Relevant bibliographies by topics / Musical instruments; Woodwind

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musical instruments; Woodwind'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musical instruments; Woodwind"

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Liu, Yang, and Svetlana Anatolievna Mozgot. "The Making of Woodwind Art in China." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 301–10. http://dx.doi.org/10.34069/ai/2020.27.03.33.

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The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.
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Brown, Judith C. "Automatic identification of musical woodwind instruments using pattern recognition." Journal of the Acoustical Society of America 107, no. 5 (May 2000): 2818. http://dx.doi.org/10.1121/1.429088.

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Hallam, Susan, Andrea Creech, Maria Varvarigou, and Ioulia Papageorgi. "Are there differences in practice depending on the instrument played?" Psychology of Music 48, no. 6 (February 15, 2019): 745–65. http://dx.doi.org/10.1177/0305735618816370.

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There has been little research on instrument differences in the length and nature of instrumental practice or how these may interact with level of expertise. This paper aimed to address this issue. A total of 3,325 young people ranging in level of expertise from beginner to the level required for entry to higher education conservatoire completed a questionnaire which consisted of a number of statements relating to time spent practicing, practicing strategies, organization of practice, and motivation to practice with a seven-point rating scale. Data were analyzed in relation to nine levels of expertise. Factor analysis revealed seven factors which were used to make comparisons between those playing different classical instruments. The findings showed that those playing keyboard instruments practiced the most, followed by strings, brass, and woodwind. There were relatively few statistically significant instrument differences in practice strategies. Where there were differences it was the woodwind players who tended to adopt less effective strategies. There were some interactions between level of expertise and practice which generally showed no clear patterns suggesting complexity in the development of musical expertise in relation to different instruments. The findings are discussed in terms of possible reasons for these differences.
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Cordourier‐Maruri, Héctor Alfonso, and Felipe Orduña‐Bustamante. "Interactive program for computer‐aided design of woodwind musical instruments." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3332–33. http://dx.doi.org/10.1121/1.4781277.

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Brown, Judith C., Olivier Houix, and Stephen McAdams. "Feature dependence in the automatic identification of musical woodwind instruments." Journal of the Acoustical Society of America 109, no. 3 (March 2001): 1064–72. http://dx.doi.org/10.1121/1.1342075.

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Beauchamp, James. "Perceptually Correlated Parameters of Musical Instrument Tones." Archives of Acoustics 36, no. 2 (May 1, 2011): 225–38. http://dx.doi.org/10.2478/v10168-011-0018-8.

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AbstractIn Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.
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Baadjou, Vera AE, Marjon DF van Eijsden-Besseling, Ans LW Samama-Polak, Rob JEM Smeets, Valéria Lima Passos, and Klaas R. Westererp. "Energy Expenditure in Brass and Woodwind Instrumentalists: The Effect of Body Posture." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 218–23. http://dx.doi.org/10.21091/mppa.2011.4035.

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Body posture appears to influence fatigue and musculoskeletal complaints in musicians. Our aim was to determine energy expenditure and to investigate whether energy expenditure is affected by body posture in brass and woodwind instrumentalists. METHODS: Eighteen musicians (10 women, 8 men; 6 brass, 12 woodwinds), with a mean age of 39 ± 14 years and mean body mass index of 23.8 ± 4.9 kg/m2, played their instruments for 30 minutes twice: once in nonoptimized body posture (posture A), and once in a posture according to the postural exercise therapy method Mensendieck (posture B). Patients were randomized to the order of postures in a crossover design AB/BA. Playing sessions were preceded and followed by 60 minutes of rest. Energy expenditure was measured in a respiration chamber with indirect calorimetry. Basal metabolic rate was measured with a ventilated hood. RESULTS: Mean metabolic equivalents (MET) for playing a wind instrument in the sitting position in a nonoptimized posture and posture according postural exercise therapy were 1.69 (SD 0.18) and 1.80 (SD 0.22), respectively. Percent change between resting metabolic rate and total energy expenditure while playing was 32% (95% CI 25–39%) in posture B and 23% (95% CI 17–30%) in posture A (p = 0.021). CONCLUSION: Average physical activity while playing a wind instrument approximates 1.8 MET. Our data show an association between energy expenditure and body posture while playing a brass or woodwind instrument: playing a musical instrument in a posture according to postural exercise therapy leads to higher energy expenditure as compared to a nonoptimized body posture. These results suggest that fatigue and the general feeling of lack of energy after playing a musical instrument are not related to actual higher energy expenditure.
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Bucur, Voichita. "Traditional and new materials for the reeds of woodwind musical instruments." Wood Science and Technology 53, no. 5 (August 30, 2019): 1157–87. http://dx.doi.org/10.1007/s00226-019-01117-9.

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Surtihadi, R. M. "Instrumen Musik Barat dan Gamelan Jawa dalam Iringan Tari Keraton Yogyakarta." Journal of Urban Society's Arts 1, no. 1 (April 10, 2014): 27–43. http://dx.doi.org/10.24821/jousa.v1i1.786.

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Perpaduan instrumen musik Barat dengan instrumen gamelan Jawa untukmengiringi tari di Keraton Yogyakarta sudah berlangsung sejak lampau. Hingga saatini perpaduan tersebut masih dapat dijumpai. Bermula dari peristiwa kontak budayaBarat dan Timur, instrumen musik Barat telah menjadi bagian dari kelengkapanupacara protokoler Keraton Yogyakarta. Tujuan penulisan ini untuk membuat kajianhistoris perpaduan gamelan Jawa dengan seperangkat instrumen musik orkestraBarat untuk mengiringi pertunjukan tari putri pada bagian kapang-kapang Bedhaya,Srimpi, dan tari putra Lawung Ageng Keraton Yogyakarta. Beberapa instrumenmusik Barat seperti instrumen genderang, tambur (percussion section), instrumengesek (string sections), instrumen tiup kayu (woodwind sections) dan tiup logam (brasssections) digunakan dalam mengiringi tarian-tarian tersebut di atas. Metode kualitatifanalisis data dipakai untuk mengupas masalah ini. Namun, pendekatan sosial-politikjuga akan dipakai dalam mengulas permasalahan yang terkait. Berdasarkan penelitianini dapat disimpulkan bahwa dampak peristiwa intrik politik yang terjadi di keratonterbukti telah memengaruhi kehidupan keseniannya. Kebutuhan upacara protokoleryang merupakan kegiatan rutin pada saat itu dilengkapi dengan berbagai macamsajian pertunjukan musik untuk menambah hidup suasana pesta dansa dengandiiringi musik berirama waltz. Blend of Western Musical Instruments and Javanese Gamelan in DanceAccompaniment and Protocol Ceremonies of Keraton Yogyakarta. Westernmusical intruments have been combined with the Javanese gamelan instruments toaccompany dances performed in Keraton Yogyakarta (the Yogyakarta Palace). It startedwith the coming of the Western culture which then ‘interacting’ with the East. Sincethen, the Western musical instruments have completed the protocol ceremonies held byKeraton Yogyakarta. The objective to be obtained with this research is to historicallystudy the blend of the Javanese gamelan with the Western orchestra musical instrumentsin accompanying the female dance performances, which are the kapang-kapang partof Bedhaya and Srimpi, and the male one i.e. Lawung Ageng. Some Western musicalinstruments like, drums (percussion sections), strings instruments (string sections),woodwind instruments (woodwind sections) and brass (brass sections) are used in thosedances shows. The data are analyzed utilizing the qualitative method. The problem willalso be approached socio-politically. It can be concluded that the political intrigue in thepalace has brought about some impacts on the art living in it. Waltz dance is performed toenliven the dance parties and complements the protocol ceremonies as the routine events.
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Ukshini, Enis, and Joris Jan Jozef Dirckx. "Longitudinal and Transversal Elasticity of Natural and Artificial Materials for Musical Instrument Reeds." Materials 13, no. 20 (October 14, 2020): 4566. http://dx.doi.org/10.3390/ma13204566.

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The reed is the primary component in single-reed woodwind instruments to generate the sound. The airflow of the player’s mouth is the energy source and the airflow is modulated by the reed. The oscillations of the reed control the airflow. Traditionally, instrument reeds are made out of natural cane (Arundo Donax), but in efforts to overcome variability problems, synthetic reeds have been introduced. Previous investigations mainly focused on natural cane reeds and direct elasticity measurements did not discriminate between elasticity moduli along different directions. In order to obtain the mechanical properties along the direction of the reed fibres and in the orthogonal direction separately, a three-point bending testing setup was developed, which accommodates the small samples that can be cut from an instrument reed. Static moduli of elasticity were acquired in both directions. Much higher ratios between longitudinal and transversal moduli were seen in the natural cane reed as compared to the artificial reeds. Wet natural reeds showed a strong decrease in moduli of elasticity as compared to dry reeds. Elasticity was significantly higher in artificial reeds. The force–displacement curves of the wet natural reed show hysteresis, whereas the artificial materials did not. In the cane reed, higher energy losses were found in the transversal direction compared to the longitudinal direction
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Dissertations / Theses on the topic "Musical instruments; Woodwind"

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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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White, Paul James. "The early bassoon reed in the development of the bassoon from 1636." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385785.

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Dunnigan, Patrick. "Effects of tempo, bass loudness, and tonic chord degree on the perception and performance of intonation by wind instrumentalists /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thornton, Linda C. P. "The effects of listening condition on melodic error detection by novice woodwind students /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904870.

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Van, Walstijn Maarten. "Discrete-time modelling of brass and reed woodwind instruments with application to musical sound synthesis." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/27572.

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This work deals with simulation of brass and reed woodwind instruments. The principal objective is to develop discrete-time models that are suitable for application in a musical sound synthesis environment. The main bulk of the thesis describes methods for linear modelling of the instrument air column. Using a travelling-wave based approach, the air column is modelled as a series of modules, each representing a part of the bore. New methods for digital modelling of brass and woodwind mouthpieces, woodwind toneholes, and brass bells are presented. The study also includes new methods for discrete-time modelling of conical bore sections. In addition, the mechanical behaviour of a clarinet reed is studied by means of a distributed model that is formulated numerically using the finite-difference approach. Precise measurements of the reed shape and the mouthpiece lay geometry have been carried out in order to accurately simulate the bending of the reed against the lay during oscillation. An equivalent lumped oscillator model is formulated, and its properties are analysed to a reed-driven pipe simulation. In general, the discrete-time models described in this work are validated via comparison with either measurements or established acoustic theories. The modular approach taken in the derivation of these models allow for dynamic and intuitive control of the musically important simulation parameters.
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Kush, Jason Matthew. "François Louis: The Invention of the Aulochrome and Contributions to the Development of the Saxophone." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/216.

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The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.
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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

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Cecconi-Roberts, Lecia Anne. "Effects of practice strategies on improvement of performance of intermediate woodwind instrumentalists /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3012957.

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Theoro, Jaqueline de Paula 1974. "A importância dos quintetos de sopro de Anton Reicha no repertório camerístico dos trompistas = estudo analítico e interpretativo dos quintetos n. 1 opus 88 e n. 24 opus 100, à luz de seus tratados de harmonia, composição e melodia." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284941.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol Maior opus 100 nº 24", ambos para flauta, oboé, clarinete, fagote e trompa, tendo como parâmetros os tratados: Traite de Melodie (1814), o Cours de Composition Musicale ou Traité Complet et Raisonné d?Harmonie Pratique (1818) e o Traité de Haute Composition Musicale (1824-26) do próprio compositor. Na época de composição das obras, Reicha já tinha um amplo conhecimento da trompa natural e por isso, as análises interpretativas foram direcionadas tanto à performance na trompa natural, como na trompa moderna, e desta forma, o trompista atual, mesmo sem utilizar a trompa natural ou a técnica de mão, poderá utilizar na trompa moderna, as informações e observações referentes ao resultado sonoro, exclusivamente característico à técnica de mão, enriquecendo sua interpretação com nuances e características timbrísticas, que antes só poderiam ser percebidas com a performance na trompa natural. Assim, este trabalho além de proporcionar o resgate aos tratados teóricos, amplamente utilizados como referência na época, promove um enriquecimento interpretativo aos trompistas
Abstract: Upon examining the importance of the Woodwind Quintets by Anton Reicha for the chamber music literature and as important repertoire for french horn players, this study has as its main purpose to present an analytical and interpretive study of Woodwind Quintets in E flat major, op. 88 n.1 and Quintet in B flat major op. 100 n. 24. Scored both for flute, oboe, clarinet, bassoon and french horn, this author used as parameters Anton Reicha's own theoretical treatises namely "Traité de Mélodie (1814)" , "Cours de Composition Musicale ou Traité Complet et Raisonné d'Harmonie Pratique (1818)" and "Traité de Haute Composition Musicale (1824-26)" .The dates of these compositions can very well indicate that Reicha had a thorough knowledge of the natural horn. The interpretive analysis here presented are aimed at either the performance of the historical natural horn or the modern french horn. In this way the modern player, even without having access to the natural instrument or the utilization of hand technique, can apply on the modern french horn the information offered here regarding the sound qualities that are a characteristic of hand technique which helps enrich timbristic nuances that can only be perceived on the natural horn. This work, besides offering an insight into the composers theoretical treatises widely used by his contemporaries also offers interpretive suggestions to the modern players of the french horn
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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Books on the topic "Musical instruments; Woodwind"

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Woodwind. London: Raintree, 2012.

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Lillegard, Dee. Woodwinds: An introduction to musical instruments. Chicago: Childrens Press, 1989.

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Robert, Meganck, ed. Opening night with the woodwind family! Mankato, MN: Picture Window Books, 2011.

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Walton, Simon. Flute, recorder, and other woodwind instruments. New York: Gloucester Press, 1993.

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Wei, Wang, ed. Zhu yue qi de shi jie: Bamboo musical instruments world. Beijing Shi: Wen hua yi shu chu ban she, 2010.

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Young, Phillip T. Die Holzblasinstrumente im Oberösterreichischen Landesmuseum =: Woodwind instruments of the Oberösterreichisches Landesmuseum. Linz: Land Oberösterreich/OÖ. Landesmuseum, 1997.

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The recorder and other wind instruments. London: Franklin Watts, 2007.

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Edinburgh University Collection of Historic Musical Instruments. Historic musical instruments in the Edinburgh University Collection: Catalogue of the Edinburgh University Collection of historic musical instruments. 2nd ed. Edinburgh: The Collection, 1997.

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Arnold, Myers, ed. Historic musical instruments in the Edinburgh University collection: Catalogue of the Edinburgh University Collection of Historic Musical Instruments. Edinburgh: The Collection, 1990.

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Edinburgh University Collection of Historic Musical Instruments. Historic musical instruments in the Edinburgh University Collection: Catalogue of the Edinburgh University Collection of Historic Musical Instruments. Edinburgh: The Collection, 1993.

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Book chapters on the topic "Musical instruments; Woodwind"

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Hartmann, William M. "Woodwind Instruments." In Principles of Musical Acoustics, 247–56. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_24.

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Fletcher, Neville H., and Thomas D. Rossing. "Woodwind Reed Instruments." In The Physics of Musical Instruments, 461–502. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_15.

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Fletcher, Neville H., and Thomas D. Rossing. "Woodwind Reed Instruments." In The Physics of Musical Instruments, 394–425. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_15.

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Bucur, Voichita. "Manufacturing and Functions of Pads and Keys for Woodwind Instruments." In Handbook of Materials for Wind Musical Instruments, 579–92. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_15.

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Eargle, John M. "Acoustics of Woodwind Instruments." In Music, Sound, and Technology, 99–120. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_6.

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Eargle, John M. "Acoustics of Woodwind Instruments." In Music, Sound, and Technology, 105–24. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_6.

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Campbell, Murray, Clive Greated, and Arnold Myers. "Woodwind Instruments with Reeds." In Musical Instruments, 75–115. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198165040.003.0003.

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Tzanetakis, George. "Natural Human-Computer Interaction with Musical Instruments." In Advances in Multimedia and Interactive Technologies, 116–36. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch006.

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The playing of a musical instrument is one of the most skilled and complex interactions between a human and an artifact. Professional musicians spend a significant part of their lives initially learning their instruments and then perfecting their skills. The production, distribution and consumption of music has been profoundly transformed by digital technology. Today music is recorded and mixed using computers, distributed through online stores and streaming services, and heard on smartphones and portable music players. Computers have also been used to synthesize new sounds, generate music, and even create sound acoustically in the field of music robotics. Despite all these advances the way musicians interact with computers has remained relatively unchanged in the last 20-30 years. Most interaction with computers in the context of music making still occurs either using the standard mouse/keyboard/screen interaction that everyone is familiar with, or using special digital musical instruments and controllers such as keyboards, synthesizers and drum machines. The string, woodwind, and brass families of instruments do not have widely available digital counterparts and in the few cases that they do the digital version is nowhere as expressive as the acoustic one. It is possible to retrofit and augment existing acoustic instruments with digital sensors in order to create what are termed hyper-instruments. These hyper-instruments allow musicians to interact naturally with their instrument as they are accustomed to, while at the same time transmitting information about what they are playing to computing systems. This approach requires significant alterations to the acoustic instrument which is something many musicians are hesitant to do. In addition, hyper-instruments are typically one of a kind research prototypes making their wider adoption practically impossible. In the past few years researchers have started exploring the use of non-invasive and minimally invasive sensing technologies that address these two limitations by allowing acoustic instruments to be used without any modifications directly as digital controllers. This enables natural human-computer interaction with all the rich and delicate control of acoustic instruments, while retaining the wide array of possibilities that digital technology can provide. In this chapter, an overview of these efforts will be provided followed by some more detailed case studies from research that has been conducted by the author's group. This natural interaction blurs the boundaries between the virtual and physical world which is something that will increasingly happen in other aspects of human-computer interaction in addition to music. It also opens up new possibilities for computer-assisted music tutoring, cyber-physical ensembles, and assistive music technologies.
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Conference papers on the topic "Musical instruments; Woodwind"

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González, Yubiry, and Ronaldo Prati. "Characterization of the sonority associated to woodwinds instruments through spectral analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10452.

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The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.
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