Matching Items (6)
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- All Subjects: pedagogy
- Creators: Spring, Robert
Description
Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address the issue of teaching with no visual feedback. Clarinet pedagogy literature consists of language that makes it possible for other clarinetists to discuss, teach, and research various aspects of clarinet playing. The interdisciplinary application of theoretical concepts in linguistics and how they map onto the language of clarinet pedagogy offers a new perspective for understanding the teaching methods used for articulation. To provide insight into the relationship of language and clarinet pedagogy, an overview of several linguistic theories and concepts, such as Peircean semiotics, metalanguages, discursive strategies, and articulatory phonetics, is presented. Additionally, a brief explanation of articulation techniques (single, multiple, flutter, and slap articulation) and commonly used teaching strategies is outlined. The language used in clarinet pedagogy literature from resources by prominent clarinet pedagogues, such as the works of John Anderson, Joshua Gardner, Michèle Gingras, Eric C. Hansen, Howard Klug, Phillip Rehfeldt, Thomas Ridenour, Heather Roche, Robert Spring, and Rachel Yoder, is surveyed. Pedagogical insights from a linguistic analysis are used to create resources for teaching and/or correcting articulation. Since the interdisciplinary application of linguistics and clarinet pedagogy is an underexplored topic, this research also aims to serve as a basis for further interdisciplinary studies.
Contributorsde Alba, Francisco Javier (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Fossum, Dave (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
Two different techniques utilizing vocalization in clarinet performance were examined through a research study in which one subject (the author) played several tasks utilizing each technique with different played pitches, vocalized pitches, and dynamic levels for each task. The first technique was singing while playing, which is also sometimes referred to as growling. This technique is produced by engaging the vocal folds during regular clarinet performance to create a second vocalized pitch that resonates in the oral cavity and exits through the mouthpiece as part of the same air stream as that used by the vibrating reed. The second technique studied was a much more recently pioneered technique that the author has labelled humming while playing due to its similarity to traditional humming in vocal pedagogy. This technique is produced by filling the oral cavity with air, sealing it off from the rest of the vocal tract using the tongue and soft palate, and humming through the nasal cavity. The cheeks are simultaneously used to squeeze air into the mouthpiece to maintain the clarinet pitch, much like in the technique of circular breathing.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
ContributorsRuth, Jeremy Larkham (Author) / Gardner, Joshua T (Thesis advisor) / Spring, Robert S (Thesis advisor) / Schmelz, Peter J (Committee member) / Weinhold, Juliet (Committee member) / Arizona State University (Publisher)
Created2019
Description
As clarinet students progress in their studies, there comes a point at which many are assigned to perform contemporary repertoire that is either overplayed due to accessibility and use in pedagogy, or includes difficult extended techniques like microtones, multiphonics, and more. This project identifies a “gap” in unaccompanied clarinet repertoire and seeks to expand this repertoire by outlining a program of study featuring five newly commissioned unaccompanied clarinet solos through which students can learn both traditional and untraditional techniques. Each of the first four works focus on one aspect of clarinet technique—musicality, the altissimo register, microtones, and multiphonics, respectively—and the final work is a culmination of all these techniques. Included in this document is biographical information for each composer, program notes, a brief description, and a performance guide for each piece. Additionally, each work was recorded by the author and included with this document.
ContributorsMeadows, Olivia Lauren (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Meyer, Jeffery (Committee member) / Micklich, Albie (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists—performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6.
ContributorsLemoine, Ryan Cole (Author) / Gardner, Joshua T (Thesis advisor) / Creviston, Christopher (Thesis advisor) / Feisst, Sabine (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2016
Description
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Until the second half of the 20th century, publications on breathing techniques for woodwinds have been scarce and often failed to adequately address this aspect of performance and pedagogy. It is through various sensory experiences and because of recent technological advances that academics recognize a gap in the existing literature and have since included studies using various methods, as well as modern technical devices and experiments into the woodwind literature and teaching. These studies have proven to be of great importance to confirm ideas and hypotheses on the matter.
The aim of this project is to collect woodwind journal publications into a meta-analysis, focusing specifically on the breathing techniques for woodwind instruments and provide a comprehensive annotated bibliography on the topic and its application. The project is limited to journal articles on breathing techniques applied for woodwinds only, and will not review literature discussing breathing from other perspectives or in a broader sense.
Major findings show that misconceptions and contradictions on the subject still exist. At the same time, they also highlight unique approaches used to help the learner overcome general and specific challenges while mastering the art of breathing.
The project highlights areas where future research on breathing would be encouraged and should be complemented by measured data. Such studies might include a woodwind specific examination of the relationship between the tongue and the soft palate, or analysis of how tension in the torso muscles influences the movement of the diaphragm, or how rhythmical breathing affects breath control and capacity, and finally a discussion on how larynx influences the air stream.
The aim of this project is to collect woodwind journal publications into a meta-analysis, focusing specifically on the breathing techniques for woodwind instruments and provide a comprehensive annotated bibliography on the topic and its application. The project is limited to journal articles on breathing techniques applied for woodwinds only, and will not review literature discussing breathing from other perspectives or in a broader sense.
Major findings show that misconceptions and contradictions on the subject still exist. At the same time, they also highlight unique approaches used to help the learner overcome general and specific challenges while mastering the art of breathing.
The project highlights areas where future research on breathing would be encouraged and should be complemented by measured data. Such studies might include a woodwind specific examination of the relationship between the tongue and the soft palate, or analysis of how tension in the torso muscles influences the movement of the diaphragm, or how rhythmical breathing affects breath control and capacity, and finally a discussion on how larynx influences the air stream.
ContributorsJevtic-Somlai, Csaba (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Humphreys, Jere (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019