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• W124625998 abstract "Directors strive for a unified sound throughout their wind and orchestra ensembles. Articulation affects sound uniformity among winds and strings. This baseline study examined whether a trumpet player could better match a violin player's articulation, as perceived by participants listening to a recording of two performances, when: (a) performing musical example with identical symbol indications as violinist or (b) directed to listen to violinist's musical performance and then match articulation. For detache, spiccato, loure, and to some extent slur and martele trumpeter's modified syllable had a marked effect on participants' choice of best match. Consistent articulations among and between ensemble sections enhance sound uniformity. However, musical score may not be final conveyance needed to achieve uniformity. Individuals need to be aware of musical score s limitations in terms of articulation uniformity and have knowledge to address this issue. All directors strive for a unified sound throughout their ensemble, yet this goal may prove even more problematic and elusive for symphonic orchestra directors. The unique setting of addressing diverse needs and tone production of both strings and winds compounds factors that may contribute to an ensemble lacking a unified or blended sound. Hamann & Gillespie (2009) posit addressing articulation as one of more important concepts in string, brass, and woodwind teaching . (p. 153). This may be consequential as, in studies by Gillespie and Hamann (1998) and Hamann, Gillespie, and Bergonzi (2002), one third of all orchestra directors did not indicate a bowed string as their major instrument. Unity of sound within an ensemble is dependent upon nuances of sound production for various instruments involved. Hamann & Gillespie (2009) identify three sound production factors associated with bowing: bow speed, weight (pressure), and contact point (sounding point) of bow on string (p. 64). Additionally, they note these as interdependent upon each other; an entire palette of sounds can be produced through changing correlation between three sound production variables (p. 65). Tone production for wind instruments also involves three components: tongue, breath, and embouchure. Brass and woodwind players execute articulation by stopping and starting of or flow by (Hamann & Gillespie, 2009, p. 154). Additionally, tongue placement and vowel syllable employed affects articulation; tongue cannot be considered a separate pedagogical entity for brass players. Mueller (1967) correlated tongue muscle to brass as parallel of bow to string as a determination of initial tone production whether pointed or smooth (p. 11). Snell (2001) defines articulation as the controlled release of airstream (p. 58) and is supported by Phillips (1992) and Bachelder & Norman (2002). Disagreement exists among string pedagogues as to order in which to present bowing articulations. Authors of string articles address importance of establishing a quality tone (Allen, 2003; Dillon, 2008) yet hold divergent views regarding bowing sequence. For example, Rolland (1974) promotes detache as fundamental stroke while Galamian (1985) endorses martele as basic bow stroke. Disagreement exists among wind pedagogues as to optimal syllable usage for particular articulations. Articulation involves duration control and consists of momentary interruptions or manipulation of air stream as it passes through lips and into instrument (Hunt, 1989, p. 38). Colwell and Goolsby (1992)-in their Rehearsal Techniques chapter-focus mainly on attack and release functions rather than specific articulations, but do address basic tongue placements and syllables utilized (e. …" @default.
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• W124625998 date "2010-07-01" @default.
• W124625998 modified "2023-09-23" @default.
• W124625998 title "Perceived Articulation Uniformity between Trumpet and Violin Performances" @default.
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