About Diapason

James Tenney reflects on his 1996 composition Diapason. Near the beginning and the end of the piece, the “diapason” includes harmonics from the forty-eighth through sixty-fourth, whereas at the dynamic climax, it includes the first through the seventeenth partials. Tenney discusses some unusual procedures that are required to perform the piece, including: all of the string instruments are retuned in an elaborate scordatura; wind players are free to choose from the set of pitches being played at any moment by the string players nearest to them; and to facilitate this process, each wind player is seated between two string players or is, in fact, surrounded by from four to six string players whose pitches can thus be matched in this way. Tenney also claims that he produced these unusual pitches because of his belief that we have entered a new music-historical era during which there will be a resumption of the evolutionary development of harmony.

Fundamentals of Embouchure in Brass Players: Towards a Definition and Clinical Assessment

Brass players may experience problems producing an optimal sound (or range of sounds) in their instrument. Assessing and treating dysfunctional embouchure requires knowledge of functional embouchure, but peer-reviewed literature on dysfunctional and functional embouchure is scarce. OBJECTIVE: This study aimed to provide a narrative overview of embouchure based on information from different scientific and clinical fields. This should be regarded as a first step in constructing a reliable, valid, and practical multi-item method to assess embouchure for brass players. METHODS: Literature reviews were conducted concerning: 1) the definition of embouchure, 2) physics and acoustics of embouchure, 3) functioning of embouchure-related structures, and 4) instruments to assess embouchure. Also, embouchure experts (clinicians, scientists, and elite wind players) were consulted for information and discussion. RESULTS: A proposal for a new definition of embouchure, an overview of the relevant physics and acoustics, functions of embouchure-related body structures, and the main methods to measure embouchure in brass playing are presented. CONCLUSION: Peer-reviewed information about the fundamentals of dysfunctional embouchure is scarce and sometimes contradictory. A new definition for embouchure is proposed: embouchure is the process needed to adjust the amount, pressure, and direction of the air flow (generated by the breath support) as it travels through the mouth cavity and between the lips, by the position and/or movements of the tongue, teeth, jaws, cheeks, and lips, to produce a tone in a wind instrument. An integrative overview is presented which can serve as a transparent foundation for the present understanding of functional and dysfunctional embouchure and for developing an evidence-based multi-item assessment instrument.

Predicting Collegiate Wind Players’ Practice Efficiency, Flow, and Self-Efficacy for Self-Regulation

The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse range of instruments: flute, oboe, bassoon, clarinet, saxophone, French horn, trumpet, trombone, euphonium, and tuba. The data for this study were self-reports collected via online questionnaires. Findings indicated that of the five predictor variables examined, only two—students’ tendencies to exhibit grit in their learning and their tendencies to be reflective about their practicing—were consistently related to the three outcome variables. Furthermore, all outcome variables were significantly related to one another.

Musculoskeletal Pain Among Polish Music School Students

OBJECTIVE: To assess the prevalence and intensity of musculoskeletal pain and to estimate probability of developing playing-related musculoskeletal disorders, depending on risk factors, including gender, years of playing the musical instrument, frequency of practice (number of days per week), average daily practice time, and habitual physical activity level, in young instrumentalists. METHODS: A total of 225 instrumentalists aged 10–18 years, including 107 string-players, 64 keyboardists, and 54 wind-players, were investigated. The Nordic Musculoskeletal Questionnaire (NMQ) together with a numerical visual-analogue pain intensity scale (VAS) was used to assess the participants’ musculoskeletal pain. RESULTS: The young instrumentalists most often complained of pain located in the neck (60.4%), wrists (44.4%), and upper (41.7%) and lower back (38.2%) areas. Girls complained of musculoskeletal pain significantly more often than the boys. A probability of the pain symptoms was increased with each consecutive year of practice (OR 1.135; 95%CI 1.021–1.261). CONCLUSIONS: Musculoskeletal pain in various body parts had already commenced at a young age in our sample of music students, and there was a gender difference (girls were more often affected). Results of our study suggest that an early prophylaxis of playing-related musculoskeletal disorders is needed among young musicians playing the various instruments.

Functional anatomy of the soft palate applied to wind playing

Wind players must be able to sustain high intraoral pressures in order to play their instruments. Prolonged exposure to these high pressures may lead to the performance-related disorder velopharyngeal insufficiency (VPI). This disorder occurs when the soft palate fails to completely close the air passage between the oral and nasal cavities in the upper respiratory cavity during blowing tasks, this closure being necessary for optimum performance on a wind instrument. VPI is potentially career threatening. Improving music teachers' and students' knowledge of the mechanism of velopharyngeal closure may assist in avoiding potentially catastrophic performance-related disorders arising from dysfunction of the soft palate. In the functional anatomy of the soft palate as applied to wind playing, seven muscles of the soft palate involved in the velopharyngeal closure mechanism are reviewed. These are the tensor veli palatini, levator veli palatini, palatopharyngeus, palatoglossus, musculus uvulae, superior pharyngeal constrictor, and salpingopharyngeus. These muscles contribute to either a palatal or a pharyngeal component of velopharyngeal closure. This information should guide further research into targeted methods of assessment, management, and treatment of VPI in wind musicians.