Real-time three-dimensional tongue motion during clarinet performance

Abstract

Clarinetists teach and feel that they manipulate their tongue shape and position in order to properly “voice” music with ideal intonation and timbre, as well as for special effects such as portamento (pitch bending) and glissando. Two basic postures are typically described, which are frequently called the “ee” (or “er”) and “ah” positions, or “voicings,” due to their presumed similarity to tongue shapes during production of the speech sounds [i] (or [r]) and [a]. Although some two-dimensional imaging studies of tongue shape during clarinet performance have been reported, three-dimensional (3D) data have not been previously available. This study presents 3D tongue motions during performance by one professional clarinetist. Tongue images were acquired from a 3D/4D ultrasound system with synchronized audio recordings, and the images were aligned with a digitized impression of the performer’s palate. Analyses of the data are ongoing, but initial results indicate that the “ee” and “ah” postures are based on the tongue shape but not on the tongue position. Further aspects of the tongue shape and position during clarinet “voicing” will also be discussed.

Articulatory characteristics and variation of Korean laterals*

“…The tongue surface was visually identified and manually segmented in every fifth sagittal plane and every tenth coronal plane. This formed a regular grid of tongue surface contours, which were used to interpolate the full three-dimensional tongue surface (similar to the segmentation methods used in Charles & Lulich, 2018;Csapo & Lulich, 2015;Lulich et al, 2016). An example of these methods is shown in Figure 1.…”