###### Abstract  
The activation of the musculature of the larynx of six professional trumpeters during performance was analysed using audio, electroplotography (EGG), oxygen saturation, and heart rate signals. Two university trumpet teachers listened to the audio recordings, to evaluate the participants' laryngeal effort during performance. Statistical analysis was performed to explore if there were any correlations between parameters extracted from theEGG data and the responses to the audio stimuli by the listeners. Two hundred and fifty (250) laryngeal articulations were identified where laryngeal raising and effort was observed during trumpet performance. It was not possible to find any correlation between theEGG data and the auditory evaluation results, but both listeners could clearly hear the laryngeal effort. t rumpet; larynx; acoustics; electroplotography; oxygen saturation; heart rate +
Footnote †: _Applied_  
In order to play a wind instrument, the glottis has to be open for the air to circulate, but Valsalva manoeuvres have been previously observed [5] (pp. 98-99) in wind instrument players, whether they are amateurs, students, or professionals. According to [PERSON] [5] (pp. 98-99), when analysing the different wind instruments, the ones that can most easily trigger the Valsalva manoeuvre are those that require greater pressure in air exhalation, namely the trumpet and the oboe. High expiratory pressure is required in trumpet playing, especially in the upper register. It is also quite common in this register to produce sounds that resemble those that are made when lifting heavy objects. [PERSON] [5] (p. 103) lists several situations that can activate the Valsalva manoeuvre, starting with the fact that it can also be caused by air pressure being blocked by the tongue, or by stop consonants that do not allow air to escape from the body. This can happen if the participant articulates a sound using only the consonant [t] and not a consonant-vowel (CV) syllable, contracting the abdominal region. According to [PERSON] [6] (pp. 23-25), \"a strategy for good articulation is to stop thinking about the mechanics and tongue movement and just think of articulation as a syllable that we use when we speak\". [PERSON] [5] (p. 101) also states that during articulation \"the use of the tongue in wind instruments should not be different from that which is used when speaking or singing\". Traditionally, the syllable [to] is used to define the articulation, as can be seen in several methods used in teaching how to play the trumpet, but [PERSON] [5] (p. 101) suggests that the syllable [to] be used, where the vowel is more open. This way, the stop release occurs earlier (in a gesture of anticipatory coarticulation) which allows the air to circulate naturally. Also, the first language of performer, tongue position, and vocal tract resonances have been shown to influence the sound produced by trumpets and trombones [7]. Students who are beginning to study the trumpet, whose lips do not vibrate when attempting to play notes in the higher register for which they are not yet ready, generate a resistance which can, potentially, stimulate the Valsalva manoeuvre. This movement may also be brought on by psychological factors, with hesitation/stress being a possible cause. Often, the trumpeter anticipates that a high note or passage is going to be difficult and, consequently, this stress can lead to the use of exaggerated force, which can trigger the Valsalva manoeuvre. In order to avoid this problem, [PERSON] [5] (p. 104) proposes that the student breathe rhythmically before the first attack of the phrase. In this way, there is no stop between inhaling and blowing, which will make it more difficult for the Valsalva manoeuvre to be activated. Finally, [PERSON] [5] (p. 100) also points out that sometimes teachers can stimulate the Valsalva manoeuvre by using expressions such as \"pull out your stomach to support the note\".