The Physiological Point of View
Dr. Bernhard Riebl, Institute for Physical Medicine and Rehabilitation at the Rudolfstiftung Vienna, writes on the problem at hand:
“Musician-Medical Statement on the Project Flute with “Omega” head joint
Compared to most other wood wind players, flute players are subject to a significantly higher level of physical stress due to the construction of the flute and the posture required to play it. The primary pathogenetic factor for the occurrence of overtaxing of the locomotor system is the considerable asymmetry together with concurrent lever arms.
This results in a high static and dynamic strain on the passive and active structures of the locomotor system; especially affected are the pectoral girdle, the cervical spine and the upper thoractic spine.
The most important disease processes directly connected to these factors are degenerative syndromes of the cervical spine (from spondylarthritis to disc degeneration and disc prolapse), segmental dysfunctions of the cervical spine (“obstruction” and hypermobility) as well as overstressing of the shoulder joints, including rotator cuff tears, periarthritis calcifications and omarthrosis.
For the prevention and for rehabilitation concepts of these syndromes in musicians, ergonomical improvements could be of a great importance (in addition to analysis of posture and improvements of movement structure as well as muscular stabilization).
This is the approach underlying the concept of a flute with an “Omega” head joint; the stress factors are significantly reduced both directly and causally through a shortening of the lever arms.
It is to be expected, that this innovation with it’s substantial ergonomical improvement will both in prevention and therapy help reduce costs of the social- and health system.“
A survey of injuries deriving from playing conventional flutes from early age on
- Pulling the head down towards the left shoulder
- Lifting the left shoulder up
- Contortion of the spine through bending the hip to the right
- Stiffening of hands and “gripping” with fingers
- Supporting the flute with the shoulders
A survey of injuries deriving from playing on flutes with a U curved head joint
Results of the strong turning moment of the flute and the difficulties in balancing are:
- “Gripping” fingers and hands when they are used to counterbalance the flute’s torque
- The fingers are used for two things at once and can no longer move freely
- Shoulders are lifted up, the head is pulled downwards towards the shoulders, resulting in pain in arms and hands
With the growing demands in the professional musical field, an early start is now – comparable to violinists – essential for subsequent professional success.
In addition to that, the flute is now an option as the first instrument after elementary music training.
Also, families and children who are not planning to embark on a professional career later frequently choose this option.
Problems caused by playing conventional flutes from early age on
- Restriction of breathing
- Restriction in throat and larynx
- Sloppy positioning of the fingers on the keys, prohibited technical development, strain on the arms, lowering of the flute, lifting of the shoulders, insufficient breathing
Problems caused by playing a flute with a U curved head joint
- Even when a professional flutist attempts to play these instruments, the balance of the flute changes with every change of fingering. This fact has a strong influence on sound production.
- Sound production has always been a focal point in flute education because of the difficulties in forming the orbicularis oris muscle and the surrounding muscles into an embouchure leading the air into the flute at the perfect angle.
- If the instrument is not balanced, it is impossible to learn a stable posture and progress in learning is inhibited.
- One could even argue, that the flutist becomes accustomed to this diffuse quality of sound and categorizes this sound as normal and desirable sounds.
- A refined work on the sound thus becomes impossible and compromises further progress.
Problems for children beginning to learn the flute on piccolo-like instruments
The narrower diameter of the tube and the smaller nature of the blowing hole presents a different set of relations of movement and tension than would be necessary for the flute.