Journal articles on the topic 'Flute'
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1
Zhang, Zhiguo, Tao Qiu, Riheng Song, and Yaoyu Sun. "Nonlinear Finite Element Analysis of the Fluted Corrugated Sheet in the Corrugated Cardboard." Advances in Materials Science and Engineering 2014 (2014): 1–8. http://dx.doi.org/10.1155/2014/654012.
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The choice of corrugated medium, flute size, combining adhesive, and linerboards can be varied to design a corrugated board with specific properties. In this paper, the nonlinear finite element analysis of the fluted corrugated sheet in the corrugated cardboard based on software SolidWorks2008 was investigated. The model of corrugated board with three or more flutes is reliable for stress and displacement measurement to eliminate the influence of the number of flutes in models. According to the static pressure test, with the increase of flute heightHor arc radius of flute, the maximum stress in the models decreased and the maximum displacement increased. However the maximum stress and maximum displacement in the models increase nonlinearly in the static pressure test with the increase of the flute angleθ. According to the drop test, with the increase of flute heightH, the maximum stress of goods on the upper board in the drop test decreased. The maximum stress of the model in the drop test decreases firstly and then increases with the increase of flute angle, and the optimal flute angleθcould be 60° for corrugated board. All the conclusions are consistent with experimental data or product standards.
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Bholuram Gurjar, P. K. Sahoo, and Adarsh Kumar. "Design and Development of Variable Rate Metering System for Fertilizer Application." Journal of Agricultural Engineering (India) 54, no. 3 (February 7, 2024): 12–21. http://dx.doi.org/10.52151/jae2017543.1627.
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A variable rate fertilizer metering mechanism was designed by changing the speed of the feed shaft for use in variable rate fertilizer applicator. A micro-controller unit programmed with a Pulse Width Modulation (PWM) motor driver was used to run the feed shaft for varying speeds. Two types of fluted rollers (straight and helical flute) were used with varying number of flutes having same volume for each fluted roller. No significant difference in discharge rate between helical and straight fluted roller was observed with varying number of flutes (6, 8, 10, and 12). However the discharge rate of SSP fertilizer was significantly higher than that for DAP. Also, significant difference was observed in applied torque and power requirement for straight and helical flute.
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Srinivasan, Vijayaragham, Kambiz Vafai, and Richard N. Christensen. "Analysis of Heat Transfer and Fluid Flow Through a Spirally Fluted Tube Using a Porous Substrate Approach." Journal of Heat Transfer 116, no. 3 (August 1, 1994): 543–51. http://dx.doi.org/10.1115/1.2910905.
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An innovative approach was opted for modeling the flow and heat transfer through spirally fluted tubes. The model divided the flow domain into two regions. The flutes were modeled as a porous substrate with direction-dependent permeabilities. This enabled modeling the swirl component in the fluted tube. The properties of the porous substrate such as its thickness, porosity, and ratio of the direction-dependent permeabilities were obtained from the geometry of the fluted tube. Experimental data on laminar Nusselt numbers and friction factors for different types of fluted tubes representing a broad range of flute geometry were available. Experimental data from a few of the tubes tested were used to propose a relationship between the permeability of the porous substrate and the flute parameters, particularly the flute spacing. The governing equations were discretized using the Finite Element Method. The model was verified and applied to the other tubes in the test matrix. Very good agreement was found between the numerical predictions and the experimental data.
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Wang, Zhaosen. "Evolution of Chinese Bamboo Flutes and Flute Music from Six-Hole to Eight-Hole Flutes." Lecture Notes in Education Psychology and Public Media 42, no. 1 (March 14, 2024): 32–41. http://dx.doi.org/10.54254/2753-7048/42/20240622.
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The flute is the oldest known musical instrument in China, with the six-hole bamboo flute representing a traditional fixed form. In the context of todays diverse musical culture, the traditional six-hole bamboo flute faces significant limitations when handling various stylistic compositions. In contrast, the eight-hole flute incorporates strengths from Western musical culture, enabling it to both maintain traditional characteristics and perform modern musical works. This paper, based on experimental and literature research methods, aims to elucidate the impact of the evolution from the six-hole to the eight-hole bamboo flute on the development of Chinese bamboo flute and flute music. The paper is divided into three parts. Firstly, it provides an overview of the basic structures of the six-hole and eight-hole bamboo flutes. Secondly, through flute music analysis, it explores the advantages of the eight-hole bamboo flute and the developmental relationship between bamboo flutes and flute music. The third part involves a new perspective on the development of bamboo flutes and flute music, contemplating how to coexist more effectively with the diverse music of the world.
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Wang, Jianxiao, Wei Sun, Petru Aurelian Simionescu, and Yuanjin Ju. "Optimization of the Fluted Force-Feed Seeder Meter with the Helical Roller Using the Discrete Element Method and Response Surface Analysis." Agriculture 13, no. 7 (July 14, 2023): 1400. http://dx.doi.org/10.3390/agriculture13071400.
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The seed metering process of a fluted force-feed seeder was simulated using the Discrete Element Method and its parameters optimized using the Box–Behnken Design of Experiments and the Response Surface Method. The rotational speed of the feed roller, the lead (helix) angle of the flutes, and the number of flutes were the independent variables, while the response value was the seeding uniformity index. Two regression models were investigated, and the following conclusions drawn. For the flute lead angle between 0 and 10 degrees, and the number of flutes between 10 and 14, it was found that the number of flutes and the lead angle influenced the seeding performance the most, with the order of importance being the (i) number of flutes, (ii) lead angle and (iii) roller speed. For the flute lead angle between 5 and 15 degrees, and the number of flutes between 12 and 16, it was found that the roller speed and the number of flutes influenced the seeding performance the most, with the order of importance being the (i) roller speed, (ii) number of flutes and (iii) flute lead angle. The two regression models were then minimized for the seeding uniformity index and the corresponding optima verified experimentally on a conveyor belt test stand fitted with an image recognition system.
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Burns, Cecilia E. "Therapeutic Uses of the Flute Within Music Therapy Practice." Music Therapy Perspectives 37, no. 2 (2019): 169–75. http://dx.doi.org/10.1093/mtp/miz003.
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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.
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Braasch, Jonas. "Sounding saxophones like flutes." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A151. http://dx.doi.org/10.1121/10.0027130.
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The saxophone can be modified with alternative non-single-reed tone generators, including double and free reeds and brass-instrument mouthpieces. It can also be played as a rim flute on the neck, which is a known extended technique for the saxophone. Flutes differ fundamentally from the other tone-generator types as they do not act like a valve, and their flutes are so-called open-open resonator instruments, while reeds and the lips in brass instruments effectively close one end of the resonator. As a practical consequence, all open-close hole key combinations result in fundamentally different pitches known from the regular saxophone. The fact that the saxophone is conically shaped, while the flute is typically cylindrical or inverse conical, further complicates the matter. Approaches to playing the saxophone as flute using alternative fingering combinations will be discussed along with measures of pitch accuracy, timbral, and level balance. While the achievable range aligns with many orchestral wind instruments, complex cross-fingerings make it difficult to play fast chromatic lines. The large bore of the saxophone gives the flute sound a dark character, more like a Native American flute or shakuhachi than a Western concert flute or recorder.
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Gajkowska-Swinarska, Aleksandra. "The French flute school in mid-18th century in the light of the treatises by Michel Corrette, Antoine Mahaut and de Lusse." Notes Muzyczny 2, no. 20 (December 31, 2023): 65–76. http://dx.doi.org/10.5604/01.3001.0053.9948.
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Flutists performing the French music of the 18th century on historical instruments rely on various written sources published in that time to get as close as possible to the original sound of the music performed in that period. One of the most popular French-language textbooks from the early 18th century on flute playing known today is the treatise entitled Principes de la flûte traversière ou flûte d'Allemagne, de la flûte à bec ou flûte douce et du hautbois by Jacques-Martin Hotteterre’. In the mid-18th century the French style of woodwond instrument playing changed very much as compared to the beginning of that century, especially due to the singificant influence of Italian music. A lot of information on the performance of embellishments, ways of fingering and blowing as well as modes of articulation and ornamentation can be found in three treatises dating from a similar time: Méthode pour apprendre aisément à jouer de la flûte traversière avec les principes de musique by Michel Corrette, Nouvelle méthode pour apprendre en peu de tems à jouer de la flûte traversière by Antoine Mahaut, and L’art de la flûte traversière by de Lusse. Even though they are commonly known to scholars dealing with flute music of the 18th century, they have not yet received an in-depth comparatice analysis. The aim of the present cycle of articles is to systematise the knowledge on the performance practice described in these three treatises and to point out similarities and differences between the styles of playing outlined in them. The first part of the cycle presents the profiles of the authors of the mentioned treatises, as well as a general characterization of each flute school. It lists the most important performance topics included in them, which will be touched on in details in subsequent parts of the article cycle, including the information on the tuning pitch at that time or the construction of flutes.
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Quan, Xue, Meng-Yuan Zhang, and Zhi-Guo Wang. "The frequency spectrum of the flutes." International Journal of Modern Physics C 29, no. 06 (June 2018): 1850042. http://dx.doi.org/10.1142/s0129183118500420.
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As one type of lip-driven wind instruments, although flutes have a very long history, the acoustics of flutes is still unclear. Here, using the admittance matching method, the resonance frequencies of different tones for a flute are calculated with the precise correction for geometrical sizes. The result shows that the given frequency spectra of the flute are almost the same as the designed values.
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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.
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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind instruments throughout Europe are beginning to indicate that the flute underwent a process of change far more complex than previously thought.
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Kachmarchyk, Volodymyr, and Nataliia Kachmarchyk. "A “Well-tempered Flute” by T. Boehm – The Final Stage of its Evolution and the Standardization of its Tuning System." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 49–62. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.04.
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"The article is dedicated to the development of the flute acoustic and tuning systems during the 18th-19th centuries. Based on the analysis of J. J. Quantz's treatise »Versuch einer Anweisung, die Flöte traversiere zu spielen« and the flute of its construction with two enharmonically unequal keys Es and Di s, the intonation and technological features of using pure tuning system in playing an instrument are revealed. Following Quantz’s ideas was another German musician, the Leipzig master instrument maker J. G. Tromlitz. He strongly recommended maintaining the dominant position of the pure tuning system while performing on the flute. The defining stage in the development of the flute design and the establishment of the well-tempered tuning system as the basis of its acoustic features was the reform of T. Boehm. The models of the inverse conical bore flute with open ring keys (1832) and the cylindrical flute with flap keys (1847) created step-by-step give evidence of the evolution of T. Boehm's views on expanding the sound dynamics and improving the intonation capabilities of the instrument. Keywords: Boehm’s flute, pure tuning system, equal temperament, conical flute, cylindrical instrument, acoustic system, key mechanics. "
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Liu, Jen Y. "Flat-Crush Failure Mechanism of Corrugated Fiberboard." Journal of Applied Mechanics 53, no. 3 (September 1, 1986): 602–8. http://dx.doi.org/10.1115/1.3171818.
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This paper analyzes the behavior of corrugated fiberboard under flatcrush loading using the elastica theory. The analysis is useful for evluating the quality of the board as well as for studying its damping characteristics. We considered the linerboard facings as rigid plates, compressing the fluted corrugating medium between them. The flute is composed of linear and circular elements. We used a procedure of reduced geometry to account for the flattening of the flute in conformation with the liner-boards during compression. Analytical results for A-flute fiberboard reveal that in the load-displacement curve reported in the literature the first hump occurs when the curvature of the flute tip disappears and the second hump occurs when the ultimate compressive and tensile stresses are reached at the intersection of the curved and flattened portions of the flute.
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Stein, Robert. "Proms 2014: Holt and Widmann." Tempo 69, no. 271 (January 2015): 78–79. http://dx.doi.org/10.1017/s0040298214000722.
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How many flutes are there in Simon Holt's flute concerto Morpheus Wakes? Nominally one, here the amazing Emanuel Pahud, but more usefully two or more. Scored for alto as well as standard flute, Holt exploits the timbral possibilities of both while ensuring that the orchestra's own flautist (doubling bass flute) and alto flautist (doubling piccolo) continue the idea of ‘two-in-one’ so central to his other recent concerto Centauromachy for clarinet, flugelhorn and orchestra written in 2010 and given its London premiere at the 2011 Proms.
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Kachmarchyk, Volodymyr, and Nataliia Kachmarchyk. "J. G. Tromlitz’s Articulatory Phonetics in Flute Sound Formation." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 225–38. http://dx.doi.org/10.24193/subbmusica.2021.2.15.
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"The paper considers articulatory phonetics and specific features of its use in flute performance. The historical stages presented of phonemic bases formation and development for flute articulation during the 16-18 centuries. Flute treatises by S. Ganassi, J.-M. Hotteterre, A. Mahaut, Ch. DeLusse, J. J. Quantz are considered in chronological order, as well as analysis of “Auführlicher und gründlicher Unterricht die Flöte zu spielen” by J. G. Tromlitz. Technological aspects are disclosed of using various phonemic structures outside the speech process to develop tongue motility and generate various types of tonguing while playing the flute. The role is identified of і and а vowels in modelling instrument phonation mechanism and their influence on sound tone and volume. The main elements are highlighted of speech and vocal types for flute articulation, as well as their differences. The vocalization significance is analysed in relation to tone development and the instrument sound uniformity in the lower and upper registers. The significance is disclosed of J. G. Tromlitz’s contribution to the flute articulation development and his innovative vocalization approaches to phonation technique. Keywords: flute, articulation, phonetics, phonemic structures, vocalization, sound production, embouchure. "
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Wade, Kelly, Christine Todoroki, Aiman Jamsari, Eli Gray-Stuart, Stephen Tohill, John Bronlund, and Kate Parker. "Does flute angle influence box performance?" Journal of Materials Science 58, no. 36 (September 2023): 14411–25. http://dx.doi.org/10.1007/s10853-023-08941-2.
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AbstractIn the production of boxes, it is customary to align the flutes vertically, corresponding to a 0° flute angle. This configuration is widely believed to yield optimal compressive strength, despite existing evidence from corrugated flute boards and boxes that challenge this assumption. The present study investigates the hypothesis that non-vertical flute angles do not significantly compromise box compression strength and may potentially offer enhancements in other performance characteristics. Regular slotted container boxes (385 × 238 × 300 mm) constructed from single wall C-flute board were used in this study. Ten flute angles were selected for box level testing: 0°, 5°, 7.5°, 10°, 12.5°, 15°, 20°, 30°, 45° and 60°. Samples of converted board were subjected to edge crush testing (ECT) following TAPPI T-811 and four-point-bending following TAPPI T-820. Box crush testing (BCT) followed NZS 1301.800 2006 (New Zealand Standard). Component testing results were consistent with previous studies. Outcomes showed a general linear reduction in ECT with increasing flute angle, and nonlinear relationships between flute angle and bending force and stiffness. At the box level, peak load did not decline significantly between 0° and 45°, however 60° flute angles had significantly lower peak loads (α = 0.05). At certain angles, notably 10° and 30°, less variation in peak load was observed. BCT force and stiffness of the box significantly improved in terms of median and variation at 10° and 30°. Therefore, a flute angle of less than 45° does not significantly reduce compression strength.
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BULZAK, Tomasz, Zbigniew PATER, and Janusz TOMCZAK. "NEW EXTRUSION PROCESS FOR PRODUCING TWIST DRILLS USING SPLIT DIES." Applied Computer Science 13, no. 3 (September 30, 2017): 55–63. http://dx.doi.org/10.35784/acs-2017-21.
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The paper presents a new extrusion process for producing twist drills using split dies. The design of the dies is described, where the profile of the flute-forming element is the same as the profile of the flute on the plane inclined to the drill axis at an angle equal to the helix angle. The proposed method for the extrusion of twist drills by the new type of dies is verified by numerical modeling. Three cases of the extrusion process are modelled, each with a different position of the flute-forming element relative to the axis of the drill. The paper investigates the effect of the position of the flute-forming element on the angle of inclination of the flutes and the cross-section shape of the drill. Numerical modeling is performed using DEFORM-3D.
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Mohd Abbas, Norliana, Muhammad Azriq Haikal Azahari, Muhammad Najib Ibrahim Mat Zaki, and Zanuar Ahmad. "INVESTIGATION ON THE END MILLING CUTTING IN MACHINING POLYVINYL CHLORIDE (PVC) FOAM BOARD FOR ISLAMIC ART." International Journal of Education, Psychology and Counseling 9, no. 53 (March 31, 2024): 584–90. http://dx.doi.org/10.35631/ijepc.953044.
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The polyvinyl chloride (PVC) foam board is utilized for decorative purpose such as a backdrop stand or three-dimensional (3-D) model. Some of the advantages are lightweight, mobile and ease in adding realistic details through printing or machining. The Selangor Islamic International Arts Complex employs the PVC foam board to create 3-D Islamic art for mosque ornamentation. However, the quality of the product produced does not meet the required quality and rework need to be done when the two flutes end mill cutting tool is used. This study focuses on identifying the reason of the unexpected surface finish and proposing method to improve the quality of the pattern produced. The investigation was done by comparing the pattern exhibits after a four continuous hours of machining between two flutes and single flute of end mill tool under the same parameter setting. It was found that, the single flute end milling yielded good surface finish compared to the two flutes which exhibit burrs and rough surface finish. This is because the single flute end mill tool gives lower friction and less heat during machining and facilitating proper chip removal in comparison to the two flutes end mill tool.
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Fang, Yang, Liming Wang, Jianping Yang, and Jianfeng Li. "An Accurate and Efficient Approach to Calculating the Wheel Location and Orientation for CNC Flute-Grinding." Applied Sciences 10, no. 12 (June 19, 2020): 4223. http://dx.doi.org/10.3390/app10124223.
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The profile of flutes has a great influence on the stiffness and chip-removal capacity of end-mills. Generally, the accuracy of flute parameters is determined by the computer numerical control (CNC) grinding machine through setting the wheel’s location and orientation. In this work, a novel algorithm was proposed to optimize the wheel’s location and orientation for the flute-grinding to achieve higher accuracy and efficiency. Based on the geometrical constraint that the grinding wheel should always intersect with the bar-stock while grinding the flutes, the grinding wheel and bar-stock were simplified as an ellipse and circle via projecting in the cross-section. In light of this, we re-formulated the wheel’s determination model and analyzed the geometrical constraints for interference, over-cut and undercut in a unified framework. Then, the projection model and geometrical constraints were integrated with the evolution algorithm (i.e., particle swarm optimization (PSO), genetic algorithm (GA) for the population initialization and local search operator so as to optimize the wheel’s location and orientation. Numerical examples were given to confirm the validity and efficiency of the proposed approach. Compared with the existing approaches, the present approach improves the flute-grinding accuracy and robustness with a wide range of applications for various flute sizes. The proposed algorithm could be used to facilitate the general flute-grinding operations. In the future, this method could be extended to more complex grinding operations with the requirement of high accuracy, such as various-section cutting-edge resharpening.
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Estrela, Carlos, Felipe C. Sampaio, Ana PP Brito, Heloisa HP Veloso, Ana HG de Alencar, Daniel de A Decurcio, and José AP de Figueiredo. "Flute and Shank Dimensions of Reciprocating Instruments before and after Simulated Root Canal shaping." Journal of Contemporary Dental Practice 18, no. 3 (2017): 198–204. http://dx.doi.org/10.5005/jp-journals-10024-2016.
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ABSTRACT Aim This study analyzed the effect of the dimensions of the flute and shank in the first 4 mm of instrument tips on the deformation and dimensional changes of reciprocating instruments after root canal shaping (RCS). Materials and methods The reciprocating instruments used were Reciproc® R25, R40, and R50; WaveOne® Small, Primary, and Large; and Unicone® #20, #25, and #40. Scanning electron microscopy images of the first 4 mm of the tip were acquired at 30× magnification before and after simulated curved root canals were shaped. Each instrument was used only once. The images were transferred to the AxioVision® software to measure the flute area (µm2, shank area (µm2), flute length (µm), and crosssectional diameter (µm). Student's t test for paired samples was used to compare differences before and after RCS, and analysis of variance followed by the Tukey test, to compare differences between instruments of similar sizes. The instruments were classified according to deformations after RCS. Results Reciproc® instruments had larger flutes and smaller shanks. The Reciproc® R40 had significant differences in crosssectional diameter at 0.5 mm from the tip. Reciproc® had no plastic deformations. Unicone® #20 instruments had significant differences in cross-sectional diameter at 1.5 and 3.0 mm from the tip, and #25 instruments had differences at 1.5 and 3.0 mm and in length of the second and third flutes. One #20 and three #40 instruments had plastic deformations. The differences in length of the first and fourth flutes of WaveOne® Primary and in cross-sectional diameter at 2.0 mm from the tip of WaveOne® Large were significant. Two of three WaveOne® Large instruments had plastic deformations. Conclusion Reciproc® instruments had greater flute areas and lengths and smaller shanks than Unicone® and WaveOne® instruments of similar sizes. Reciproc® instruments had a greater flute-to-shank ratio. WaveOne® instruments had the lowest flute-to-shank ratio. Unicone® instruments had the most plastic deformations. Instruments with larger flutes and smaller shanks had fewer plastic deformations after curved RCS. Clinical significance The knowledge of mechanical behavior before choosing the endodontic instrument may avoid fracture, regardless of the clinical condition, and it is essential to the success of root canal treatment. How to cite this article Sampaio FC, Brito APP, Veloso HHP, Alencar AHG, Decurcio DA, Figueiredo JAP, Estrela C. Flute and Shank Dimensions of Reciprocating Instruments before and after Simulated Root Canal shaping. J Contemp Dent Pract 2017;18(3):198-204.
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Mellinger, Jeffrey C., O. Burak Ozdoganlar, Richard E. DeVor, and Shiv G. Kapoor. "Modeling Chip-Evacuation Forces in Drilling for Various Flute Geometries." Journal of Manufacturing Science and Engineering 125, no. 3 (July 23, 2003): 405–15. http://dx.doi.org/10.1115/1.1578671.
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In this paper, a chip-evacuation force model is presented to predict the torque and thrust required to evacuate the chips during drilling for various flute geometries. The model considers the chips in the flutes as granular solids and determines the chip-evacuation thrust and torque from the normal and lateral pressure distributions in the chips that fill the flutes. The model requires two coefficients of friction that are established via a calibration procedure. The critical depth for the process is determined by setting a threshold value on the chip-evacuation torque, which is based on the onset of chip-clogging. The effectiveness of the chip-evacuation force model in determining the chip-evacuation thrust and torque and predicting the critical depth has been assessed via a set of validation experiments using both standard and parabolic drills. The parabolic drill produced lower chip-evacuation forces and increased critical depths relative to the standard drill. While the standard drill has a modestly larger effective flute cross-sectional area for most of the flute length, the parabolic drill has a significantly smaller contact area between the chips and the flute surface, which is the main reason for the superior chip-evacuation performance of the parabolic drill.
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Yang, Liuqing, Richard E. DeVor, and Shiv G. Kapoor. "Analysis of Force Shape Characteristics and Detection of Depth-of-Cut Variations in End Milling." Journal of Manufacturing Science and Engineering 127, no. 3 (August 6, 2004): 454–62. http://dx.doi.org/10.1115/1.1947207.
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This paper proposes an analytical approach to detect depth-of-cut variations based on the cutting-force shape characteristics in end milling. Cutting forces of a single-flute end mill are analyzed and classified into three types according to their shape characteristics. Cutting forces of a multiple-flute end mill are then classified by considering both the cutting types of the corresponding single-flute end mill and the degree of overlap of successive flutes in the cut. Force indices are extracted from the cutting forces and depth-of-cut variations are detected based on the changes of the force shape characteristics via the force indices in an end-milling process. The detection methodology is validated through cutting experiments.
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Гун, Цзэюй. "The art of playing the bamboo flute and its reflection in the artistic culture of the Tang Dynasty." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 1(292) (September 12, 2022): 120–26. http://dx.doi.org/10.53598/2410-3489-2022-1-292-120-126.
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Флейта представляет собой уникальный музыкальный инструмент, который вызывает интерес, как у будущих музыкантов-исполнителей, так и у слушателей. Исполнительство на флейте в эпоху династии Тан (18 июня 618 - 4 июня 907 гг. н.э.) достигло своего пика в истории флейтового искусства. Форма, процесс изготовления и способы исполнения на флейте претерпели большие изменения, что показано в существовании особых записей. В поэзии Тан были отражены различные эстетические взгляды на этот музыкальный инструмент, от его появления до возникновения различных видов флейт. В рамках статьи осуществлен анализ становления искусства исполнительства на флейте в эпоху правления династии Тан в контексте развития музыкальной эстетики; вопросы строения бамбуковой флейты и её влияние на развитие музыки и искусства в Китае. The flute is a unique musical instrument that arouses interest among both future performing musicians and listeners. Flute music during the Tang Dynasty (June 18, 618 - June 4, 907 AD) reached its peak in Chinese flute history. The shape and manufacture of the flute underwent great changes, and there were special records of large and small horizontal blowing concerning the methods of performance. Tang poetry reflected various aesthetic views of this musical instrument, from the appearance of the first flute to the emergence of various types of flutes. The article analyzes the formation of the art of playing the flute in the era of the Tang dynasty in the context of the development of musical aesthetics, as well as the structure of the bamboo flute and its influence on the development of music and art in China.
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Golovashych, E., and I. Tsebriy. "HISTORICAL DEVELOPMENT OF THE ENSEMBLE PLAYING OF THE FLUTE GROUP IN A SYMPHONY ORCHESTRA." Philosophical Horizons, no. 46 (January 16, 2023): 29–39. http://dx.doi.org/10.33989/2075-1443.2023.46.271522.
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The historical features of the playing of the flute group in the symphony orchestra, the ability of soloists-instrumentalists to be performers of a single group and a single whole among the large composition of members of the symphony orchestra are analyzed. The authors substantiate the expediency of the development of instrumental musicians first of all as orchestra players, and then as solo performers. The aim and the tasks: to analyze the historical development of the ensemble playing of the flute group as part of the symphony orchestra. The tasks of the research are the analysis of publications on this issue and the selection of the necessary components for playing a group of flutes in a symphony orchestra.Research methods: the research methodology consists of the ratio of traditional and modern expedient, ascent from individual to generalized (generalizing principle) from abstract to concrete. Research results: a wide range of research on the musical performance process from the New Age to the present is analyzed. Analysis of new modern concepts of training of instrumental musicians in institutions of higher education is carried out. The European search for new forms is characterized by the search for objective regularities in music education of past centuries, taking into account the modern demand for orchestra players on the European labor market. Discussion. What should come first in the training of an orchestra playerindividual classes or his training in a team. Conclusion. Thus, the analysis of the historical development of the ensemble playing of the flute group in the symphony orchestra allowed us to draw the following conclusions: during the reign of the classicism and romantic styles, an understanding of the necessary components for a symphony orchestra artist in the flute group was formed: a the component of pure vertical and horizontal intonation; a the component to feel the dynamic balance of all participants in the ensemble playing of the flute group as part of the symphony orchestra; a component of the timbre fusion of the flute group and full sounding in different registers; a component understanding in performing strokes in groups of flutes; a component of expressiveness and vivid phrasing of the ensemble playing of a group of flutes as part of a symphony orchestra; a component of metrorhythmic feeling in ensemble playing; a component of the collective understanding of style by a group of flautists in a symphony orchestra. All these components in their unity will allow the group of flutes to sound as a single harmonious whole.
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Tomić, Marija. "Transposition of the myth of Pan's flute in Satirova svirala [La flûte de Pan] by Petar Konjović: Fantasy and ballad aspects." New Sound, no. 58-2 (2021): 19–38. http://dx.doi.org/10.5937/newso2157019t.
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In this paper we interpret the elements of the fantasy and ballad principle in Satirova svirala [La flûte de Pan] (1945) for solo flute written by Petar Konjović (1883-1970) from the point of view of the author's poetics and musical and non-musical analogies with Claude Debussy's (1862-1918) composition Syrinx (1913). Aspects of the fantasy principle are equally manifested when considering Satirova svirala as a unique musical entity that musicalizes the myth of Pan's flute, as well as in the context of its dramaturgical position, as being the central movement (Andante più sostenuto e molto rubato) in the five-movement Concert Suite for Wind Quintet. The variation principle, ballad-like 'narrativity' of the flute part, improvisational character, and rubato spaces of the Svirala's musical flow emanate the Other logic and "free play" inseparable from fantasy, resonating, at the same time, with the mythical narrative.
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Abdul Muchlis. "PROCESS PRODUCTION OF FLUTED ROLL ON ROLL MILLS MACHINERY." International Journal Science and Technology 1, no. 1 (March 31, 2021): 1–11. http://dx.doi.org/10.56127/ijst.v1i1.1.
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Wheat as raw material for flour, is milled using a Fluted Roll in a Roll Mill machine. Fluted Rolls are made through a machining process that aims to obtain the desired shape, size, and level of surface roughness. This study aims to determine the material contained in Fluted Rolls and the process of making Fluted Rolls through machining processes, such as milling and scraping, as well as welding processes. The results of this study conclude the fluted roll machining process using steel medium carbon, namely JIS S45C and high alloy steel (High Alloy Steel) namely AISI 410, the milling process uses a vertical milling machine, and the scrap machining process uses a CNC (Computer Numerical Control) scrap machine in making flutes on the fluted roll surface. In the milling process using a blade diameter of 20 mm and a main spindle speed of 600 rpm, the machine's cutting speed is 37.68 mm/minute. Welding process on fluted roll aims to connect the milled shaft with the roller mill using TIG (Tungsten Inert Gas). In the scrap machining process, the feeding speed used is 9000 mm/minute and the chisel return speed to point 0 is 27132 mm/minute, resulting in a one-time feeding time of 14.24 seconds. The total time for working on fluted rolls with B3f specifications is the total flute 550, diameter 250 mm, length 1250 mm, and the slope of the flutes that form a spiral is 10% for 2 hours 10 minutes 53 seconds.
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O'Loughlin, Niall, Claude Dorgeuille, Edward Blakeman, and Nancy Toff. "Flute." Musical Times 128, no. 1733 (July 1987): 388. http://dx.doi.org/10.2307/964536.
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O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, Jean Lambrechts, Martin Derungs, Robert Wykes, and Hendrik Andriessen. "Flute." Musical Times 133, no. 1797 (November 1992): 584. http://dx.doi.org/10.2307/1002595.
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Strathmann, Arnfred R. "Flute." Journal of the Acoustical Society of America 82, no. 4 (October 1987): 1475. http://dx.doi.org/10.1121/1.395826.
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Kingma, Eva K. "Flute." Journal of the Acoustical Society of America 96, no. 5 (November 1994): 3211. http://dx.doi.org/10.1121/1.411239.
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Lee, Jaebin. "Types and Features of Flute Stories: Focusing on Korea and Japan." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 193–219. http://dx.doi.org/10.47636/gkca.2022.5.2.193.
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In this paper, we looked at how the flute is used by paying attention to classical literature, especially the narrative. In the most famous tale, Manpasik, the flute was used as a tool to strengthen the royal authority or prevent foreign enemies. However, the flute was often the story’s center when analyzing flute-related stories. The sound of the flute changes the situation rapidly. It can be seen that the happy ending of the protagonist getting out of the crisis of death by the sound of the flute, becoming wealthy by playing the flute well, or solving the case with the sound of the flute and marrying the daughter of a wealthy family is taking advantage of the novelty of the flute. The mystique of the flute could be described more beautifully. Famous worldwide, the “Pied Piper of Hamelin” had successfully eradicated rats. Until now, it was a positive case resolution with the flute’s power, but ultimately, he used the flute to kidnap children to show fear of the flute. It showed the powerful side of the flute, such as being killed by playing a banned flute or killing a boy by the sound of the flute. This means that the flow of the story changes depending on how you use the flute. The characteristics of the flute in folktales have influenced modern times. In particular, the myth that snakes appear when playing the flute at night is very famous and still tends to be taboo. This story likely spread because simply making a sound at night damages neighbors, but it can be seen that the mighty power of the flute is being transmitted. Although the content is limited to “Manpahsik”, in the movie “Jeon Woo-chi” and the drama “The King: The Prince of Eternal”, the power of the flute is so intense that there are cases where the elements of conflict to compete are realistically expressed. The types and characteristics of the flute that have appeared in the narrative so far are meaningful in that they have provided a stepping stone to understanding the use of the flute that has become a springboard for later research and continues to the modern day.
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Grossi, Niccolò, Lorenzo Morelli, Giuseppe Venturini, and Antonio Scippa. "Forces Shapes in 3-Axis End-Milling: Classification and Characteristic Equations." Journal of Manufacturing and Materials Processing 5, no. 4 (October 29, 2021): 117. http://dx.doi.org/10.3390/jmmp5040117.
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In 3-axis milling, cutting force analysis represents one of the main methods to increase the quality and productivity of the process. In this context, cutting force shape gives information of both monitoring and prediction of the cutting process. However, the cutting force shape is not unique, and it changes according to the cutting strategy, tool geometry, and cutting parameters. This paper presents a comprehensive approach to predict and classify cutting force shapes in 3-axis milling operations. In detail, the proposed approach starts by classifying the cutting force shapes for a single fluted endmill (i.e., single flute force shape), and, considering how the single flute force shapes may overlap one another, it extends the classification to a general multiple-fluted endmill. Moreover, the method provides, through analytical equations, angles, and magnitude dimensionless parameters of each key point, describing each shape classified. Finally, the proposed approach was experimentally validated through several milling tests in different cutting conditions.
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Sakin, Ajda Senol. "Use of Extended Flute Techniques in Flute Education in Turkey." Higher Education Studies 8, no. 1 (December 20, 2017): 1. http://dx.doi.org/10.5539/hes.v8n1p1.
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Extended flute techniques, which are frequently found in contemporary flute literature, carry the flute to a different dimension, pushing the boundaries of composers and performers. Although the number of pieces containing these techniques in the world has increased rapidly, along with Turkish flute repertoire, written Turkish sources about extended flute techniques are limited to theses and articles. In this research, the use of extended flute techniques in flute education programmes in Turkey was investigated. A survey method was used in the research, and 20 teaching staff members participated in the survey by answering the questionnaire. As a result of the research, it was determined that 18 teaching staff members included extended flute techniques in their flute education programmes, and 2 teaching staff members did not use these techniques in flute education, particularly because “the techniques and pieces do not accord with the levels of the students” and because of “the difficulty of the pieces”. In the conclusion, the difficulties faced by the teaching staff during training in extended flute techniques are summarized, and the suggestions of the teaching staff are mentioned.
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WILSON, CORY JAY, and BENJAMIN FRANK. "An evaluation of ECT sample height for small flute board grades and Box Manufacturer’s Certification compliance." June 2009 8, no. 6 (July 1, 2009): 24–28. http://dx.doi.org/10.32964/tj8.6.24.
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TAPPI test T811 is the specified method to ascertain ECT relative to box manufacturer’s certification compliance of corrugated fiberboard under Rule 41/ Alternate Item 222. T811 test sample heights were derived from typical board constructions at the time of the test method’s initial development. New, smaller flute sizes have since been developed, and the use of lighter weight boards has become more common. The T811 test method includes sample specifications for typical A-flute, B-flute, and C-flute singlewall (and doublewall and triplewall) structures, but not for newer thinner E-flute or F-flute structures. This research explores the relationship of ECT sample height to measured compressive load, in an effort to determine valid E-flute and F-flute ECT sample heights for use with the T811 method. Through this process, it identifies challenges present in our use of current ECT test methods as a measure of intrinsic compressive strength for smaller flute structures. The data does not support the use of TAPPI T 811 for ECT measurement for E and F flute structures, and demonstrates inconsistencies with current height specifi-cations for some lightweight B flute.
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Zhang, Su Yan, Zhi Qiang Liang, Xi Bin Wang, Tian Feng Zhou, Li Jiao, and Pei Yan. "Influence of Wheel Position Parameters on Flute Profile of Micro-Drill." Materials Science Forum 874 (October 2016): 52–58. http://dx.doi.org/10.4028/www.scientific.net/msf.874.52.
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Drill flute has a great influence on the drilling performance of micro-drill, and its profile largely depends on the grinding parameters, wheel profile and position. It is promising to obtain a desired flute profile with a standard wheel by adjusting the wheel position parameters. To investigate the influence of wheel position parameters on the flute profile, the micro-drill flute is simulated by MATLAB software considering the wheel installation angle and the offset distance from wheel origin to the drill blank origin, and the radial rake angle, flute width and chip evacuation capacity are quantitatively calculated to evaluate the flute profile. The simulated results show that the wheel installation angle has an obvious effect on the three performance parameters of flute profile, and the wheel offset distance only influences a parameter, i.e., the flute width evidently. The radial rake angle of drill flute increases obviously with the increased wheel installation angle, and decreases slightly with the increased wheel offset distance. With the decreased wheel installation angle, the flute width of drill flute increases causing the reduction of micro-drill strength but improvement of the chip evacuation capacity. With the increased wheel offset distance, the flute width also increases resulting in the reduction of micro-drill strength but no obvious change on chip evacuation capacity. Thus the wheel installation angle can be used as a main factor among the wheel position parameters to obtain the desired flute profile.
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Conlon, Paula. "Power and good music: The Indigenous southern plains flute tradition." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A109. http://dx.doi.org/10.1121/10.0026979.
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In traditional Indigenous southern plains culture, a young man could not talk to a young woman alone when they were not yet married. Instead, he would play his flute at the edge of the encampment in the evenings, and each young man had his own love song. In southern plains flute origin stories, power is attributed to good music. If a flute song achieves its intended goal of convincing the young woman to marry the flute player, one can assume the song would be considered “good.” But what criteria distinguish good from bad? Which elements typify a “good” flute song? What about the flute itself? Which features epitomize the quintessential flute? Another set of possible criteria in determining that quality is information about the flute player. In her chapter, “Culture and Aesthetics,” ethnomusicologist Marica Herndon (1980) observes the community-centered perspective of Indigenous North America. Our last set of criteria involves an assessment of the moral character of the flute player regarding service to their tribal community. This talk discusses the “good music” of two master Indigenous southern plains flute players—Belo Cozad (1864-1950) (Kiowa) and Doc Tate Nevaquaya (1932-1996) (Comanche).
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Sarbadhikary, Sukanya. "The Breathing Body, Whistling Flute, and Sonic Divine: Oneness and Distinction in Bengal Vaishnavism’s Devotional Aesthetics." Religions 12, no. 9 (September 9, 2021): 743. http://dx.doi.org/10.3390/rel12090743.
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This paper studies complex narratives connecting the Hindu deity Krishna, his melodious flute, and the porous, sonic human body in the popular devotional sect, Bengal Vaishnavism. From the devotee–lover responding to Krishna’s flute call outside, envying the flute’s privileged position on Krishna’s lips, to becoming the deity’s flute through yogic breath–sound fusions—texts abound with nuanced relations of equivalence and differentiation among the devotee–flute–god. Based primarily on readings of Hindu religious texts, and fieldwork in Bengal among makers/players of the bamboo flute, the paper analyses theological constructions correlating body–flute–divinity. Lying at the confluence of yogic, tantric, and devotional thought, the striking conceptual problem about the flute in Bengal Vaishnavism is: are the body, flute and divinity distinct or the same? I argue that the flute’s descriptions in both classical Sanskrit texts and popular oral lore and performances draw together ostensibly opposed religious paradigms of Yoga (oneness with divinity) and passionate devotion/bhakti (difference): its fine, airy feeling fusing with the body’s inner breathing self, and sweet melody producing a subservient temperament towards the lover–god outside. Flute sounds embody the peculiar dialectic of difference-and-identity among devotee–flute–god, much like the flute–lip-lock itself, bringing to affective life the Bengal Vaishnava philosophical foundation of achintya-bhed-abhed (inconceivability between principles of separation and indistinction).
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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 39–50. http://dx.doi.org/10.24821/resital.v23i1.6112.
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This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.
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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 39–50. http://dx.doi.org/10.24821/resital.v1i1.6112.
Full textAbstract:
This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.
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Wu, Lien-Chen, Yueh-Ying Hsieh, Fon-Yih Tsuang, Yi-Jie Kuo, and Chang-Jung Chiang. "Cutting Flute and Thread Design on Self-Tapping Pedicle Screws Influence the Insertion Torque and Pullout Strength." Applied Sciences 12, no. 4 (February 13, 2022): 1956. http://dx.doi.org/10.3390/app12041956.
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Self-tapping screws are commonly used in trauma and maxillofacial surgery and are increasingly used for pedicle screw insertions. In order to evaluate how the quantity and length of cutting flutes on self-tapping pedicle screws affect the insertion torque and pullout strength, eight different self-tapping pedicle screw designs were evaluated. All screws had a threaded length of 35 mm and featured variations in the number of leads, as well as the length and quantity of cutting flutes. Five samples of each design were inserted into pre-drilled, untapped holes (ø2.7 mm, length 35 mm) in sawbone blocks of density 20 PCF. The insertion torque and pullout strength were measured according to ASTM F543. The results showed that screws with a longer cutting flute of 9.5 mm had a lower mean maximum insertion torque than screws with shorter 2.9 mm cutting flutes. Pedicle screws with a double-lead thread design had a greater insertion torque than their single-lead counterparts, and the use of three cutting flutes produced a lower torque than two cutting flutes. The results demonstrated a greater pullout strength in screws with a single-lead thread rather than a double-lead, three cutting flutes instead of two, and a longer length for the cutting flute. In conclusion, to provide immediate stability and reduce the surgical insertion time, a single-lead, self-tapping pedicle screw incorporating three long cutting flutes is recommended because of the significantly greater pullout strength. This design could also reduce the risk of implant loosening in comparison to double-lead, self-tapping pedicle screw designs.
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Ji, Shu De, Li Guo Zhang, Yan Ye Jin, and Guo Hong Luan. "Numerical Simulation of Rotational Tool Shoulder Shape’s Effect on Transfer Behavior of Welding Plastic Metal in Friction Stir Welding." Materials Science Forum 704-705 (December 2011): 1167–74. http://dx.doi.org/10.4028/www.scientific.net/msf.704-705.1167.
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The plunging process of rotational tool is simulated while the shapes of rotational tool shoulder are inner-concave-flute, concentric-circles-flute and three-spiral-flute respectively. The effect of rotational tool shoulder’s shape on transfer behavior of welding plastic metal is obtained. The results show that whatever the shape of tool shoulder is, the metal of contact surface in the workpiece undergoes relatively big plastic transfer. To the rotational tool with three-spiral-flute shoulder, the transfer velocity and displacement of plastic metal inside the workpiece slowly decrease with the increase of the distance away from the surface of workpiece. To the rotational tool with the inner-concave-flute shoulder or the concentric-circles–flute shoulder, the transfer velocity of metal inside the workpiece is very small and the value is close to zero. Using the rotational tool with no pin, the experiment of friction stir welding is processed. The results show that the size of every grain in weld nugget zone which is made by the rotational tool with three-spiral-flute shoulder is nearly the same. The degree of uniformity of grain made by three-spiral-flute shoulder is much higher than that made by inner-concave-flute shoulder or concentric-circles-flute shoulder.
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Astawa, I. Wayan Puja, I. Made Adi Wira Nata Putra, and I. Gusti Putu Suharta. "Ethnomathematics: Exploration of Traditional Balinese Flute as Mathematics Learning Resources." Jurnal Pendidikan dan Pengajaran 55, no. 2 (July 8, 2022): 362–74. http://dx.doi.org/10.23887/jpp.v55i2.39284.
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The local culture of the community is a very rich source of learning. The use of Balinese culture in learning mathematics is still limited and needs to be studied more broadly and in depth. This research aims to analyse the ethnomathematical elements contained in the Balinese flute, to point out the potential application of the Balinese flute in mathematics learning, and to analyse how Balinese flute artists acquire knowledge. This research is qualitative research with an etnographic approach using three subjects of Balinese flute craftsmen and one Balinese flute artist. The research subjects were three Balinese flute craftsmen and a Balinese flute artist. Data were collected by using three methods such as literature study, observation, and interviews. The collected data were then analysed descriptively using domain analysis, taxonomy analysis, componential analysis, and analysis of cultural themes. This research found that the ethnomathematical elements contained in the Balinese flute are local terms related to measurement and measuring techniques, mathematical sequences, and concepts of geometry. This flute has potentials utilization as a source of contextual mathematics learning for student at junior and senior high schools. In addition, it is found that knowledge of Balinese flute possessed by craftsmen was obtained from self-learning and from their ancestors’ legacy.
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Nunns, Richard, and Allan Thomas. "The Search for the Sound of the Putorino: “Me Te Waie Utuutu Ana”." Yearbook for Traditional Music 37 (2005): 69–79. http://dx.doi.org/10.1017/s0740155800011231.
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The noted New Zealand Maori authority Te Rangi Hiroa declared that the rich heritage of traditional instruments was now silent, they were no longer played, they would be ‘forever mute'(Buck 1949:270). Among the predominant flutes and trumpets of this instrumentarium were voice modifiers (jews harp, mouth bow), whizzers and whirlers, and percussion (rattlers, castanets, gong, and other ‘found’ instruments). Most enigmatic of all was the pūtωrino, the so-called bugle-flute, perhaps unique in the world's instruments, a combination of three instruments—flute, trumpet and voice modifier. A description of the sound of this instrument 'Me te wai e utuutu ana' (like water ‘bubbling into a calabash held under the surface of the water’ Anderson 1934: 275) provides our title, and one of the signposts in the revival of the pūtωrino.
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Laksmidewi, Anak Agung Ayu Putri, Ni Putu Ayu Putri Mahadewi, I. Made Oka Adnyana, and I. Putu Eka Widyadharma. "Instrumental Balinese Flute Music Therapy Improves Cognitive Function and Serum Dopamine Level in the Elderly Population of West Denpasar Primary Health Care Center." Open Access Macedonian Journal of Medical Sciences 7, no. 4 (February 20, 2019): 553–58. http://dx.doi.org/10.3889/oamjms.2019.116.
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BACKGROUND: Musical artwork using Balinese flutes made from bamboo (timing buluh) by Agus Teja Sentosa, S.Sn is a combination of music played with flute as the main instrument which contains certain components resembling music therapy such as in western classical music by Antonio Lucio Vivaldi.
AIM: This study aims to determine the improvement of cognitive function and increase in serum dopamine in the elderly after listening to music with Balinese flute as the main instrument.
METHOD: The current study allocated 18 subjects in the control group listened to western classical music by Antonio Lucio Vivaldi, while 18 subjects in the intervention group listened to western classical music and music from Balinese flute as the main instrument by Agus Teja Sentosa, S.Sn. MoCA-Ina assessment and examination of serum dopamine levels were carried out initially and 21 days after listening to music intervention.
RESULTS: The mean increase in cognitive function score was higher in the intervention group (5.22; p < 0.001) than in the control group (4.67; p < 0.001), this increase was not statistically significant with a value of p = 0.562 (p > 0.005). The mean increase in dopamine levels in the control group (3.60) was greater than in the treatment group (3.56), but the mean increase was not statistically significant (p = 0.085).
CONCLUSION: There was a significant relationship between listening to the main instrumental Balinese flute music and the improvement of cognitive function, especially in the memory domain in all study subjects, but the mean increase in cognitive function and serum dopamine level did not reach statistical significance.
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Kassner, Weronika. "Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–1996." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 91–104. http://dx.doi.org/10.14746/rfn.2021.22.8.
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The aim of this discussion is to demonstrate manifestations of reductionism in the works of Henryk Mikołaj Górecki. In order to achieve this the article compares conclusions based on analyses of three works for the flute by Górecki composed during the same decade – For you, Anne-Lill op. 58 for flute and piano (1986), Good Night op. 63 for soprano, alto flute, piano and three tam-tams (1990) as well as Valentine Piece op. 70 for flute and bell (1996). The part of the flute is analysed in particular detail – the way it is shaped, its type of narration, and its relation to other instruments. The article is in two parts: the first outlines the tendencies in flute compositions in 20 th century in Poland and in the world, while the second part presents analyses of selected flute compositions by Górecki. The conclusions point to Górecki having an individual approach to using the flute as a solo instrument or as part of a group of instruments in a chamber composition, as well as to cohesiveness of the development of flute compositions against the background of the composer’s stylistic evolution as a whole.
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O'Loughlin, Niall. "Modern Flute." Musical Times 129, no. 1745 (July 1988): 349. http://dx.doi.org/10.2307/964755.
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O'Loughlin, Niall. "Flute Concertos." Musical Times 126, no. 1713 (November 1985): 677. http://dx.doi.org/10.2307/965056.
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O'Loughlin, Niall, and Nancy Toff. "Flute Guide." Musical Times 127, no. 1719 (June 1986): 338. http://dx.doi.org/10.2307/965080.
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O'Loughlin, Niall. "Modern Flute." Musical Times 127, no. 1719 (June 1986): 341. http://dx.doi.org/10.2307/965087.
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O'Loughlin, Niall, and Frans Vester. "Flute Repertory." Musical Times 127, no. 1720 (July 1986): 388. http://dx.doi.org/10.2307/965242.
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O'Loughlin, Niall. "Romantic Flute." Musical Times 129, no. 1741 (March 1988): 139. http://dx.doi.org/10.2307/965289.
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