Healthcare and Medicine Reference
In-Depth Information
Fig. 10.11 A cellist. (From Kingsley and Ganeri 1996 1 . © Phil
Starling . Reproduced with kind permission.)
Fig. 10.12 A violist. (From Kingsley and Ganeri 1996. © Phil
Starling Reproduced with kind permission.)
Flautist (Fig. 10.13)
The flute, like the violin family, requires serious asym-
metrical accommodation, but to the opposite side. The
right Lateral Line, the right Front Functional Line, and
the left Spiral Line are all commonly shortened in flute
playing. The Superficial Front Line also commonly
shortens, but interestingly, because the head is turned
to the left, the right Superficial Front Line, running from
the pubic bone up through the sternocleidomastoid, is
often more affected than the left part of that line.
The conflict between the lifted right arm (Superficial
Back Arm Line) and the left rotated head can make for
a confused area in the right shoulder and neck of many
flute players, while the left arm, having to reach around
the front of the body for the fingering, often puts eccen-
tric strain on the upper left shoulder muscles - particu-
larly the levator scapulae and supraspinatus of the Deep
Back Arm Line.
The characteristic cock of the head, the shift of the rib
cage toward the left, and the consequent right tilt of the
shoulder girdle are dead giveaways of the flute player.
chin rest to make the two sides of the neck more equal
in length.
In addition, the player of the smaller stringed instru-
ments adds a rotational component, bringing the right
shoulder across the body with the right Front Functional
Line, while, counter-intuitively, the right Spiral Line
brings the left shoulder and ribs closer to the right hip.
This combination often leads to shortening of the Super-
ficial Front Line along the front of the torso, and often
a widening or weakening of the tissues of the Superficial
Back Line.
The siren beauty of the violin's sound have lured
many a musician to a host of structural problems because
of the ability of the body to bend around the instrument,
while the instrument is unable to return the favor. The
shortness in this player's SFL causes his pelvis to be
posteriorly tilted on the chair, putting the tailbone peril-
ously near the seat. Note how this particular player has
broadened his base of support by tucking his right foot
back, thus ensuring more movement through his pelvis,
despite its bad position. Good sitting will support both
better playing and a longer career. Though it is hard to
see with the bulky trousers, the anterior lower Spiral
Line of the right leg will be strained in this posture,
leading sometimes to medial collateral ligament prob-
lems for this tucked-back leg.
Trumpeter (Fig. 10.14)
Our previous examples all involve an asymmetrical
relationship to the instrument; there is of course an
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