A paradox exists between the long history of teaching music through imitative strategies and the demand to possess original artistic insight. This article addresses this paradox by investigating the general musical and educational implications of imitative learning strategies. In the first study, five advanced violinists were divided into an Experimental Group (n = 3) and a Control Group (n = 2). All violinists were
This article investigates the relationship between the shape of the mouthpiece and its acoustical properties in brass instruments. The hypothesis is that not only different volumes but also particular cup shapes affect the embouchure and the tone quality in both a physical and perceivable way. Three professional trumpet players were involved, and two different internal cup contours characterized by a "U" and a "V" shape with two types of throat junction (round and sharp) were chosen, based on a Vincent Bach 1 [1/2] C medium mouthpiece. A third intermediate contour was designed as a combination of these. Over 600 sound samples were produced under controlled conditions, the study involving four different stages: (1) Simulation of air-flow, (2) analysis of the sound spectra, (3) study of the players' subjective responses, and (4) perceptual analysis of their timbral differences. Results confirm the U shape is characterized by a stronger air recirculation and produces stronger spectral components above 8 kHz, compared to the V shape. A round throat junction may also be preferable to a sharp one in terms of playability. There is moderate agreement on the aural perception of these differences although the verbal attributes used to qualify these are not shared.
Limited consideration has been given to the challenges young composers and performers face when learning to communicate through notation in contemporary classical music, and the specific opportunities presented for peer learning. This article describes a project at a Swiss music conservatory in which two student composers wrote pieces for solo piano which were performed by three student pianists. Students were deprived of collaborative opportunities, with communication limited to score markings and legends. Results from individual interviews are discussed in relation to categories of approaches drawn from existing studies on learning new piano works, on notation and on collaboration, plus new categories arising from this research. The challenges and potential opportunities arising from this approach are examined here, highlighting specific areas to be targeted for future peer learning.
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