The physiological demands of performance: Piano and contemporary dance

Background
Musicians and dancers are often referred to as artist-athletes, yet the physical demands of their art forms are largely unknown. While a few studies have measured muscle activation during specific movements among certain instrumentalist groups, little is known regarding musicians' energy expenditure while playing different pieces of repertoire. In dance, attempts have been made to examine the physiological demands of contemporary and ballet dance, however findings are far from conclusive. This presentation draws upon the findings of two separate studies, which investigated the physical demands of music and dance. Such information will be useful for those responsible for training performing artists to help them meet the physical demands of their profession.

Aims
By considering the findings of two studies, the energy demands of different piano and contemporary dance repertoire will be discussed alongside a critical appraisal of the methods and rationale for evaluating music and dance in this way.

Method
Postgraduate and professional pianists and full time conservatoire contemporary dance students volunteered to undertake a maximal oxygen uptake (VO2) treadmill test before performing music or dance repertoire, which was familiar to them. Participants wore a portable gas analyzer for all tests. Variables measured included heart rate, oxygen uptake and Kcal. Activity intensity was determined by the participants’ percentage of their VO2 max scores obtained from the treadmill tests.

Results
The performed pieces, regardless of whether they were music or dance pieces, differed in terms of their demand as calculated relative to individual maximal capacities and this was the case for all participants. The Chopin Prelude No. 13 in F# and Chopin Etude Op. 10, No. 12 “Revolutionary” were played on average at 12.7% and 21.8% of participants’ maximum capacities. The highest intensity points for each piece relative to the participants’ maximum were 19.1% and 30.3% while the dance data show a peak range from 86.93% to 106.66% relative to the participants’ maximum capacities. The physical fitness of the participants as well as their high level of skill are possible contributing factors.

Conclusions
Piano playing and contemporary dance are intermittent activities with regard to intensity and variation exists both between and within pieces. These findings may help educators of musicians and dancers to prepare more effectively for the varying physiological demands of their art forms.