Instrumental science can be compared to sports science on various levels. The new development of physiological measurement techniques and imaging technologies led to the beginning of sports science in the early 1970s. A worldwide expansion with ever more impressive achievements reveals the success of this branch of science. Since that time there has been almost no sport that is not fundamentally influenced by a wide variety of different examination approaches as a result of the constant use of picture analyses and measuring methods. Just a few decades before this development the training methods were almost indistinguishable from those of the ancient Greek athlete generation. Similarly, musicians have spent centuries confronting the same problems during their ‘training’:
What practices need to be learned, how do these practices work, what means of communicating them are there and how can they be improved?
After comprehensive global research it became clear that there is currently no comparable research branch in terms of instrumental science. There are a few isolated studies, some of them quite extensive, that address certain aspects to do with posture and movement. The intention of these studies is always the presentation of a favoured regular answer to a solution for a certain problem area. In the area of performance practice, there are institutes that deal with specific physiological and musical analyses, but so far no science has yet been developed that can be considered to represent systematic, basic research into how to play music. It is an important task for instrumental science to bring together all of the initiatives in instrumental posture and movement research to date, to document the results and to organize them. The trigger for initiating this science was the need for a better understanding of the phenomenal forms of expression exhibited by prominent instrumentalists.