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A Physiological Exploration and Pedagogical Integration of Voice and Brass Tuba Physical Methods to Enhance Tone Timbre Or “Play Like You Sing”

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A Physiological Exploration and Pedagogical Integration of Voice and Brass Tuba Physical Methods to Enhance Tone Timbre Or “Play Like You Sing” A PHYSIOLOGICAL EXPLORATION AND PEDAGOGICAL INTEGRATION OF VOICE AND BRASS TUBA PHYSICAL METHODS TO ENHANCE TONE TIMBRE OR “PLAY LIKE YOU SING” by William D. Porter A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Musical Arts Performance Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Director of the School of Music ___________________________________________ Dean, College of Visual and Performing Arts Date: _____________________________________ Spring Semester 2017 George Mason University Fairfax, VA A Physiological Exploration and Pedagogical Integration of Voice and Brass Tuba Physical Methods to Enhance Tone Timbre or “Play Like You Sing” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts at George Mason University by William D. Porter II Masters of Music The University of New Mexico, 1982 Bachelor of Science Tennessee Technological University, 1980 Dissertation Committee Chair: Michael W. Nickens School of Music, George Mason University Spring Semester 2017 George Mason University Fairfax, VA Copyright 2017 William D. Porter II All Rights Reserved ii DEDICATION This dissertation is dedicated first to God, then my loving wife, Judy, and our two wonderful children and their spouses, Sandra and Greg and Bill and Emily. In addition, this work is dedicated to my parents, Jack and Ruth Porter, my in-laws, brothers, sisters, and closest friends. iii ACKNOWLEDGEMENTS Many thanks to God, my wife, close friends Christin Foley and Dr. Sarah Stoneback, our children and their families, our parents, my brother and sisters and their families, in-laws, relatives, and hundreds of supporters who have made this degree become a reality. My wonderful and loving wife, Judy, assisted me by taking care of me, our house and family while I spent long hours on the computer. Superlative thanks to Dr. Michael Nickens for encouraging me to start the DMA degree and offering assistance at every corner. Thanks to the faculty members at George Mason School of Music who have been involved with teaching me and helping along the way. Their tireless and positive uplifting efforts were wholeheartedly appreciated, and I hope I can be as good a teacher as they are in the future. Supreme thanks to one of my voice teachers, Ms. Chrissellene Petropoulos for her encouragement in helping me and for giving me new reasons to research ways to play better. Utmost thanks also go to one of my tuba teachers, Mr. David Fedderly, who unknowingly got me started on this path many years ago. His continual encouragement and tutoring to me have been invaluable, and I am so lucky to have his influence on my tuba playing and musicianship. My warmest gratitude to the test subjects and their families and the laundry list of friends and relatives who have been my sounding board for dissertation development during the past eight years. Much gratitude to the editors of the dissertation including Dr. Karyn Mallett, Sarah Gebbia, my two sisters, Sarah Bigelow and Helen Dickey, and to my mother and father, Ruth and Jack Porter. I am sincerely grateful to my parents, my dearest friend Christin Foley, and my sister Sarah Bigelow for the huge task of proofing. Thank you to my church, Fairlington UMC, for their support of our family. Thanks to the panelists who are my friends and colleagues that volunteered their time to listen to the research recordings for analysis of timbre qualities. Finally, thanks to George Mason University for providing a platform of learning that allows veterans of the United States Armed Forces to work towards earning degrees that help us be viable and involved teachers in our communities. iv TABLE OF CONTENTS Page List of Tables …………………………………………………...………………………..vii List of Figures …………………………………………………..………………………viii Abstract ……………………………………...……………………………………………ix Preface……………………………………………………………………………………..1 Chapters of the Dissertation ………………...…….……………………..…………….4 Chapter I, Introduction and Explanation of Research Problem ………….………………..6 Introduction ……………………………………………………………………………6 Statement of the Problem ……….………….………………………………………….9 Research Questions and Hypothesis ……….…….………………………..…………10 Limitations ……………….……….………………………………………………….11 Arnold Jacobs Research …………….….…………………………………………….14 Self-Experimentation with Ms. Petropoulos …….….….…………………………….16 Petropoulos versus Jacobs……………………………………………………………18 Chapter II, Literature Review ……………………………………………………………35 Unpublished Raw Data Survey ………………………………………………………35 Literature Review ………….….………………………………………….………….39 Brass Pedagogy Review ………………………………………………………….39 Vocal Pedagogy Review …………………………………………………………48 Other Scientific Approaches …….……………………………………………….68 Comparison of Fields …………….……….………………………………………….72 Chapter III, Experimental Research Method …………………………………………….80 Background ……………………….………………………………………………….80 Institutional Review Board Process (IRB) …………………….…………………80 Research Design and Methodology ………..…….………………………….…...82 Lesson Study Approach and Testing ……….…………………………………….84 Posture ……………………………………………………………………….87 Breathing ……………………….…………………………………………….87 Pharynx and Airway Openness ………………………………………………91 Tongue Shape and Movement …….………………………………………….95 Jaw Placement and Movement …….……………………………..…….……96 Lip Aperture Shape and Movement ………………………………..………...96 Tone and Timbre ……………………………………………………………..98 Chapter IV, The Results ……….……………………………………………………….103 Posture………………………………………………………………………………103 Breathing ……………………………………………………………………………105 Pharynx and Airway Openness ………….…….……………………………………107 v Tongue Shape and Movement ………………………………………………………116 Jaw Placement and Movement ……………………….…………………………….120 Lip Aperture Shape and Movement ………………………………………………...121 Tone and Timbre ……………………………………………………………………125 Chapter V, Conclusion ………………………………………………………………….132 Appendices ……………………………………………………………………………...137 Bibliography ………….…………….…..………………………………………………340 Biography ……………….………………………………………………………………367 vi LIST OF TABLES Table Page Table 1. Seven VPTE of Vocal Pedagogy: Jacobs and Petropoulos …….…………...….18 Table 2. Panel Results of Test Subject Recordings ………………….………………….129 vii LIST OF FIGURES Figure Page Figure 1. Plastic Sculpture of Lungs, Larynx Structure, and Ribcage ….….…….………..7 Figure 2. Chart of Vocal Ranges …………….…….………………………………...…….8 Figure 3. Chart of Brass Ranges ……………….……………………………………….....8 Figure 4. Pictures of Brass Family …………………………………………………...……9 Figure 5. Six Areas MRI Comparison………………...….………………………………21 Figure 6. Venn Diagram of Voice/Tuba Similarities—Differences, Petropoulos/Jacobs .34 Figure 7. Proctor Plethysmograph ……………………………………………………….67 Figure 8. Mid Sagittal Section Airway MRI ……….……….….………………………...92 Figure 9. Research Parts of the Larynx—20M …………………………………………108 Figure 10. Demonstration of Closed and Open Throat. Porter …………………………109 Figure 11. Point of Contact ……………….……...…….……………………………….119 viii ABSTRACT A PHYSIOLOGICAL EXPLORATION AND PEDAGOGICAL INTEGRATION OF VOICE AND BRASS TUBA PHYSICAL METHODS TO ENHANCE TONE TIMBRE OR “PLAY LIKE YOU SING” William D. Porter II, DMA George Mason University, 2017 Dissertation Director: Dr. Michael Nickens This dissertation details a physiological exploration of voice and brass tuba physical methods in order to suggest a synthesized and integrated tuba training pedagogy, which may enhance tone timbre. Voice and brass tuba pedagogical methods were analyzed for similarities and differences in their approach to seven specific Vocal Physical Training Elements (VPTE): 1) posture, 2) breathing, 3) pharynx and airway openness, 4) tongue shape and movement, 5) jaw placement and movement, 6) lip aperture shape and movement, and 7) tone and timbre production (includes volume and sound quality). Further, experimental research involving student participants was conducted to determine possible implications of an integrated pedagogical approach on tuba performance. Results from this study suggest that tuba playing techniques may benefit from a synthesized voice-and-tuba pedagogical approach with regard to the training of these physical elements. PREFACE In the fall of 2010, I was assisting with a college athletic music program and enjoyed helping students of all instrumental and vocal backgrounds, both music majors and non-majors. One of the voice majors from the School of Music wanted to learn to play mellophone in the ensemble, but was told no by that student’s voice teacher. The reason given: playing mellophone would damage the student’s voice. As a 35-year professional musician and tuba and brass teacher, this was the first time I had heard such advice and I was curious to understand the logic behind it. I had received some past vocal training, but had not seen a technical vocal book or consulted a vocal pedagogy specialist. As I continued to ponder the voice teacher’s advice for the potential mellophone student over the next several months, I realized that my knowledge was based on the brass study books that have been published and from my own studies under six different well known low brass teachers, and there was much that I could learn about vocal technique and pedagogy beyond the embouchure (i.e. lips, tongue and front teeth). Shortly after this event, a clinic offered by Ms. Chrissellene Petropoulos labeled “10
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