A couple of friends of mine are working on social science research investigating gender bias in jazz music and dancing. Please consider taking their survey here.
Are you involved in jazz/swing dance or music? Please help us out for JAZZ SCIENCE!! We would love for you to participate in a study investigating people’s perceptions of jazz music and musicians, and people’s experiences playing jazz music. We’ll be using the results of this survey to inform a panel at this year’s upcoming Lindy Focus! The study will take between 10-60 minutes to complete, depending on your experiences (Just click below)!
If you are interested, please note the following before beginning:
***Anyone can participate as long as they are 1) 18+ years of age, and 2) able to read and understand English. (Ethical and resource limitations.)
***This survey is best viewed on a computer or tablet device. Attempting to take the survey via smartphone may result in formatting issues that make the questionnaire hard to read.
***Please only begin your survey when you have enough time to allow its completion. While it is possible that you may be able to start/stop the survey if you leave your browser open, closing it and re-clicking the link will result in the survey starting over again from the beginning.
Please spread this to other dancers and musicians who might be interested in participating (friends, family, neighbors, etc.)! Ideally, we would like to have data from a diverse range of individuals (including ethnicity, age, gender, and experience). You can help us by sharing!
Here is another TED talk, part of a playlist on “Practice Made Perfect.” The overall theme of these videos are improving learning. In this talk, Angela Lee Duckworth discusses the importance of grit to learning.
Leaving a high-flying job in consulting, Angela Lee Duckworth took a job teaching math to seventh graders in a New York public school. She quickly realized that IQ wasn’t the only thing separating the successful students from those who struggled. Here, she explains her theory of “grit” as a predictor of success.
So far, the best idea I’ve heard about building grit in kids is something called “growth mindset.” This is an idea developed at Stanford University by Carol Dweck, and it is the belief that the ability to learn is not fixed, that it can change with your effort. Dr. Dweck has shown that when kids read and learn about the brainand how it changes and grows in response to challenge,they’re much more likely to persevere when they fail, because they don’t believe that failure is a permanent condition.
I find it interesting that Duckworth also studied teachers in her research. She not only looked at which new teachers in a tough neighborhood would stick it out, but also which teachers would show more successful outcomes for their students. This tells me that grit and the growth mindset are also characteristics of good pedagogy, as well as qualities we want to encourage in our students.
I’ve been meaning to post about these videos for a while. Matthias Bertsch, who has conducted a lot of research into how musicians perform on their instruments, has posted a couple of videos on YouTube that look at the tongue motion of different musicians. He attached sensors to the tongue and was able to model how the tongue moves when performing different things on trumpet and clarinet.
Just last week I posted about Doug Yeo’s experience playing trombone while inside an fMRI scanner. Bertsch’s trumpet video above showed some of the clips from much older research looking at the tongue motion of brass players using fluoroscopic techniques, which unfortunately exposes the test subjects to radiation and really isn’t an ethical use of that technology knowing what we do now about the dangers of such exposure. The motion sensor analysis and fMRI studies are significant improvements and hopefully as the technology gets better (and cheaper and easier to use) we will see more research conducted into how brass and woodwind players play their instruments. Taking the guess work out of what correct technique is and what a student is actually doing has the potential to significantly improve how we teach music in the future.
I’ve got a couple of interesting gigs this weekend for folks around western North Carolina. Tomorrow, Saturday September 2, 2017, I’m performing with the Blue Ridge Bones at the Hendersonville, NC Apple Festival. We’re playing at the courthouse stage from 3:30-4:30.
Sunday, September 3, 2017 I’m playing with Rick Dilling’s Time Check Big Band in a tribute to Buddy Rich concert at the Isis Restaurant and Music Hall. We’ll be playing two sets starting at 7:30.
In the mean time, here are some interesting music related links for your weekend surfing.
In Bb is an interactive project using YouTube videos in the key of Bb. Try it out.
Here’s an fMRI video of someone singing “If I Only Had a Brain.”
Have you ever wondered what Ravel’s “Bolero” would sound like played by 4 musicians on a single cello?
There have been a few videos lately of brass players who have gone into an fMRI scanner to observe what the soft tissue is doing while playing. Recently bass trombonist Doug Yeo was a test subject and he wrote about his experience.
Yet while trombonist and Boston-based brass pedagogue John Coffey (1907-1981) summarized his teaching with the pithy phrase, “Tongue and blow, kid,” successful brass instrument articulation and tone production actually requires a bit more understanding. Teachers and performers have written legions of books and articles about what players should do with their tongue and other members of the body’s oral cavity, but such descriptions have been hampered by an obvious problem: we cannot see inside the mouth or touch the tongue, glottis or soft palate while playing. One’s tongue cannot touch one’s tongue in order to feel one’s tongue when it is in use. It is clear that much of what has been said about the workings of the tongue during playing has been nothing more than well-meaning conjecture.
It’s really very cool that Yeo, Dr. Peter Iltis, and the other folks at the Max Planck Institute are conducting research like this. Too much of brass pedagogy is based on guess work and conjecture. Brass instructors tend to teach how they think they play, but often when we look closer at what actually happens when we play we end up surprised.
Yeo wrote that while playing in the fMRI scanner he was very conscious of trying to “keep the tongue down and the throat open at all times, in all registers and in all dynamics,” as he was instructed by Edward Kleinhammer. Watching the video created by the fMRI, however, Yeo notes:
As I begin playing, you will observe that as I slur higher, my tongue moves both up and back in my oral cavity. There is also movement below the base of my tongue, with my larynx and glottis – the opening between the vocal cords – moving slightly upward. When I was playing, I felt no sensation of this upward movement in my neck; I always felt that my throat was very relaxed and my tongue was “down.”
We still have a lot to learn about how the tongue, throughout, soft pallet, lips, etc. work together with the breathing to play brass instruments successfully, but it seems that the evidence is mounting that at least most, if not all, players will raise the level of the tongue arch as they ascend. Why exactly this happens and what it’s doing for the player is mainly conjecture at this point, but we see this happen in virtually all players who have done this sort of study using fluoroscopy, fMRI, or even motion detectors attached to spots on the tongue.
I’d like to see this research replicated with performers who do (or at least claim to do) something different with their tongue position. For example, I have consciously worked on slurring and sustaining notes by snapping the tip of my tongue down to the gully below my lower teeth and gums, which helps me keep my tongue position lower in the mouth (I think) and seems to open up my sound. When I slur up I will think of pushing my tongue forward to raise the level of tongue arch. I would think that this instead brings the tongue position forward, rather than back in my oral cavity. Then again, this might look closer to how Yeo’s tongue arch is working than I realize. There are also some folks who articulate by keeping their tongue tip “anchored” down on the lower teeth or gums and attacking the note with more of the middle part of the tongue (some folks call this “anchored” tonguing or “dorsal” tonguing).
There is some footage of Yeo double tonguing. I would like to see someone doodle tonguing in an fMRI scanner too.
It is worth going to Yeo’s writeup of his experience and both reading the historical background as well as watching more of the videos that have been posted there. Thanks to Doug Yeo for making his thoughts and those videos accessible!
I’ve posted before about Will Kimball’s excellent blog. Kimball teaches trombone at Brigham Young University and usually posts on historical topics. Here is a great essay he wrote concerning breathing for brass players. He searched through scientific literature to get at the truth behind breathing and came up with 10 Ways To Improve your breathing based on what we know scientifically.
Practice taking deep breaths
Eat fruit and vegetables
Stay physically fit
Allow full expansion
Don’t wear tight clothes
Avoid eating a lot before performing
Maintain good posture
Take big breaths, even when you don’t think you need them
Much of the above list he compiled is common sense, but some of it goes against the grain of our brass playing urban legends. For example, Kimball mentions the belief (among some brass players) that carrying some extra weight improves lung function or lung capacity, scientific studies actually show the reverse to be true. Time to hit the gym a little more.
The last point, taking big breaths even when it doesn’t seem necessary for the phrase, has at least one caveat. Citing Arend Bouhuys, a specialist in respiration who has studied musicians, Kimball points out that with a larger breath less effort is required to exhale air, helping the musician to maintain relaxed effort in playing. Essentially the internal pressure of having a full breath means the musician simply relaxes to begin exhalation, rather than having to engage the muscles of expiration. However, Kimball also notes that in soft playing that this practice could potentially work against the player as he or she will need to work against the natural tendency for exhalation with the full breath or risk moving too much air.
Although Kimball doesn’t refer to it, I think that the same can apply to extreme upper register playing as well. Playing in the upper register requires a much smaller aperture and moves less air, much like playing soft. Often times I find that taking a very large breath to attack a pitch in the upper register results in too much air pressure and taking in a bit less air makes it easier to get a clean attack.
At any rate, the whole article is worth a read and Kimball supplies links to all the scientific studies he cites there. Go check it out here.
In 1990 Mike Godwin famously wrote about Usnet discussion groups, “As an online discussion grows longer, the probability of a comparison involving Hitler approaches 1.” The corollary is that once this comparison is made, the individual who made it automatically looses the argument. It’s become known as “Godwin’s Law.” I propose a similar adage for the expression, “paralysis by analysis.” As an online discussion about brass technique gets longer, the probability that someone will come along and reject a logical or factual argument with the term “paralysis by analysis” approaches 1. When that happens, that individual looses the debate.
The first issue I take with this expression is that it is almost always used to dismiss someone else’s points without actually addressing any of the logic or facts that were brought up. Someone can provide a well-documented and rational argument about some point of brass technique and rather than pointing out flaws with the argument, a contrarian will reject the entire argument without having to provide any evidence or logical explanation. If they don’t use the expression, “paralysis by analysis” they often say something like, “you’re thinking too much,” or “the body will figure itself out.” It’s intellectually lazy at best, and at its heart it’s bad advice.
Analysis in musical pedagogy and practice is a good thing. It allows us to learn about the details of playing technique, put music into an historical and theoretical context, and help us to communicate the results of our study to other people. When people discourage analysis they are not just recommending against a valuable tool for teachers and students, they are actively encouraging students to NOT explore, question, and learn.
Do music students often freeze up when trying to play their instrument? Of course, but it’s worth looking deeper (dare I say, analyze) what’s actually happening to musicians when this happens. There are two scenarios. First, and I suspect most common, the musician is trying to multitask and rather than making for an improvement it leads to the musical equivalent of “athlete’s choke.”
Multitasking is really just task switching. It’s not really possible for people to think about more than one, maybe two, things at a time. Instead the focus changes from one thing to another. Because there are so many different physical skills that need to coordinate for playing a musical instrument it’s really impossible to keep them all in mind while playing, so we need to be selective on what we concentrate on while practicing and performing. Analysis should be done prior to picking up the instrument and the particular task to be practiced is selected based on what the player or teacher determines needs correction. Once the work on that particular point of focus is concluded, the musician should move on to another task. At no point is the analysis itself causing the freezing up, it’s the action of trying to analyze while coordinating all the physical tasks, and often trying to make corrections on the fly at the same time.
“Paralysis by multitasking” just doesn’t have the same ring to it, but it’s much more accurate.
The other scenario that happens when a musician struggles with analysis is that they aren’t drawing the correct conclusions from their analysis. This is why we have teachers, who presumably have more experience than the student and understands better what’s going on. Where I have a problem is when music teachers discourage their students to analyze because they want to always do that for their student. Those students are going to need to learn to do their own analysis, and so it’s better for the teacher to instruct the student in what correct playing mechanics are and how to spot check their own technique and make their own corrections. Furthermore, most serious music students end up doing some sort of teaching at some point in their careers, even if it’s just offering advice on the internet. When students consistently hear from their teacher, “paralysis by analysis” they take that mantra too seriously and it becomes an excuse. They use it to justify ignoring or dismissing information that is useful and it becomes a cover for teachers who simply don’t know what’s going on with their students.
“Paralysis by ignorance” doesn’t rhyme either.
So I herby declare that in the comments section in this blog, if you use the expression “paralysis by analysis” to dismiss a logical or specific point of view you don’t agree with you automatically loose the argument.
Many players of wind instruments talk of the perceived importance of the shape of the mouth on the sound. In the case of the didjeridu, the effect on the timbre is so clear as to be incontestable. Among scientists, however, there is considerable variation in opinion about the effect on pitch [1- 4]. In this paper we report experiments on well-characterised model systems: artificial wind instrument players. Using plausible values of the relevant parameters, these show that vocal tract shapes can have important effects on both pitch and timbre.
Many brass performers and teachers, including myself, have cited Bernoulli’s principle as assisting the air speed as it strikes the vibrating lips for the importance of tongue position while playing. I’ve asked some physics teachers and engineers about this and almost all of them, with some exceptions, have suggested that this might be true. That said, this presentation was focused on the vocal tract impedance (if I understand this correctly, that is how the shape of the vocal tract influence pitch and timbre of a particular pitch).
On the didjeridu the influence was quite strong, perhaps in part due to the larger bore size of the instrument and the much larger vibrating area (there are a lot more of the lips inside the “mouthpiece” of the didjeridu than inside a trombone mouthpiece). They did note that it was an influence on the trombone, however.
The shift in pitch, over the range studied, is typically 20cents: a musically important effect for intonation. Preliminary measurements on experienced brass players showed a comparable shift in pitch when they were asked to lower the tongue, keeping all else constant.
They also noted that a change in tongue position can “cause a transition between different playing register.” In other words, you can shift tongue position and change partials on a brass instrument.
This has some interesting implications for brass performers and teachers. Some folks swear that they keep their tongue position consistent, regardless of what register they play in. This view is in the minority and I suspect that players who claim this aren’t even aware of their shifting tongue position. That said, different people are going to have variations in the size and shape of their mouth and tongue and it would be interesting to compare those players. I’m also curious about the difference between different traditional brass instruments. Do trumpet players change the position of their tongue more or less than tuba players?
Regardless, I think that research like this suggests that tongue position is an important part of playing in tune and with a focused tone on a brass instrument. Players and teachers dealing with intonation issues or poor tone may want to investigate what is happening with the tongue position and work out practice approaches that can help a player learn how to achieve an optimal tongue position according to the register being played.
The idea of students having a “learning style” refers to a concept that that individuals differ on how the best learn, develop, and retain information. For example, someone who is considered to be a “visual” learner needs to see the information in some way, while an “aural” learner will want to hear it explained. On its surface this seems like a good thing, since we are all individuals and experienced teachers develop strategies to help students with different needs and backgrounds learn better. Unfortunately, the idea of catering lessons to a particular student’s learning style doesn’t show that it actually helps. In fact, it can even leave some students behind when proven methods of instruction are avoided in favor of what essentially amounts to a preference on the student’s part. Teachers end up working with a student’s strengths and not addressing the weaknesses.
In spite of the lack of evidence to back up the learning styles theory, this is a pervasive myth among educators, students, and the general public. Companies that want to sell lesson plans and other educational support materials to schools and teachers are, in part, to blame for the continued belief in this myth. Here’s one example that purports to tell you your learning style by asking you 20 questions. I tried it out and learned that I was an “auditory” learner.
If you are an auditory learner, you learn by hearing and listening. You understand and remember things you have heard. You store information by the way it sounds, and you have an easier time understanding spoken instructions than written ones. You often learn by reading out loud because you have to hear it or speak it in order to know it.
As an auditory learner, you probably hum or talk to yourself or others if you become bored. People may think you are not paying attention, even though you may be hearing and understanding everything being said.
Here are some things that auditory learners like you can do to learn better.
Sit where you can hear.
Have your hearing checked on a regular basis.
Use flashcards to learn new words; read them out loud.
Read stories, assignments, or directions out loud.
Record yourself spelling words and then listen to the recording.
Have test questions read to you out loud.
Study new material by reading it out loud.
Remember that you need to hear things, not just see things, in order to learn well.
The problem with assessing a student’s learning style with questions like this survey is that it doesn’t actually address learning. Asking someone the “best way to study for a test” doesn’t offer information on how a student best learns because it doesn’t assess whether the student did well on the test! The only way to assess whether learning styles are helpful is how well they learned the material, not what someone prefers to do for fun or what strategies they want to try.
Another online “test” (I won’t link because it wants you to register before it gives you results) is a bit more thorough one that has some more nuance to the questions and asks more, but again, I find many of the questions odd (“You have a good sense of color” “You hear small things that others don’t” – can a so-called visual learner be color blind or can someone with some hearing loss still be a so-called aural learner?) and none of the questions assess learning.
A good summary of why learning styles is a myth can be found in this Wired article.
Convincing evidence for learning styles would show that people of one preferred learning style learned better when taught material in their favored way, whereas a different group with a different preference learned the same material better when taught in their favored fashion. Yet surprisingly few studies of this format have produced supporting evidence for learning styles; far more evidence (such as this study) runs counter to the myth. What often happens is that both groups perform better when taught by one particular style. This makes sense because although each of us is unique, usually the most effective way for us to learn is based not on our individual preferences but on the nature of the material we’re being taught – just try learning French grammar pictorially, or learning geometry purely verbally.
Teaching children according to their individual “learning style” does not achieve better results and should be ditched by schools in favour of evidence-based practice, according to leading scientists.
Thirty eminent academics from the worlds of neuroscience, education and psychology have signed a letter to the Guardian voicing their concern about the popularity of the learning style approach among some teachers.
What about all that literature that supposedly supports learning styles? Harold Pashler, Mark McDaniel, Doug Rohrer, and Robert Bjork wrote a review of the literature.
Our review of the literature disclosed ample evidence that children and adults will, if asked, express preferences about how they prefer information to be presented to them. There is also plentiful evidence arguing that people differ in the degree to which they have some fairly specific apti- tudes for different kinds of thinking and for processing different types of information. However, we found virtu- ally no evidence for the interaction pattern mentioned above, which was judged to be a precondition for vali- dating the educational applications of learning styles. Al- though the literature on learning styles is enormous, very few studies have even used an experimental methodology capable of testing the validity of learning styles applied to education. Moreover, of those that did use an appropriate method, several found results that flatly contradict the popular meshing hypothesis.
Searching online for evidence that both supports and refutes the theory of learning styles shows a general difference between those supporting and those debunking. Sites and “articles” that support learning styles tend to lack citations and when they do have them, the studies listed either are from companies that want to sell their materials to teachers, are poorly done, or even state the exact opposite of what that source is claiming. On the other hand, criticisms of learning styles tend to be well researched with peer reviewed articles from reputable authors and journals and provide a much more nuanced view of teaching and learning.
The bottom line for teachers is that while we can and should use every tool available when necessary, it’s important to look at the bigger picture – whether learning is taking place and whether the results we’re getting from our students is what they are truly capable of. By all means, reinforce the students’ strengths, but address their weaknesses too.
I love hearing about research like this done on musicians (and other artists). I wouldn’t be surprised if something similar hasn’t been done for athletics, so it’s nice to see that musicians are taking advantage of the technology too.
In this video they show the difference between an older, more experienced, pianist and a younger, less accomplished, pianist. They tracked both of their eye movements while playing a memorized piece and also sight reading. While playing the memorized pieces the experienced pianist visual range on the keyboard was much more stable and consistent than the inexperienced pianist.
The results of the experienced pianist sight reading is directly relevant to anyone sight reading. His eyes are scanning ahead of where he is playing. It also jumps between the treble clef and bass clef staves consistently. This skill of reading ahead is perhaps one of the most important things to develop for sight reading.