Council for Research in Music Education

Preferences for Trumpet Tone Quality versus Intonation

Author(s): Clifford K. Madsen and John M. Geringer
Source: Bulletin of the Council for Research in Music Education, No. 46 (Spring, 1976), pp.
13-22
Published by: University of Illinois Press on behalf of the Council for Research in Music
Education
Stable URL: https://www.jstor.org/stable/40317397
Accessed: 24-09-2019 03:41 UTC

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 13

PREFERENCES FOR TRUMPET TONE QUALITY

VERSUS INTONATION

Clifford k. madsen and John m. geringer

Scientific inquiry in the musician's world of art represents a uniqu

attempt to understand and eliminate some of the numerous difficult
encountered by performing musicians. Perhaps one of the most importan
areas of investigation for any musician or musical organization concer
playing or singing "in tune." Achieving satisfactory intonation remains a
major concern for musicians; however, a problem has always been present
in regard to the relationship between tone quality and intonation. Recog-
nized as a fundamental skill, good intonation is necessary to excellence in
musical performance; good tone quality also. These tenets have stim
lated a growing interest in the scientific study of intonational patterns i
relationship to other related problems. The relationship between perc
tual discrimination and performance responses is largely inferentia
although aural discrimination ability would appear to be a major pr
requisite to intonational proficiency. The present study was undertaken t
investigate patterns of judgmental discriminations and preferences w
regard to trumpet tone quality versus tuned and mis-tuned accompa
ment of a simple musical phrase.

Survey of Literature

The experimental study of auditory phenomena constitutes a

portion of the scientific investigation of relevant variables in m
performance. Subtle discriminations of the ear to frequency ch

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14 Clifford K. Madsen and John M. Geringer

intensity and duration have long been investigated. Prev

focused upon the relation of pitch to intensity (Stev
Garner, & Galambos, 1951), the differential sensitivity
changes with successive tones (second tone higher or low
as well as frequency modulations of single tones in v
situations (Vance, 1914; Knudson, 1923; Kranz, 1923; Shower and
Biddulph, 1931; Harris, 1952; Sergeant and Harris, 1962; Madsen,
Edmonson, & Madsen, 1969).
Research in performance over the past 35 years has primarily been con-
cerned with an analysis of performed intonational deviations in an isolated
musical situation (Hurley, 1940; Madsen, 1962, 1966; Edmonson, 1967;
Forsythe, 1967). Suggestions for improvement in discrimination and
performance of pitch also involve a vast amount of research (Graves, 1964;
Vorce, 1964; Cuddy, 1965; Albert, 1967; Madsen, Wolfe, & Madsen,
1969). The performance of scale intonation has been isolated for experi-
mental study, indicating propensity to perform with sharp intonation.
Consistent with this is an ability to discriminate flatness more accurately
than sharpness (Madsen, 1969, 1972, 1974; Sharp, 1972).
Analysis of total cent deviation and sharp-flat deviation across a variety
of situations seems to indicate that musicians become progressively more
discriminating in relation to both age and musical training toward percep-
tion and performance of descending musical patterns. The only exception
seems to be musical intervals which are performed with less cent deviation
in ascending patterns (Edmonson, 1972).
Investigation of the discrimination and performance of tone quality has
not been extensive. One study demonstrated that timbre, not intonation,
significantly influenced localization in the median saggital plane (Butler,
1973). The principal instrument and instrumental preference of subjects
have also been found to influence discrimination of timbre (Bernier and
Stafford, 1972). While the inter-relationship of timbre and pitch has been
investigated, most studies have made use of stimuli not usually present in
music (Fletcher, 1934; Lichte, 1941; Lichte and Gray, 1955; Jenkins,
1961; Plomp, 1967). In a study related to the present investigation, Greer
(1970), employing musical stimuli, found that there was an overall differ-
ence between a subject's ability to perform "in tune" with pitches sounded
in four different timbres and that there is some indication that the promi-
nence of certain partíais of a timbre might affect external intonation.

Statement of the Problem

The purpose of the study was to investigate aural discriminations an

preferences concerning trumpet tone quality and intonation. Subjec

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Preferences for Trumpet Tone Quality Versus Intonation 15

were asked to discriminate between good and bad tone quality and
rank-order eight sets of accompanied trumpet performances, thr
versions within each set. Each version varied in tone quality (good, b
and intonation (sharp, flat, or in-tune).
Two hypotheses were tested: (1) there is a significant difference in su
jects' preferences between tone quality and intonation within an acc
panied context, and (2) there is a significant difference in subjects' pref
ences for sharp, flat, or in-tune accompaniment in relationship to t
quality.

Method

Design

This experiment used a posttest-only design intended to measure the

effects of experimental manipulations. Subjects were asked to rank the
eight sets of trumpet performances according to the intonation and tone
quality of the soloist, in order to determine any notable trends in percep-
tual judgments. Subjects were also asked to indicate the reasons for their
ranking by placing a " + " (to indicate "good") or "- " ("bad") next to
the intonation and tone quality categories.

Selection of Subject and Materials

Fifty subjects randomly selected from the graduate and undergraduate

populations within the School of Music at the Florida State University
served as subjects.
The simple musical phrase selected for the experiment was the first
four-measure phrase of "Twinkle, Twinkle Little Star," played by the
trumpet in the key of concert F.
Recordings were made using a professional performer. The performer
played this phrase twenty times and a panel of music faculty selected the
one best and the one worst tone quality performed from these twenty
trials. Recordings were made while the performer viewed a Conn
Chromatic Stroboscope. The final versions selected for the experimental
tape were within ±2 cents of equi-temperament. Further, a series of
harmonic analyses were made to ascertain the differential spectral charac-
teristics of the two trumpet tone qualities. These analyses were made on a
Sound Spectrograph (Kay Electric Company, Model 6061 A, Pine Brook,
N.J.). The chief distinguishing feature between the two qualities was that
for the mean of all tones, the second harmonic (first overtone) of the
judged bad quality was 17 dB lower in relative sound pressure level than

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16 Clifford K. Madsen and John M. Geringer

the same harmonic of the good quality. There were other c

tral differences, and these are shown in Figure 1.

Figure 1. Mean Harmonic Content of Judged Good Versus Bad

Trumpet Tone Quality

Mis-tuned Deviations

All accompaniments were played on a Johnson Intonation Trainer

(E. F. Johnson Company, Waseca, Minnesota) and consisted of open
triadic harmony in octaves other than the trumpet melody. This apparatus
has variable tuning for the twelve chromatic semitones with each having a
tunable range of about six semitones. The Conn Chromatic Stroboscope
(C. G. Conn Company, Elkhart, Indiana) was used to calibrate the mis-
tunings. Adjustments were made in cent deviations from the equi-
tempered scale as indicated by the stroboscope (a cent is equal to 1/ 100th
part of an equi-tempered semitone). The starting pitch was always F
(349.23 Hz). The cent deviations from equi-temperament of the mis-tuned
accompaniments were 25 cents flat and 50 cents sharp. The third accom-
paniment version was calibrated for in-tune performances.

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Preferences for Trumpet Tone Quality Versus Intonation 17

Experimental Environment

Subjects listened to all recorded materials in small groups of 4-8 i

room designed for experimentation in music. Pilot investigations involv
individual testing with individual earphones to control for record
imperfections and external noise distractions did not indicate significan
differences from group presentations (F < 1). Trials were recorded
reproduced for subjects on a Sony Recorder model number TC 630.

Procedures

All subjects were first asked to indicate their ability to discriminate

between good and bad tone quality by responding to two recorded
examples, each of which consisted of two versions of the musical phrase
without accompaniment. Subjects were instructed to judge the versions
only in relationship to the tone quality of the examples. All fifty subjects
correctly categorized the examples. These two items were included to
establish the construct validity of the stimuli. If subjects were unable to
discriminate between good and bad tone quality independent of the
accompaniment, any meaningful comparison of the relative importance of
intonation versus tone quality would be precluded.
All subjects were then given a test comprised of eight trials of trumpet
performance accompanied with the Johnson Intonation Trainer. Each
trial consisted of the three intonation conditions (50 cents sharp, in-tune,
and 25 cents flat-accompaniment) played with good or bad trumpet tone
quality in a block random order. The eight sets of trial presentations were
also block randomized to control for order effects. Alternatives on the
answer sheet were designed to avoid possible test-choice preference with
regard to position of the answers. Subjects indicated responses by rank-
ordering the three performances of each trial, and indicated reasons for
their rank-order by placing a plus (+) or minus ( - ) next to the rank for
the two categories intonation and tone quality.
The tempo of all presentations was held constant throughout all test
items. The metronomic marking was set at 90 beats per minute ( J = 90)
and each note of the phrase was held the duration of one tick to the next
(one full beat). While duration may well be a factor in pitch and quality
discrimination (Bachem, 1954; von Bekesy, 1963), in the present study
this was held constant and was not experimentally manipulated.
Between the three items of each of the eight trials, subjects listened to
30 seconds of recorded music intended to destroy any possible tonality
affects (Music: Borodin Symphony #2 in b minor, first movement - no
subject recognized the music). All tunings were calibrated before and
monitored during experimental manipulation (±2 cents).

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18 Clifford K. Madsen and John M. Geringer

Results

Raw data consisted of eight sets of categorical indications for intonat

(+ or - ), eight sets of tone quality responses (+ or - ), and eight se
rankings. Analysis of the data indicated that subjects indeed discri
nated across total stimulus presentations as evidenced by their rank
(x2 = 136.68, df = 5, p < .001). These data are presented in tabular f
in Table 1 . The tendency for sharp and in-tune intonation to be prefer
over flat intonation regardless of tone quality is clearly apparent.
Table 1. - Summed Ranks for Trumpet Tone Quality and Intonation

Quality Good Bad Good Bad Good Bad Total

Intonation sharp sharp in-tune in-tune flat flat
Rank 312 320 332 356 520 560 2400

Summed Ranks are based upon rank o

and 3 = least preference.

Specifically, when the data were

intonation only, subjects demons
sharp, flat, and in-tune intonat
analysis of good versus bad tone
difference (x2 = .082, df = 1, p >
all subjects had earlier demonstrate
nation when the accompaniment
Additional analyses were made o
roborate evaluation of the rank
bered that subjects were asked to
Subjects differentiated both into
quality (x2 = 114.38, p < .001).
An analysis of the intonation cate
variable demonstrated again that
intonation conditions (x2 = 198.92
category analyzed with respect to t
cated no significant differences
Evaluation of the categorical respo
cated further substantiation of t
differentially to the category "ton
(X2 = 64.79, df = 2, p < .001) and di
tone quality itself was varied, altho
good tone quality (x2 = 3.11, df
Surprisingly, in both the rank-or
ences for intonation were indicat

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Preferences for Trumpet Tone Quality Versus Intonation ig

second in- tune, and third, flat. Significant differences were found between
the following: in-tune versus flat (x2 = 75.48, p < .001 ranked data; and x2
= 96.92, p < .001 category data), and sharp versus flat (x2 = 108.77, p <
.001 ranked data; and x2 = 131.57, p < .001 category data). Direct com-
parisons between sharp and in-tune were not significantly different, how-
ever, for the ranked (x2 = 3.17, p > .05) or the categorical (x2 = 3.68, p >
.05) indices.
Results of the present study may be summarized as follows: (1) Gradu-
ate and undergraduate music majors discriminate between good and bad
trumpet tone quality when the trumpet performance is not accompanied.
(2) Subject preference for good versus bad quality within an accompanied
context is not significantly different. Additionally, reasons (expressed
"good" or "bad") given for these preferences are also not significantly
different. (3) Subjects preferred sharp and in-tune accompaniment signifi-
cantly more than flat accompaniment. (4) In every comparison subjects
indicated preference for intonation as opposed to quality. Even when sub-
jects responded categorically to the tone quality index, data indicated that
subjects were actually responding to intonational variables rather than
quality variables.

Discussion

This study represents an attempt to combine two aspects of m

performance (intonation and tone quality) in order to investigate
inter-relationship. Researchers who are concerned with adequatel
trolling stimulus presentations will immediately realize the difficulti
attempting to investigate more than one variable simultaneously.
fore, caution should be taken in interpreting current findings m
because of limitations concerning the present study. It is consequ
however, that two pilot studies (N = 53) while basically inten
exploratory, substantiated these results. Nevertheless, caution is in or
Findings from this study are derived from only one trumpet perfor
(emphasizing good versus bad quality) playing one simple tune, a
panied by an electronic keyboard instrument in simple triadic har
Therefore, to consider the present study as anything more than a pr
nary investigation of these variables is to stretch the musical imagin
Regardless, several aspects of the study seem extremely interesting
warrant both replication and additional investigation. It sho
remembered that all subjects evidenced easy and consistent ability in
criminating between the good and bad quality without accompan
Furthermore, spectrographic analysis as well as the panel of experts
roborated the extreme differences between the tone qualities. Theref

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20 Clifford K. Madsen and John M. Geringer

the magnitude of subjects' responses in not being able

within context the exact same tones when they were n
seems very surprising.
Two areas of particular interest are relevant to the
instructor. Musically trained listeners to music apparently
mum degree of tone quality discrimination in an accom
Applied music instructors may be overemphasizing the im
quality in a performance setting, by spending a good d
energy attempting to attain that elusive goal of a "musical
tone quality. If listeners cannot tell the difference betwee
best and worst tone qualities in context, as this study
suggest, time would seem to be more profitably utilized in
of good intonation within and between soloist and accom
The second important finding of interest concerns the d
satisfactory intonation in musical performance. Many rese
the past have dealt with very small differences in var
studies which compare Just Intonation versus Equal Te
present study suggests that deviations in intonation can
cents (1/4 tone) between soloist and accompanist and in
be preferred to the same extent or even preferred to a gr
strictly correct intonation. Specifically, on the basis of pa
several pilot studies, the present experiment was structure
this sharp/flat difference by making the sharp accomp
out of tune and the flat accompaniment only 25 cents o
with this difference it should be emphasized that the s
ment was not significantly different from the in-tune
This tendency appears only to operate for deviations o
however, and much smaller deviations towards flatness (less than 1/8
tone) are judged as out of tune and of poor tone quality.

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