Effects of wind ensemble seating configurations on college instrumentalists’ perceptions of ensemble sound

Abstract

The purpose of this study was to examine the effects of wind ensemble seating configurations on college instrumentalists’ ratings of ensemble sound. Members of a university wind ensemble (N = 40) were recorded while performing a 1-minute excerpt of Only Light by Aaron Perrine in one of four ensemble configurations. At the conclusion of the recording session, the performers wrote free-response comments to “In which of the four configurations did you feel the ensemble sounded their best?” and “Why?” Another set of participants, college ensemble members (N = 121), listened to the four audio recordings and rated the ensemble tone quality, ensemble balance, and ensemble blend of each performance. Performers mentioned that ensemble balance and ensemble blend were important factors that influenced their decision as to why the ensemble sounded their best in a particular configuration. An analysis of the composite ratings revealed a significant main effect for ensemble configuration. However, there was a significant ensemble configuration × order interaction signifying that participants’ ratings were influenced by the order in which they heard the excerpts. Our results may suggest that ensemble configurations produce different listening environments for performers and audience members.

Keywords

balance blend ensemble seating tone quality wind ensemble

Get full access to this article

View all access options for this article.

References

Battisti

F. L.

(2002). The winds of change: The evolution of the contemporary American wind band/ensemble and its conductor. Milwaukee, WI: Hal Leonard Corporation.

Begian

(1997). Experiments in band seating. Instrumentalist, 52(5), 65–83.

Boyle

J. D.

Radocy

R. E.

(1987). Measurement and evaluation of musical experiences. New York: Schirmer Books.

Clark

T. J.

(2015). The effects of three seating arrangements on players’ preference of sound in a string orchestra (Unpublished master’s dissertation). Grand Valley State University, Allendale, MI.

Cohen

(1992). A power primer. Psychological Bulletin, 112(1), 155.

Colwell

R. J.

Goolsby

T.W.

(2002). The teaching of instrumental music (3rd ed.). Boston, MA: Prentice Hall.

Cooper

L. G.

(2004). Teaching band & orchestra: Methods and materials. Rochester, NY: Boydell & Brewer.

Creswell

J. W.

(2007). Qualitative inquiry & research design: Choosing among five approaches (2nd ed.). Thousand Oaks, CA: Sage.

Curry

(1994). Changing seating to suit the music. Instrumentalist, 49(5), 56–57.

10.

Daugherty

J. F.

(1996). Differences in choral sound as perceived by auditors and choristers relative to physical positioning and spacing of singers in high school choir: A pilot study. Research presentation at MENC National Convention, Kansas City, MO.

11.

Daugherty

J. F.

(1999). Spacing, formation, and choral sound: Preferences and perceptions of auditors and choristers. Journal of Research in Music Education, 47(3), 224–238.

12.

Daugherty

J. F.

(2003). Choir spacing and formation: Choral sound preferences in random, synergistic, and gender-specific chamber choir placements. International Journal of Research in Choral Singing, 1(1), 48–59.

13.

Ekholm

(2000). The effect of singing mode and seating arrangement on choral blend and overall choral sound. Journal of Research in Music Education, 48(2), 123–135.

14.

Faul

Erdfelder

Lang

A.G.

Buchner

(2007). G*Power 3: A flexible statistical power analysis program for the social, behavioral, and biomedical sciences. Behavior Research Methods, 39(2), 175–191.

15.

Feldman

Contzius

Lutch

(2015). Instrumental music education: Teaching with the musical and practical in harmony. New York, NY: Routledge.

16.

Fennell

(1954). Time and the winds. A short history of the use of wind instruments in the orchestra, band and the wind ensemble. Carlsbad, CA: G. Leblanc.

17.

Garofalo

Whaley

(1976). The symphonic wind ensemble: Seating for sound improvement. Music Educators Journal, 62(9), 36–42.

18.

Gifford

R.M

(1995). Alternative seating solutions. Instrumentalist, 49(9), 16–27.

19.

Green

E. A.

(1992). The modern conductor (5th ed.). Englewood Cliffs, NJ: Prentice Hall.

20.

Hansen

R. K.

(2005). The American wind band: A cultural history. Rochester, NY: Boydell & Brewer.

21.

Hindsley

M. H.

(1976). Seating arrangements for concert band. Instrumentalist, 32(10), 17–21.

22.

Hunsberger

(1985). Flexibility—The name of the game. Band, 6–9.

23.

Hunsberger

Ernst

(1992). The art of conducting (2nd ed.). New York, NY: McGraw Hill, Inc.

24.

Jagow

(2007). Seating arrangements. In Teaching instrumental music: Developing the complete band program (pp. 218–219). Delray Beach, FL: Meredith Music.

25.

Kruth

E. C.

(1962). Sound and seating. The Instrumentalist, 50(7), 46–47.

26.

Maiello

A. J.

Bullock

Clark

(1996). Conducting: A hands-on approach. New York, NY: Alfred Music Publishing.

27.

Miles

R. B.

(2004). Improving performance through “sound” seating. In Blocher

Miles

R. B.

Corporon

(Eds.), Teaching music through performance in band: Volume 5 (pp. 72–95). Chicago, IL: GIA Publications.

28.

Montemayor

Silvey

B.A.

(2018). Conductor expressivity affects evaluation of rehearsal instruction. Manuscript in review.

29.

Murray

S. P.

(2006). The effect of four virtual wind ensemble formations on auditors’ perceptions of and preferences for overall wind ensemble sound (Doctoral dissertation). Florida State University, Tallahassee, FL.

30.

Page

(2004). The balance and blend improve with different seating plans. Instrumentalist 58(8), 32–35.

31.

Perrine

(2014). Only light. Mount Vernon, IA: Perrine Publications.

32.

Renshaw

(2000). Seating bands for the music, musical chairs for artistic goals. Instrumentalist, 55(3), 18–26.

33.

Silvey

B. A.

Montemayor

Baumgartner

C. M.

(2017). An observational study of score study practices among undergraduate instrumental music education majors. Journal of Research in Music Education, 65(1), 52–71.

34.

Tocheff

R. D.

(1990). Acoustical placement of voices in choral formations (Doctoral dissertation). The Ohio State University, Columbus, OH.