Effects of accurate and inaccurate visual feedback on the tuning accuracy of high school and college trombonists

Abstract

We examined how visual feedback from electronic tuners affected trombonists’ pitch performance and tuning confidence. High school ( n = 29) and college trombonists ( n = 30) were tasked to play in tune with a stimulus tone (G3) recorded by a professional trombonist presented through headphones. Following each of three attempts, participants rated their confidence level that their performance was in tune. A different tuner was provided during each tuning attempt and set to one of three conditions: in-tune (A = 440Hz); flat (A = 437Hz); and sharp (A = 443Hz). These tuner conditions displayed either accurate (A = 440Hz) or inaccurate (A = 437Hz; A = 443Hz) visual feedback. Results indicated significant main effects due to tuner condition and experience level. Participants’ tuning accuracy with the sharp tuner was significantly less precise in comparison to flat and in-tune tuners. Collegiate participants performed with greater precision than high school participants in all tuner conditions. Weak relationships were observed between participants’ tuning performance and confidence ratings.

Evaluation of a Sound Quality Visual Feedback System for Bow Learning Technique in Violin Beginners: An EEG Study

“…In contrast with most part of the previous research that has studied the use of technology to provide different kinds of feedback to improve learning (Thorpe, 2002; Welch et al, 2004; Wilson et al, 2008; Van Der Linden et al, 2011; Wang et al, 2012; Leong and Cheng, 2014; Schlegel and Gregory Springer, 2018), we did not found statistical differences between the amount of improvement at the end of the task between the BF and the BNF group. However, behavioral differences found among the BF group could be the result of an increment of the conscious awareness of their own performance as suggested by Hamond (2017).…”

“…The study reported improved pitch accuracy by using the system. Previous research has studied the effect of using different kinds of interfaces and different kinds of feedback in singing voice (Thorpe, 2002; Welch et al, 2004; Wilson et al, 2008; Leong and Cheng, 2014), trombone (Schlegel and Gregory Springer, 2018), piano (Hamond, 2017), and violin (Wang et al, 2012). Although there are differences in the way RTVF may improve performance, most of the previous studies reported beneficial effects of RTVF in learning.…”

Effects of Dark and Bright Timbral Instructions on the Production of Pitch and Timbre

“…Results suggested a minimum sample size of 54 (input parameters included Pillai’s criterion = .6, an alpha level of .05, and a power level [1 – β] of .8). We selected these input parameters based on a review of Cohen’s (1998) power guidelines as well as effect sizes reported in previous research focused on pitch and timbre performance (e.g., Byo et al, 2011; Schlegel & Springer, 2018). Participants ( N = 56) were high school trumpeters from three successful high school band programs in the southeastern United States (as evidenced by their regular superior ratings at adjudicated performance assessments and the number of students who participated in honor bands) and collegiate trumpeters from two large schools of music in the southeastern United States accredited by the National Association of Schools of Music.…”

Research to Resource: Evidence-Based Strategies for Improving Wind Intonation

“…Results of that study (Schlegel & Springer, 2018) indicated that those musicians’ pitch accuracy was swayed by the visual feedback provided by the tuner, even when that feedback was incorrect by a large deviation of 11.8 cents. Band directors should be aware of this potential tendency and use tuners judiciously with that in mind.…”

“…One of the criticisms of tuners has been that they can unintentionally cause students to rely on visual information over aural information when focusing on intonation (Feldman et al, 2016). Schlegel and Springer (2018) conducted a study where high school and collegiate trombonists were asked to match pitch with a recording of a professional trombonist performing a sustained G pitch (fourth space, bass clef). They completed this tuning task several times, but during each attempt, they viewed a different tuner.…”