Anatowind℠ POV

Welcome to our blog! This section is updated regularly with research, stories, and events.

      Strobe Update


      January
      28th

      The Anatowind Clinic has developed a musical teaching process (registered with The Patent and Trademark Office number 0714264) that allows quantifiable measurement of progress in tonal development in any student no matter what age, or ability level. During the past year, the Anatowind Music Clinic has produced multimedia materials to assist with marketing and teaching this process.
      In the Anatowind Teaching Process, music starts with the person and is amplified through the instrument to interpret the musical notation that is being performed. The tone of the instrument is one of the first domains measured in the musical process and the quality of it’s formation has always been subjective. The Anatowind Teaching Process chooses to evaluate tone in an objective manner though the use of a device called a Strobe; which breakes tone down in a scientific manner according to the laws of physics.
      In the course of the teaching process a baseline of tonal formation is established, and a physiological path of development for the performer is created and studied. The Strobe is then used as an objective evaluation device to establish the level of development and growth in the performer’s efforts and progress. The tonal formation presented in the Strobe is then measured against the other vents of musical performance: tempo, volume, range, and endurance.
      Through the use of objective measurement, the student is able to quickly judge for themselves their level of growth and progress and can take ownership for their results produced.
      This course of study can be applied though both the individual and ensemble study.

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      Anatowind Strobe Upate


      December
      31st

      Anatowind Strobe Update: We are close to finishing the following…

      The Anatowind Clinic has researched a new way to teach the concept of tone within The Anatowind Musical Teaching Process using a strobe tuner. Using the strobe, an Anatowind trained musician is able to visually confirm the tonal formation of their sound according to the natural laws of physics.

      This process gives quantitative proof of muscular functioning and can diagnose individual needs in player’s performance habits, as well as documentation of growth over time of theraputic interventions to improve player’s performance habits using the Anatowind Musical Teaching Process. Along with the doctoral dissertation completed on Anatowind, this will give musicians a solid scientific foundation for the study of music. This will show the proper coordination between embouchure and breathing. You can’t have one without the other. For anyone interested in updating their musical situation, they will find this interesting.

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      The Anatowind Music Clinic Breathing Pamphlet


      November
      19th
      Preface - The use of the respiratory system and its relationship to music performance has a unique scientific role in the production of tone. The use of the air serves to generate a musical sound and its only role is that of bringing the performance into focus in the area of performance. The air really comes closest to being the person in our basic three formula factors of person, instrument — voice — and musical notations.
       
      At the onset of the research for Anatowind the respiratory system gained a head start in terms of its physiological association. Perhaps now in thinking back this was a most important ingredient for the total research. Prior to the research the author had had extensive breathing assistance in terms of on-the-job training. The teacher in this study was Albin I. Johnson, who graduated from the Ernst Williams School of Music in New York. This school had advanced the development of breathing far beyond the conventional line of development at this time. Basically what the author learned were the total parameters of breathing. His performance at this time could use limited breathing assistance since the embouchure — head study formation — was not formed well enough to test the parameters.
       
      When the research on the head structure began the backlog of breathing development was there and available to be used. Interestingly, each of the in-depth extensions of breathing development came in one by one as the embouchure development could afford it. This study will proved a scientific association as to how the breathing is “hooked up” to the emboucure or the voice in the production of musical sound.
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      The Anatowind Clinic


      October
      29th
      The Anatowind Clinic
      (as defined relative to Patent Registration Number 0714264, April 18th, 1961)
       
      The term “Anatowind” is derived from two sources, namely, the “anatomy” and “wind instruments”.
       
      The combination of the terms produces the word “Anatowind”, which relates the anatomy to wind performance and signifies important concepts in wind performance and the effectiveness of different factors involved.
       
      When a tone is emitted from the wind instrument, it represents a result based on the effectiveness of the anatomy as used in projecting such, plus the fact that the sound was also partially produced by the instrument. A tone produced by a mechanical apparatus as distinguished from the human being would be devoid of many characteristics of musical value which the human anatomy is capable of determining. For example, when the facial structures change as a result of changing tones, a sound effect is reflective of such changes.
       
      The Anatowind Musical Teaching Process, then, is a scientific study of the contributions of the anatomy in wind playing, and this study tends to show ineffective changes within the anatomy which produce unmusical results. Likewise, as a result of such study, a formula has been devised which will show that there is really one complete picture of embouchure formation which relates all parts of the facial structure to one complete performance, and should any part be missing or functioning incorrectly the total performance is affected.
       
      It is the aim of The Anatowind Musical Teaching Process to first of all define the different parts of the anatomy, particularly the facial structure, to effective wind performance. It is also the aim of The Anatowind Musical Teaching Process to relate basic aspects of anatomy to each other, all of which tends to produce more effective performance. It is the aim of this scientific approach to show that there is no guarantee that any part of the anatomical structure will automatically function within the degree of certainty without academic direction on such functions. The study shows remedial parts of anatomical functioning which tend to undermine wind performance. Such remedial characteristics tend to produce problems which require a course of travel in an anatomical sense before effective anatomical  development can be made which will guarantee effective wind performance.
       
      Finally, as a result of foregoing study, it will be quite evident that the first vocabulary for previous traditional approaches to wind performance, which are not of a truly scientific nature, will be brought into evidence. A sense of logic pertaining to the functioning of the anatomy will be developed, which will prove that there is one coordinated effort of the anatomy which will produce a higher quality of musical performance, and not several uncoordinated efforts as had been thought previously.
       
      James W. Simmons, Clinic Director
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      Anatowind Records


      September
      23rd
      Upon enrolling at the Clinic, clinical records are necessary to define the Clinic and its scientific base of operation. The anatomy base is the source of the clinical science and each individual has different characteristics which must be diagnosed and defined. Clinic records include videos, pictures, tapes, and questionnaires. These are the base for obtaining facts upon which to make clinical musical decisions. Comparative musical growths can only be substantiated through these records, which form the base of reference for all supplementary clinical decision processes.
      The operation takes the opening records and moves the muscular tablature through a proper functioning design to make the performance more effective. A performance will change in terms of physiological functioning, and without the Anatowind Musical Teaching Process most performances will reach limits prematurely. With the Anatowind Musical Teaching Process, the outer limits of performance are guaranteed to be extended if the Anatowind Musical Teaching Process is properly interrupted by the performer.
      The Anatowind Musical Teaching Process, then, conducts a scientific format for performance, from the inception of sound to the final production.
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      The Doctoral Dissertation on Anatowind


      August
      10th

      Following is an excerpt from the forward of The Doctoral Dissertation on Anatowind, completed by Sister Cecelia Schlaefer through The Catholic University of America, Washington, D.C., 1975.

      “Two important words recur throughout the paper, “bone tone and flesh tone.” A bone tone is defined by Anatowind science as a hard penetrating fundamental vibration centered on the bone structure of the embouchure. The mouthpiece is so anchored into the jaw bone that it causes the air to vibrate the skeletal frame much like the struck strings of a piano vibrate the sound board. Bone tones are used in jazz and hard rock performances. A flesh tone is defined as one produced with the mouthpiece anchored into the puckered, resilient and flexible orbital muscles. The vibrations come through the flesh rather than through the bone-sounding board structure. This type is used in classical and more soft playing. The combined flesh-bone tone is the ultimate sound.”

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      Proposal for Midwest Band Clinic


      June
      4th

      Proposal for Mid West Band Clinic

       

      Title: Using A Strobe Tuner To Improve The Sound Of Your Band – Its Not Just For Tuning Anymore.

       

      Required Materials:

      • LCD Projector
      • Projection Screen
      • Laptop Computer
      • Sound System to project video content to audience

       

      Section 1 – Physics of Sound and Physiology 15 min

       

      The strobe tuner is a tried and true device used to measure precise intonation and many band programs have them in their rehearsal hall to measure pitch.  The strobe also will measure the balance of fundamental and overtones within a presented sound and this function of a strobe is often not used to its fullest potential.   This section of the presentation will show how an individual player’s sound can be measured scientifically through the use of the strobe to show both tonal formation and intonation as separate factors and how they affect an over all musical performance.

       

      The production of a wind instrument tone starts with the person, rather than the instrument.  Each performer approaches their instrument with an individual teeth, lip and jaw structure.  How the instrument connects with the unique physiology of the performer’s teeth, lip and jaw in association with the connected airstream have a direct and dramatic effect on the tonal formation and intonation the performer will produce.

       

      Players can make changes to how they develop the overall muscles of the face through the contact with the teeth, lip and jaw through the use of adjustments in how they connect to the instrument.  The introductory section of this work shop will show through the use of time lapse video that a player’s physiology can be changed over the course of time by using adjustments to improve the tonal and intonation results of a performance.  Clinicians will also demonstrate how a performer can use a strobe to document those changes over time to prove growth occurred.

       

      Discussion will take place concerning how attention to the individual players sound can have an impact the over all sound of a performance group.

       

      Section 2 – Using The Strobe Tuner Within Small and Large Ensembles.  20 min

       

      Clinicians will show how the strobe can be used as a rehearsal tool with both large and small ensembles to teach students how their individual sound fits in with the both a large and small ensemble and how they can use adjustments to continue to keep their sound adding to the overall group rather than subtracting from it.

       

      Video clips from a public school rehearsal will be shown to document the techniques of using a strobe tuner within an ensemble.  Video clips will be used to demonstrate how different sections are addressed individually as well as building toward the full ensemble.

       

      Section 3 – Bonus factors 10 min

       

      Clinicians will discuss additional benefits that were discovered during the development of strobe tuner use:

       

      ·                    Improved on task behavior

      ·                    Increased retention of students across middle school and high school break

       

      Student writings and video interviews will discuss how students perception of band has changed over strobe development.

       

      Section 4 – Question and Answer  15 min

       

      Clinicians will discuss question and answers on physiology and strobe tuner use taken from the audience.

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      Inception Of The Anatowind Musical Teaching Process


      May
      11th
      Following is an excerpt from The History, Theory, and Practice of The Anatowind Musical Teaching Process text.
      There will be several of these over this month of May.
      “Now we will go back and pick up the inception of The Anatowind Musical Teaching Process at the stage where the formula analysis began. We will deal with the type of project structure at that time and how it affected the playing embouchure. This set the stage for the beginning of the formula process, which started in 1957. The research began to make a lot of sense in 1953. At that time the transition stage of the embouchure was at the point where the old pre-conditioned embouchure almost began to be erased. The research at this point was to exhaust the study of the muscles of the embouchure and the respiratory system, and was not intended to keep a playing performance alive or keep the old embouchure intact. Ultimately the old embouchure would be “dressed up” to some extent for performance, but it would not be one whereby the player would establish a total new process of what muscles do and how they function. So we must understand that the founder of The Anatowind Musical Teaching Process was going for a complete change and a complete examination of all muscles as to their location and function.
      Therefore in 1953 he found that there would have to be a change in the environmental setting. He was a member of a symphony, playing first french horn parts, and also was head of a college wind department involving instrumental instruction, directing the college band, and responsible for student recitals. If he intended to seriously examine his muscles, he would have to tear the old pre-conditioned embouchure apart muscle by muscle, and re-examine what each area should be doing .This whole process could be somewhat alarming. If everyone started this course - which for this player was approximately a 30-year physiological study - it could be extremely discouraging. However as a result of his efforts it is not necessary for others who study The Anatowind Musical Teaching process to go through all of these stages. Nor will they have to duplicate the entire research in order to reap the benefits. Any embouchure problems or corrections can be covered because of these previous years of research.
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      Student Parent perspective


      March
      25th

      This year I’ve been able to play on a more relaxed natural embouchure. That showed up during performances on solos in which I was able to go up and down in range at fast tempos. I’m currently working on Sounds from the Hudsons which also requires that flexbility. I’ve spent the last 2 years on relaxation letting the air lead the embouchure. The embouchure which I developed at Anatowind overs 20 years time. I still have some work to do for the Sounds from the Hudson to Flow smoothly.

      My Daughter Anna will be working on Clarinet at Anatowind and my youngest Son Alex on Cornet this spring and Summer. Lisa my oldest daughter has been performing with the Elmhurst Wind Ensemble on Clarinet in which her Anatowind developed embouchure is serving her quit well

      Clifton Vandre

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      February
      2nd
      At the present time a child who has unusual interest may enroll under a program adapted to his or her age level and/or level of development. Anatowind also has had senior citizen students for clinical programming. Along the way in the course of our development professional people have been enrolled, some going on to national fame in the process.

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      31st

      Also during this time the first doctoral dissertation on Anatowind was researched and prepared for publication by a student from an outstanding Eastern University. this dissertation was examined by the United States Board of Statistics and Examiners whereby it was proven that muscles can be changed and that muscles do grow. During the dissertation preparation Anatowind students were compared with non-Anatowind students and it was proven without doubt in the dissertation that the Anatowind students surpassed the non-Anatowind students in terms of tone, tuning, volume, range, and tempo. At the conclusion of this dissertation program it was decided that the pilot light programming had matured to the point that Anatowind should enter into a full commercial program whereby a student could enroll for almost any phase of music development which he or she desired. this began in 1977 and we are continuing successfully in this phase of Anatowind.

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      29th
      The pilot light program extended to 1977 and during this time the research was written to form the Anatowind library of resources to be made available in all the foregoing areas. In a pilot light program students are enrolled in the first phases of clinical enrollment to test the validity of the materials along with the musical progress attained and equate din terms of musical growth and compensation for services. During this time research materials that were inappropriate were re-evaluated and written with more particular direction toward a physiological formation that the Clinic encountered as a result of enrolling different students.

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      25th
      By 1963 the Anatowind concept and its practices had outgrown its home, which was our residence, so it became necessary to find a better location. We leased a building in Beloit, which was to be called the Anatowind Clinic, and ultimately purchased it and developed it into a full fledged clinic with waiting room, therapy and laboratory rooms, and performance rooms. The developments thus far placed the Anatowind program in its first phase of a “pilot light” program. In this development the research was built into instruction and method areas to the extent that the formula processes could be fitted to the wind instruments first and ultimately extended into all musical instruments including the human voice.

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      22nd

      This was a tremendous accomplishment for Anatowind and really placed it here to stay. By this time its applications were starting to assist people at all age levels — professionals and beginners. Professional players sought us out for assistance in their playing performance, and although it would take too much time to mention names maybe a later story could be developed on that since some went on to top performance recognition.

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      19th
      I sought out a well-known patent attorney and asked him to audit some of the formula type demonstrations in Beloit. I felt that if these processes were written up and presented to the United States Patent Office registration of this could be entered and a trademark issued for use in the commercial field. the formula processes were submitted in 1959 and approved by the Patent Office in 1961. This registration reads “Teaching proper muscular coordination in the playing of musical instruments through personal demonstrations, clinics, reports, etc.”

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      17th
      By 1957 there were glimpses of a break-through and at this time I realized that there would be solutions in the future. this was very encouraging to me. By 1958 I needed an experimental school in which to try out certain therapeutic applications and fortunately a school district in the Beloit area hired me to assist the band director and at the same time do experimental work. This proved extremely beneficial along with the proof that the formula processes would work. This continued into 1959 and from 1957 to 1959 the formula process break-through became evident to the extent that in 1959 I decided that this formula process should be protected in the sense that it should not be diluted since this could ruin the total effort.

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      15th
      In 1951 with the help of Dr. Spickerman and our local physician and orthodontist I decided to start the research to solve the unknown in terms of the direct relationships of the muscles of the head and the respiratory system. This research continued without much break-through except for a lot of painful application studies during which time I placed the mouthpiece on the opposite side of the head structure from where I had been playing. I worked this contact study through and different muscles of the head structure, making observations and notations and checking with Dr. Spickerman along the way. Not much happened for approximately six years. In the meantime my old way of playing was dissipated and I was in a state of limbo where I could play neither the old or the new way. This is how the term “project” evolved — that is, changing he muscles in their functioning through applications on the orbicularis-oris, or mouth, muscle.

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      11th
      My dentist through these years was Dr. Francis Spickerman, a well-known dentist in the Rockford area and sometimes referred to as the msuicians’ dentist. In the course of discussing music with him during one of my appointments I asked him if he thought it would be worth while for me to take issue with physiology and in particular in my own case and if he thought there would be merit in studying physiology and its significance to the production of sound. He was very helpful and as a member of the American Dental Society found papers, reports, and information through the dental field that were associated with music. Unfortunately there as no information available for continuous study in terms of the anatomy and wind association. I decided to take issue with it and apply all information about the study of the muscles of the head structure, respiratory system, and other related anatomy matters to my own head structure. I felt that my teeth, lip, and jaw structures were perhaps the most difficult to work with that I had encountered

       

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      8th

      Towards the end of my time in the army band, and with the gradual discharge of soldiers, there was a need for french horn players so I was asked to play that instrument. My progress on that went extremely well and I played first horn in the Rockford Symphony in its early stages. My attachment to eh instrument was such that I selected Northwestern University for graduate work after my army discharge because of Max Pottag, who as the time was with the Chicago Symphony and on the staff at Northwestern. Mr. Pottag was one of the top teachers and performers of french horn. My study with him continued through the completion of my graduate degree and his influence on my musical understanding greatly enhanced my development.

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      “Over the next several weeks, we will be posting the origin of Anatowind, by Joseph C. Simmons.”


      January
      6th

      I was drafted into the army in 1942 and was fortunate to be associated with a fine army band, the 345th, located in Rockford, Illinois and also known as the Camp Grant Band. Several players from the Rockford area were in this outstanding organization plus a great many players from top symphonies in the country as well as many top jazz players. I auditioned on tuba and was added to the existing personnel. I think hearing the fine symphony and jazz players brought to the fore the fact that physiologically I did have a problem. The influence that these super musicians had my musical concepts that was overwhelming. I received an education hearing the fine sounds and the discussions, which perhaps could not be attained in any university.

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