| Summary: | The study of the consequences of different sonata styles (baroque, classical and romantic piano repertoire) on pianists’ upper limbs represents a research topic for both the musical and medical fields. Twenty piano students were examined using a MicroFet2 dynamometer after playing three sonatas (Scarlatti K. 1 Sonata as a representative of the baroque style, Haydn Sonata no. 60 for the classical style and Chopin second Sonata for the romantic style). The phase sequence was randomised for each subject: firstly, continuous interpretation of 10 bars of a sonata was conducted 10 times, with the metronome tempo set by the investigator; secondly, the subject interpreted 10 bars of a different sonata continuously, standardised by tempo, which was carried out 10 times; finally, the continuous interpretation of 10 bars of the remaining third sonata, standardised by tempo, was carried out 10 times. After each performance of the 10 bars, the elbow extensor’s isometric muscle force was measured. Significant differences were found between the elbow extensor’s isometric muscle force assessed after playing Scarlatti’s sonata and Haydn’s sonata (<i>p</i> = 0.005 for left arm, <i>p</i> = 0.03 for right arm), between Scarlatti’s sonata and Chopin’s sonata (<i>p</i> < 0.0001 for both left and right arms) and between Haydn’s sonata and Chopin’s sonata (<i>p</i> = 0.01 for left arm, <i>p</i> < 0.0001 for right arm). In healthy piano students, the dynamometric assessment of elbow extensors’ isometric muscle force after playing three different sonatas (baroque, classical and romantic) showed that the lowest values were recorded after playing the baroque style. Our results showed bilateral symmetry in the elbow extensor’s isometric muscle force for all three piano styles. The testing of arm muscles, besides that of the fingers, should be considered as a regular evaluation for future professional pianists with regard to the prevention of musculoskeletal complaints.
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