Thesis (M.M.)--Boston University

The problem with which this investigation is concerned is that of facial muscle activity in forming and maintaining the soprano clarinet embouchure. The purposes of the study are to collect and analyze data in the following areas: 1. Activity of the following muscles during performance on the clarinet: (1) upper orbicularis oris, (2) lower orbicularis oris, (3) upper half of the buccinator, and (4) lower half of the buccinator. Muscular activity is read as electronic potential and is presented on recordings through the use of electromyography. 2. Possible effects which the electromyographic apparatus might impose upon performance. Tape recordings weremade of the subjects' performing prescribed tasks both before and during electromyographic analysis. The possible effects of the electromyographic analysis upon performance were then tested by comparing these two recordings.

I det här arbetet undersöker jag hur min embouchure och klang i flöjtspelet utvecklas genom att utöver min dagliga övning på flöjten lägga in spel på piccola och altflöjt. För att dokumentera utvecklingen gjordes två ljudinspelningar där jag spelar Sergei Prokofievs Sonat för flöjt och piano på flöjt. Den första ljudinspelningen gjordes i början av arbetet och den andra i slutet av arbetet. Mellan inspelningarna lade jag in olika långa set och följder av de olika instrumenten för att embouchuren skulle utmanas så mycket som möjligt. Resultatet av arbetet är att embouchuren blivit mer flexibel och uthållig vilket gjort att klangen är mer öppen och klar.

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?

O ensino de flauta transversal está embasado em correntes pedagógicas divergentes, provenientes da experiência pessoal e profissional de flautistasprofessores que tinham pouco conhecimento a respeito da oclusão dentária, como Quantz (1752), Tromlitz (1791), Boehm (1871) e Mather (1981). O objetivo deste trabalho foi contribuir para a pedagogia da flauta transversal, tendo como premissa a consideração das classes de oclusão dentária dos flautistas. Para isso, apresentamos primeiramente uma introdução ao conceito de oclusão dentária, aplicado à prática da flauta transversal, e a revisão da literatura sobre o assunto. Depois dessa introdução, apresentamos estudos de caso, buscando elucidar a correlação entre a oclusão dentária e a embocadura de três flautistas com diferentes classes de mal-oclusões de Angle (1907). Finalizamos discutindo as implicações pedagógicas decorrentes. / The flute teaching is mostly based on divergent pedagogical trends, from the personal experience of flutists teachers who had little knowledge about the dental occlusion, as Quantz (1752), Tromlitz (1791), Boehm (1871) and Mather (1981). This thesis aims to develop a flute pedagogy premised on the consideration of flute players dental occlusion classes. To do this, first we present an introduction to the concept of occlusion, applied to the practice of flute, and a review of the literature on the subject. After this introduction, we present case studies to elucidate the correlation between dental occlusion and the embouchure of three flute players with three different types of malocclusion according to Angle´s classification (1907). We conclude with enumeration of the pedagogical implications.

Pour tenter d'expliquer la dégradation actuelle des littoraux deltaïques, nous avons mené une étude sur les modalités de la distribution des apports fluviaux sur le littoral. Deux approches ont été couplées : (1) l'étude de l'évolution séculaire du trait de côte et des forçages, basée sur l'exploitation de documents historiques, et (2) l'étude détaillée des mécanismes morphosédimentaires à l'occasion des crues, dans la zone clef de l'embouchure.<br />Les principaux résultats montrent que le littoral deltaïque est actuellement déconnecté du fleuve car les sédiments fluviaux restent stockés à proximité de l'embouchure. Les crues ne contribuent pas non plus à alimenter le littoral, car c'est essentiellement des particules fines qui sont apportées en mer et transportées au large. Pour autant, les endiguements fluviaux ont une responsabilité bien supérieure à celle des grands barrages dans l'érosion des plages, en raison du rôle déterminant des avulsions dans l'édification de la plaine deltaïque.

This study documents the performing and teaching career of Armando Ghitalla (1925-2001), and describes his pedagogical approach with an emphasis on understanding his approach to teaching embouchure. It includes as appendices a comprehensive discography of his solo, chamber, and orchestral recordings, a listing of his solo performances with the Boston Symphony Orchestra, a selected list of former students, and copies of his advanced flexibility and transposition studies.The personal interview served as the primary source of data for this study. The subject, Armando Ghitalla, participated in an in-depth interview with the author which was recorded and transcribed. Subsequent data was gathered from former students through the use of an open-ended questionnaire. Follow-up interviews were held with several of the respondents. Previously published articles, interviews, reviews, and an unpublished recording of a trumpet clinic were also consulted.Ghitalla was a member of the Boston Symphony Orchestra for twenty-eight years, serving as solo trumpet of the Boston Pops Orchestra from 1951-1965 and principal trumpet of the Boston Symphony Orchestra from 1965-1979. He was active as a virtuoso trumpet soloist and had a distinguished career as a trumpet professor following his retirement from the Boston Symphony. His success as an orchestral performer, solo performer, and noted pedagogue distinguish him from many of his contemporaries. / School of Music

O ensino de flauta transversal está embasado em correntes pedagógicas divergentes, provenientes da experiência pessoal e profissional de flautistasprofessores que tinham pouco conhecimento a respeito da oclusão dentária, como Quantz (1752), Tromlitz (1791), Boehm (1871) e Mather (1981). O objetivo deste trabalho foi contribuir para a pedagogia da flauta transversal, tendo como premissa a consideração das classes de oclusão dentária dos flautistas. Para isso, apresentamos primeiramente uma introdução ao conceito de oclusão dentária, aplicado à prática da flauta transversal, e a revisão da literatura sobre o assunto. Depois dessa introdução, apresentamos estudos de caso, buscando elucidar a correlação entre a oclusão dentária e a embocadura de três flautistas com diferentes classes de mal-oclusões de Angle (1907). Finalizamos discutindo as implicações pedagógicas decorrentes. / The flute teaching is mostly based on divergent pedagogical trends, from the personal experience of flutists teachers who had little knowledge about the dental occlusion, as Quantz (1752), Tromlitz (1791), Boehm (1871) and Mather (1981). This thesis aims to develop a flute pedagogy premised on the consideration of flute players dental occlusion classes. To do this, first we present an introduction to the concept of occlusion, applied to the practice of flute, and a review of the literature on the subject. After this introduction, we present case studies to elucidate the correlation between dental occlusion and the embouchure of three flute players with three different types of malocclusion according to Angle´s classification (1907). We conclude with enumeration of the pedagogical implications.

Embouchure dysfunctions, including those from acute injury to the obicularis oris muscle, represent potential and serious occupational health problems for trumpeters. Forces generated between the mouthpiece and lips, generally a result of how a trumpeter plays, are believed to be the origin for such problems. In response to insights gained from new technologies that are currently being used to measure mouthpiece forces, belief systems and teaching methodologies may need to change in order to resolve possible conflicting terminology, pedagogical instructions, and performance advice. As a basis for such change, the purpose of this study was to investigate, develop and propose an operational definition of mouthpiece forces applicable to trumpet pedagogy. The methodology for this study included an analysis of writings by selected brass pedagogues regarding mouthpiece force. Finding were extracted, compared, and contrasted with scientifically derived mouthpiece force concepts developed from scientific studies including one done at the UNT Texas Center for Music & Medicine. Results characterized five mouthpiece force principles as the basis for an operational definition of mouthpiece force. This definition recognizes the relationships between average mouthpiece force and mouthpiece force variability. Mouthpiece force principles as presented in this study may contribute to a better understanding of mouthpiece force and its link to lip related injuries. However, additional studies are needed to better understanding the relationships between how the trumpet is taught and learned and the resulting mouthpiece forces produced when playing the trumpet.