No, but your post did make me curious enough to spend a few minutes searching. I found this interesting snippet. I’ll have to give it a try.
http://www.larrykrantz.com/rdick.htm
Robert Dick from the FLUTE list - December 1997
About the tongue position and resonance in the mouth
The vowel shape formed in the mouth while playing is the primary way of making tone color on the flute. Try playing while forming open vowels like “Ah”, “Ooh”, and “Oh” (as pronounced in network TV news generic American English). Then check out some other vowels too, like “Eee” and “Eye”. You’ll here a remarkable change in tone color. Then try changing between these and as many other vowels as you can think of while practicing those classic long tones. If you can speak more than one language, use the vowel sounds from them all to explore a large range of colors.
A great way to decide what vowels to use when playing music (a more complex challenge than tone studies) is to sing a passage over and again, trying different syllables and gradually forming the vowels that feel most natural and expressive to you. And as you “scat” your way through Bach or Berio, you’ll find more of the inner phrases emerging.
The “marimba tube” effect of resonance is well proven in the acoustics literature. For all wind and brass players, not just flutists, that resonance comes from the throat more than the mouth. If you hold your vocal chords in a position where they are ready to sing the note you are playing, you will maximize this resonance, which I named “throat tuning”. The vocal chords do not have to be pitched in the same octave as the flute; throat tuning will work very powerfully even if the silent voice is pitched one, two, three and in rare cases four octaves below the flute. To try it out, sing a note softly and gently with an open vowel like “Ooh” at the same time as you play that note. Then play the note without singing while clearly hearing your voice in your inner ear and feeling like you are singing that note. After working with some single notes, go on to short phrases, etc.
For those who might have alarm bells going off for fear that singing will lead to a tight throat and/or strained vocal chords, please remember to always sing softly and, while singing, use open vowels. (Practicing singing the open vowels is often the solution for people who have throat noises when they play.)
The “open throat” concept was a milestone in the development of 20th century flute tone. It certainly blew the old tight throat and rapidfire vibrato right off of the musical scene. And good riddance.
The drawback to the open throat concept is that it limits sound colors if it is used without variation in syllables – as is so often taught. The evolutionary successor to the open throat is the tuned throat. And when throat tuning is done well, the effect of the vowel formed in the mouth is magnified.
Every person who has ever played a wind instrument with a beautiful tone has done throat tuning to some degree, whether they were conscious of it or not.