The Effects of Syllabic Articulation Instruction on Woodwind Articulation Accuracy

The purpose of this study was to investigate the effects of a multi-syllabic articulation approach on high school woodwind students' individual articulation accuracy. Subjects were 66 high school woodwind players, matched, and then randomly assigned to treatment and control groups. For seven consecutive days, the subjects were taught articulation techniques using either a mono-syllabic or multiple-syllabic approach. Following instruction, the subjects were asked to perform varying articulation patterns in rehearsed and sight-read music, and post-test scores were calculated based on their articulation accuracy. Two, two-way analysis of variance tests found: (a) a significant difference between groups for individual performances of the rehearsed exercise favoring the multi-syllabic approach (p The instrumental music educator is concerned with teaching a variety of fundamental techniques and among these is articulation (Pizer, 1976). Expert pedagogues devote significant portions of their texts to explain the correct psychomotor techniques for accurate articulations (Kohut, 1973; Timm, 1964; Weisberg, 1975). Likewise, research on rehearsal priorities suggests that band directors spend large portions of their instruction time addressing articulation problems (Bell, 1986; Birkner, 1992; Carpenter, 1986; Dressman, 1990; Goolsby, 1997; Harris, 1992; Kotchenruther, 1997; Menchaca, 1988; Moss, 1989; Pontious, 1982; Sherrill, 1986; Taylor, 1989). For example, Goolsby (1997) found that band directors spent 21.4% of verbal instruction time on articulation problems, second only to rhythm/tempo. Similarly, Moss (1989) and Birkner (1992) reported that the largest percentage of time spent during conductor stops in rehearsal performance was to address articulation errors. Teaching articulation is difficult for several reasons. First, articulation is largely a function of tonguing. Because the tongue is not visible during wind performance, teachers rely on aural, as well as external-visual cues to insure proper technique (Kohut, 1973). Second, the act of articulation requires that student performers coordinate the tongue and breath with precision to produce stylistic results (Kohut, 1973). Finally, pedagogues disagree on tonguing techniques for the same instrument, as well as across families of instruments. For example, some woodwind pedagogues teach students to use the tongue to separate notes in staccato passages (Bonade, 1957; Cooper, 1968; Gannassi, 1956; Goossens & Roxburgh, 1977; Greenberg, 1983; Hotteterre, 1707/1968; Hovey, 1955; Kohut, 1973; Reiss, 1986; Russianoff, 1982; Seitmann & Angerhofer, 1977; Timm, 1964; Webb, 1994; Weisberg, 1975; Westphal, 1985; Willett, 1966), whereas others advocate separating notes with the air only (Saucier, 1981; Spell, 1991; Weisenborn, 1941). Additionally, there are pedagogues who teach that the basic principles of articulation are the same for all woodwind performers (Bayard, 1955; Kohut, 1973; Timm, 1964; Weisburg, 1975). There is a lack of standardization in teaching articulation (Kohut, 1973). Some band directors teach students to use syllables to facilitate the use of desirable tongue movement in articulation. For example, Lisk (1987) advocates using syllables to help students learn difficult articulation patterns: Any type of complex articulation pattern must first be spoken in tempo before achieving any success with an instrument. The ability and skill in being able to speak the articulation pattern is also critical in developing ensemble articulation clarity and definition (individual, section, and total ensemble) (p. …