingers and thumb configurations (handshapes) used in natural sign languages. We analyzed over 38,000 handshapes from 33 languages. In all languages, the handshape exhibited the same form of adaptation to biological constraints found in tasks for which the hand has naturally evolved (e.g., grasping). These results were not replicated in fingerspelling—another task where the handshape is used—thus revealing a signing-specific adaptation. We also showed that the handshape varies cross-linguistically under the effects of linguistic, cultural, and historical processes. Their effects could thus emerge even without departing from the demands of biological constraints. Handshape’s cross-linguistic variability consists in changes in the frequencies with which the most faithful handshapes to biological constraints appear in individual sign languages.

Noncontact and High-Precision Sensing System for Piano Keys Identified Fingerprints of Virtuosity

Dexterous tool use is typically characterized by fast and precise motions performed by multiple fingers. One representative task is piano playing, which involves fast performance of a sequence of complex motions with high spatiotemporal precision. However, for several decades, a lack of contactless sensing technologies that are capable of precision measurement of piano key motions has been a bottleneck for unveiling how such an outstanding skill is cultivated. Here, we developed a novel sensing system that can record the vertical position of all piano keys with a time resolution of 1 ms and a spatial resolution of 0.01 mm in a noncontact manner. Using this system, we recorded the piano key motions while 49 pianists played a complex sequence of tones that required both individuated and coordinated finger movements to be performed as fast and accurately as possible. Penalized regression using various feature variables of the key motions identified distinct characteristics of the key-depressing and key-releasing motions in relation to the speed and accuracy of the performance. For the maximum rate of the keystrokes, individual differences across the pianists were associated with the peak key descending velocity, the key depression duration, and key-lift timing. For the timing error of the keystrokes, the interindividual differences were associated with the peak ascending velocity of the key and the inter-strike variability of both the peak key descending velocity and the key depression duration. These results highlight the importance of dexterous control of the vertical motions of the keys for fast and accurate piano performance.

Decomposing spontaneous sign language into elementary movements: A principal component analysis-based approach

Sign Language (SL) is a continuous and complex stream of multiple body movement features. That raises the challenging issue of providing efficient computational models for the description and analysis of these movements. In the present paper, we used Principal Component Analysis (PCA) to decompose SL motion into elementary movements called principal movements (PMs). PCA was applied to the upper-body motion capture data of six different signers freely producing discourses in French Sign Language. Common PMs were extracted from the whole dataset containing all signers, while individual PMs were extracted separately from the data of individual signers. This study provides three main findings: (1) although the data were not synchronized in time across signers and discourses, the first eight common PMs contained 94.6% of the variance of the movements; (2) the number of PMs that represented 94.6% of the variance was nearly the same for individual as for common PMs; (3) the PM subspaces were highly similar across signers. These results suggest that upper-body motion in unconstrained continuous SL discourses can be described through the dynamic combination of a reduced number of elementary movements. This opens up promising perspectives toward providing efficient automatic SL processing tools based on heavy mocap datasets, in particular for automatic recognition and generation.

The neural mechanisms of manual dexterity

The hand endows us with unparalleled precision and versatility in our interactions with objects, from mundane activities such as grasping to extraordinary ones such as virtuoso pianism. The complex anatomy of the human hand combined with expansive and specialized neuronal control circuits allows a wide range of precise manual behaviours. To support these behaviours, an exquisite sensory apparatus, spanning the modalities of touch and proprioception, conveys detailed and timely information about our interactions with objects and about the objects themselves. The study of manual dexterity provides a unique lens into the sensorimotor mechanisms that endow the nervous system with the ability to flexibly generate complex behaviour.

Adaptation of the Corticomuscular and Biomechanical Systems of Pianists

Independent control of movements between the fingers plays a role in hand dexterity characterizing skilled individuals. However, it remains unknown whether and in what manner neuromuscular and biomechanical constraints on the movement independence of the fingers depend on motor expertise. Here, we compared motor dexterity, corticospinal excitability of multiple muscles, muscular activation, and anatomical features of the fingers between the pianists and nonpianists. When the ring finger was passively moved by a robot, passive motions produced at the adjacent fingers were smaller for the pianists than the nonpianists, indicating reduced biomechanical constraint of fingers in the pianists. In contrast, when the ring finger moved actively, we found no group difference in passive motions produced at the adjacent fingers; however, reduced inhibition of corticospinal excitability of the adjacent fingers in the pianists compared with the nonpianists. This suggests strengthened neuromuscular coupling between the fingers of the pianists, enhancing the production of coordinated finger movements. These group differences were not evident during the index and little finger movements. Together, pianists show expertise-dependent biomechanical and neurophysiological adaptations, specifically at the finger with innately low movement independence. Such contrasting adaptations of pianists may subserve dexterous control of both the individuated and coordinated finger movements.

What Early User Involvement Could Look Like—Developing Technology Applications for Piano Teaching and Learning

Numerous technological solutions have been proposed to promote piano learning and teaching, but very few with market success. We are convinced that users’ needs should be the starting point for an effective and transdisciplinary development process of piano-related Tactile Internet with Human-in-the-Loop (TaHIL) applications. Thus, we propose to include end users in the initial stage of technology development. We gathered insights from adult piano teachers and students through an online survey and digital interviews. Three potential literature-based solutions have been visualized as scenarios to inspire participants throughout the interviews. Our main findings indicate that potential end users consider posture and body movements, teacher–student communication, and self-practice as crucial aspects of piano education. Further insights resulted in so-called acceptance requirements for each scenario, such as enabling meaningful communication in distance teaching, providing advanced data on a performer’s body movement for increased well-being, and improving students’ motivation for self-practice, all while allowing or even promoting artistic freedom of expression and having an assisting instead of judging character. By putting the users in the center of the fuzzy front end of technology development, we have gone a step further toward concretizing TaHIL applications that may contribute to the routines of piano teaching and learning.

Soft Exoskeleton Glove with Human Anatomical Architecture: Production of Dexterous Finger Movements and Skillful Piano Performance

This article developed and assessed a novel soft exoskeleton glove generating dexterous finger joint movements with little constraints on volitional motions. Four pneumatic artificial muscles were attached to each finger, which formed two antagonistic pairs of muscles similar to the human anatomy, and thereby, enabled various postural control of the individual joints. This unique structure provided 20 DOFs with the exoskeleton. A unique adjustable mechanism also allowed for fixing the soft exoskeleton suitable for user's hand shape and size semi-automatically. Our glove generated static force of approximately 8 N at the fingertip, and moved a single finger at approximately 10 Hz and all five digits sequentially at 25 Hz. Through co-contracting the antagonistic muscles, the fingertip force generated by the tapping was increased by 1.5 times. Compared with hard exoskeleton gloves, our soft exoskeleton glove had lower constraints on the volitional finger motions performed by pianists, and also enabled to passively move the fingers quicker. Finally, after the soft exoskeleton passively moved the fingers so as to play a musical excerpt with the piano over a half hour, force variability of the keypresses was reduced when playing even without wearing the glove. Passive movement guidance by the soft exoskeleton may facilitate fine control of sequential force production.

Audio-Visual Tensor Fusion Network for Piano Player Posture Classification

Playing the piano in the correct position is important because the correct position helps to produce good sound and prevents injuries. Many studies have been conducted in the field of piano playing posture recognition that combines various techniques. Most of these techniques are based on analyzing visual information. However, in the piano education field, it is essential to utilize audio information in addition to visual information due to the deep relationship between posture and sound. In this paper, we propose an audio-visual tensor fusion network (simply, AV-TFN) for piano performance posture classification. Unlike existing studies that used only visual information, the proposed method uses audio information to improve the accuracy in classifying the postures of professional and amateur pianists. For this, we first introduce a dataset called C3Pap (Classic piano performance postures of amateur and professionals) that contains actual piano performance videos in diverse environments. Furthermore, we propose a data structure that represents audio-visual information. The proposed data structure represents audio information on the color scale and visual information on the black and white scale for representing relativeness between them. We call this data structure an audio-visual tensor. Finally, we compare the performance of the proposed method with state-of-the-art approaches: VN (Visual Network), AN (Audio Network), AVN (Audio-Visual Network) with concatenation and attention techniques. The experiment results demonstrate that AV-TFN outperforms existing studies and, thus, can be effectively used in the classification of piano playing postures.

Hopf Bifurcations in Complex Multiagent Activity: The Signature of Discrete to Rhythmic Behavioral Transitions

Most human actions are composed of two fundamental movement types, discrete and rhythmic movements. These movement types, or primitives, are analogous to the two elemental behaviors of nonlinear dynamical systems, namely, fixed-point and limit cycle behavior, respectively. Furthermore, there is now a growing body of research demonstrating how various human actions and behaviors can be effectively modeled and understood using a small set of low-dimensional, fixed-point and limit cycle dynamical systems (differential equations). Here, we provide an overview of these dynamical motorprimitives and detail recent research demonstrating how these dynamical primitives can be used to model the task dynamics of complex multiagent behavior. More specifically, we review how a task-dynamic model of multiagent shepherding behavior, composed of rudimentary fixed-point and limit cycle dynamical primitives, can not only effectively model the behavior of cooperating human co-actors, but also reveals how the discovery and intentional use of optimal behavioral coordination during task learning is marked by a spontaneous, self-organized transition between fixed-point and limit cycle dynamics (i.e., via a Hopf bifurcation).

Unexpected complexity of everyday manual behaviors

How does the brain control an effector as complex and versatile as the hand? One possibility is that neural control is simplified by limiting the space of hand movements. Indeed, hand kinematics can be largely described within 8 to 10 dimensions. This oft replicated finding has been construed as evidence that hand postures are confined to this subspace. A prediction from this hypothesis is that dimensions outside of this subspace reflect noise. To address this question, we track the hand of human participants as they perform two tasks-grasping and signing in American Sign Language. We apply multiple dimension reduction techniques and replicate the finding that most postural variance falls within a reduced subspace. However, we show that dimensions outside of this subspace are highly structured and task dependent, suggesting they too are under volitional control. We propose that hand control occupies a higher dimensional space than previously considered.

An inverse optimization approach to understand human acquisition of kinematic coordination in bimanual fine manipulation tasks

Tasks that require the cooperation of both hands and arms are common in human everyday life. Coordination helps to synchronize in space and temporally motion of the upper limbs. In fine bimanual tasks, coordination enables also to achieve higher degrees of precision that could be obtained from a single hand. We studied the acquisition of bimanual fine manipulation skills in watchmaking tasks, which require assembly of pieces at millimeter scale. It demands years of training. We contrasted motion kinematics performed by novice apprentices to those of professionals. Fifteen subjects, ten novices and five experts, participated in the study. We recorded force applied on the watch face and kinematics of fingers and arms. Results indicate that expert subjects wisely place their fingers on the tools to achieve higher dexterity. Compared to novices, experts also tend to align task-demanded force application with the optimal force transmission direction of the dominant arm. To understand the cognitive processes underpinning the different coordination patterns across experts and novice subjects, we followed the optimal control theoretical framework and hypothesize that the difference in task performances is caused by changes in the central nervous system's optimal criteria. We formulated kinematic metrics to evaluate the coordination patterns and exploit inverse optimization approach to infer the optimal criteria. We interpret the human acquisition of novel coordination patterns as an alteration in the composition structure of the central nervous system's optimal criteria accompanied by the learning process.

Neuromuscular and biomechanical functions subserving finger dexterity in musicians

Exceptional finger dexterity enables skillful motor actions such as those required for musical performance. However, it has been not known whether and in what manner neuromuscular or biomechanical features of the fingers subserve the dexterity. We aimed to identify the features firstly differentiating the finger dexterity between trained and untrained individuals and secondly accounting for the individual differences in the dexterity across trained individuals. To this aim, two studies were conducted. The first study compared the finger dexterity and several neuromuscular and biomechanical characteristics of the fingers between pianists and non-musicians. As a measure of the dexterity, we used the maximum rate of repetitive finger movements. The results showed no differences in any biomechanical constraints of the fingers between the two groups (i.e. anatomical connectivity between the fingers and range of motion). However, the pianists exhibited faster finger movements and more independent control of movements between the fingers. These observations indicate expertise-dependent enhancement of the finger dexterity and reduction of neuromuscular constraints on movement independence between the fingers. The second study assessed individual differences in the finger dexterity between trained pianists. A penalized regression determined an association of the maximum movement speed of the fingers with both muscular strength and biomechanical characteristics of the fingers, but not with neuromuscular constraints of the fingers. None of these features covaried with measures of early and deliberate piano practice. These findings indicate that distinct biological factors of finger motor dexterity differentiate between the effects of piano practicing and individual differences across skilled pianists.

An anthropomorphic soft skeleton hand exploiting conditional models for piano playing

The development of robotic manipulators and hands that show dexterity, adaptability, and subtle behavior comparable to human hands is an unsolved research challenge. In this article, we considered the passive dynamics of mechanically complex systems, such as a skeleton hand, as an approach to improving adaptability, dexterity, and richness of behavioral diversity of such robotic manipulators. With the use of state-of-the-art multimaterial three-dimensional printing technologies, it is possible to design and construct complex passive structures, namely, a complex anthropomorphic skeleton hand that shows anisotropic mechanical stiffness. We introduce a concept, termed the “conditional model,” that exploits the anisotropic stiffness of complex soft-rigid hybrid systems. In this approach, the physical configuration, environment conditions, and conditional actuation (applied actuation) resulted in an observable conditional model, allowing joint actuation through passivity-based dynamic interactions. The conditional model approach allowed the physical configuration and actuation to be altered, enabling a single skeleton hand to perform three different phrases of piano music with varying styles and forms and facilitating improved dynamic behaviors and interactions with the piano over those achievable with a rigid end effector.

The influence of pitch feedback on learning of motor -timing and sequencing: A piano study with novices

Audio-motor coordination is a fundamental requirement in the learning and execution of sequential actions such as music performance. Predictive motor control mechanisms determine the sequential content and timing of upcoming tones and thereby facilitate accurate performance. To study the role of auditory-motor predictions at early stages of acquiring piano performance skills, we conducted an experiment in which non-musicians learned to play a musical sequence on the piano in synchrony with a metronome. Three experimental conditions compared errors and timing. The first consisted of normal auditory feedback using conventional piano key-to-tone mappings. The second employed fixed-pitch auditory feedback consisting of a single tone that was given with each key stroke. In the third condition, for each key stroke a tone was randomly drawn from the set of tones associated with the normal sequence. The results showed that when auditory feedback tones were randomly assigned, participants produced more sequencing errors (i.e., a higher percentage of incorrect key strokes) compared to when auditory feedback was normal or consisted of a single tone of fixed pitch. Furthermore, synchronization with the metronome was most accurate in the fixed-pitch single-tone condition. These findings suggest that predictive motor control mechanisms support sequencing and timing, and that these sensorimotor processes are dissociable even at early stages of acquiring complex motor skills such as music performance.

State anxiety disorganizes finger movements during musical performance

Skilled performance, in many situations, exposes an individual to psychological stress and fear, thus triggering state anxiety and compromising motor dexterity. Suboptimal skill execution in people under pressure affects the future career prospects of trained individuals, such as athletes, clinicians, and musicians. However, it has not been elucidated in what manner state anxiety affects multijoint movements and thereby degrades fine motor control. Using principal component analysis of hand kinematics recorded by a data glove during piano performances, we tested whether state anxiety affects the organization of movements of multiple joints or merely constrains the amplitude of the individual joints without affecting joint movement coordination. The result demonstrated changes in the coordination of movements across joints in piano performances by experts under psychological stress. Overall, the change was characterized by reduction of synergistic movements between the finger responsible for the keypress and its adjacent fingers. A regression analysis further identified that the attenuation of the movement covariation between the fingers was associated with an increase in temporal error during performance under pressure. In contrast, neither the maximum nor minimum angles of the individual joints of the hand were susceptible to induced anxiety. These results suggest that degradation of fine motor control under pressure is mediated by incoordination of movements between the fingers in skilled piano performances. NEW & NOTEWORTHY A key issue in neuromuscular control of coordinated movements is how the nervous system organizes multiple degrees of freedom for production of skillful motor behaviors. We found that state anxiety disorchestrates the organization of finger movements so as to decrease synergistic motions between the fingers in musical performance, which degrades fine motor control. The findings are important to shed light on mechanisms underlying loss of motor dexterity under pressure.

Temporal exploration in sequential movements shapes efficient neuromuscular control

The interaction of early and deliberate practice with genetic predisposition endows experts with virtuosic motor performance. However, it has not been known whether ways of practicing shape motor virtuosity. Here, we addressed this issue by comparing the effects of rhythmic variation in motor practice on neuromuscular control of the finger movements in pianists. With the use of a novel electromyography system with miniature active electrodes, we recorded the activity of the intrinsic hand muscles of 27 pianists while they played the piano and analyzed it by using a nonnegative matrix factorization algorithm and cluster analysis. The result demonstrated that practicing a target movement sequence with various rhythms reduced muscular activity, whereas neither practicing a sequence with a single rhythm nor taking a rest without practicing changed the activity. In addition, practice with rhythmic variation changed the patterns of simultaneous activations across muscles. This alteration of muscular coordination was associated with decreased activation of muscles not only relevant to, but also irrelevant to the task performance. In contrast, piano practice improved the maximum speed of the performance, the amount of which was independent of whether rhythmic variation was present. These results suggest that temporal variation in movement sequences during practice co-optimizes both movement speed and neuromuscular efficiency, which emphasizes the significance of ways of practice in the acquisition of motor virtuosity. NEW & NOTEWORTHY A key question in motor neuroscience is whether "ways of practicing" contribute to shaping motor virtuosity. We found both attenuation of activities and alteration of coordination of the intrinsic hand muscles of pianists, specifically through practicing a movement sequence with various rhythms. The maximum speed of the finger movements was also enhanced following the practice. These results emphasize the importance of ways of practicing in facilitating multiple skills: efficiency and speed.

Acquisition of skilled finger movements is accompanied by reorganization of the corticospinal system

Dexterous finger movements are often characterized by highly coordinated movements. Such coordination might be derived from reorganization of the corticospinal system. In this study, we investigated 1) the manner in which finger movement covariation patterns are acquired, by examining the effects of the implicit and explicit learning of a serial reaction time task (SRTT), and 2) how such changes in finger coordination are represented in the corticospinal system. The subjects learned a button press sequence in both implicit and explicit learning conditions. In the implicit conditions, they were naive about what they were learning, whereas in the explicit conditions the subjects consciously learned the order of the sequence elements. Principal component analysis decomposed both the voluntary movements produced during the SRTT and the passive movements evoked by transcranial magnetic stimulation (TMS) over the primary motor cortex into a set of five finger joint covariation patterns. The structures of the voluntary and passive TMS-evoked movement patterns were reorganized by implicit learning but not explicit learning. Furthermore, in the implicit learning conditions the finger covariation patterns derived from the TMS-evoked and voluntary movements spanned similar movement subspaces. These results provide the first evidence that skilled sequential finger movements are acquired differently through implicit and explicit learning, i.e., the changes in finger coordination patterns induced by implicit learning are accompanied by functional reorganization of the corticospinal system, whereas explicit learning results in faster recruitment of individual finger movements without causing any changes in finger coordination.

NEW & NOTEWORTHY Skilled sequential multifinger movements are characterized as highly coordinated movement patterns. These finger coordination patterns are represented in the corticospinal system, yet it still remains unclear how these patterns are acquired through implicit and explicit motor sequence learning. A direct comparison of learning-related changes between actively generated finger movements and passively evoked finger movements by TMS provided evidence that finger coordination patterns represented in the corticospinal system are reorganized through implicit, but not explicit, sequence learning.

Expertise-dependent motor somatotopy of music perception

Precise mapping between sound and motion underlies successful communication and information transmission in speech and musical performance. Formation of the map typically undergoes plastic changes in the neuronal network between auditory and motor regions through training. However, to what extent the map is somatotopically-tuned so that auditory information can specifically modulate the corticospinal system responsible for the relevant motor action has not been elucidated. Here we addressed this issue by assessing the excitability of corticospinal system including the primary motor cortex (M1) innervating the hand intrinsic muscles by means of transcranial magnetic stimulation while trained pianists and musically-untrained individuals (non-musicians) were listening to either piano tones or noise. M1 excitability was evaluated at two anatomically-independent muscles of the hand. The results demonstrated elevation of M1 excitability at not all but one specific muscle while listening to piano tones in the pianists, but no excitability change in both of the muscles in the non-musicians. However, listening to noise did not elicit any changes of M1 excitability at both muscles in both the pianists and the non-musicians. These findings indicate that auditory information representing the trained motor action tunes M1 excitability in a non-uniform, somatotopically-specific manner, which is likely associated with multimodal experiences in musical training.

Variable and Asymmetric Range of Enslaving: Fingers Can Act Independently over Small Range of Flexion

The variability in the numerous tasks in which we use our hands is very large. However, independent movement control of individual fingers is limited. To assess the extent of finger independency during full-range finger flexion including all finger joints, we studied enslaving (movement in non-instructed fingers) and range of independent finger movement through the whole finger flexion trajectory in single and multi-finger movement tasks. Thirteen young healthy subjects performed single- and multi-finger movement tasks under two conditions: active flexion through the full range of movement with all fingers free to move and active flexion while the non-instructed finger(s) were restrained. Finger kinematics were measured using inertial sensors (PowerGlove), to assess enslaving and range of independent finger movement. Although all fingers showed enslaving movement to some extent, highest enslaving was found in adjacent fingers. Enslaving effects in ring and little finger were increased with movement of additional, non-adjacent fingers. The middle finger was the only finger affected by restriction in movement of non-instructed fingers. Each finger showed a range of independent movement before the non-instructed fingers started to move, which was largest for the index finger. The start of enslaving was asymmetrical for adjacent fingers. Little finger enslaving movement was affected by multi-finger movement. We conclude that no finger can move independently through the full range of finger flexion, although some degree of full independence is present for smaller movements. This range of independent movement is asymmetric and variable between fingers and between subjects. The presented results provide insight into the role of finger independency for different types of tasks and populations.

Shared somatosensory and motor functions in musicians

Skilled individuals are characterized by fine-tuned perceptual and motor functions. Here, we tested the idea that the sensory and motor functions of highly-trained individuals are coupled. We assessed the relationships among multifaceted somatosensory and motor functions of expert pianists. The results demonstrated a positive covariation between the acuity of weight discrimination and the precision of force control during piano keystrokes among the pianists but not among the non-musicians. However, neither the age of starting musical training nor the total amount of life-long piano practice was correlated with these sensory-motor functions in the pianists. Furthermore, a difference between the pianists and non-musicians was absent for the weight discrimination acuity but present for precise force control during keystrokes. The results suggest that individuals with innately superior sensory function had finer motor control only in a case of having undergone musical training. Intriguingly, the tactile spatial acuity of the fingertip was superior in the pianists compared with the non-musicians but was not correlated with any functions representing fine motor control among the pianists. The findings implicate the presence of two distinct mechanisms of sensorimotor learning elicited by musical training, which occur either independently in individual sensorimotor modalities or through interacting between modalities.

Kinematic Origins of Motor Inconsistency in Expert Pianists

For top performers, including athletes and musicians, even subtle inconsistencies in rhythm and force during movement production decrease the quality of performance. However, extensive training over many years beginning in childhood is unable to perfect dexterous motor performance so that it is without any error. To gain insight into the biological mechanisms underlying the subtle defects of motor actions, the present study sought to identify the kinematic origins of inconsistency of dexterous finger movements in musical performance. Seven highly-skilled pianists who have won prizes at international piano competitions played a short sequence of tones with the right hand at a predetermined tempo. Time-varying joint angles of the fingers were recorded using a custom-made data glove, and the timing and velocity of the individual keystrokes were recorded from a digital piano. Both ridge and stepwise multiple regression analyses demonstrated an association of the inter-trial variability of the inter-keystroke interval (i.e., rhythmic inconsistency) with both the rotational velocity of joints of the finger used for a keystroke (i.e., striking finger) and the movement independence between the striking and non-striking fingers. This indicates a relationship between rhythmic inconsistency in musical performance and the dynamic features of movements in not only the striking finger but also the non-striking fingers. In contrast, the inter-trial variability of the key-descending velocity (i.e., loudness inconsistency) was associated mostly with the kinematic features of the striking finger at the moment of the keystroke. Furthermore, there was no correlation between the rhythmic and loudness inconsistencies. The results suggest distinct kinematic origins of inconsistencies in rhythm and loudness in expert musical performance.

The curse of motor expertise: Use-dependent focal dystonia as a manifestation of maladaptive changes in body representation

Focal task-specific dystonia (FTSD) impairs not only motor dexterity, but also somatosensory perception involved in well-trained behavioral tasks. Occupations that carry a risk of developing FTSD include musician, writer, painter, surgeon, and golfer, which are characterized by repetitive and precise motor actions over a prolonged period. Behavioral studies have uncovered various undesirable effects of FTSD on sensorimotor functions, such as a loss of independent movement control, unintended muscular co-activation, awkward limb posture, and impairment of fine discrimination of tactile and proprioceptive sensations. Studies using neuroimaging and noninvasive brain stimulation techniques have related such sensorimotor malfunctions to maladaptive neuroplastic changes in the sensorimotor system, including the primary motor and somatosensory areas, premotor area, cerebellum, and basal ganglia. In this review, we summarize recent empirical findings regarding phenomenological and pathophysiological abnormalities associated with the development of FTSD. We particularly focused on maladaptive alterations of body representations underlying the degradation of fine motor control and somatosensory perception in FTSD patients.

Differential effects of type of keyboard playing task and tempo on surface EMG amplitudes of forearm muscles

Despite increasing interest in keyboard playing as a strategy for repetitive finger exercises in fine motor skill development and hand rehabilitation, comparative analysis of task-specific finger movements relevant to keyboard playing has been less extensive. This study examined, whether there were differences in surface EMG activity levels of forearm muscles associated with different keyboard playing tasks. Results demonstrated higher muscle activity with sequential keyboard playing in a random pattern compared to individuated playing or sequential playing in a successive pattern. Also, the speed of finger movements was found as a factor that affect muscle activity levels, demonstrating that faster tempo elicited significantly greater muscle activity than self-paced tempo. The results inform our understanding of the type of finger movements involved in different types of keyboard playing at different tempi. This helps to consider the efficacy and fatigue level of keyboard playing tasks when being used as an intervention for amateur pianists or individuals with impaired fine motor skills.

Losing dexterity: patterns of impaired coordination of finger movements in musician's dystonia

Extensive training can bring about highly-skilled action, but may also impair motor dexterity by producing involuntary movements and muscular cramping, as seen in focal dystonia (FD) and tremor. To elucidate the underlying neuroplastic mechanisms of FD, the present study addressed the organization of finger movements during piano performance in pianists suffering from the condition. Principal component (PC) analysis identified three patterns of fundamental joint coordination constituting finger movements in both patients and controls. The first two coordination patterns described less individuated movements between the “dystonic” finger and key-striking fingers for patients compared to controls. The third coordination pattern, representing the individuation of movements between the middle and ring fingers, was evident during a sequence of strikes with these fingers in controls, which was absent in the patients. Consequently, rhythmic variability of keystrokes was more pronounced during this sequence of strikes for the patients. A stepwise multiple-regression analysis further identified greater variability of keystrokes for individuals displaying less individuated movements between the affected and striking fingers. The findings suggest that FD alters dexterous joint coordination so as to lower independent control of finger movements, and thereby degrades fine motor control.

Ceiling effects prevent further improvement of transcranial stimulation in skilled musicians

The roles of the motor cortex in the acquisition and performance of skilled finger movements have been extensively investigated over decades. Yet it is still not known whether these roles of motor cortex are expertise-dependent. The present study addresses this issue by comparing the effects of noninvasive transcranial direction current stimulation (tDCS) on the fine control of sequential finger movements in highly trained pianists and musically untrained individuals. Thirteen pianists and 13 untrained controls performed timed-sequence finger movements with each of the right and left hands before and after receiving bilateral tDCS over the primary motor cortices. The results demonstrate an improvement of fine motor control in both hands in musically untrained controls, but deterioration in pianists following anodal tDCS over the contralateral cortex and cathodal tDCS over the ipsilateral cortex compared with the sham stimulation. However, this change in motor performance was not evident after stimulating with the opposite montage. These findings support the notion that changes in dexterous finger movements induced by bihemispheric tDCS are expertise-dependent.

Integrating optical finger motion tracking with surface touch events

This paper presents a method of integrating two contrasting sensor systems for studying human interaction with a mechanical system, using piano performance as the case study. Piano technique requires both precise small-scale motion of fingers on the key surfaces and planned large-scale movement of the hands and arms. Where studies of performance often focus on one of these scales in isolation, this paper investigates the relationship between them. Two sensor systems were installed on an acoustic grand piano: a monocular high-speed camera tracking the position of painted markers on the hands, and capacitive touch sensors attach to the key surfaces which measure the location of finger-key contacts. This paper highlights a method of fusing the data from these systems, including temporal and spatial alignment, segmentation into notes and automatic fingering annotation. Three case studies demonstrate the utility of the multi-sensor data: analysis of finger flexion or extension based on touch and camera marker location, timing analysis of finger-key contact preceding and following key presses, and characterization of individual finger movements in the transitions between successive key presses. Piano performance is the focus of this paper, but the sensor method could equally apply to other fine motor control scenarios, with applications to human-computer interaction.

High-speed real-time magnetic resonance imaging of fast tongue movements in elite horn players

This paper describes the use of high-speed real-time (RT) magnetic resonance imaging (MRI) in quantifying very rapid motor function within the oropharyngeal cavity of six elite horn players. Based on simultaneous sound recordings, the efficacy of RT-MRI films at 30 and 100 frames per second (fps) was assessed for tongue movements associated with double tonguing performance. Serial images with a nominal temporal resolution of 10.0 and 33.3 ms were obtained by highly undersampled radial fast low-angle shot (FLASH) sequences (5 and 17 spokes, respectively) using complementary sets of spokes for successive acquisitions (extending over 9 and 5 frames, respectively). Reconstructions of high-speed images were obtained by temporally regularized nonlinear inversion (NLINV) as previously described. A customized MATLAB toolkit was developed for the extraction of line profiles from MRI films to quantify temporal phenomena associated with task performance. The analyses reveal that for the present setting, which required the use of a temporal median filter to optimize image quality, acquisition rates of 30 fps are inadequate to accurately detect tongue movements during double tonguing, but that rates of 100 fps do allow for a precise quantification of movement. These data for the first time demonstrate the extreme performance of elite horn players. High-speed RT-MRI offers so far unavailable opportunities to study the oropharyngeal movements during brass playing with future potential for teaching and the treatment of patients suffering from dystonia.

Acquisition and reacquisition of motor coordination in musicians

Precise control of movement timing plays a key role in musical performance. This motor skill requires coordination across multiple joints and muscles, which is acquired through extensive musical training from childhood. However, extensive training has a potential risk of causing neurological disorders that impair fine motor control, such as task-specific tremor and focal dystonia. Recent technological advances in measurement and analysis of biological data, as well as noninvasive manipulation of neuronal activities, have promoted the understanding of computational and neurophysiological mechanisms underlying acquisition, loss, and reacquisition of dexterous movements through musical practice and rehabilitation. This paper aims to provide an overview of the behavioral and neurophysiological basis of motor virtuosity and disorder in musicians, representative extremes of human motor skill. We also report novel evidence of effects of noninvasive neurorehabilitation that combined transcranial direct-current stimulation and motor rehabilitation over multiple days on musician's dystonia, which offers a promising therapeutic means.

Recruitment of small synergistic movement makes a good pianist

Time-varying synergies from kinematic data can be used to discern fundamental patterns of movement. We show through simultaneous extraction of synergies from both novice and experienced pianists that movement common to both groups can be identified. The extracted synergies successfully allow for the majority of the variability of the data to be accounted for by a limited number of components. Furthermore, classification of the weightings representing the recruitment of each of the synergies accurately distinguishes between the piano playing of the two groups of subjects. However, the major differences between the two groups lie not in the synergies representing the majority of the variance of the data but in the recruitment of smaller synergies.

Distinct digit kinematics by professional and amateur pianists

Many everyday tasks such as typing, grasping, and object manipulation require coordination of dynamic movement across multiple joints and digits. Playing a musical instrument is also one such task where the precise movement of multiple digits is transformed into specific sounds defined by the instrument. Through extensive practice musicians are able to produce precisely controlled movements to interact with the instrument and produce specific sequences of sounds. The present study aimed to determine what aspects of these dynamic movement patterns differ between pianists who have achieved professional status compared to amateur pianists that have also trained extensively. Common patterns of movement for each digit strike were observed for both professional and amateur pianists that were sequence specific, i.e. influenced by the digit performing the preceding strike. However, group differences were found in multi-digit movement patterns for sequences involving the ring or little finger. In some sequences, amateur subjects tended to work against the innate connectivity between digits while professionals allowed slight movement at non-striking digits (covariation) which was a more economical strategy. In other sequences professionals used more individuated finger movements for performance. Thus the present study provided evidence in favor of enhancement of both movement covariation and individuation across fingers in more skilled musicians, depending on fingering and movement sequence.

Movement induced tremor in musicians and non-musicians reflects adaptive brain plasticity

Evidence exists that motor dexterity is associated with a higher tremor amplitude of physiological tremor. Likewise, lower frequencies are associated with motor control. So far only case reports of a higher amplitude of physiological tremor in musicians exist. Moreover, no study has investigated lower frequencies during a finger movement task in musicians who can be regarded as a model of motor expertise. We developed a model and derived three hypotheses which we investigated in this study: (1) Tremor amplitude is higher in the range of physiological tremor and (2) higher for frequency ranges of dystonic tremor in musicians compared to non-musicians; (3) there is no difference in tremor amplitude at frequencies below 4 Hz. We measured tremor during a finger flexion-extension movement in 19 musicians (age 26.5 ± 8.2 years) and 24 age matched non-musicians (age 26.5 ± 8.7). By using empirical mode decomposition in combination with a Hilbert transform we obtained the instantaneous frequency and amplitude, allowing to compare tremor amplitudes throughout the movement at various frequency ranges. We found a significantly higher tremor amplitude in musicians for physiological tremor and a tendency toward a higher amplitude during most of the movement in the frequency range of 4-8 Hz, which, however, was not significant. No difference was found in the frequency range below 4 Hz for the flexion and for almost the entire extension movement. Our results corroborate findings that the 8-12 Hz oscillatory activity plays a role in motor dexterity. However, our results do not allow for the conclusion that tremor at the frequency range of 4-8 Hz is related to either plasticity induced changes that are beneficial for motor skill development nor to maladaptive changes as, e.g., focal dystonia.

Playing beautifully when you have to be fast: spatial and temporal symmetries of movement patterns in skilled piano performance at different tempi

Humans are capable of learning a variety of motor skills such as playing the piano. Performance of these skills is subject to multiple constraints, such as musical phrasing or speed requirements, and these constraints vary from one context to another. In order to understand how the brain controls highly skilled movements, we investigated pianists playing musical scales with their left or right hand at various speeds. Pianists showed systematic temporal deviations away from regularity. At slow tempi, pianists slowed down at the beginning and end of the movement (which we call phrasal template). At fast tempi, temporal deviation traces consisted of three peak delays caused by a thumb-under manoeuvre (which we call neuromuscular template). Intermediate tempi were a linear combination trade-off between these two. We introduce and cross-validate a simple four-parameter model that predicted the timing deviation of each individual note across tempi (R(2) = 0.70). The model can be fitted on the data of individual pianists, providing a novel quantification of expert performance. The present study shows that the motor system can generate complex movements through a dynamic combination of simple movement templates. This provides insight into how the motor system flexibly adapts to varying contextual constraints.

Complex hand dexterity: a review of biomechanical methods for measuring musical performance

Complex hand dexterity is fundamental to our interactions with the physical, social, and cultural environment. Dexterity can be an expression of creativity and precision in a range of activities, including musical performance. Little is understood about complex hand dexterity or how virtuoso expertise is acquired, due to the versatility of movement combinations available to complete any given task. This has historically limited progress of the field because of difficulties in measuring movements of the hand. Recent developments in methods of motion capture and analysis mean it is now possible to explore the intricate movements of the hand and fingers. These methods allow us insights into the neurophysiological mechanisms underpinning complex hand dexterity and motor learning. They also allow investigation into the key factors that contribute to injury, recovery and functional compensation. The application of such analytical techniques within musical performance provides a multidisciplinary framework for purposeful investigation into the process of learning and skill acquisition in instrumental performance. These highly skilled manual and cognitive tasks present the ultimate achievement in complex hand dexterity. This paper will review methods of assessing instrumental performance in music, focusing specifically on biomechanical measurement and the associated technical challenges faced when measuring highly dexterous activities.