Almazan 1

Justin Almazan
Graduate Studies
Doctoral Research Proposal
January 31, 2021
Abstract
Music is often described as a universal language. Although this term oversimplifies the vast, complex systems of
information which constitute music, there may be a correlation between language acquisition and musical learning. After
all, most knowledge passed from teacher to student is done verbally. To this end, the primary focus of my proposed
doctoral research would be an investigation of the beneficial points of overlap between linguistic and musical aptitudes.
Specifically, through research, experimentation, and guidance from Schulich Research experts, I will seek to understand
how language can be implemented in order to affect and improve delivery of a musical performance, ensemble playing
techniques, practice efficacy, and the teaching of young performers from elementary to college age. By tapping into the
academic resources and expertise available to me over the course of this program, I hope to be able to more effectively act
on my curiosity through proactive research methods. The resultant enhancement of my own performance, private practice,
chamber music abilities, and teaching skills will further advantage my future career as a versatile teacher-performer.

Possible Considerations and Preliminary Questions for Proposed Research

On the micro-level of language usage, cue words are short phrases used in sports psychology to achieve a focused,
motivated mindset to optimize an athlete’s performance. This sweet spot of hyperfocus is equally crucial to musical
performers, and researching ways to optimize this method may greatly benefit classical musicians. One aspect of cue
word usage to be further explored through my proposed line of research is the search for the optimal number of cue
words per given amount of music. I expect to consult with faculty on how best to frame experimental parameters so
as to achieve accurate data collection and draw coherent conclusions. In addition to ​number​, examination of cue
word ​quality​ (emotional, physical, pictorial etc.) may also yield interesting and potentially beneficial results.
Likewise, it will take time and feedback from research faculty in order to design a reliable method of research.

In a more macro-oriented approach to studying the integration of music and language, bilinguality may present a
compelling variable as a component of my proposed research. If learning music can be compared to language
acquisition, perhaps a bilingual element of music education may bolster musical learning. Perhaps existing studies
on the advantages of a bilingual brain can be drawn from or even added to over the course of my research.
Conceivably, the bilingual culture of Montréal could provide an essential environment in which to study these
particular effects of languages on music studies. To start, one can pose the question of how a bilingual lesson
environment affects the rate at which a performance student progresses?​ ​Moreover, do bilingual students respond to
verbal stimuli differently depending on the language used by the instructor?

Lastly, I foresee that variation in degree of technical proficiency among potential test subjects (musically and or
terms of language ability) may demand great attention in designing experiments with results worthy of review.

Proposed Data Collection Methodologies

(These Methodologies will be later refined with input from Schulich experts)
1. Compile and decode a list of best practices from notable pedagogues who use(d) verbal triggers to enhance
mental alertness during practice thus affecting performance results. Some pedagogues and examples of their
techniques include:
a. Dorothy Delay - Voice technical act to strengthen accuracy and vividness of muscle memory “cross, shift,
slur” etc.
b. Karen Tuttle - Guttural exhale “ha, hey” to add natural bow weight and relaxation
c. Leon Fleisher - Count aloud in the meter and character of the music
d. Cavani Quartet - Practice difficult quartet sections vocally in unison.
e. Various/unknown - Voice fingerings aloud “1” for first finger, “2” for second etc.
2. Determine the optimal exact number or number range of cue words for peak orchestral excerpt execution.
Example experiment:
a. Assign 3 control groups one orchestral excerpt to learn in a week. Allow the first group only 1 word of
choice to write on their music and embody in their performance. The second group will write 5 words. The
third group will write 10. Rate the resultant performers in terms of intonation, rhythm, and appropriateness
of musical character.
b. One drawback may be the subjectiveness of human evaluators and imprecision of criteria.
 Almazan 2

3. Explore how quality (emotional, physical, pictorial etc.) of cue words impacts performance? Example
experiment:
a. Give 3 different control groups 15 minutes to learn an unknown musical excerpt. First group is given an
emotive word to apply in performance, the second a physical command (i.e. breathe or relax), and the third
an image (i.e. lake, sunset). Rate performances in terms of intonation, rhythm, musicality.
4. Pursue lessons in regimented phases of French and English, collecting quantifiable data on the effects. For
example:
a. 3 weeks of consecutive lessons in French VS. 3 weeks in English VS. 4 weeks of alternating language of
instruction.
b. At the end of each specified language regimen, perform in studio class and have studio mates rate
performance out of 10. Ask the instructor to rate musical progress in the same manner.
c. Drawbacks include inability to account for external circumstances within the span of several weeks that can
affect the quality of live performance.
5. Assessing the extent to which the reading of a relevant text can affect a performance. Potential experiments to
gather subjective data include:
a. Assign 3 student string quartets the same passage from Janacek’s “Intimate Letters” quartet to learn over
the course of 1 week. Provide each group with a text to inform their upcoming performance. Ask each
group to keep this information confidential. Group 1 will be given an actual letter written by Janacek.
Group 2 will be given the technical criteria (intonation, ensemble, balance etc) they will be graded on.
Group 3 will only be given the information provided in the score (tempo marking for example). Have an
impartial panel assess and comment on the performances, and try to surmise what texts each group was
given.

Research Areas of Secondary Interest

Equity & inclusivity in string pedagogy methods​ - Bridge the gap in music education for Indigenous and
underrepresented communities by studying existing and cultivating new culturally conscious, accessible teaching
methodologies and performance outreach initiatives. Research and career outcomes will be:
a. Incorporate and develop applications for music from my ongoing academic mentorship role for Inuit
and Indigenous students in Montréal.
b. Increase interactivity and mutually beneficial cultural exchange between classical musicians and
remote or underserved communities, with an emphasis on Aboriginal sectors.
c. Develop an organization pattern of performance and education outreach
d. Increase the number of Indigenous music educators and performers in performers within their home
communities in Canada.
Highlighting the roles of Native Americans in Classical music​ - As two constructs of Western culture, classical
music history and the canon of classical repertoire are theoretically founded upon many of the same tenets of
exclusion and systemic racism that much of Western society was built on. To encourage a more complete and
inclusive music history curriculum, I will contribute research focused on the space that Indigenous people occupy in
music history and composition. As Montréal and the province of Québec have been cultural intersections for
Indigenous people and Francophones, I will also devote research intended to use classical music as a catalyst to
forge connections between these two communities. Specific goals will be to:
e. Explore and underscore the Native American roots of the chaconne and sarabande as dance and
composition forms resulting from colonization.
f. Characterize national attitudes toward and portrayal of Native Americans in the following baroque
operas and the relevant historical implications:
i. Henry Purcell - The Indian Queen
ii. Jean-Baptiste Lully - Le Temple de la Paix
iii. Jean-Philippe Rameau - Les Indes Galantes
iv. Antonio Vivaldi - Motezuma
v. Carl Heinrich Graun - Montezuma
g. Expand existing music scholarship on Aboriginal peoples by performing, cataloging, and
commissioning works by all genders of First Nations, Métis, and Inuit composers.
h. Investigate historical relations between the French and Aboriginal people in the Americas and the
implications for inclusion within classical music in Québec today.