Musical Expression on Wind Instruments: Perspectives from a Panel of Experts

Musical expression, or a performer’s interpretation of the aesthetic message intended by the composer, involves thoughtful manipulation of perceptual variables such as dynamics, tempo, articulation, and timbre. Musical expression is commonly associated with artistry and achievement in music, yet research on pedagogy for teaching musical expression to wind instrumentalists is limited. The purpose of this study is to use perspectives from professional wind instrumentalists and conductors to explore how musical expression on wind instruments is demonstrated and measured. The qualitative tradition of the Delphi method, with three rounds of data collection, provided the structure for answering the research questions. The importance of effectively communicating musical interpretation through performance was a recurring theme within the data collection as well as the literature review. Findings suggest that a performer’s abilities both to appropriately analyze the music and then to successfully communicate his or her interpretation of the music to a listener are critical for achieving artistry in musical expression. The study may provide valuable insight for a deeper understanding of pedagogical strategies needed for teaching musical expression to wind instrumentalists

A Content Analysis and Comparison of Beginning Band Methods and Beginning Studio Methods for Euphonium

Twenty-three beginning band method books are available in America, yet little pedagogical agreement exists concerning musical and technical elements. These variables emanate from the large ensemble design for each method. Certain starting pitches may enhance the overall beginning band experience while leaving the beginning euphonium student frustrated. These methods contain little substantive pedagogical framework that offers a thorough approach to musical growth. Many methods require the performance of pitches higher than the first partial. This requirement may cause embouchure malformation, negatively affecting their future flexibility and endurance. This qualitative study will codify the first pitches, pitch sequences, exercise ranges, rhythm sequences, articulations, and dynamics of these beginning band methods. The collection of this data may reveal similarities and differences between methods, leading to the possible pairing of beginning studio methods for euphonium. Before this pairing occurs, the study will examine seven beginning studio methods with the same criteria as the band methods. This pairing of select beginning band and euphonium methods may build consistency and musical growth of the beginning euphonium student. This study may encourage the future pairing of beginning band methods with other brass beginning studio methods, thus broadening student development. The conclusions of this study may result in designing a companion band method guide for use with specific studio methods, creating a supplemental, integrated studio method for use with band methods, or creating a new beginning studio method for the euphonium

Verbal rehearsal methods and their effects on expressive music performance: A comparison of verbal explanation and transformational verbal imagery

The purpose of this study was to determine if use of transformational verbal imagery rehearsal methods, when compared to use of methods based on verbal explanation, resulted in (a) higher levels of expressive performance by wind quintets and (b) greater appreciation of the composition by quintet members. The study used a posttest-only control-group design. Thirty high school brass and/or woodwind quintets were randomly assigned to experimental groups (n = 15) or control groups (n = 15). A composition rich in expressive aspects of music was used. Each quintet had three rehearsals. The first rehearsal dealt with the technical aspects of performance. Treatment which focused on the expressive aspects of performance occurred during the second and third rehearsals. An audio recording of the performance was made at the end of the third rehearsal. A questionnaire designed to measure appreciation of the music was completed by subjects at the end of the third rehearsal. To test the null hypothesis regarding expressive performance level, two independent adjudicators scored the final performance tape on two measures, (a) the level of technical performance, and (b) the level of expressive performance. A one-way analysis of covariance was used, with level of technical performance serving as the covariate. The questionnaires were analyzed using a t test for independent samples to test the null hypothesis regarding level of appreciation of the music. Significance was tested at the.05 level. No statistically significant differences were found between the treatment groups on these two measures. Subjects involved in the experimental treatment completed an additional questionnaire to provide data regarding the perceived effect of the transformational verbal imagery procedure. Results of a descriptive analysis of the data indicated that over 90% of the subjects perceived verbal imagery as easy to use and helpful in completing learning tasks. Subjects\u27 perceptions of verbal imagery suggested that its use in rehearsals helped motivate them and helped them complete learning tasks effectively and efficiently

Emotion resonance and divergence: a semiotic analysis of music and sound in 'The Lost Thing', an animated short film and 'Elizabeth' a film trailer

Music and sound contributions of interpersonal meaning to film narratives may be different from or similar to meanings made by language and image, and dynamic interactions between several modalities may generate new story messages. Such interpretive potentials of music and voice sound in motion pictures are rarely considered in social semiotic investigations of intermodality. This paper therefore shares two semiotic studies of distinct and combined music, English speech and image systems in an animated short film and a promotional filmtrailer. The paper considers the impact of music and voice sound on interpretations of film narrative meanings. A music system relevant to the analysis of filmic emotion is proposed. Examples show how music and intonation contribute meaning to lexical, visual and gestural elements of the cinematic spaces. Also described are relations of divergence and resonance between emotion types in various couplings of music, intonation, words and images across story phases. The research is relevant to educational knowledge about sound, and semiotic studies of multimodality

Breaking the Cycle: Incorporating a Pedagogy of Expression in Secondary Ensembles

Western music education is caught in a cycle of constant concert preparation. Even though teaching expression is an important standard of music education, it is not often the focus of secondary ensembles. This thesis explores the rationale for teaching secondary instrumental students to think expressively, the benefits of teaching expressive performance, and the methods to successfully incorporate this pedagogy. This project aims to show that the creation of expressive opportunity and responsibility during regular rehearsals would allow the students to further develop these skills without detracting from the quality of public performances. The conclusion of this project will provide ensemble directors with suggestions of instructional methods available to aid them in the teaching process. Adjustments to the average rehearsal and concert will be necessary to incorporate these changes

Pedagogical Influences of Ethnic Percussion Among Virginia Middle and High School Band Directors

Traditional wind band and Western art classics are standard repertoire in the instrumental curriculum, as ethnic percussion is rarely incorporated. The inclusion of ethnic percussion can emerge as an alternative to concert programming, rehearsal techniques, and applications, enhancing the learning and aesthetic experience. This mixed-method study examined the inclusion of ethnic percussion pedagogy in the instrumental music curriculum. The research findings did indicate that the use of ethnic percussion is present within instrumental music programs in Virginia. A large percentage of directors were unsure of the aesthetic influences such as cultural awareness and peer interaction. This study also discussed methodologies, practices, teacher preparation, professional development, and challenges when including ethnic music elements alongside traditional wind band literature. Results indicated that repertoire selection was the primary influence in concert band and percussion ensemble settings. The study also suggests the various types of ethnic percussion instruments most used and any commercial opportunities that are presented. The methodology included an online survey and qualitative content analysis

Moving to the Beat: The Role of Movement on the Perception of Musical Expressivity

The purpose of this study was to determine the effect body movement would have on listeners’ (N = 7) perceptions of the musical expressivity of different conducting patterns. An audio/video recording of a conductor from the University of Southern Mississippi was used for the stimulus, and listeners were asked to rate each video recording on perceived expressiveness, congruency between movement and music, and participant’s willingness to play under each conducting style. While the video portion of the stimulus changed to reflect two different conducting styles (beat centric – traditional movements that adhere to notated meter, non-beat centric – non-traditional movements that do not adhere to notated meter) and two different musical excerpts (a ballad excerpt from Lincolnshire Posy by Percy Grainger and an excerpt from the march The Glory of the Yankee Navy by John Philip Sousa), the audio portion of the stimulus remained the same. Results indicated that the different conducting patterns did affect listeners’ ratings of perceived expressivity, enjoyment of the conducting style, and congruency between the movement and music. The different musical excerpts also affected listeners’ perceptions of musical expressivity in favor of the ballad excerpt. The sample size for this study was small, so implications and suggestions for future research are discussed

Exploring the content of instrumental lessons and gender relations in Australian higher education

This observational study analysed the lesson content of 24 instrumental lessons (piano, strings and winds) using a gender-balanced sample (equal numbers of male/female teachers and students) from five Australian higher education institutions to ascertain the priorities of topics in advanced applied music lessons in the Western Classical tradition. The results were analysed according to gender to determine differences of approach between male and female teachers and male and female students. Same-gender and different-gender pairings were also considered. Technique was found to be of the greatest importance, followed by Articulation and Expression. Some gender differences have emerged between the teachers, with the male teachers tending towards a more analytical approach and the female teachers adopting more balanced lesson content. The treatment of students showed some divergence, with greater emphasis on Expression in the lessons of female students, whereas the male students studied more Structure. The results demonstrate stereotypical gender behaviour among the teachers and towards their students not previously observed in this educational setting. Copyright © Cambridge University Press 2008

Polishing GEMS: A Supplemental Curriculum for Developing the Musical Literacy and Musical Expression Skills of Junior High Flute Students

This study determines the content for a supplemental curriculum designed to improve musical literacy and musical expression skills using the Arkansas School Band and Orchestra (ASBOA) all-state junior high flute etudes. It addresses the first two steps (analysis of practical problems and development of possible solutions) of a Design-Based Research (DBR) project. The author intends to address the third and fourth steps (iterative cycles of testing and refinement and reflection and enhancement) in future research studies. A pilot study identified technical and interpretive deficiencies exhibited in nine (N = 9) student audition recordings using excerpts from the ASBOA etudes. A modified version of Saunders and Holahans Woodwind/Brass Solo Evaluation Form (WBSEF) was used to assess the recordings. The results showed deficiencies in the areas of tone, intonation, rhythmic accuracy, technique/articulation, and interpretation (primarily musical coherence). These results were compared to the Arkansas Department of Education (ADE) Beginning Band Curriculum Framework in order to determine possible modifications and/or additions to address the technical and interpretive difficulties found in the pilot study. The second step of the DBR process involves the creation of a supplemental curriculum framework designed to improve musical literacy and musical expression using Patrik Juslins GERMS model that explains the components of musical expression: Generative rules (G), Emotional expression (E), Random variability (R), Motion principles (M), and Stylistic unexpectedness (S)