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Emily Loboda, Central Michigan University Filling the Gaps of Saxophone Method Books: A Literature Review of Overtone Production Techniques
The purpose of this literature review is to provide crucial missing information from saxophone method books on how to produce overtones and improve tone. The terms harmonics and overtones are used interchangeably in the literature, though distinct definitions and uses of these two terms are discussed in the paper. The playing of overtones on the saxophone helps in acquiring altissimo register and improves clarity, definition, intonation, control, resonance, dynamics, timbre, and flexibility. However, the process for producing overtones is unclear in four standard saxophone method books. The method books provide different approaches to one similar set of issues: embouchure development, manipulation of the oral cavity and vocal tract muscles, use of air pressure, and application of mental pitch aim. Missing in these method books are procedures for training the inner ear of saxophonists and video and picture examples of specific tongue placements. Two methods to teach overtones compiled from a review of literature supplement these standard method books. The first is to change the embouchure and position of the reed in the mouth combined with airflow or pressure. The second is to use trial and error with the components of embouchure pressure, air support, throat position, and mental pitch aim.
Jared R. Rawlings, University of Michigan - Ann Arbor Knowing Yourself: Preservice Music Educators’ Changing Perception of Personality
It is the goal of every music teacher education program in the United States to provide a high quality education to every preservice teacher. Despite pressure for preservice teachers to succeed in the Student Teaching experience, some have never been taught the skills of knowledge assimilation, application, and adaptation during their undergraduate coursework. Knowing yourself, while possessing these skills, accelerates a preservice teacher’s ability to connect with students, their teaching mentor(s), and the phenomenon of Student Teaching. Music teacher educators have expressed interest in this area of social psychology by gathering data from preservice music teachers using a variety of statistically reliable instruments for determining personality type (Bergee, 1992; Rushton, 2007; Sprague 1997; Teachout, 2001; Wubbenhorst, 1994).
Research connecting self-knowledge and personality typology is valuable because it will allow teacher educators to deepen their understanding of the role of personality as it relates to the phenomenon of Student Teaching. Literature that was selected for this review was specifically chosen to illuminate the relationship between the acquisition of self-knowledge, teacher development, and music teacher personality typology as it relates to the experience of Student Teaching. Topics include reflection as a means of gaining self-knowledge, methodologies used for reflection, teacher development during Student Teaching, music teacher personality typology, and music teacher success predicted by the Myers-Briggs Type Indicator (1962). Also discussed are theories of self-knowledge according to John Dewey and Bernard Lonergan and ways in which researchers have attempted to apply these theories to contemporary models of teacher
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