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Transcript of Intraoral pressure and sound pressure during woodwind .../67531/metadc849677/m2/1/high... ·...
INTRAORALPRESSUREANDSOUNDPRESSUREDURINGWOODWINDPERFORMANCE
MicahBowling
DissertationfortheDegreeof
DOCTOROFMUSICALARTS
UNIVERSITYOFNORTHTEXAS
May 2016
APPROVED:
KathleenReynolds,MajorProfessorMaryKarenClardy,CommitteeMemberDarylCoad,CommitteeMemberJohnHolt,ChairoftheDivisionofInstrumental
StudiesfortheCollegeofMusicBenjaminBrand,DirectorofGraduateStudiesfor
theCollegeofMusicJamesScott,DeanoftheCollegeofMusicCostasTsatsoulis,DeanoftheToulouse
GraduateSchool
Bowling, Micah. Intraoral pressure and sound pressure during woodwind performance.
Doctor of Musical Arts (Performance), May 2016, 57 pp., 5 tables, 4 figures, references, 15
titles.
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.
iii
TABLEOFCONTENTS
LISTOFTABLES..................................................................iv
LISTOFILLUSTRATIONS...........................................................v
FOREWORD.....................................................................vi
Chapters
1. INTRODUCTION.........................................................1
StatementofPurpose
2. BACKGROUNDANDFOUNDATIONALKNOWLEDGE............................7
3. EXPERIMENTALMETHOD.................................................13
DescriptionofMusicalTasksEquipmentandExperimentalSetupExperimentalProcedureProtocolforDataAnalysis
4. RESULTS...............................................................24
5. DISCUSSIONOFRESULTS.................................................42
6. CONCLUSIONS..........................................................51
7. APPENDIX............................................................54
8. BIBLIOGRAPHY........................................................57
iv
LISTOFTABLES
1. TABLE1DemographicInformation...............................................14
2. TABLE2NumericalDatafromSelectedGroupSamples..............................30
3. TABLE3NumericalDatafromSelectedIndividualSamples...........................32
3. TABLE4NumericalDatafromSelectedMultipleWoodwindPerformerSamples.........34
3. TABLE5VibratoAmplitudeData.................................................46
v
LISTOFILLUSTRATIONS
1. FIGURE1MusicalTask1........................................................18
2. FIGURE2MusicalTask2&3....................................................19
3. FIGURE3LinearRepresentationofData...........................................25
4. FIGURE4PearsonCorrelationGraphs.............................................39
vi
FOREWORD
Myinterestinintraoralpressurestemmedfrommyownpersonalexperienceswithnasalleaks
duringperformance.Asawoodwindperformancemajor,Isoughtoutinformationpertainingto
nasalleaksinsearchofasolutiontotheproblem.Thesesearchesledmetothetopicof
intraoralpressureanditseffectsonperformance.
1
CHAPTER1.INTRODUCTION
InrecentresearchbyMichaelAdduci,themodelforthisstudy,oboeperformancewas
studiedtoshowthetrendsintherelationshipbetweenintraoralpressureandsoundpressure
levels.Hisstudywasdesignedtocreateascientificbasisforpedagogicaltechniquesamong
oboeperformers.1
Formanyyears,thestudyofmusicalinstrumentshasbeenanoraltraditioninan
apprenticeship-likesetting.Often,theinstructorwilltrytobestdescribetheresultsdesired
fromtheirmusicstudents.Thiscommontraditionlacksamethodicalorscientificbasis.The
topicofrespirationisakeyexampleofthisdiscrepancy.Manyinstructorstelltheirstudentsto
exhaleusingthediaphragmmuscle,butananatomicalstudyofthebodyprovesthatthe
diaphragmonlyactsasanactivemuscleduringtheinspiratoryprocess.Duringforced
expiration,thebodyreliesontheuseofthemusclesoftheabdominalwall(rectusabdominus,
internalandexternalobliques,andtransversusabdominusmuscles)andtheinternalintercostal
muscles.Asthesemusclescontract,thereisanincreaseinabdominalpressureand
compensatorydecreaseinthoracicvolume,resultinginairbeingforcedoutofthelungs.
Contrarytowhatiscommonlytaught,duringthisentireprocessofexhalation,thediaphragm
servesonlyinapassivecapacity.2
Thisgeneralization(“supportfromthediaphragm”)byperformanceinstructorsisnot
meanttocauseconfusionforthestudentormisleadthemaboutthewaythebodyfunctions;
rather,thisimprecisedescriptionandgeneralizedinstructionisaresultofthebody’sinabilityto
1Adduci,M.D.(2011).DynamicMeasurementofIntraoralpressureandSoundPressureWithLaryngoscopicCharacterizationDuringOboePerformance.Denton,Texas.2Patton,K.,&Thibodeau,G.(2009).Anatomy&Physiology(7thEditioned.).Mosby.
2
physicallydistinguishthedelicateintricaciesoftherespirationprocess.Involuntaryrespiration
activatestheautonomicnervoussystem,thesystemthatcontrolsinvoluntaryactionsand
reflexesinthebody.Severalfactorsoutsideofthecontrolofconsciousnessregulatethe
differentvariablesofventilation,suchasthelevelofcarbondioxideintheblood(PaCO2),
oxygentension(PaO2),andpH.Respiratorycontrolisachievedthroughinvoluntaryactivation
ofneuralandchemicalreceptorslocatedthroughoutthebody.Thisactivationsignals
respiratorycentersinthebraintoalterbreathingpatternsaccordingly.Althoughitistruethat,
toanextent,somebreathcontrolisvoluntary,itcanneverbecompletelyregulatedbythe
conscious.Musiciansareperhapsmoreawareoftheirbodythanthegeneralpopulation,but
thisaccuracydiminishesgreatlyastheamountofrespiratorypressureincreases.
A.J.Paynedeterminedthathumansarecapableofdistinguishingexpirationpressures
withinthemagnituderequiredforspeaking.Astheexpirationpressureincreasespastthe
speakingmagnitude,however,theabilityofhumanstoaccuratelydistinguishthesepressures
diminishesasthepressuremagnitudetargetlevelincreased.3Thesefindingswerefurther
supportedinastudybyA.AnastasioandBussard,whichshowedthatduringoboe
performance,oboistswereonlycapableofproducing1PSI(poundspersquareinch),lower
thantheirmaximumpressureof2.5–3.5PSIandsubstantiallylowerthantheself-estimations
of20-90PSImadebytheoboistspriortoperformance.4Thisconceptsuggeststhatperformers’
perceptionsoftheirmaximalexpirationpressuresvarygreatlyfromthereality,servingasthe
3Payne,A.J.(1987).IntraoralAirPressureDiscriminationforanOpenVersusClosedTubePressureSystem.UniversityofFlorida.4Anastasio,A.a.(1971).MouthAirPressureandIntensityProfilesoftheOboe.JournalofResearchinMusicEducation,19,62-76.
3
impetusforAdduci’sstudyonintraoralpressureandsoundpressurelevelduringoboe
performance.
TheresearchconductedbyMichaelAdducidemonstratesthatintraoralpressureduring
oboeperformancecanexceedthecapabilitiesforcorrespondingincreasesinsoundoutput
levels(SPL).5Hefoundthat,priortoproducingasound,theoboistwouldtypicallybuildup
intraoralpressure(IOP)beforereleasingthetongueandallowingthereedtovibrate.Asimilar
anomalywasfoundfollowingtheendofeachnote,withtheoboistsustainingpressurepastthe
endofthecurrentsoundingnote.Additionally,Adducideterminedthatoboistsoftenincreased
theintraoralpressurebeyondtheamountneededtoincreasethedynamicofeachnote.He
foundthatperformersoftencreatedmoreintraoralpressurethantheirinstrumentandreed
couldhandle,leadingtotheinstrumentreachingitsmaximumvolumeoutputpotentialbefore
theperformerhadachievedhisorhermaximumpotentialforintraoralpressure.The
performersmaynotbeawareofthissituation,causingaconsistentexcessiveforcewhen
playingwoodwindinstruments,particularlyinlouddynamics,whichmayleadtoanextraneous
amountofstresswithintheoralcavity.
Thisexcessforcecancreateapotentiallyhazardoussituation.Theforcecanallowfor
thedevelopmentofsofttissuedisordersofthethroatandpotentialvelopharyngeal
insufficiencies.Velopharyngealinsufficiency,commonlyreferredtoasa“nasalleak”withinthe
woodwindcommunity,occurswhenairescapesoutofthenasalpassagesduringperformance,
whichmayaffecttheresultingsoundquality.Duetoexcessivestrain,theperformer’ssoft
palateisweakened,thusopeningthepathwayforairtoflowinvoluntarilyintothenasalcavity.
5Adduci,M.D.(2011).DynamicMeasurementofIntraoralpressureandSoundPressureWithLaryngoscopicCharacterizationDuringOboePerformance.Denton,Texas.
4
Velopharyngealinsufficiencyisfrequentlyseenintheclarinetcommunityandmanyhave
soughttofindremediesforthecondition.Dr.ChrisGibsonfoundinhisstudythatcommon
causesofvelopharyngealinsufficiencyinclude:
• Intensive, short-term performance experiences such as summer musiccamporanAll-Stategroup.
• Preparationforauditionsorimportantrecitals.• Changes in routine such as beginningwith a new instructor, or playing
againafteravacation.• Equipment changes, such as a different mouthpiece, harder reed
strength,orevenadifferentinstrument.6
Inadditiontotheclarinetcommunity,Gibsonalsostatedthatvelopharyngeal
insufficiencyisfrequentlyfoundamongoboeandbassoonplayers.Abriefmentionofintraoral
pressurewasgivenasapossiblereasonforthisfinding,butthereislittlescientificevidence
substantiatingtheseclaims.Anotherconditionthatcanarisesecondarytointraoralpressure
whenplayingawoodwindinstrumentisapharyngocele.Apharyngoceleistheherniation
(outpouching)ofpharyngealsofttissuecausedbyextraneousairforce.7Thiscausesthetissue
tobulgeoutoftheneckbilaterallywhileperforming.Thisconditionispredominantlyseen
amongtrumpetplayers(Gillespie’spouches),buthasalsobeenreportedinsomeoboe
performers.Oboebackpressureisknowntobethehighestamongthewoodwindinstruments,
whichiswhyitmightbeseenprimarilyinoboeperformerscomparedtoperformersonthe
otherwoodwindinstruments.Thelowerbackpressureobservedwhenplayingtheother
woodwindsmayormaynotaffectthedevelopmentofpharyngocelesinotherwoodwind
performers.6Gibson,C.(2007).CurrentTrendsinTreatingthePalateAirLeak(StressVelopharyngealInsufficiency).(ClarinetFest)RetrievedAugust13,2015,fromInternationClarinetAssociation:https://www.clarinet.org/clarinetFestArchive.asp?archive=307Bowdler,D.(1987).PharyngealPouches.InA.Kerr,&J.Groves,Laryngology(5thEditioned.,pp.264-282).London.
5
Thereasonthattheoboeisknowntohavethehighestamountofbackpressureamong
thewoodwindinstrumentsisbecausethetipopeningofthereedisrelativelysmallwhen
comparedtotheapertureforairflowfoundinotherwoodwindinstruments.Sincetheother
woodwindshavelessbackpressureduetolessresistance,thistheoreticallymightleadtolower
intraoralpressure.Therationalebehindexpandingcurrentstudiesistoquantifyandclarifythe
differencesinintraoralpressurebetweeneachofthewoodwindinstruments.
STATEMENTOFPURPOSE
Thepurposeofthisstudyistoexaminethedataandtrendsintheamountofintraoral
pressureandthesoundpressurelevelsproducedwhenperformingeachofthewoodwind
instruments.Thisstudywasconductedinordertoexpandthecurrentresearchsuggestingthat
oboistsexhibitanexorbitantamountofintraoralpressurerelativetotheamountofsound
output.Thisstudywillexamineintraoralpressureasrelatedtosoundpressurelevelswiththe
otherwoodwindinstrumentstodetermineifthereisacorrespondingcorrelation.Specifically,
intraoralpressureandsoundpressurewillbemeasuredonflute,oboe,clarinet,saxophone,
andbassoonforpitchesperformed(1)undervariousdynamics,(2)withastraighttone,and(3)
withvibrato.Soundpressurelevelsmaybeagoodmeasureofthephysiologicalstrainplaced
ontheperformer.Anysustainedstrainontheperformercanleadtovariousperformance-
relatedinjuries,aspreviousresearchhasshown.Thegoalofthisstudyistoprovideadeeper
understandingoftheforcesinvolvedinplayingwoodwindinstrumentsinordertopreventsuch
injuries.Theseindicatorsmayreflectvarieddemandsacrossinstrumentgroups.Itismyhopeto
addressthescientificrelationshipbetweenintraoralpressureandsoundpressurelevelswhen
6
playingwoodwindinstrumentsandprovidepedagogicalsuggestionsforperformingwith
efficiency.
Thespecificaimsofthisstudyareto(1)determinewhetherthereisacorrelation
betweenintraoralpressureandsoundpressure,(2)shedlightonhowwelleachinstrument
respondstorapidfluctuation,and(3)determinewhichinstrumentismostefficientfor
convertingintraoralpressureintosoundpressure.
7
CHAPTER2.BACKGROUNDANDFOUNDATIONALKNOWLEDGE
Intraoralpressure(IOP)isaquantifiablemeasureofforceexertedonthesurfaceareaof
theoralcavity.Thistypeofpressureisincreasedbyasurgeinairvolumeorbyresistancetoair
flowescapingtheoralcavity.Woodwindperformersrarelydiscussintraoralpressurewhen
speakingcolloquiallybutcommonlyreferto“backpressure”whenattemptingtodescribethe
resistancetooralairflow.However,“backpressure”isbetterdefinedasthepressureopposing
thedirectionofdesiredairflow–apressurewhichiscausedbyboththeinstrument,thereed,
andtheembouchureoftheplayer.8Thischaracterizationoftheforcesbywoodwind
performersis,forallpracticalpurposes,agooddescriptionoftheperceivedresistancecreated
bytheirinstrument.However,intraoralpressurecanstillbefoundinperformersplayingthe
flutewherethereisnodirectobstructionopposingthedirectionofairflowtocreatea
measurablebackpressure.Additionally,backpressureitselfisimpossibletoeasilymeasure.
Thisleadstotheconclusionthatthedifferenceincalculationbetweenintraoralpressureand
backpressurealsocannotbespecificallymeasuredinanymeaningfulway.Inthisstudy,
intraoralpressurewasmeasuredacrossallwoodwindinstrumentstostudythephysicalforces
associatedwithcommonmedicalproblemsshowntobecausedbyhighintraoralpressure
levelsinwoodwindperformers.
Itisimportanttofundamentallyunderstandthedifferencesinthedefinitionsofforce,
pressure,andstress.Inphysics,aforceisanyinteractionthat,whenunopposed,willchange
themotionofanobject.Intuitively,forcecanalsobedescribedasa“push”ora“pull”onan
8Merriam-Webster.(n.d.).BackPressure.RetrievedJune20,2015,fromMerriam-Webster.com:http://www.merriam-webster.com/dictionary/backpressure
8
object.Aforcehasbothmagnitudeanddirection,makingitavectorquantity.9Incontrast,
pressureistheperpendicularforceappliedtothesurfaceofanobjectperunitareaoverwhich
thatforceisdistributed.10Inotherwords,pressuredescribesthevolumeofairpressing
outwardonasurface,liketheoralcavity,similartothewayairinsideaballoonforcesthewalls
oftheballoontostretchoutward.
Inadditiontointraoralpressure,soundpressurelevelswerealsoexaminedinthisstudy
inordertodemonstratechangesinintraoralpressurebasedondynamics.Soundsareproduced
bypressurewavesinteractingwiththetympanicmembraneoftheear.Theamplitudeof
pressurevariationsmeasuredintheaircanbeusedtodeterminetherelativeloudnessofthe
perceivedsound.Soundpressureismeasuredindecibels(dB),whichreferstoalogarithmic
representationofpressurevariations.11Pressureisasimpletypeofstress,whichcauseseither
deformationofsolidmaterialsorachangeofflowinfluidssuchaswaterorair.12Intheoral
cavity,mechanicalstresscancausedeformationoftheshapeoftheoralcavity,leadingto
numerousmedicalconditions.
Aspreviouslymentioned,thisstudyspecificallyexaminesintraoralpressure(IOP)and
theconsequencestoincreasingthispressureinwoodwindperformers.Pressurerelatedtothe
respiratorytractinhumanscanbemeasuredinseveraldifferentregionsotherthantheoral
cavity.Measuringlungpressureorsubglotticpressureasopposedtointraoralpressure,
however,involvesinvasiveproceduresbeyondthescopeofthisstudy.Intraoralpressureisa
9Cutnell,J.,&Johnson,K.(2001).Physics(5thEditioned.).NewYork:JohnWileyandSonsInc.10Giancoli,D.G.(2004).Physics:principleswithapplications.UpperSaddieRiver,NewJersey:PearsonEducation.11SoundandNoise:CharacteristicsofSoundandtheDecibelScale.(n.d.).(EnvironmentalProtectionDepartment:TheGovernmentofHongKong)RetrievedAugust12,2015,fromEnvironmentalProtectionDepartment:http://www.epd.gov.hk/epd/noise_education/web/ENG_EPD_HTML/m1/intro_5.html12Batchelor,G.(1967).AnIntroductiontoFluidDynamics.CambridgeUniversityPress.
9
representationofthepressurecreatedontheinternalsurfaceareaoftheoralcavityand
extendingintothesuperiorportionofthetrachea(abovetheglottis).Itisalsotheresulting
pressurecausedbythecombinedforceoftheaircolumnbeginninginthelungsandextending
upthetracheaandoutoftheoralcavity,althoughtheseforcesarenotadditiveandintraoral
pressureisnotnecessarilythesumofalloftheseforces.Factorsthatcanaffectintraoral
pressureincludevolumeofair,strengthoftheperformer’sexhalation,dimensionsoftheoral
cavityandsuperiortrachea,andinterferenceintheapertureoftheinstrument(reedopening
dimensionsandcyclicvibratoryopeningandclosingofthereedagainstthemouthpiece).
Airflowintotheinstrumentthroughthebreathingapparatususedinthisstudyfollows
Bernoulli’sprinciple,characterizingfluidmechanicsinphysics.Bernoulli’sprinciple
encompassestheideathatthepressureofastreamoffluidisreducedasthespeedoftheflow
isincreased.13Withthisprincipleinmind,theconceptofintraoralpressurecanbedescribedas
aresultofthechangeincross-sectionalareaalongthepathwayofairflow.Thelargercross-
sectionalareafoundinthetracheaandoralcavitycreateshigherairpressureandslower
velocityofair.Thisisincontrasttothesmallercross-sectionalareafoundattheaperture,
whichleadstolowerairpressureandafastervelocityofaircreatingafunnelingeffect.This
funnelingeffectisoneoftheaspectsofthecreationofintraoralpressure-thecombinedeffect
ofthevolumeofairforcedintotheoralcavityandtheresistanceoftheaperture,reedopening,
orequipmentbackpressure.
Thefluteisthemostuniquewoodwindinstrumentinthatitdoesnotuseeitherasingle
ordoublereedunitthatcyclesopenandclosedtocreatesound.Thevibrationoftheheadjoint
13Mulley,R.(2004).FlowofIndustrialFluids:TheoryandEquations.CRCPress.
10
isoutsideoftheoralcavityandaperture,anditdoesnotinterferewiththeflowofthe
airstream.Thislackofinterferencecreatesanopensysteminwhichairfreelyflowsoutofthe
apertureintotheinstrument.Theonlyresistancepresentinthesystemiscreatedbythe
performer’scontrolofaperture,resultinginthefunneleffectpreviouslydescribed.Itispossible
foraflutisttocontroltheopeningofhisorherembouchure,directlyaffectingthisresistance
present.Smalleraperturecreatedbyamoreclosedembouchureprovidesmoreresistancedue
toasmallercross-sectionalareathatleadstolowerairpressure.Alargeraperturecreatedbya
moreopenembouchure,ontheotherhand,leadstoalargercross-sectionalareaandalossof
thefunnelingeffect,becauseoflowerairpressureandslowervelocity.
Theclarinetandsaxophonehavemorefeaturesthatinterferewithairflow.Insingle
reedinstruments,thereedvibratingagainstthemouthpieceproducesthesound.Thisvibratory
processhasmanyfactorsthatcanaffecttheresistance.Thevibrationsmaybealteredbythe
strength(orrelativehardness)ofthereed.Aharderreedismoreresistanttovibrating.Many
characteristicsaffectreedstrengthincludingdensityofthecane,flexibilityofthecane,and
thicknessofthereed.Anotherimportantfactoristherelativedistancethereedmusttravelto
vibrateagainstthemouthpiece.Thisdistanceiscommonlydescribedasthemouthpiecefacing,
inwhichmouthpiecescurveawayfromthereed.Mouthpiecefacingsvaryamongmouthpieces,
andthechoiceofmouthpiecefacingisapointofpersonalpreferenceamongsinglereed
performers.Mouthpieceswithmoreopenfacingscreatealargerdistanceforthereedtotravel,
thereforecreatingmoreresistanceinthevibratoryprocess.
Anotherelementseeninsinglereedinstrumentsisthatthemannerinwhichthereed
vibratescancreatemoreresistancetoairflowthanthatfoundinnon-reedinstruments,suchas
11
theflute.Thisresistanceistheresultofvibrationscausingthesystemtocyclebetweenopen
andclosed.Whenthereedisnotincompletecontactwiththemouthpiece,airfreelyflows
throughtheopeningbetweenthereedandmouthpiece.Thisisconsideredanopensystem;
however,whenthereedisincompletecontactwiththemouthpiece,theairisnotallowedto
exittheoralcavityandflowintotheinstrument,creatingaclosedsystem.Inthisclosedsystem,
pressureishigherbecausetheperformerisconsistentlypushingairtowardtheaperture.
Withoutaroutefortheairtoescape,however,thepressuresimplyincreasesuntilthereed
movesawayfromthemouthpiecereleasingtheair.InTheArtofSaxophonePlaying,LarryTeal
statesthatasthereedvibratesagainstthemouthpiece,itspendshalfofthetimeincomplete
contactwiththemouthpiece,onefourthofthetimetravelingawayfromthemouthpiece,and
onefourthofthetimetravelingtowardthemouthpiece.14Thisvibratoryprocessthatis
creatingresistancecanalsobeseenindoublereedinstruments,theoboeandbassoon.
Inmanyways,doublereedinstrumentsproducesoundinasimilarfashiontosinglereed
instruments,withsoundproducedbythevibrationofthereed;however,indoublereed
instrumentsthereisnomouthpiecetocreateastationarypointforthereedtovibrateagainst.
Rather,therearetwoseparatebladesofeachreed,andthebladesvibrateagainsteachother
tocreatesound.Inthissystem,thereismorevariabilityfoundintheamountofresistanceeach
reedcreates.Aspectsthatcreateresistanceincludethestrengthorrelativehardnessofthe
reedcane,thethicknessoftheblades,andthetipopening(distancebetweenthetwobladesof
thereed).
14Teal,L.(1963).TheArtofSaxophonePlaying.AlfredPublishingCo.Inc.
12
Additionally,intraoralpressuremaynotbetheonlypressurethatplaysarolein
exhalation.Airpressuresthroughouttheaircolumncanvarygreatly,andstudiesrelatedto
speechandsinginghavemeasuredsubglotticpressure,theairpressurepresentinthetrachea
belowtheglottis,insteadofintraoralpressure.Thesestudiesmeasuredsubglotticpressure
throughinvasiveprocesses.Onemethodrequiredthesubjecttoswallowapressuretransducer
toplaceitintheesophagusbelowthevocalfolds.Theairpressureinthetracheabelowthe
vocalfoldscantranslatetotheesophagusformeasurement.Asecondmethodinvolved
insertinganeedletransducerintothesubglottalregionofthetracheabypenetratingthrough
theexteriorsufaceoftheneck.15AnothermethodintroducedbyBouhuyscallsfor
anesthetizingtheglottisandinsertingacathetertubedownthetracheaformeasurement.16
Thoughanunderstandingofsubglotticpressuremightbebeneficialtoacompleteknowledge
oftheforcesinvolvedintherespiratoryprocess,duetotheinvasivemethodsrequiredto
measurethesubglotticpressure,intraoralpressurewasmeasuredinthisstudybecauseofthe
nonintrusivemethodsavailable.
15Draper,M.,Ladefoged,P.,&Whitteridge,D.(1959).RespiratoryMusclesinSpeech.JournalofSpeechandHearingResearch,2(1),16-27.16Bouhuys,A.,Proctor,D.,&Mead,J.(1966).KineticAspectsofSinging.JournalofAppliedPhysiology,21(2),483-96.
13
CHAPTER3.EXPERIMENTALMETHODS
Sixteen(16)graduateandundergraduatelevelwoodwindperformersattheUniversity
ofNorthTexasparticipatedinthisstudy.Three(3)ofthesixteenperformersweremultiple
woodwindperformerswhospecializeinplayingthefivewoodwindinstrumentsforvarious
theatrepitorchestras,andtheseperformerswererecordedperformingoneachofthe
instrumentssuccessively.Therewereatotaloftwenty-eight(28)performancesrecorded,
thirteen(13)fromsingleinstrumentperformers,andfive(5)fromeachofthethree(3)multiple
woodwindperformersmakinguptheremainingfifteen(15)performances.Table1summarizes
therelevantdemographicdataofeachperformer.
14
TABLE1DemographicInformationasreportedbytheperformers
SubjectID Gender(M/F) Age Degreesought MajorFlute1 F 29 DMA PerformanceFlute2 F 23 MM Performance
Flute3 F 31 DMA Performance
Oboe1 M 22 BM PerformanceOboe2 F 24 MM Performance
Clarinet1 M 23 MM Performance
Clarinet2 M 24 DMA PerformanceClarinet3 F 23 BM Performance/MusicEducation
Saxophone1 M 22 BM MusicEducation
Saxophone2 F 18 BM PerformanceBassoon1 M 24 MM Performance
Bassoon2 M 24 BM Education
Bassoon3 M 21 BM Performance
WW1Flute F 25 MM Performance
WW1Oboe F 25 MM PerformanceWW1Clarinet F 25 MM Performance
WW1Saxophone F 25 MM Performance
WW1Bassoon F 25 MM Performance
WW2Flute M 25 DMA Performance
WW2Oboe M 25 DMA PerformanceWW2Clarinet M 25 DMA Performance
WW2Saxophone M 25 DMA Performance
WW2Bassoon M 25 DMA Performance
WW3Flute M 56 DMA Performance
WW3Oboe M 56 DMA PerformanceWW3Clarinet M 56 DMA Performance
WW3Saxophone M 56 DMA Performance
WW3Bassoon M 56 DMA Performance
15
TABLE1Demographicinformationcontinued
SubjectID InstrumentModel MouthpieceorHeadjoint ReedFlute1 Miyazawa602 Miyazawa XXXFlute2 Nagahara Nagahara XXX
Flute3 MuramatsuDS Muramatsu XXX
Oboe1 BuffetGreenline Pisonibrassstaple HandmadeOboe2 LoreeRoyal Chudnowsilverstaple Handmade
Clarinet1 BuffetR13Festival VandorenM30 RicoReserveClassic4
Clarinet2 BuffetR13Vintage RicoReserveX0 VandorenRueLepic3.5+Clarinet3 BuffetR13 NathanBeaty-ZinnerBlank RicoGCSEvolution4
Saxophone1 Selmer/Ref.54Flamingo RousseauNC4 Vandoren3.5
Saxophone2 Yamaha875-Ex RousseauNC4 RicoReserve3Bassoon1 Fox601 HeckelBocal Handmade
Bassoon2 Fox201 HeckelBocal Handmade
Bassoon3 Heckel#9921 HeckelBocal Handmade
WW1Flute Yamaha481 Yamaha XXX
WW1Oboe Cabart ChudnowBrassStaple HandmadeWW1Clarinet BuffetR13Festival VandorenM13Lyre RicoReserveClassic3.5+
WW1Saxophone Yamaha23 SelmerCStar Vandoren3
WW1Bassoon Fox220 FoxBocal Handmade
WW2Flute Yamaha684 EC XXX
WW2Oboe LoreeAK Pisonisilverstaple HandmadeWW2Clarinet BuffetR13 BackunOt RicoGCS3.5
WW2Saxophone Yamaha875 RousseauR3 Eastman3
WW2Bassoon Puchner#5839 FoxBocal Handmade
WW3Flute Armstrong Armstrong XXX
WW3Oboe Signet Jones JonesmediumhardWW3Clarinet BuffetR13 Vandoren Vandoren4
WW3Saxophone SelmerMark6 Rousseau Vandoren3.5
WW3Bassoon Reynolds Reynolds Jonesmediumhard
16
Theperformerswereaskediftheysufferedfromcommonrespiratoryailments,
includingallergies,asthma,velopharyngealinsufficiency,orotherailments.Fourreported
havingallergiesbutonlyonesufferedsevereconstantallergieswiththeothersnotingonly
seasonalallergies.Threereportedhavingasthma.Nosubjectsreportedvelopharyngeal
insufficiencyorotherailments.
Priortoconductingthisexperiment,thestudywasapprovedbytheInstitutionalReview
Board(IRB)attheUniversityofNorthTexas.Theprojectdescriptionandinformedconsent
formapprovedbytheIRBandpresentedtoallsubjectsisincludedintheAppendix.The
informedconsentformwasreadaloudtoallofthesubjectsandsignedbeforecollectingany
demographicdataandbeginningtheexperiment.
17
DESCRIPTIONOFMUSICALTASKS
Eachofthesubjectsperformedseveralmusicalexercises.Ametronomewasusedto
standardizethelengthofeachsample,andtheclickofthemetronomewasrecordedalong
withtheintraoralpressureandsoundpressurevaluesforaccuratedatapointselection.The
taskswereperformedat88beatsperminute.Subjectsplayingflute,clarinet,oboe,and
saxophoneperformedthetasksatthewrittenpitchesD4,G4,C5,andA5.Octavemodifications
weremadeforthesubjectsplayingbassoon,withthetasksperformedonthewrittenpitches
D2,G2,C3,andA3.
MUSICALTASKSINCLUDED:
1)dynamicexercise(crescendo–diminuendo)onthewrittenpitchesD4,G4,C5,A5
2)straighttoneexerciseonthewrittenpitchesD4,G4,C5,A5
3)vibratoexerciseonthewrittenpitchesD4,G4,C5,A5
*Asmentionedpreviously,octavemodificationsweremadeforthebassoonandallexercises
wereperformedonthewrittenpitchesD2,G2,C3,A3.
18
Figures1and2showthemusicalexamplesusedforthisstudy.
FIGURE1MusicalTask1-Dynamics
Thesubjectswereinstructedtoplayintheextremesoftheirdynamicrange.Thesubjectseach
reachedadifferentmaximumandminimumsoundpressurelevel,butallsubjectssuccessfully
followedthedynamicmarkings.
19
FIGURE2MusicalTask2&3–StraightToneandVibrato
Inthistask,thesubjectswereinstructedtoplayeachpitchatacomfortabledynamicwhich
couldbemaintainedforthedurationofthenote.Theperformerswereinstructedtousefree
(unmeasured)vibratoforthatportionofthetask.Samplesofclarinetperformancedidnot
includethevibratotasksasisstandardinclarinetperformanceintheUnitedStates.
20
EQUIPMENTANDEXPERIMENTALSETUP
TheexperimentwasconductedintheTexasCenterforMusicandMedicineofficeatthe
UniversityofNorthTexasCollegeofMusicroom1007.Theroomisconstructedwithtilefloor,
cementwalls,andstandardcommerciallay-inceilingpanels.Thesubjectsperformedthetask
seatedwithamusicstandinfrontofthem.Thechair(WengerMusicianChair)wasplaced24
inchesawayfromthemusicstand.Thedosimeter17wassuspendedabovethesubjects6feet
and6inchesfromthegroundtoreducevariationbetweeninstrumentsandperformers.
Theexperimentutilizedthreechannelsofdataacquisition:measurementofintraoral
pressure(IOP),measurementofsoundpressurelevel(SPL),andmetronometiming.
Intraoralpressurewasmeasuredusingapressure-to-voltagetransducer.Thistransducerwas
fixedtoheadgearwithVelcro.Asmallcathetertubewasfittedtoeachsubject.Thecatheter
tubewasplacedinsidetheoralcavitythroughthecorneroftheembouchure.Eachperformer
wasgiventimetoexperimentwiththecathetertubeinplacepriortorecordingthe
performancestoallowforproperfittingandtominimizeobstructionoftheembouchure.While
subjectsplayedtheirinstruments,thecathetertubeconductedtheairpressureinsidethe
subject’soralcavitytothepressure-to-voltagetransducerformeasurement.Allsubjects
toleratedthissetupwithoutchallenge.Atthistime,thepressure-to-voltagetransducerwas
calibratedtoaccountfortheambientpressureoftheroomduringtheperformancesothatonly
theincreaseinintraoralpressureabovetheatmosphericpressurewouldberecorded.
Soundpressurelevelsweremeasuredusingaloggingdosimeter.Thedatawasrecorded
indecibels(dB).
17Anoisedosimeterisaspecializedsoundlevelmeterusedtomeasuresoundexposureovertime.
21
Eachofthethreechannelswasrecordedusingcontinuousrecordingsoftware.The
pressure-to-voltagetransducer,dosimeter,andstandardmetronomewereconnectedtoa
DATAQInstrumentsmodelDI-720dataacquisitionsystem.18TheDATAQsystemwasthen
connectedtoaDelldesktopcomputerrunningtheWinDaq/Litesoftwaresuitetocollectthe
intraoralpressureandsoundpressuredataalongwiththemetronomeforastandardized
accuratetimemeasurement.TheDATAQsystemandWinDaq/Litesoftwarepackagerecorded
240samplespersecondforintraoralpressure(measuredinvolts19)andsoundpressure
(measuredindB).Thereal-timemonitoringofeachnoteallowedfordetailedexaminationof
eachnote,includinginitiation,propagation,andtermination.Therawdatarecordedby
WinDaq/LitewasexportedtoMicrosoftExcel2010andIBMSPSSStatistics17.0foranalysis.
EXPERIMENTALPROCEDURE
Afterlisteningtotheexperimentalprotocolandprivacypolicyforthestudy,the
subjectssignedaninformedconsentformapprovedbytheIRB.Ashortdemographic
questionnairewascompleted.Thesubjectswerethenseatedandfittedwiththepressure-to-
voltagetransducercathetertube.Theentireexperimentalprocesstook5minutestocomplete
paperwork,10minutestosetup,and15minutesforeachiterationofthemusicalexercises.
PROTOCOLFORDATAANALYSIS
18DATAQInstrumentsmodelDI-720isadeviceusedtocollectandtranslatedatafromvariousinputchannels.Thisdevicecanutilizeuptosixteendifferentdatachannelssimultaneously.19Topresentthedatainameaningfulformat,thevoltagereadingsfromthepressuretransducerwereconvertedtommHg.Forthepressuretransducerusedinthisstudy,1voltisequalto101.4mmHg.Theformulausedforconversionwasp=(v-a)*101.4,wherevisavoltageeventrecordedbythepressuretransducer,aistheambientpressureinvoltsmeasuredduringthattask,andpistheresultantintraoralpressureforthatevent,convertedfromvoltstommHg.
22
Graphical,descriptive,andcorrelationaltechniqueswereemployedtoshowdifferences
acrosstasks,acrossinstruments,andregardingtherelationshipbetweensoundpressureand
intraoralpressures.TherawdatarecordedbyWinDaq/LitewasexportedtoMicrosoftExcel
2010andIBMSPSSStatistics23.0foranalysis.Duringthisstudy,Ihavedecidedtoonlyusedata
pointscollectedonemetronomeclickpriortotheinitiation,throughpropagationofthenote,
andconcludingonemetronomeclickfollowingtheterminationofthenote.Datapoints
betweenindividualnoteswereexcluded.Ineffortstoexcludeoutliers,anaveragewastakenof
eachdatapointbeforeprocessingthedata.Theseaverages,minimum,maximum,andstandard
deviationswerecalculatedusingdatafromallsamplesoflikeinstrumenttrials.Thesevalues
wereorganizedintoTable2.ThegraphsinFigure3areexamplesofindividualperformerdata
samplesofeachmusicaltask.Theindividualperformerspresentedinthegraphswerechosen
basedontheconsistencyofthereadingsforeachtrial.Theseperformersshowcasedrelatively
minimaloutlyingdatapoints.Thedatafromthisstudywasfoundtobestatisticallysignificantat
the0.01level,indicatingthatthereisstrongevidencesuggestingthattheserelationshipsare
statisticallysignificant.
Inordertoaddressthespecificaimsofthisstudy,theexperimentwasdesignedwith
particularexercisesinmind.Aftertheinstrumentalistsperformedthemusicaltasksoutlined
earlier,(1)IassessedPearsonCorrelationValues,whichcanrevealordisprovestrong
associationsbetweentwovariables,todeterminewhetherthereisasignificantcorrelation
betweenIntraoralpressureandsoundpressureoutput.PearsonCorrelationValuesandhow
theyrelatetothisstudyarepresentedthoroughlyintheDiscussionsection.(2)Ievaluatedthe
vibratomusicaltasksbycomparinghoweasilyeachinstrumentrespondstoitsinstrument-
23
specificvibrato.Thiswasassessedbyexaminingintraoralpressureversusthesoundpressure
levelwhiletheperformerisusingvibrato.(3)Ievaluatedtheoverallefficiencyofeach
instrument.Acomparisonofvibratoversusstraighttonewillhelpdeterminehowefficienteach
instrumentisinconvertingairpressureintosoundpressure.
24
CHAPTER4.RESULTS
Thisstudyproducedatotaloftwenty-eight(28)performancesofeachmusicaltaskwith
successfulquantitativedatacollectionineachofthesamples.Samplesofclarinetperformance
didnotincludethevibratotasksasisstandardinclarinetperformanceintheUnitedStates.
Table2wascreatedusingaveragesofcorrelatingsamplepointsintimeacrosslikeinstrument
performers.Eachmusicaltaskislabeledinthetablewiththepitchperformed(C).Thedynamic
exerciseisnotedatjust(C),thestraighttoneexerciseislabeledasCsandthevibratoexerciseis
labeledatCv.Table3isavisualrepresentationofdata(min,max,mean,stddev)from
individualinstrumentperformers(thoseonlyperformingononeinstrument,excludingmultiple
woodwindperformers).Table4representsdatafromthemultiplewoodwindperformertrials.
ThegraphsinFigure3areexamplesofindividualperformerdatasamplesofeachmusicaltask.
TheperformerspresentedinthegraphsinFigure3werechosenbecausetheyshowedthemost
consistentreadingsforeachtrial.Oneperformerperinstrumentispresentedinthegraphs.
Figure3showsthelinearrepresentationoftheintraoralpressure(IOP)andsound
pressurelevel(SPL)forthepitchC5.
• BluelinesrepresentthedynamicexerciseinMusicalTask1.
• RedlinesrepresentthestraighttoneexerciseinMusicalTask2.
• GreenlinesrepresentthevibratoexerciseinMusicalTask3.
25
FIGURE3LinearRepresentationofData
FluteIntraoralPressure(IOPinmmHg)
FluteSoundPressureLevel(SPLindB)
MusicalTask1------------MusicalTask2------------MusicalTask3------------
30
TABLE2representsthenumericaldataassociatedwithgroupdatafromeachinstrumenttrial.
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Flute C 5047 73.7000 104.0000 82.769802 6.2717121
Sound Level Flute Cs 4988 72.6000 94.1000 82.486087 4.7128215
Sound Level Flute Cv 5049 73.6000 97.5000 83.253337 5.3025673
Intraoral Pressure Flute C mmHg 5047 -22.8150 6.5910 1.101752 3.2303852
Intraoral Pressure Flute Cs mmHg 4988 -8.6190 5.5770 1.404719 3.1727566
Intraoral Pressure Flute Cv mmHg 5049 -11.6610 7.6050 1.919651 3.2835218
Valid N (listwise) 4988
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Oboe C 4447 74.6000 89.2000 80.148145 3.5920672
Sound Level Oboe Cs 4507 73.1000 91.4000 80.534968 3.4140089
Sound Level Oboe Cv 4386 73.2000 92.3000 80.890538 3.3493299
Intraoral Pressure Oboe C mmHg 4447 -5.5770 50.1930 24.532438 13.4985917
Intraoral Pressure Oboe Cs mmHg 4507 -35.9970 41.0670 21.830923 13.5412355
Intraoral Pressure Oboe Cv mmHg 4386 -39.0390 41.0670 21.908041 14.7010054
Valid N (listwise) 4386
31
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Clarinet C 5407 75.3000 107.0000 86.260403 9.6589688
Sound Level Clarinet Cs 5154 71.8000 98.4000 86.301785 6.9712704
Intraoral Pressure Clarinet C mmHg 5407 -3.5490 43.0950 20.546768 10.8506990
Intraoral Pressure Clarinet Cs mmHg 5154 -3.5490 29.9130 20.616623 9.2936191
Valid N (listwise) 5154
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Sax C 4148 74.6000 113.0000 88.846649 11.1296733
Sound Level Sax Cs 4326 72.5000 101.0000 86.111049 7.5105652
Sound Level Sax Cv 4326 72.4000 105.0000 87.643597 8.1812154
Intraoral Pressure Sax C mmHg 4148 -4.5630 30.9270 16.680153 8.5214015
Intraoral Pressure Sax Cs mmHg 4326 -6.5910 23.8290 15.546125 6.8548486
Intraoral Pressure Sax Cv mmHg 4326 -31.9410 24.8430 15.437599 9.9962420
Valid N (listwise) 4148
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Bassoon C 5107 72.4000 98.7000 85.072273 6.4477431
Sound Level Bassoon Cs 5046 71.4000 103.0000 87.615834 6.3806603
Sound Level Bassoon Cv 4990 71.2000 102.0000 85.536493 5.6464958
Intraoral Pressure Bassoon C mmHg 5107 -7.6050 29.9130 13.890926 8.2424484
Intraoral Pressure Bassoon Cs mmHg 5046 -8.6190 25.8570 13.211540 7.7571158
Intraoral Pressure Bassoon Cv mmHg 4990 -32.9550 25.8570 12.957457 8.6831732
Valid N (listwise) 4990
32
TABLE3representsthenumericaldataassociatedwithindividualsamplesoftheMusicalTask1
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Flute1 C 842 74.9200 98.2660 86.871844 6.9129585
Sound Level Flute2 C 841 75.3350 87.6820 80.559948 2.8427817
Sound Level Flute3 C 841 75.7500 103.6600 82.926911 7.4271440
Intraoral Pressure Flute1 C mmHg 842 -.0203 4.5529 2.755708 1.1750270
Intraoral Pressure Flute2 C mmHg 841 -.3346 3.3868 1.699288 .6356090
Intraoral Pressure Flute3 C mmHg 841 -.6185 3.7112 1.633963 .9170714
Valid N (listwise) 841
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Oboe1 C 902 75.7500 89.2390 80.458192 3.7736316
Sound Level Oboe2 C 961 75.7000 88.4000 79.679501 3.5318235
Intraoral Pressure Oboe1 C mmHg 902 .1420 48.9154 32.885122 14.8812924
Intraoral Pressure Oboe2 C mmHg 961 -.5070 42.0810 27.830132 12.5942645
Valid N (listwise) 902
33
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Clarinet1 C 901 75.4910 104.4400 88.277676 10.4589124
Sound Level Clarinet2 C 901 75.4000 97.5000 85.449057 7.2016134
Sound Level Clarinet3 C 901 75.3000 102.0000 85.429967 8.8167096
Intraoral Pressure Clarinet1 C mmHg 901 .2941 39.5359 25.411763 10.8900846
Intraoral Pressure Clarinet2 C mmHg 901 -2.5350 31.9410 21.069479 10.2415158
Intraoral Pressure Clarinet3 C mmHg 901 -1.5210 38.0250 23.857135 11.0398430
Valid N (listwise) 901
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Sax1 C 662 74.5570 101.5300 86.663008 9.5586404
Sound Level Sax2 C 842 75.7000 98.1000 85.266746 8.0180955
Intraoral Pressure Sax1 C mmHg 662 -.7909 27.4287 14.774960 8.7661703
Intraoral Pressure Sax2 C mmHg 842 .5070 26.8710 19.910287 6.0457559
Valid N (listwise) 662
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level Bassoon1 C 841 73.6750 94.2190 86.117157 5.2369632
Sound Level Bassoon2 C 841 72.4000 98.7000 89.548870 7.5026758
Sound Level Bassoon3 C 842 74.9000 94.3000 84.350475 5.7320557
Intraoral Pressure Bassoon1 C mmHg 841 .1521 22.3080 16.271650 5.1502123
Intraoral Pressure Bassoon2 C mmHg 841 -3.5490 19.7730 12.772662 6.5615168
Intraoral Pressure Bassoon3 C mmHg 842 -7.6050 29.9130 16.262537 9.1758527
Valid N (listwise) 841
34
TABLE4representthenumericaldataassociatedwiththemultiplewoodwindperformers
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level WW1 Flute C 841 73.7270 95.8280 83.633127 6.7331589
Sound Level WW1 Oboe C 901 75.7000 85.5000 78.393785 2.2448670
Sound Level WW1 Clarinet C 901 75.7000 96.4000 83.404107 6.7665217
Sound Level WW1 Sax C 841 75.4000 97.9000 84.526159 7.0484990
Sound Level WW1 Bassoon C 901 74.6000 86.1000 80.241287 3.0153614
Intraoral Pressure WW1 Flute C mmHg 841 .3245 2.3119 .757040 .1559994
Intraoral Pressure WW1 Oboe C mmHg 901 -2.5350 27.8850 19.009968 8.9762903
Intraoral Pressure WW1 Clarinet C mmHg 901 -2.5350 23.8290 16.494663 6.2743448
Intraoral Pressure WW1 Sax C mmHg 841 -4.5630 16.7310 12.226477 5.3682581
Intraoral Pressure WW1 Bassoon C mmHg 901 -2.5350 11.6610 6.058678 3.5460514
Valid N (listwise) 841
35
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level WW2 Flute C 841 75.7500 88.3570 79.356171 3.6089000
Sound Level WW2 Oboe C 901 74.6000 87.7000 81.377469 3.5787106
Sound Level WW2 Clarinet C 902 75.4000 105.0000 87.369180 10.8247919
Sound Level WW2 Sax C 901 74.8000 113.0000 97.254939 13.7523190
Sound Level WW2 Bassoon C 841 75.2000 91.7000 84.495719 5.1772723
Intraoral Pressure WW2 Flute C mmHg 841 -2.8899 5.4046 2.837271 1.4342676
Intraoral Pressure WW2 Oboe C mmHg 901 -5.5770 38.0250 27.022931 12.1902676
Intraoral Pressure WW2 Clarinet C mmHg 902 -3.5490 43.0950 22.803758 12.8217439
Intraoral Pressure WW2 Sax C mmHg 901 -3.5490 30.9270 20.157892 9.2502260
Intraoral Pressure WW2 Bassoon C mmHg 841 -4.5630 26.8710 17.023987 8.4276228
Valid N (listwise) 841
36
Descriptive Statistics N Minimum Maximum Mean Std. Deviation
Sound Level WW3 Flute Cs 842 73.4670 86.3330 80.485452 2.2512520
Sound Level WW3 Oboe C 782 74.7000 88.5000 80.965729 3.8478026
Sound Level WW3 Clarinet C 901 75.4000 107.0000 87.627636 11.9039359
Sound Level WW3 Sax C 902 74.6000 104.0000 89.418958 10.1986521
Sound Level WW3 Bassoon C 841 75.5000 96.2000 86.025446 7.1848713
Intraoral Pressure WW3 Flute C mmHg 841 -18.7083 1.4703 .185570 2.3399763
Intraoral Pressure WW3 Oboe C mmHg 782 -.5070 20.7870 12.750207 4.4633020
Intraoral Pressure WW3 Clarinet C mmHg 901 -2.5350 33.9690 17.811400 10.7999932
Intraoral Pressure WW3 Sax C mmHg 902 -4.5630 26.8710 14.173517 9.1804861
Intraoral Pressure WW3 Bassoon C mmHg 841 -.5070 26.8710 19.789880 7.3133776
Valid N (listwise) 782
37
DATAPRESENTATION
Thenumericaldatafromthemultiplewoodwindperformershasbeenreported
separatelytoallowforcross-examinationofintraoralpressureandsoundpressurelevels
createdbytheseperformers.Onebenefittoexaminingthedatafromthemultiplewoodwind
performersisthatwiththeseperformersplayingeachmusicaltaskonallfiveofthewoodwind
instruments,thedimensionsoftheoralcavityandlungcapacityhasbeenstandardized.Ifthis
standardizationweretobereplicatedinfuturestudies,itcouldleadtoagreaterunderstanding
oftheeffectsofperformercharacteristics,suchasbodysizeandshape,ontheintraoral
pressurecreatedwhenplayingeachinstrument.
Multiplewoodwindperformer1(WW1)producedintraoralpressuremeansbelowthe
groupmeansforeachoftheinstruments.Interestingly,therangeofintraoralpressuremeans
producedbyWW1ismorenarrowthantherangeofmeanscalculatedfromthegroupdata.
WW1producedameanintraoralpressureof0.757mmHgonthefluteandameanintraoral
pressureof19.010mmHgontheoboewitheachoftheotherinstrumentsfallingbetween
thesetwo.Whencomparedtothegroupmeansofintraoralpressureat1.102mmHgonthe
fluteand24.532mmHgontheoboe,itisimportanttonoteamorenarrowrangefoundwhen
examiningintraoralpressuredatafromWW1.Similarfindingswererecognizedinmultiple
woodwindperformer3(WW3).TheintraoralpressuremeansproducedbyWW3rangedfrom
0.186mmHgto19.790mmHg.
IncontrasttoWW1,multiplewoodwindperformer2(WW2)producedintraoral
pressuremeanswhichspannedabroaderrange.WW2producedanintraoralpressuremeanof
2.837mmHgonthefluteandanintraoralpressuremeanof27.023mmHgontheoboe.These
38
valueshaveaslightlylargerrangethanfoundinthemeansgroupdata,butWW2didnot
producethelowestintraoralpressureonfluteanddidnotproducethehighestintraoral
pressureonoboe.SinceWW2wasnotanoutlierineithersituation,itsuggeststhatthe
intraoralpressureproducedbyWW2iswithintheaveragerangeofintraoralpressureproduced
bythesingleinstrumentperformers.
39
Thefollowinggraphsweregeneratedtoshowtherelationshipbetweenintraoral
pressureandsoundpressurelevelsineachsubject.Thedatarepresentssingleinstrument
performertrialsfromoneperformeroneachinstrument.Datapointsonthegraphrepresent
recordedsamplesofintraoralpressureandsoundpressurelevelssampledatarateof240
samplespersecond.Thesegraphsalsocontainalineofbestfit(showninred).Theslopeofthe
linerepresentstherequiredchangeinintraoralpressureneededtoproduceandincreasein
soundpressurelevels.
FIGURE4PearsonCorrelationGraphs
42
CHAPTER5.DISCUSSIONOFRESULTS
Thesubjectsperformedaseriesofmusicaltasksonflute,oboe,clarinet,saxophone,and
bassoon.Musicaltaskscoveredthestandardrangesofeachinstrument,differencesbetween
vibratoandstraight-tone,andavarietyofmusicaldynamics.Thisdescriptivedatashowedthat
intraoralpressurevariesgreatlyacrosstheinstrumentsofthewoodwindfamily,withoboe
consistentlyproducingthehighestintraoralpressureandfluteproducingthelowest.
Throughoutthestudy,thefluteconsistentlyproducedtheleastamountofintraoral
pressureacrossalloftheinstruments,withameanintraoralpressureacrossaggregategroup
databetween1.10and1.92mmHg.Thesenumberstakeintoaccountdataacrosseachofthe
musicaltasks:dynamics,straighttone,andvibrato.Sincetheflutedoesnothaveanydirect
backpressure,theonlyresistanceavailabletocreateintraoralpressureistheembouchureof
theflutist.Theaperturecreatesthefunneleffect(describedintheBackgroundand
FoundationalKnowledgesection),causingtheairpressureintheoralcavitytorise.One
conclusionfromthiseffectisthatflutistsarelesslikelytosuffertheconsequencescommonly
seenwithperformerswhoplayinstrumentsthatcreatehigherintraoralpressure.
Theoboeconsistentlyproducedthehighestamountofintraoralpressure,withamean
intraoralpressurefromtheaggregategroupdatabetween21.83and24.53mmHg.These
numbersalsotakeintoaccountdataacrosseachofthemusicaltasks.Thehighvaluesof
intraoralpressurefoundinoboeperformancemaybecausedbytheverysmalltipopeningof
theoboereedandrelativeresistance.Theseconsistentlyhigherintraoralpressurelevelsleadto
agreaterprobabilitythatoboistswillsufferfromsofttissuedisordersorperformer-related
injuriesoveralifetimeofperforming.Consideringthehighvaluesofintraoralpressure,the
43
oboedidnotproducethehighestsoundpressurelevels.Thisrelationshipbetweenintraoral
pressureandsoundpressurelevelscanbecomparedtootherinstrumentsperformedinthis
study.
Withtheinstrumentsotherthanoboe,theintraoralpressureincreasedconsistentlyas
soundpressurelevelsincreasedduringperformance(withinanindividualsample)withPearson
CorrelationValues(r)reaching0.86.APearsonCorrelationValuedescribesthedegreeof
correlationbetweentwovariablesandrangesfrom-1to+1,withthesignindicationthe
directionoftheassociation.Thecloserto-1of+1thervalueis,thestrongertheassociationis
betweenthetwovariables.-1indicatesthatasonevariableincreasethesecondvariable
decreasesaccordinglywhereas+1indicatesthatbothvariablesareincreasinginapredictable
manner;however,arvalueof0indicatesnoassociationbetweenthemeasuredvariables.
TheoboehadthelowestPearsonCorrelationValueofalloftheinstruments(0.60).This
indicatesthatthereislessassociationbetweenintraoralpressureandsoundpressureinoboe
performance.ThehighPearsonCorrelationValuesseenwiththeotherinstrument
performancesinthisstudydemonstratesthatthereisacloserelationshipbetweenintraoral
pressureandsoundpressurelevelsproducedduringperformancewithmostofthewoodwind
instruments.Thistrendwasseentoadegreewithalloftheperformersinthestudy,although
thereweresomesmalldeviationsinthecorrelation.Theseresultsconfirmwhatwasseenin
previousstudies,inwhichvariabilitywasseeninboththelevelsandrelationshipsbetween
intraoralpressureandsoundpressureacrossinstrumentgroups.
Asexpected,astrongpositivecorrelationbetweendBandintraoralpressurewasseen
forallinstruments,butthelevelsandthestrengthofthisrelationshipvariedbyinstrument.The
44
pvaluespresentedinthisstudyrepresentthepercentagesofdatapointswhichfallonthebest
fitline.Thesepercentagesrangedfrom0.774to0.926andwerefoundtobestatistically
significantatthe0.01level.Thestatisticalsignificanceofthesevaluesisveryhighbecausethe
datapointsthatwerenotfounddirectlyonthebestfitlinewere(1)toofewinnumberand(2)
withinamarginoferrorrangearoundthebestfitline.Inotherwords,theoutliersofthedata
werenotprominentinnumberanddidnotreachtoofaroutsideoftherangeofthemajorityof
thedata,andthereforedidnotdecreasethesignificanceofthefindings.
Inadditiontothehighpvalues,thePearsonCorrelationvalues(r)showedrelatively
strongassociationsbetweenintraoralpressureandsoundpressure.Theinstrumentwiththe
highestPearsonCorrelationvalueisthefluteat0.86.Additionally,theslopeofthegraphfor
thefluteishigherthantheotherinstruments.Thishighsloperepresentsthattheflutemaybe
themostefficientinstrumentforconvertingrelativeairpressuretosoundpressureoutput.The
flutewillgreatlyincreaseitssoundpressureoutputwithonlyaverysmallincreaseinintraoral
pressure.IncontrasttheoboehadaPearsonCorrelationvalueof0.60,andtheoboehadthe
lowestslopeofanyoftheinstruments.Thisrelationshipshowsthattheoboeisperhapsthe
leastefficientinstrumentforconvertingrelativeairpressuretosoundpressureoutput.The
oboerequiresasignificantincreaseinintraoralpressurebeforeproducinganyincreasein
soundpressureoutput.ThisdirectlysupportsAdduci’spreviousresearchthatoboistsuse
extraneousamountsofintraoralpressurewhenplayingtheirinstrument.
Insomecases,particularlyamongthesingleanddoublereedinstruments,intraoral
pressureremainedhigherafterreachingthepeakdynamicandthroughthediminuendo,even
thoughthelowerdynamiclevelswereperformedearlierintheexercisewithlowerintraoral
45
pressure.Theseeventsmaybecausedbytheinabilityoftheperformertoaccuratelyperceive
thenecessarydecreaseinintraoralpressureneededtodiminishthesound.Itisalsoacommon
practiceamongmanywoodwindperformerstomaintainafasterairstreamwhenplayinga
diminuendoinordertoavoidunwantedinterruptionsinthesoundoradropinpitchattheend
ofalongdiminuendo.Performersarecommonlyinstructedtoengagethemusclesofthe
embouchuretodampenthevibrationsofthereedinordertodecreasethesoundpressure
output.Thesepracticescanresultinthesustainedhigherintraoralpressurethrough
diminuendos.Keepingtheintraoralpressurehigherthannecessarymaycauseunnecessary
strainorforceonthemusicianoverthecourseofalongrehearsalorperformance,and
consistentstrainoveryearscouldbehazardoustosofttissuesthatmakeuptheoralcavityand
upperrespiratorytract.Thisstudyraisesconcernssharedbypreviousstudies–thatwoodwind
playersarepotentiallycausingharmtotheiroropharynxbyinaccuratelyperceivingintraoral
pressureneededtoachievethedesiredsound.
Thevibratoexercisesshowedhowwelltheinstrumentreactstorapidfluctuationin
intraoralpressure.Performersontheflute,oboe,andbassoondescribedtheirvibratoas
diaphragmatic/abdominalvibratoproducedbypulsesintheairstream.Performersonthe
saxophonedescribedtheirvibratoasjawvibratoproducedbysmallvariationsinembouchure
pressureagainstthereed.Theinstrumentseachrespondeddifferentlytothesestylesofvibrato
production.Table3showsanaverageofaggregatedatarepresentingtheamplitudeofvibrato
soundpressureoutputandintraoralpressure.
46
TABLE5VibratoAmplitude
InstrumentAmplitudeofVibratoSoundPressureLevel(dB)
AmplitudeofVibratoIntraoralPressure(mmHg)
Flute 14.246663 5.685349Oboe 11.409462 19.158959Saxophone 17.356403 9.405401Bassoon 16.463507 12.899543
Throughexaminingthisdata,itiseasytoseethat,again,thefluterespondedthemost
efficientlytovibratopulsesintheairstream.Theflutehadthesmallestamplitudeofintraoral
pressurevariations.Theoboeagainprovedtobetheleastresponsivetochangesinair
pressure.Theoboerequiredthehighestvariationinintraoralpressuretoproducethesmallest
variationinsoundpressureoutput.Thisevidencesuggeststhat,whileoboistsgeneratehigh
intraoralpressureforrelativelylittlesoundoutput(afactcorroboratedbypaststudies),the
samecannotbesaidforallofthewoodwindinstruments,suchasflute.
Oneinterestingdiscoverythatwasfoundinthisstudyisthatthemeansfromthe
straighttoneexercisesandthemeansfromthevibratoexerciseswerevirtuallythesame,
showingalessthan0.5mmHgincreaseinthemean.Thedatacollectedinthevibratoexercises
showedslightlyincreasedintraoralpressurethanseeninthedatafromthestraighttone
exercises.Thoughthetwotechniques(straighttonevs.vibrato)areverydifferent,intermsof
intraoralpressuretheyshowbasicallythesameamountofstrainonthebody.Inthestraight
toneexercise,theperformer’sembouchure,tongueposition,andairpressureisconsistentand
stable.Whenusingvibratotechnique,however,theperformerhasvariablejawmovement,
embouchure,andairspeedorpressure.Itispossiblethattheintraoralpressuresremainsimilar
evenifthetechniquesarevastlydifferentbecausethesinusoidalmovementofintraoral
47
pressureinthevibratoexercisecloselyoscillatesaroundthestraightlineofintraoralpressure
createdbythestraighttoneexercise.Avisualrepresentationofthisconceptcanbeseenin
Figure3.Inseveralofthechartsdepictingintraoralpressure,thegreenlinevisualizingintraoral
pressureduringthevibratoexerciseisasinusoidalwavethatseemstocloselycorrespondto
thestraightredlineofintraoralpressurecreatedduringthestraighttoneexercise.Clear
examplesofthisareseeninthesaxophoneandbassoonintraoralpressure(IOP)chartswithin
thefigure.
Initially,Iconsideredanalyzingadditionaldatausingrhythmicpulsesofvibratofrom
eachperformer.Theserhythmicvibratopulsesproduceduncharacteristicspikesinintraoral
pressureandsoundpressurelevelsthatwerenotindicativeofthefreevibratodatacollected.
Thisledmetodoubtthepracticalityofincludingtheexercisesatthistime,giventhelimited
practicalityofsuchdata.Onemajorfactorwasthatthesoundsproducedbyaheavyand
rhythmicpulsearenotwhatwouldbeexpectedinacharacteristictoneinstandardpractice.
Theslowestrhythmicpulsesshowedthemostproblemswithclarityassomeoftheslowpulses
hadissueswithextremespikesinintraoralpressureandsoundpressurelevel.Sometimesthere
wasastopofsoundfromtheperformers(byaccident)andtheintraoralpressurereadings
showedgaps(maybeduetooverdramaticchangesintheoralcavityandairpulses).
Thefindingsamongthemultiplewoodwindperformersmaysuggesttwothings.
Narrowerrangeamongmultiplewoodwindperformersmightbeduetoperformerequipment
choice.Itisprobablethateachmultiplewoodwindperformerselectedequipment,including
mouthpiece,reed,bocal,orheadjoint,whichallowedhimorhertofeelmorecomfortable
whenswitchingquicklybetweeninstruments–anecessityformanymultiplewoodwind
48
performers.Onepossiblewaytoachievethegreatestlevelofcomfortachievedbyeach
performeristhateachpieceofequipmentisabletominimizevariationsinresistanceorback
pressurebetweeninstruments.
Anotherpossibilityforthenarrowerrangeseeninmanyofthemultiplewoodwind
performerscouldbeduetotheprocessofinstrumentselectionbythesingleinstrument
performersandtheinabilityofmultiplewoodwindperformerstobeanatomicallywell-suitedto
eachinstrumentthattheyplay.Performerswhoplayonlyoneinstrumentmaygravitatetoward
aninstrumentwhichiswellsuitedtotheiranatomy;forexample,aperformerwhocancreate
andtolerateahighamountofintraoralpressuremightbemoregiftedattheoboe.This
specializationprocesscanbeattributedtothetraditionofinstrumentselectionatanearlyage,
inwhichmanyyoungmusiciansaretestedfortheirnaturalabilityoneachinstrumentbefore
beingguidedtotheinstrumentwhichbestsuitesthem.Incontrasttosingleinstrument
performers,thosewhoplaymultiplewoodwindscandevelopversatilitybutarerarelyequally
suitedforallfiveoftheinstruments.Therefore,itispossiblethatthenarrowrangeseenin
intraoralpressureamongmultiplewoodwindplayersisduetoanatomiclimitationsifeach
instrumentisbestsuitedforcertainphysicalcharacteristics,itisimprobablethatoneperson
couldshowasbroadofarangeoneachinstrumentasonewhospecificallychoseaninstrument
basedoneaseofperformance.Ananalogycanbemadebetweenperformingprofessionallyon
amusicalinstrumentandplayingprofessionalsports.Ifoneweretolookatprofessional
basketballplayersasanexample,youwillseethatalargemajorityofthebasketballplayersare
tall.Heightinbasketballisanimportantphysicalattributethathelpstheathletetosucceed.
Similarly,professionalmusiciansmaygravitatetowardinstrumentsforwhichtheyhavethe
49
physicalattributestohelpthemsucceed.Awindinstrumentperformer’ssuccessdependson
theshape,size,andcapacityoftheentirerespiratorytract.Thisisacontroversialtopicamong
musiceducators,andwithoutfurtherresearchandevidencetosuggestspecificsolutions,this
studymaysimplyinformtheinstructor’sthoughtprocesstowardotherfactorsthataccountfor
astudent’sperceivednaturalabilityorlackthereof.Thishypothesisrequiresfurtherresearch,
becauseinthisstudy,aperformer’sphysicalcharacteristicswerenotcollected.
Itistemptingtostatethatthemultiplewoodwindperformersparticipatinginthisstudy
couldbethoughtofasacontrolgroupgiventhestandardizationofthephysicalcharacteristics
oftheplayeracrosseachinstrument.Inaddition,multiplewoodwindperformancetrainingis
designedtocharacteristicsoundproductionforeachinstrument;however,thereare
limitationstothisproposal.Onelimitationisthattheyarenotasspecializedoneachspecific
instrument,possiblyskewingtheresultsofthisstudy.Also,aspreviouslystated,thereare
possibleanatomicallimitsthatmightcontributetothenarrowrangeofintraoralpressureseen
inmultiplewoodwindplayers.
Amongthemultiplewoodwindperformers,amorenarrowrangeofintraoralpressure
meanswasfoundacrossthedifferentinstrumentsintwoofthethreeperformers.Itshouldalso
benotedthattheseperformershadlowerintraoralpressurevaluesformostoftheinstruments
whencomparedtothesingleinstrumentperformers.Theseresultsmayleadtotheconclusion
thattherecouldbesignificantdifferencesinthewaymultiplewoodwindperformersplayeach
instrument,thetypeofequipmentselected,orphysicalanatomicalcharacteristicscreating
thesedifferences.Thesebroadconclusionsareonlypossibleoriginsforthesetrends,and
50
additionalstudiesexaminingmultiplewoodwindperformersandthevariablesinvolvedshould
beresearchedinordertodrawfurtherconclusions.
51
CHAPTER6.CONCLUSIONS
Therearevariouslimitingfactorstoconsiderwhendeterminingthevalidityofthis
study.Onesuchfactorissamplesize;only5-6performersparticipatedinthestudyforeach
instrument,arelativelysmallnumberofsubjectsfromwhichtodrawconclusions.Althoughthis
studywassignificantlylargerthanpreviousstudiesofthisnature,thescopemaynotbea
sizeableenoughquantitytodrawbroadconclusions.
Anotherlimitationofthisstudywaspitchlevel.ThestudyusedthewrittenpitchesD4,
G4,C5,A5,anddidnottakeintoconsiderationthetranspositionsnecessaryintheclarinetand
saxophone.Futurestudiesmightfocusonthesoundingpitchlevelratherthanthewrittenpitch
toeliminatethisdiscrepancybetweeninstruments.Also,thesewrittenpitchesdonothave
similarfingeringsacrossallofthewoodwindinstruments,andthevariationinlengthof
instrumentengagedbyfingeringsplusotheracousticalpropertiesmayaccountforsomeofthe
variabilitybetweeninstrumentsinthisstudy.Afingerednoterequiringmoretoneholestobe
closedcreatesmoreresistancefortheperformerwhencomparedtoonewithfewertoneholes
closed.Pedagogically,beginnermethodbooksforwoodwindstudentsoftenstarttheperformer
withanopenfingering,becauseopenfingeringsonaninstrumentallowthestudenttobecome
comfortablewiththebackpressureofthereedormouthpiece-reedcombinationwithout
additionalresistancefromthebodyoftheinstrument.
Anotherfactoroftenignoredinstudiesofthistypeisvariabilityinthesizeandshapeof
theperformers’oralcavitiesandupperrespiratorytracts.Sinceintraoralpressureistheforce
exertedontheinteriorsurfaceareaoftheoralcavity,surfaceareavariationsbetweeneach
subjectmayadditionallycontributetothevariabilitypresent.Itwouldbeinterestingto
52
measurethesurfaceareaoftheoralcavityandupperrespiratorytractanddetermineifthere
aretrendsacrossinstrumentgroups.Inthisstudy,Itriedtostandardizetheoralcavitysurface
areathroughtheuseofmultiplewoodwindperformers,however,thedataproducedwasnot
enoughtodrawclearconclusions.
Futureresearchexaminingintraoralpressureshouldalsoconsiderhowthe
measurementsofsoundpressurelevelinanensemblesettingmaybeusedasameasureof
strainplacedontheperformers.Itispossiblethatastudyofintraoralpressureamong
woodwindperformersinanensemblecouldleadtopedagogicalsuggestionsforconductors.
Finally,anyfuturestudiesofthisnatureshouldseektoimproveonthefoundationsofthis
studyandaddressthelimitationsdiscussedabove.
Theresultsofthisstudyhavepracticalapplicationsthatstrengthenourpedagogical
approachtoteachingwoodwindinstruments.Preventativemeasuresmaybeintroducedto
reducetheintraoralpressureinordertominimizetheriskofdevelopingsofttissueinjuries
whenplayingwoodwindinstruments.Inhisarticle,Gibsonmakessomenon-surgical
suggestionstohelpperformerswhosufferfromvelopharyngealinsufficienciesincluding:
• Posture: Re-evaluate from head to toe, standing and sitting. Becomeawareofyourhead,neck,spine,shoulders,armsandhands,allshouldbefreeofstress.
• Breathing and breath support: Throat free of tension, good inhalationwithrelaxedshouldersthusallowingforneededexpansionandconstantsupportduringexhalation.
• Embouchure: Examine the combination of instrument setup andembouchureformationandfunctionforanembouchurethatistootightcan indicateoverall tension,andcanalsocreateadditionalstressofthevelopharyngeal muscles. A too-resistant mouthpiece-reed combination
53
can contribute to the air leak, although if the embouchure is workingcorrectly,avarietyofreedstrengthsmaybetolerated.20
Pedagogically,Gibson’smostnotablesuggestionmaybetheinstrumentsetup.
Whenplayingonareedormouthpiece/reedcombinationthatcreatesexcessive
resistance,theperformerwillcreatemoreintraoralpressuretoproduceasound.Ifthe
performerishesitanttochangehisorherequipment,morefrequentbreakscanbea
solution,allowingthebodytorelaxandrecuperatewithoutthestraincreatedby
intraoralpressure.
Throughoutthescopeofthisstudy,Iaimedtoprovideascientificfoundationforthe
understandingofintraoralpressureanditsrelationshiptosoundpressureoutputwhen
performingonwoodwindinstruments.Bygainingaricherunderstandingofthesevariablesand
therelationtowoodwindperformance,Ibelievethisstudycanleadtopracticalchangesinthe
waywoodwindplayersbothperformandteach.Thisstudyprovidesafoundationforfuture
relatedfindings,andIhopethattheresultsofthisstudywillleadtofurtherexaminationofthe
effectsofrespiratorypressuresonwindplayers,leadingtogreaterpedagogicaltechniquesfor
thepreventionofperformancerelatedinjuries.
20Gibson,C.(2007).CurrentTrendsinTreatingthePalateAirLeak(StressVelopharyngealInsufficiency).(ClarinetFest)RetrievedAugust13,2015,fromInternationClarinetAssociation:https://www.clarinet.org/clarinetFestArchive.asp?archive=30
55
University of North Texas Institutional Review Board
Informed Consent Form
Before agreeing to participate in this research study, it is important that you read and understand the following explanation of the purpose, benefits and risks of the study and how it will be conducted.
Title of Study: Intraoral pressure and Sound Pressure in Woodwind Performance
Student Investigator: Micah Bowling, University of North Texas (UNT) Department of Music. Supervising Investigator: Dr. Kris Chesky.
Purpose of the Study: You are being asked to participate in a research study, which involves characterizing intraoral pressure (back pressure) in relation to sound pressure (volume output) levels generated during performance on each of the woodwind instruments.
Study Procedures: You will be asked to play 2 short musical tasks on your instrument. A very small (2mm diameter) plastic tube will be inserted into the corner of your mouth to measure intraoral pressure. This will take about 30 minutes of your time.
ForeseeableRisks:Noforeseeablerisksareinvolvedinthisstudy.BenefitstotheSubjectsorOthers:Thisstudyisnotexpectedtobeofanydirectbenefittoyou,butwehopetolearnmoreabouttherelationshipbetweenintraoralpressureandsoundpressurelevelsinwoodwindperformance.Theresultsofthisstudymayleadothertostudyintraoralpressureasatriggerforsofttissuedisordersinvolvedwithwoodwindperformance.Youmaydiscoverthattheintraoralpressuremayexceedwellbeyondtheabilitytoincreasesoundoutput,whichcouldgiveyouforesightintoareastochangeorimprovedtheefficiencyofyourplaying.CompensationforParticipants:NoneProceduresforMaintainingConfidentialityofResearchRecords:Thesubjects’personallyidentifiableinformationwillnotbecollected.Thesubjectswillberepresentedasnumbersonanygraphs,charts,orvisualrepresentationofdata.Theconfidentialityofyourindividualinformationwillbemaintainedinanypublicationsorpresentationsregardingthisstudy.
Questions about the Study: If you have any questions about the study, you may contact Micah Bowling at [email protected] or Dr. Kris Chesky at [email protected]
Review for the Protection of Participants: This research study has been reviewed and approved by the UNT Institutional Review Board (IRB). The UNT
56
IRB can be contacted at (940) 565-3940 with any questions regarding the rights of research subjects.
Research Participants’ Rights:
Your signature below indicates that you have read or have had read to you all of the above and that you confirm all of the following:
• Micah Bowling has explained the study to you and answered all of your questions. You have been told the possible benefits and the potential risks and/or discomforts of the study.
• You understand that you do not have to take part in this study, and your refusal to participate or your decision to withdraw will involve no penalty or loss of rights or benefits. The study personnel may choose to stop your participation at any time.
• Your decision whether to participate or to withdraw from the study will have no effect on your grade or standing in any course.
• You understand why the study is being conducted and how it will be performed.
• You understand your rights as a research participant and you voluntarily consent to participate in this study.
• You have been told you will receive a copy of this form.
________________________________ Printed Name of Participant
________________________________ ____________ Signature of Participant Date
For the Student Investigator or Designee:
I certify that I have reviewed the contents of this form with the subject signing above. I have explained the possible benefits and the potential risks and/or discomforts of the study. It is my opinion that the participant understood the explanation.
______________________________________ ____________ Signature of Student Investigator Date
57
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