Council for Research in Music Education

A Study of the Effects of Breath Management Instruction on the Breathing Mode,

Knowledge of Breathing, and Performance Skills of College-Level Brass Players
Author(s): Kenneth H. Phillips and Karin Harfst Sehmann
Source: Bulletin of the Council for Research in Music Education, No. 105 (Summer, 1990), pp.
58-71
Published by: University of Illinois Press on behalf of the Council for Research in Music Education
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A Study of the Effectsof Breath Management

Instructionon the Breathing Mode,
Knowledge of Breathing,and Performance
Skills of College-Level Brass Players
Kenneth H. Phillips
The Universityof Iowa
Iowa City,Iowa
Karin HarfstSehmann
Iowa Testing Programs
Iowa City Iowa
This study investigated the effectiveness of breathing instruction on the breath
management, performance, and knowledge of breathing among college level brass
players. Subjects (N = 20) were students (freshman music majors and upperclass
nonmajors) in applied music at the University of Iowa. The subjects were randomly
assigned to one of two treatment groups by class of instrument(trumpets = 8; horns =
6; trombones = 6). The experimental group received researcher-designed instructionin
breath management from one of the investigators for fifteen minutes of their regular
individual weekly lessons with their applied instructors. The control group subjects
received their regular weekly instructionfromtheirapplied instructorswithno instruction
in breath management fromthe investigator. The duration of the study was five weeks;
all subjects received a total of five individual applied lessons.
Pre- and posttest measures for each subject on six dependent variables (chest
displacement, abdominal displacement, tone quality, range, duration, and knowledge)
were analyzed using ANOVA for significantdifferences between groups. Results of the
study showed that breathing instructionsignificantlyimproved the breath management
and knowledge of the breathing forthe experimental group, and the musical range of the
trombone players in the experimental group. The breathing instructionforthe treatment
group appeared to be an effective means of changing subjects' breathing mode from a
thoracic style to a diaphragmatic-abdominal mode of breathing in a relativelyshort length
of time.

The Study
The breathis the vibrationactivatorfor the basic tone of wind instruments. It is a vital partof the musical process, yetonly in recentyears have
attemptsbeen made to studybreathfunctionas itrelatesto wind players. The
medical professionhas researchedthe physiologyand process of breathing,
specialists in respirationresearchhave studiedthe effectsthatair inspiration
and expirationhave on musical sound, and masterteachershave contributed
theirinsightson breathpedagogy. However, this researchand knowledge
have not been combined sufficiently
to offeran objective basis forteaching.
A pedagogy based on a scientificunderstandingof the breathingprocess

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Phillips& Sehmann

59

should be beneficialto theperformanceof brass playersand is the subject of

investigationin thisstudy.
Breathingis a basic function,yet all partsof the process mustbe well
coordinatedto obtainoptimumresultsforthe full,relaxed breath. Recently,
the problems in health and mechanics thatmusicians encounterhave been
exploredin articlesand research. A journalwas establishedin 1986 thatdeals
solelywiththeseproblems(Medical ProblemsofPerforming
Artists).Benade
(1986) pointsout thatknowledgeablephysiciansand teacherscan help wind
playersovercome faultyplayingconditionsrelatedto problemsin breathing.
Farkas (1 986) discusses theimportanceof breathfunctioninwind playingand
stressesthatpulmonaryproblemscan cause much greaterproblemsin wind
playersthanin thenonplayer.Beyond physicalconditions,Farkas notesthat
some playersmayhave troublebreathingin an efficientmannerdue to lack of
knowledge about proper inhalation. He suggests thata physical therapist
mighteven be of help in tryingto re-teachproperbreathingtechniques.
Medical authorities(Bouhuys, 1977; Campbell, 1958; Gray,1977) have
established the basic physiology and process of respiration. In addition,
researchpertainingto the breathingprocess has included the areas of body
position(Druz & Sharp, 1981), activevs. passive breathing(Watson& Hixon,
1985), and the functionsof the chest and abdominal regions in breathing
(Vellody, Nassery, Druz, & Sharp, 1978). Such scientificknowledge has
of the breathingprocess as it relatesto
provideda basis foran understanding
musicalperformance.Advances in technologyto measurerespiration(Konno
& Mead, 1967) also have made recentcontributionsto th understandingof
breathfunction.
Respirationresearchin relationto musicians has been conducted to a
limiteddegree,althoughmoststudieshave involvedsingingratherthanwind
playing. Both the vocal and instrumentalstudies have investigatedthe
problems and mechanics that musicians and music teachers encounterin
performanceand practicesituations.
The numberof descriptivestudies in the area of wind instruments
and
breathinghas grownin thepast several years. Bouhuys(1964) was one of the
firstto describe respiratoryfunctionduringperformancesby wind players.
Taylor's research(1968) compiled thescientificand pedagogical writingson
breathingand wind instruments,
findingthatthegreatmajorityof authorities
advocated a diaphragmatic/abdominal
mode of breathing. Cugell (1986)
measuredthechestand abdominalcontributions
to inspirationand expiration
on brass instruments.He foundthatall brass playerswiththeexceptionof the
tuba,maintainedairflowat a constantlevel while theywere performing.The
percentageof abdominal and rib cage contributionswas not uniformin this
small study. Two researchersin Europe (Pawlowski & Zoltowski, 1987)
investigatedair pressureused in playingwind instruments.They foundthat

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60

...Effects of Breath Management Instruction...

resistanceat themouthpiecedeterminestheairflowand resultingpressurefor

therespiratory
system.
and respiratory
Two experimentalstudiesinvolvedbrass instrumentalists
function.Dennis (1987) used theAlexander techniqueto reduce tensionand
improvecoordinationin breathing. While this studydid not have any significantresults,the subjects' attitudestowardthe treatmentwere favorable.
Staples (1988) foundthatuse of a breathingtube increasedvital capacity in
of thechest and shouldersreducedvital capacity.
subjects and restriction
A review of methodbooks thatare meant for beginningbrass players
reveals a lack of discussionon the subject of breathing(Clevenger,McDunn
& Rusch, 1974; Gallay, 1885; Goldman& Smith,1936; Harris& Wiest,1956;
Kling, 1973; Pottag,1969). The omission of thesubject of breathingcan be
attributedto eitherthe writer'sassumptionthatinstrumental
music teachers
cover thisaspect of playingor thattheremay be a lack of understanding
as to
theimportanceof breathingas it relatesto wind playing.
Many of thestandardscholarlybrass methodologiesconsidertheimportanceofbreathing.Farkas (1956) includesa sectionon breathingthatexplains
the mechanicsof respirationin a straightforward
manner. However,suggestionson how to teach correctbreathingare notpresentedin muchdepth. The
ideas given are generalizations about the respirationprocess. Another
scholarlypublicationon brass playing(Tuckwell, 1983) statesthatthe most
difficultpartof breathingis the controlledexhalationthattakes place when
playingmusic on a wind instrument.Duringnormalconditions,thebreathis
never held; a person inhales and thenexhales as soon as sufficientbreathis
taken. Tuckwell instructsplayers to breatheas "naturally"as possible, but
once again, no specificguidance is given beyondthatadvice.
Two trombone pedagogical sources stress the importanceof proper
breathing(Kleinhammer,1963; Wick, 1971). Kleinhammeremphasizes the
significanceof correctabdominalbreathingforthetromboneplayerand gives
some suggestionsforimprovement.He suggestsa few exercisesforinhaling
and exhalingat regularintervals(withoutthehorn)and playinglong toneson
the instrument.Wick also describestheprocess of diaphragmatic/abdominal
breathingand stressesthatbreathingis possibly the most importantelement
of playingeven fortheprofessionalplayer. He suggestspracticein breathing
but does not give a systematicseries of exercises
away fromthe instrument,
to follow.
Methods on playing the trumpetalso mentionbreathingand its importance to the brass player (Dale, 1965; Johnson,1981). Dale prescribesthe
same mode of breathingused in thepresentstudy(abdominal/diaphragmatic).
However, his only advice to the player is to "think" about the breathing
process duringpractice. Johnsongives suggestionsforimprovingbreathing

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Phillips& Sehmann

61

throughuse of a breathingtube. He advocates simple practice of timed

inhalationand exhalation using a metronome. Many of the pedagogical
sources used in brass instructiongive one or two exercises to try;no systematicset of exercises is given to teach breathing.
The purposeof thisstudywas to investigatetheeffectsof breathmanagementinstruction
on breathingmode, performance,
and knowledgeof college
level brass players. Specifically,thisstudysoughtto determineifinstruction
in breathmanagementcould effecta change in the physicalbreathingmode
of brass players,and improvetonequality,range,duration,and knowledgeof
breathing.

Method
The subjectsconsistedof 20 college-aged brassstudentsat theUniversity
of Iowa: eighttrumpetstudents,six hornstudents,and six trombonestudents.
All subjectswere freshmanmusicmajorsor upperclassnon-musicmajorswho
were taking brass lessons from universityinstructorsfor the spring 1989
semester. All subjects had one to two semestersof previousinstruction
with
theiruniversitybrass instructors.These instructors
were asked not to emphasize breathmanagementexercisesbeyondthatwhichtheywould normally
teach in a student'slesson.
The subjects were randomlyassigned withineach instrumental
type to
eitherthecontrolor experimentalgroup. Each groupconsistedof 10 subjects:
fourtrumpets,
threehorns,and threetrombones.
The durationof thisstudywas seven weeks. Five weeks were given to
the breathmanagementinstructionand one week each at the beginningand
end of the studywas used fortesting. If subjectswere absentat theirregular
lesson time,make-upinstruction
was scheduled so thateach subject had the
same amountof breathmanagementinstruction.
All subjects attended regularlyscheduled hourly lessons with their
universityinstructors.The subjectsin theexperimentalgrouphad 15 minutes
ofbreathmanagementinstruction,
whichwas givenbyone oftheinvestigators
in theirweekly lessons. The controlgroupsubjects had theirweekly lessons
fromtheir regular teacher withoutthe instructionin breath management.
There was a total of five lessons foreach group duringthe study. The total
amountof contacttimebetweensubjectsand the investigator
was 75 minutes.
The instructional
sequence fortheexperimentalgroupwas a synthesisof
techniques based upon the work of Phillips (1983) and Huttlin(1982) in
additionto biofeedbacktechniquesdeveloped by the researchers. This approachadvocates psychomotortrainingand biofeedbackto achieve coordinationof themuscles used in breathing.

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...Effects of Breath Management Instruction...

62

The firstpartof the instruction

sequence includedexercises to relax the
muscles and to createan appropriateposture. Abdominaland thoracicmovement as well as correctposture are related to breath managementin both
playingand singing.
The main set of breathingexercises was used to teach the techniqueof
breathing.This typeof breathingresultsin a conabdominal/diaphragmatic
tractionand loweringof the diaphragm,expanded lower ribs, and forward
extension and relaxationof the abdominal wall during inhalation. Upon
exhalation,the opposite motionoccurs: the diaphragmrelaxes upward,the
abdominal muscles contract inward, and the intercostalmuscles slowly
to controltheexhalationof air. This mode of breathingpermits
hold/contract
more air to be inspiredthan is needed for normal respirationand allows
controlledexhalationthroughuse of the intercostaland abdominal muscles.
The upper chest is kept expanded duringplaying,and not raised or lowered
withrespiration.
The firstfourbreathingexerciseswere used to establishthepropertorso
movementfor breathing. The instrument
was not used with the beginning
as
the
so
not
to
exercises,
breathingmotionwithtechnicalaspects
complicate
of playing. Psychologicalassociationswere used to promotetheexpansionof
theribsand chestand thelowering/contraction
of thediaphragmupon inhalation. The goal of theseexerciseswas to createa breathingpatternthatbecame
habitual.
The nextset of exercises was employedto establishcontroland support
of the breath. Structuredinhalationand exhalationwere used to develop a
rhythmfor breathing. Other exercises were used to maintainproperbody
positionduringplaying.

A biofeedback procedure using Respitrace equipmentwas employed

twice duringtheperiodof instruction.The instrument
consistsof two gauzelike respibandsplaced aroundthetorsoof thesubject,one at upperchestlevel
and one at abdominal level. The respibandscontain sensors,which when
attachedto a two-penchartwriter(one pen each forchest and abdomen) are
able to transmittheamountof torsodisplacementat each level.
Afterthefirsttwo setsof exerciseswere learned,thesubjectswatchedthe
penwriterto see how much expansion and contractiontheywere using. The
was to increase abdominal torsoexpansion upon
objective of the instruction
inhalationand contractionupon exhalation (support) while maintaininga
constantupper chest expansion. During the last trainingsession, subjects
played long tones and etudes while watching their abdominal and chest
displacementon thepenwriter.

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Phillips & Sehmann

63

Pre-and posttestsof thesix dependentmeasures(thoracicdisplacement,

abdominal displacement,tone quality,range,duration,and knowledge) were
obtainedforeach subject. In addition,each subject completeda background
surveyabout previousmusic lessons and training.This was used to determine
eligibilityforthe study. All of the measures were administeredby the two
investigatorsin individualpre-and posttestsessions.
The performancetrialswere recordedusing a Sony stereo reel-to-reel
tape recorderand microphone. The taping was done at 7 1/2 cps, using
Realistic brand,high fidelity,low noise recordingtape. Every attemptwas
made to insureuniformity
of thetestingprocedures,and all of thetestingwas
done in a professor'sstudio withinthe music buildingat the Universityof
Iowa. The room was adequately sound proof and was large enough to
accommodatethe recordingof brass instruments.
The knowledge test required subjects to respond to multiple choice
questionsabout properbreathingtechniques. The testhad been developed for
a previousresearchstudy(Phillips & Vispoel, 1990).
The range test consisted of the subjects playing major and chromatic
scales to the highestand lowest pitchespossible on theirinstruments.Each
rangetestwas scored on a responsesheetthatcontaineda standardstaffwith
pitches being assigned a numericalvalue. The lowest and highestpitches
played were recordedon threeseparate trialsand a statisticalanalysis was
done on thetotalof thesethreetrials.
The measureof durationwas to determine"how long" each subjectcould
sustaina pitch. An uppermidrangepitchwas chosen (c2 fortrumpet
and horn,
b-flatfortrombone);The same pitchwas used forbothpre-and posttests.The
subject practiced playing the pitch while looking at a decibel meter. A
moderatelyloud settingof 100 dB at a distanceof one meterfromthebell of
the instrument
was requiredto insureuniformity
of loudness.
Measurementsof chest and abdominal breathdisplacementwere made
using a Respitrace. Respibands were placed around the subject's abdomen
and chest, and measures of displacement in millimeterswere produced in
penwritertracings. The subject was instructedby the investigatorto breathe
and sustainthepitch. One investigatortimedthe durationof the tone witha
stopwatchwhile theotherinvestigator
engaged thepenwriter.This procedure
was repeated for a total of three trials. Separate statisticalanalyses for
durationand themeasuresof torsodisplacementwere performedon thetotal
of thethreetrials.
The tone qualitymeasurewas based upon performanceof a shortetude
from"LyricalEtudes" by Concone. This etude was withintherangeof all of

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64

...Effects of Breath Management Instruction...

and hornsplayed itas writtenand tromboneshad a copy

thestudents;trumpets
an octave lower. Each subjectwas allowed to practice
thathad been rewritten
the etude once. The same etude was used for pre- and posttestsand tape
recordedforlaterevaluation.
Scoring of the tone qualitywas similarto thatused by Abeles (1973),
Phillips (1983), and DCamp (1980). A five-pointratingscale was used,
reflectingpoor to optimumquality. The pre-andposttestswere ratedby a
panel of threejudges whose backgrounds included college teaching experience in applied trumpet,horn, and trombone. Each judge was given
instructionsabout the ratingsystemused and a sample recordingto review.
Everyattemptwas made to insureanonymityof subjectsand orderof testing.
Statisticalanalysis was performedon thecombined ratingsassigned by
the judges. Reliability among the threejudges was found to be .72 as
determinedby usingcoefficientalpha.
controlgroup design
The design of this studywas the pretest-posttest
from
this study were
data
The
&
Stanley, 1963, pp. 13-16).
(Campbell
the
with
SAS
variance
of
computerpack(ANOVA)
analyzed using analysis
age. Six dependent variables included measures of torso displacement
(thoracicand abdominal),performance(tonequality,range,and duration),and
knowledgeof breathing.

Results
Pretest analyses indicated that both groups were equated on all six
dependentmeasures. Therefore,six separate univariateanalyses were considered appropriatefor the statisticalprocedure. Mean scores for all six
dependentmeasuresforbothgroupsare presentedin Table 1.
on thoracicdisplacementare reportedin Table
The effectsof instruction
2. The nullhypothesisof no significantdifferencebetweenmeansforsubjects
who received breath managementinstructionand those who did not on a
measureof rib cage displacementwas retained. An inspectionof the means
in Table 1 shows thatboth groups increased slightlyin chest displacement.
This resultwas to be expected in thatno overttrainingforchestdisplacement
was emphasized in the instruction.
Table 3 presentsthe effectsof instructionon abdominal displacement.
The null hypothesisof no significantdifferencebetween group means was
rejectedat the .05 level. The experimentalgroup respondedpositivelyto the
treatmentand demonstrateda greater depth of breathingand abdominal
displacementas shown by the means in Table 1. The controlgroup means
show thatdepthof breathingactuallydecreased over thedurationof thestudy.
Combined with the greaterchest displacement,this resulted in a style of

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Phillips& Sehmann

65

mode of
breathingthatwas just theopposite of theabdominal/diaphragmatic
breathingas recommendedby authoritiesin the review of literature(Dale,
1965; Johnson, 1981; Kleinhammer,1963; Phillips, 1983; Taylor, 1968;
Weast, 1961).

Table 1
Mean Scores forDependent Measures
Experimental
Group
Pretest
Posttest

Source

ControlGroup
Pretest
Posttest

Chestdisplacement
(in millimeters)

16.2

17.7

12.3

13.6

Abdominal
displacement
(in millimeters)

10.4

13.8

11.3

8.0

2.7

2.8

2.4

2.7

27.6
42.6
38.4

29.4
44.8
45.5

30.0
33.3
37.1

30.8
36.6
40.2

13.3

14.6

14.4

15.3

4.7

6.1

3.7

3.5

Tonequality
(judges'ratings)
Range
(halfsteps)

trumpets
horns
trombones

Duration
(in seconds)
Knowledge
(answerscorrect)

Table 2
CriticalF values and ProbabilitiesforChest Displacement
Measures
Source

DF^

SS

MS

Prob.

Betweensubjects
Group
Error

1
18

1452.03
8397.85

1452.03
466.55

3.11

.09

Withinsubjects
Time
Timex group
Error

1
1
18

172.23
.03
998.25

172.23
.03
55.46

3.11
.00

.09
.98

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...Effectsof BreathManagementInstruction...

66

Table 3
CriticalF Values and ProbabilitiesforAbdominal Displacement
Measures
DF

Source

SS

MS

Prob.

Betweensubjects
Group
Error

1
18

532.90
5584.50

532.90
310.25

1.72

.20

Withinsubjects
Time
Timex group
Error

1
1
18

.10
1000.00
3826.90

.10
1000.00
212.61

0.00
4.70

.98
.04*

The results of breath management instructionon tone quality are

between
presentedin Table 4. The nullhypothesisof no significantdifference
means was retained. Both groups increased slightlyin judges' ratingsof
qualityof playingan etude. Mean scores show thatsubjectswere ratedto be
average (or slightlyabove average) on a five-pointratingscale of tonequality
and theslightimprovement
shownpre-to posttestmightbe expectedaftertwo
monthsof lessons.

Table 4
CriticalF Values and ProbabilitiesforTone QualityMeasures
Source

DF

SS

MS

Prob.

Betweensubjects
Group
Error

1
18

4.90
249.00

4.90
13.83

.35

.55

Withinsubjects
Time
Timex group
Error

1
1
18

2.50
.90
36.60

2.50
.90
2.03

1.23
.44

.28
.51

Table 5 reportsthe effectsof the treatment

on musical range. The null
hypothesisof no significantdifferencebetweenmeans was retainedforsubgroupingsof trumpetsand horns. Both ranges increasedslightly,which may
be considereda normaloutcome of a semesterof instrumental
lessons. The
null hypothesisof no significantdifferencebetween means was rejectedfor

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67

Phillips& Sehmann

thetrombones.The trombonestudentsseemed to make greaterapplicationof

thenew breathingtechniquesto theirplaying.

Table 5
CriticalF Values and ProbabilitiesforRange SMeasures
DF

Source

Betweensubjects(trumpets)
1
Group
6
Error
Withinsubjects
1
Time
1
Timex group
6
Error
Betweensubjects(horns)
1
Group
4
Error
Withinsubjects
1
Time
1
Timex group
4
Error
Betweensubjects(trombones)
1
Group
18
Error
Withinsubjects
1
Time
1
Timex group
4
Error

SS

MS

Prob.

138.06
404.38

138.06
67.4

2.05

.20

60.06
10.56
112.88

60.06
10.56
18.81

3.19
.56

.12
.48

2080.33
2189.33

2080.33
547.33

3.80

.12

208.33
8.33
11.33

208.33
8.33
2.83

73.53
2.94

300.00
2768.00

300.00
692.00

.43

705.33
108.00
58.67

705.33
108.00
14.67

48.09
7.36

.001*
.16

.54
.002*
.05*

on durationare reportedin Table 6. The null

The effectsof instruction
between means was retained. Howdifference
hypothesisof no significant

Table 6
CriticalF Values and ProbabilitiesforDurationMeasures
DF

Source

SS

A/5

Prob.

Betweensubjects
Group
Error

1
18

70.23
7286.25

70.23
404.79

.17

.68

Withinsubjects
Time
Timex group
Error

1
1
18

105.63
4.23
367.65

105.63
4.23
20.43

5.17
.21

.03*
.65

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...EffectsofBreathManagementInstruction...

68

ever, the resultsforthe experimentalgroup forsimple main effects,pre- to

posttestwere significantat the .03 level. Evidently,greaterabdominal displacement resultedin longer duration,but not to the degree necessary for
betweengroupsignificance.
The resultsof breathmanagementinstruction
on knowledgeof breathing
are presentedin Table 7. The null hypothesisof no significantdifference
between means was rejectedat the .05 level. The knowledgegained by the
experimentalgroupwas a resultof thepsychomotortrainingsince no specific
instructionwas given in writtenform. The controlgroup did not gain in
knowledgeabout breathingfromtheirregularapplied instruction.

Table 7
CriticalF Values and ProbabilitiesforKnowledge Measures
Source

DF

SS

MS

Prob.

Betweensubjects
Group
Error

1
18

32.40
81.60

32.40
4.53

7.15

.01*

Withinsubjects
Time
Timex group
Error

1
1
18

3.60
6.40
28.00

3.60
6.40
1.56

2.31
4.11

.14
.05*

Discussion
The purpose of this study was to determineif five weeks of breath
forbrass playersat the universitylevel would make
managementinstruction
a differencein theirmode of breathing,performance,and knowledgeof the
respirationprocess. It would appear thatthe treatment
produced significant
resultsin all threeareas.
Subjects in the treatmentgroup responded to the breathmanagement
instruction
in thedirectionanticipatedforbreathingmode; greaterabdominal
displacementand depthof breathingwas demonstratedby thisgroup. Interestingly,abdominaldisplacementforthecontrolgroupwas less at theposttest
thanforthepretest;thoracicor "clavicular" breathingwas clearlyin practice
by thisgroup.
Authoritiesin brass playing(Dale, 1965; Farkas, 1956; Johnson,1981;
Kleinhammer,1963; Tuckwell, 1983; Wick, 1971) note thatbreathingis an
importantand basic componentforgood instrumental
technique. The results

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Phillips & Sehmann

69

forthecontrolgroup in thisstudy
indicate,however,thatregularinstruction
was not sufficientto improvetheirbreathingmode. If brass players are to
learnto breatheproperly,evidence fromthisstudysuggeststo brass teachers
thatmore overt instructionin breathingmode is needed. The fact thatthe
experimentalgroupwas able to change itsstyleof breathinginjust fiveweeks
indicatesthatearlyattentionto theplayer'sbreathingtechnique
of instruction
may be beneficial, and that this instructionis learned and applied rather
quicklyby theuniversitybrass player.
Concurrentwith improvementin breath management,subjects in the
treatment
groupshowed a significantincreasein theirknowledgeconcerning
the breathingprocess. It would seem appropriatethatuniversitylevel brass
playershave a basic knowledge of respirationas applied to theirtechnique.
The fact thatthe controlgroup demonstratedlittleknowledge of breathing
in respirationis needed
should indicateto brass teachersthatmoreinstruction
lessons.
in students'regular
The results indicating no significantdifferencebetween groups on
measuresof tone qualityand range fortrumpetsand hornsare not surprising
given the durationof the study.While both groups demonstratedslightimprovementfor both measures, dramaticchanges in tone quality and range
would notbe anticipatednormallyin five weeks of instruction.It is recommendedthatfutureresearchextendthetreatment
period to determineifmore
timeforpracticeof the new breathingmode would have a positiveeffecton
tone qualityand range.
thetrombonesubjects in the experimentalgroup did show
Interestingly,
a significantdifferencein range over the controlgroup. Apparentlythese
studentswere able to benefitfromthebreathinginstructionin the shorttime
of thestudy.Whythetrumpetand hornstudentswere notable to show similar
resultsis a topic forfutureinvestigation.
The thirdperformancevariable, duration,was not significantbetween
groups, but simple main effectswere significantpre- to posttestfor the
treatmentgroup. This would seem to indicatethatthe change in breathing
mode forthetreatment
groupproduceda longerdurationof tone as a resultof
improvedbreathmanagement. However,thecontrolgroup also increasedin
duration,probablyas a resultof thegreaterthoracicexpansionshown inTable
1. While this increase was slightlymore than half of thatof the treatment
group,itwas enoughto confoundthestatisticalsignificancebetweengroups.
The resultsof thisstudy,withlimitedinferencedue to thesmall sample,
suggest that improvedbreathingtechnique is possible for universitybrass
playersusing a sequential methodof psychomotorinstruction.A secondary
benefitis the knowledge gained concerningthe breathingprocess. Further

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70

...Effects of Breath Management Instruction...

research in breath managementinstructionis needed to establish the link

betweenperformanceparametersand breathingmode.

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