Abstract
The complex subject of the brass wind embouchure is a confusing one for musician or teacher with many different views espoused in a relatively small and inaccessible literature. Many concepts of embouchure can be found in the practice materials and exercise methods within the literature, but are often contradictory in nature. A modest body of research has attempted to clarify anatomical and physiological elements of embouchure but the findings are most commonly presented in scientific publications and not easily accessible to the average musician or teacher. This doctoral research project sets out to establish the common trends and practices of the brass playing community and to identify the physiological mechanisms employed by musicians during performance. It asks: What are the physiological mechanisms and characteristics of the brass wind embouchure? What are the common trends and practices amongst brass wind musicians in regard to embouchure? What pedagogical implications can be drawn from this research? What new approaches to brass training can be suggested as a result of this research?
Using qualitative research methods, this thesis attempts to provide answers. Seventy-nine brass musicians and teachers were surveyed from around the world, using thirty-four questions designed to identify their practices and knowledge of embouchure. An observational study was also designed to look at the physiological mechanisms employed during performance, using audio-visual recording technology. Among the main findings are the following:
1. The direction of air traveling into the mouthpiece is of paramount importance with all other actions working to facilitate the necessary changes of the airstream direction.
2. A side-stream flow of air into the mouthpiece was present in several participants.
3. A tracking action is present in every participant during performance.
4. A rolling in action of one or more of the lips is evident in every musician as the pitch register increases.
5. The external mechanisms of the embouchure are interconnected. Any movement results in a compensatory movement by another element of the overall mechanism.
6. Over a third of brass musicians are aware of the effectiveness of embouchure training exercises but choose not to engage in this form of training.
7. There is a lack of unity and common approach amongst the brass musician community.
Significantly, the data collected through the survey and observational methods detailed in this research, indicate a lack of understanding of the physiological mechanisms at work during brass wind performance. The findings offers scope for further research, and provides useful, relevant information to the brass musician and teacher on the complex subject of embouchure.