Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)

This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.

The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance

The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

Fundamental Tongue Motions for Trumpet Playing: A Study Using Cine Magnetic Resonance Imaging (Cine MRI)

OBJECTIVE: Though the motions of structures outside the mouth in trumpet performance have been reported, the dynamics of intraoral structures remain unelucidated. This study explored the tongue’s movement in trumpet playing using cine magnetic resonance imaging (cine MRI) and demonstrated the effects of intraoral anatomical structures on changes in pitch and dynamics. METHODS: Cine MRI was applied to 18 trumpet players, who were divided into two groups (7 beginner, 11 advanced) based on their ability to play a certain high note. They were instructed to play a custom-made MRI-compatible simulated trumpet. Pitch-change tasks and dynamics-change tasks were assigned. The positions of the anatomical points and intraoral areas were identified on outlined images, and the changes associated with each task were evaluated. RESULTS: A forward and upward projection of the tongue was observed in the production of higher pitches, and there were no significant differences in all areas. In louder dynamics, a backward and downward bending of the tongue occurred, the tongue area became smaller (p<0.001), and the oral cavity area became larger (p<0.001). No significant differences between beginner and advanced trumpet players were seen in the changes in pitch and dynamics. CONCLUSION: It was demonstrated using cine MRI that certain tongue movements were associated with each task. Tongue protrusion in the production of higher pitch and bending in louder dynamics can be rationalized using acoustics theory and the movements of anatomical structures. These findings seem to be consistent regardless of the player’s proficiency.

The association of malocclusion and trumpet performance

ABSTRACTObjective: To determine whether trumpet performance skills are associated with malocclusion.Materials and Methods: Following institutional review board approval, 70 university trumpet students (54 male, 16 female; aged 20–38.9 years) were consented. After completing a survey, the students were evaluated while playing a scripted performance skills test (flexibility, articulation, range, and endurance exercises) on their instrument in a soundproof music practice room. One investigator (trumpet teacher) used a computerized metronome and a decibel meter during evaluation. A three-dimensional (3D) cone-beam computerized tomography scan (CBCT) was taken of each student the same day as the skills test. Following reliability studies, multiple dental parameters were measured on the 3D CBCT. Nonparametric correlations (Spearman), accepting P &lt; .05 as significant, were used to determine if there were significant associations between dental parameters and the performance skills.Results: Intrarater reliability was excellent (intraclass correlations; all r values &gt; .94). Although associations were weak to moderate, significant negative associations (r ≤ −.32) were found between Little's irregularity index, interincisal inclination, maxillary central incisor rotation, and various flexibility and articulation performance skills, whereas significant positive associations (r ≤ .49) were found between arch widths and various skills.Conclusions: Specific malocclusions are associated with trumpet performance of experienced young musicians.

Comparison of Biomechanical Forces Generated during Trumpet Performance in Contrasting Settings

The primary aim of this study was to investigate how mouthpiece forces may vary as a function of the setting in which the musicians are asked to perform. Ten college-level trumpet players were assessed while playing the same pieces of music in a jazz big band rehearsal and a controlled laboratory/clinical setting. Trumpet force was measured using a custom Trumpet Sensor System that measures mouthpiece forces and angular position. Overall, the results from this study indicate that mouthpiece forces generated in the research laboratory were similar to those in the rehearsal venue. The data indicate no significant differences between the two conditions that warrant concern for collecting performance data in an experimental setting.