Music Performance
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Initial Movement and Continuity of Vibrato among High School and University String Players
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Performance Practice of Violin Vibrato: An Artist-Level Case Study
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The effect of Articulation Style on Perception of Tempo in Solo Violin Playing
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The Effect of Articulation Style on Perception of Modulated Tempo
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Visual Feedback for the Instruction of Wind Instrument Timbre
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The Impact of Singing Styles on Tension in the Adolescent Voice
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The Effects of Clarinet Embouchure on Band Director Tone Quality Preferences
Vibrato Analysis
Rebecca MacLeod, MRi
A series of studies investigating various contextual influences on vibrato in string players has shown that pitch range, dynamic level, instrument type, amount of training, and musical context all affect the rate and width of vibrato. Initial movement, pitch center and continuity have also been investigated.
Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players
MacLeod, R. B. (in press)
Journal of Research in Music Education
The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated .32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages compared to the piano passages. Furthermore, violinists demonstrated a tendency to vibrate slightly faster and wider than violists and university performers varied their vibrato width to a greater extent between the piano and forte passages than did the high school performers. These results along with further study could contribute to the development of a systematic method for teaching vibrato.
A Pilot Study of Relationships Between Pitch Height and Dynamic Level and Vibrato Rate and Width in Professional Violinists
MacLeod, R. B. (2008, February)
Research submitted to the American String Teachers Association National Conference, Albuquerque, New Mexico.
Recordings of Joshua Bell, Midori, Anne Sophie Mutter, and Itzaac Perlman were analyzed to investigate the influence of pitch range and dynamic level on vibrato rate and width. Both dynamic level and pitch height influenced the vibrato width of the performers, whereas vibrato rate was affected by dynamic level but not pitch range. Artists’ vibrato was wider in the upper register than in the lower register. Mean width of the soloists’ vibrato was 63 cents (slightly more than one-quarter tone) and mean vibrato rate was 6.5 Hz.
Initial Movement and Continuity of Vibrato among High School and University String Players
Geringer, J. M., Allen, M. L., & MacLeod, R. B. (2005)
Journal of Research in Music Education, 53(3), 248-259
This study measured the continuity, initial pitch direction, and pitch center of cello and violin vibrato among high school and university players. Initial vibrato movements were not consistent in either direction or magnitude. Performers vibrated above and below conceived pitch, rather than only upward or only downward. All performers stopped vibrating during the transition between slurred notes.
Performance Practice of Violin Vibrato: An Artist-Level Case Study
Allen, M. L., Geringer, J. M., & MacLeod, R. B. (in press)
Journal of String Research
We investigated performance practice of vibrato with an artist-level violinist whose credits include positions as concertmaster of the New York Philharmonic, Cincinnati Symphony, and the Dallas Symphony Orchestra. The main questions of this case study were to determine mean width, rate, and directional intent of an artist-level violinist. Additionally the present study sought to determine if an artist-level violinist consistently initiated vibrato in an upward or downward direction and whether vibrato was used continuously when performing slurs. We measured pitch levels of vibrated and non-vibrated tones, direction and magnitude of change when initiating vibrato, and duration of non-vibrato when performing slurs. Analyses indicated that the mean rate of the artist-level violin vibrato was approximately 5.7 Hz in first position and 6.3 Hz in fifth position. The mean width of vibrato was approximately 40 cents in first position and 108 cents in fifth position. Pitch oscillations during vibrato were alternations both above and below the conceived pitch, rather than oscillations only above or only below the conceived pitch. The artist initiated vibrato toward the scroll (in a downward direction) and stopped vibrating during the transition between slurred notes. Mean duration of non-vibrato portions of slurred notes was (.33 seconds)
Listener Perception
The Effect of Articulation Style on Perception of Tempo in Solo Violin Playing
Geringer, J. M., Madsen, C. K., MacLeod, R. B. (2006)
International Journal of Music Education, 25(2), 165-176
We investigated effects of legato, staccato and pizzicato articulation styles on the perception of modulated tempos. Seventy-two music majors served as participants. Two solo violin excerpts were chosen with contrasting rhythmic rates and were recorded in all three articulation styles. Examples were presented to listeners in three conditions of tempo modulation: gradual increase, gradual decrease or no change. Tempo changes were produced gradually so that listeners would no notice abrupt changes. Analysis of results showed that articulation style and the direction of modulation affected listeners’ perception of tempo and, importantly, these two factors interacted significantly. Legato examples were judged as increasing in tempo more (and decreasing less) than staccato and pizzicato examples in both excerpts. Differences between articulation styles were not as large in the example with greater rhythmic activity. Listeners preferred the no-change and tempo increase modulations to the tempo decreases. Implications for further research performance practice and teaching are discussed.
The Effect of Articulation Style on Perception of Modulated Tempo
Geringer, J. M., Madsen, C. K., MacLeod, R. B., & Droe, K. (2006)
Journal of Research in Music Education, 54 (4), 324-336
We investigated the effect of legato and staccato articulation styles on the perception of modulated tempos. Ninety music majors served as participants. Listeners heard music examples that had been selected from two pieces, each of which included staccato and legato passages. Excerpts were presented to listeners in three conditions of tempo modulation: gradual increases, gradual decreases, or no change. Modulations were produced in small increments so that listeners would not notice any abrupt change in tempo. Results indicated that articulation style and direction of modulation affected listener perception of tempo, and these two factors interacted significantly. All staccato stimuli were judged as increasing in tempo more than legato stimuli; however, differences between the two articulation styles were perceived as larger in tempo-increase examples compared to the no-change and tempo-decrease examples. Implications for performance practice and teaching are discussed.
Grants
MacLeod, R. B. (2007). Instructional Strategies of Beginning String Teachers. Research grant received from the University of North Carolina Greensboro.
Visual Feedback for the Instruction of Wind Instrument Timbre
Kelly Burke, MRi
This project utilizes spectrographic analysis and intra-oral visualization as aids toward improved timbre production.
Figure 1. Spectrographic analysis of clarinet tone.
The traditional method of teaching tone quality on the clarinet relies almost exclusively on use of descriptors. Wind players tend to develop sound concepts through modeling; unfortunately, physical attributes of the model sound are not analyzed in any quantitative manner. By using a spectrograph, the physical attributes of clarinet tone can be viewed—in real time or static. Students can view a split screen image, one window with the model sound being displayed, the other with the student’s sound. The student can then manipulate parameters of the embouchure and oral cavity in order to produce a similar spectrograph. Now, students have ready access to the feedback loop missing in teaching concepts dealing with imagery.
For example:
A contributing factor to the reasons teachers rely on verbal descriptors in teaching tone and/or articulation, is that until recently it has been difficult to see into the oral cavity during wind-instrument performance. Tiny arthroscopes make it possible to see inside the mouth during performance. Current studies compare changes in the oral cavity to changes in spectrographs. This procedure provides visual feedback for students and teachers.
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Jack Tales
Kelly Burke, MRi
The UNCG School of Music plans to present an instructional module related to the fourth-grade social studies curriculum to fourth-grade students in the 42 Schools comprising the A+ School Program in North Carolina. This curriculum module will center on the group of oral ‘wonder’ stories featuring the character Jack, and known collectively as the ‘Jack Tales’.
The Social Studies curriculum for fourth grade students in NC focuses on the social, cultural, economic and political institutions of the state with the stated competency goals of “The learner will examine the impact of various cultural groups on North Carolina” and to “Describe the traditional art, music and craft forms in North Carolina.” The Jack Tales performances will reinforce the key A+ concept of tapping the multiple ways that students learn, thus opening up newer and deeper avenues for understanding the curriculum through the arts.
The Impact of Singing Styles on Tension in the Adolescent Voice
Beverly J. Vaughn, UNCG Ph.D., 2007
Figure 1. A Montage, Automatically Generated, Presents a Quick Snapshot of the Patient’s Vocal Fold Structure and Vibratory Pattern.
The Effects of Clarinet Embouchure on Band Director Tone Quality Preferences
Lorie Enloe, UNCG Ph.D., 2007. University of Idaho.
Two methods of clarinet pedagogy are predominant. Woodwind methods and beginning band texts reflect the dichotomy and therefore conflict concerning clarinet embouchure formation. One embouchure requires the player to pull back the corners of the mouth, as if smiling. The second method requires the player to bring the corners in towards the mouthpiece, as if saying “oo”. This study measured the effects of clarinet embouchure on timbre and on band director tone quality preferences.
Surface electromyography measured electrical activity differences in the risorius and zygomaticus major muscles, those involved both in smiling and in embouchure formation, to quantify embouchure differences and effects on timbre. “Smile” embouchure muscle electrical activity was significantly greater than that of the “Q” embouchure, thereby quantifying physical differences. Timbre produced by the Smile embouchure showed stronger upper harmonics and significantly stronger signal strength in the formant regions at 1500-1700 Hz and 3700-4300 Hz than the Q embouchure.
Subjects (N=46) were randomly selected members of the National Band Association, who completed a 20-item paired-comparison tone quality survey. Two graduate clarinet majors played each survey item. One played with the corners of the mouth pulled back and the second played with the corners forward. Subjects did not prefer tone quality based upon embouchure differences as measured by a chi-square goodness of fit: c2 (1, N-46)=.783, p<.376. However, a post-hoc t-test of the ratio of the number of Q embouchure preferences to Smile embouchure preferences by subject showed a significant preference for the tone quality of the Q embouchure over that of the Smile embouchure: M=2.024, SD=2.920, t(45)=2.378, p<.05, d=.351, w=.63. Subject responses did not differ significantly by race, gender, education, job description, majors instrument, or woodwind text that was used. There were no significant interactions between factors. Test instrument reliability was a=.55.
This study was the first of its kind and sought to quantify factors previously thought subjective. Results indicated a relationship between the Smile embouchure and the prevalence of higher overtones and, therefore a “brighter” tone. Band directors, however preferred the “darker” tone of the Q embouchure.
