Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University

At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.

Airflow and Air Velocity Measurements While Playing Wind Instruments, with Respect to Risk Assessment of a SARS-CoV-2 Infection

Due to airborne transmission of the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument. To examine this question and to help clarify the possible risk, we analyzed 14 wind instruments, first qualitatively by making airflows visible while playing, and second quantitatively by measuring air velocity at three distances (1, 1.5, 2 m) in the direction of the instruments’ bells. Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall. Our findings highlight that while playing, no airflows escaping from any of the wind instruments—from the bell with brass instruments or from the mouthpiece, keyholes or bell with woodwinds—were measurable beyond a distance of 1.5 m, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of 1 m/s in hall-like rooms. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to the mouthpiece, which escaped directly into the room.

Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments

I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.

Peak-picking identification technique for modal expansion of input impedance of brass instruments

The paper presents a method to obtain the modal expansion of the measured input impedance of a brass instrument. The method operates as a peak-picking procedure, which makes it particularly intuitive for users who are not experts in modal analysis. To bypass the limitation of usual peak-picking approaches, which are valid only for well separated resonances, the present method is based on a semi-local optimization problem. It consists in adjusting the frequency and damping of one mode at a time while taking into account the presence of all other modes in the basis. The practical application of the method involves four elementary actions, which can be chained in different ways to progressively approximate a measured input impedance. This procedure is illustrated through the approximation of the input impedance of a bass trombone. The supervised nature of the method allows the user to favour modes that have a physical meaning, i.e. that can be associated with a resonance peak. A single spurious mode can however be deliberately introduced to approximate the input impedance curve beyond the last visible peak. The method applies directly to the frequency-domain data provided by an impedance sensor and does not require any preprocessing. Nevertheless, it is fairly robust to noisy data. Since the method allows a reconstruction of the input impedance using either complex modes or real modes, results obtained with each approximation are critically compared.