Dissertations / Theses on the topic 'Musical instruments; Woodwind'

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.

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.

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.

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
Mestrado
Fundamentos Teoricos
Mestre em Música

Syftet med studien är att få större insikt i hur pedagoger kan hjälpa sina elever att få motivation till eget musicerande och spelglädje. Med en fenomenografisk utgångspunkt och genom kvalitativa intervjuer där fyra träblåslärare vid olika musik- och kulturskolor deltog, undersöktes deras syn på hur de ser på sina elevers motivation och hur de undervisar för att inspirera sina elever till fortsatt musicerande. Av intervjusvaren framgår tydligt att viktiga källor till motivation är mål, samspel, grupptillhörighet och jag-kan känsla. I resultatdelen har jag kategoriserat och analyserat intervjusvaren och avslutningsvis förs en diskussion kring resultaten i förhållande till begreppen motivation och didaktik.
The aim of the study was to gain greater insight into how teachers can help their students to get motivation to their own musicianship and joy of playing. With a phenomenographic approach and through qualitative interviews with four woodwind teachers at various music and culture schools, their views are analyzed of how they see their students' motivation and how they in their teaching can inspire students to continue playing. The result shows, that the major sources of motivation are goals, interactions, group membership and “I-can!” esteem. In conclusion I have categorized and discussed all interview responses in relation to the concepts of motivation and education.

This paper is a study of Buddy Collette’s improvisatory style on four woodwind instruments: alto saxophone, tenor saxophone, clarinet and flute. Transcription and analysis of Collette’s solos provide examples of the vocabulary he generated and used on each of instrument. This paper also includes some of Collette’s significant life events, including contributions made to the Los Angeles jazz scene.

Includes bibliographical references.
The author has been playing principal flute for almost twenty years, in the ""G Enescu"" Bucharest Philharmonic Orchestra, the Cape Town Symphony Orchestra and the Cape Philharmonic and was fortunate to hear live some of the leading world orchestras, among them the Berlin Philharmonic, Vienna Philharmonic, Gewandhaus, London Philharmonic, London Symphony, Orchestre Nationale de France, New York Philharmonic, Chicago Symphony and the Boston Symphony. All these great orchestras experienced intonation problems, mainly in the woodwind section, and I have started to study this phenomenon, which has followed me through my entire life.

Orientadores: Rafael Santos Mendes, Ricardo Goldemberg
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
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Resumo: Este trabalho aplica a técnica do guia de ondas digital ("Digital Waveguide") na síntese de instrumentos de sopro da família das madeiras, em particular, da clarineta. Esta técnica foi desenvolvida na década de 1980 e, desde então, tem sido utilizada em síntese de instrumentosmusicais por modelagem física. A técnica consiste, grosso modo, no processo de discretização da solução por ondas viajantes da Equação da Onda. Este procedimento permite obter uma estrutura de filtros digitais que simula a propagação da onda sonora para a direita e para a esquerda com velocidade de propagação equivalente à velocidade do som, c. No entanto, nos resultados de modelagem física publicados, constatou-se a ausência da velocidade de escoamento do ar, u. A contribuição deste trabalho consiste em reelaborar a estrutura de filtros digitais de modo a contemplar a velocidade de escoamento do fluido. A fundamentação teórica estabelece que para um meio de propagação sonora em movimento as velocidades de propagação para a direita é c + u e para a esquerda é c ? u. Propõe-se então, uma estratificação do tubo da clarineta em camadas divididas por mesma área ou mesma largura de modo a verificar a influência do perfil de velocidades na síntese sonora. Foi observado que a inclusão do escoamento implica uma "distorção" na curva da pressão interna do tubo, o que aproxima essa forma dos resultados experimentais
Abstract: This study aims to apply the technique of Digital Waveguide in synthesis of woodwind instruments, particularly the clarinet. This technique was developed in the mid-80 and since then, has application in the synthesis of musical instruments by physical modeling. It consists, roughly, in the process of discretization of the traveling wave solution of the Wave Equation. This leads to a digital filter structure that simulates the propagation of sound waves to the right and left with the speed of sound propagation, c. However, in the published results of physical modeling, the air flow velocity, u, was not included. The contribution of this work is to redesign the structure of digital filters in order to contemplate the velocity of the fluid. The theoretical framework provides that in a medium in motion the velocities of propagation to the right is c + u and to the left is c ? u. It is proposed then a stratification of the tube of the clarinet in layers divided by the same area or same width in order to verify the influence of velocity profile in the synthesized sound. It was observed that the inclusion of flow provides a "distortion" in the internal pressure of the tube. It sets resemblance to experimental results
Doutorado
Engenharia de Computação
Doutor em Engenharia Elétrica

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).

This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

Tre musikinstrument – En röst. En studie om omställningsprocessen mellan ett träblåsinstrument till ett annat. Detta område omfattar tvärflöjt- oboe- och altsaxofonspel. Arbetet bygger på observationer av en sex veckor lång instuderingsprocess, sett i relation till ett urval av tidigare forskning och högskoleuppsatser inom området. Studien har i syfte att utforska omställningsprocessen när jag byter från det ena blåsinstrumentet till det andra. Detta för att ge en djupare inblick i en multiinstrumentalists vardag och belysa de fenomen som ligger till grund för spelet för respektive instrument och som sedan tas med i omställningsprocessen. Denna kvalitativa studie utgår från ett livsvärldsperspektiv och metod är loggboksskrivande samt videodokumentation. Resultatet bärs upp av två teman: Inre röst och instrumentbyte-muskelbyte som står för mentala respektive fysiska handlingar. Efter resultatet följer en diskussion som sätts i förhållande till litteratur och tidigare forskning inom området. Arbetet avslutas med tankar om dess betydelse samt möjligheter till framtida forskning.
Three musical instruments – One voice. A study of the conversion process between a woodwind instrument to another. This area includes the flute, oboe and the alto saxophone. This study is based on observations of a six-week rehearsal process in relation to a sample of previous research and academic papers in the field. The study is aimed to explore the conversion process when I switch from one wind instrument to the other. This is to provide a deeper insight into a multiinstrumentalists everyday life and highlight all the phenomena that form the basis of the play for each instrument and then be included in the conversion process. This qualitative study is based on a life-world perspective and method logbook writing and video documentation. The result is supported by two themes: Inner voice and change of instrument-muscle change representing mental and physical actions. After the result is a discussion that is related to the literature and previous research in the area. The work concludes with thoughts about its importance as well as opportunities for future research.

The bassoon is a conical woodwind instrument blown with a double-reed mouthpiece. The sound is generated by the periodic oscillation of the mouthpiece which excites the air column. The fundamental frequency of this oscillation is determined to a large extent by the resonances of the air column. These can be varied by opening or closing tone-holes. For any given tone hole setting a fine-tuning in pitch is necessary during playing. Musicians adjust the slit opening of the double-reed by pressing their lips against the opposing reed blades. These so-called embouchure corrections are required to tune the pitch, loudness and sound color of single notes. They may be tedious, especially if successive notes require inverse corrections. However, such corrections are essential: Due to the very high frequency sensitivity of the human ear playing in tune is the paramount requirement when playing music. This implies, that embouchure actions provide an important insight into a subjective quality assessment of reed wind instruments from the viewpoint of the musician: An instrument requiring only small corrections will be comfortable to play. Theoretical investigations of the whole system of resonator, reed, and musician by use of a physical model nowadays still seem insufficient with respect to the required precision. Therefore the path of well-described artificial mouth measurements has been chosen here. For the separate treatment of the resonator and the double-reed, existing classical models have been used. Modifications to these models are suggested and verified experimentally. The influence of the musician is incorporated by the lip force-dependent initial reed slit height. For this investigation a measurement setup has been built that allows precise adjustment of lip force during playing. With measurements of the artificial mouth parameters blowing pressure, mouthpiece pressure, volume-flow rate and axial lip position on reed, the experiment is fully described for a given resonator setting represented by an input impedance curve. By use of the suggested empirical model the adjustment parameters can be turned into model parameters. A large data set from blowing experiments covering the full tonal and dynamical range on five modern German bassoons of different make is given and interpreted. The experimental data presented with this work can be a basis for extending the knowledge and understanding of the interaction of instrument, mouthpiece and player. On the one hand, they provide an objective insight into tuning aspects of the studied bassoons. On the other hand the experiments define working points of the coupled system by means of quasi-static model parameters. These may be useful to validate dynamical physical models in further studies. The experimental data provide an important prerequisite for scientific proposals of optimizations of the bassoon and other reed wind instruments. It can further serve as a fundament for the interdisciplinary communication between musicians, musical instrument makers and scientists.

A well-made flute is always a compromise and the job of flute makers is to achieve a musically and aesthetically satisfying compromise; a task that involves much trial and-error. The practical aim of this thesis is to develop a mathematical model of the flute and a computer program that assists in the flute design process. Many musical qualities of a woodwind instrument may be calculated from the acoustic impedance spectrum of the instrument. A technique for fast and accurate measurement of this quantity is developed. The technique is based on the multiple-microphone technique, and uses resonance-free impedance loads to calibrate the system and spectral shaping to improve the precision at impedance extrema. The impedance spectra of the flute and clarinet are measured over a wide range of fingerings, yielding a comprehensive and accurate database. The impedance properties of single finger holes are measured using a related technique, and fitformulae are derived for the length corrections of closed finger holes for a typical range of hole sizes and lengths. The bore surface of wooden instruments can change over time with playing and this can affect the acoustic impedance, and therefore the playing quality. Such changes in acoustic impedance are explored using wooden test pipes. To account for the effect of a typical player on flute tuning, an empirical correction is determined from the measured tuning of both modern and classical flutes as played by several professional and semi-professional players. By combining the measured impedance database with the player effects and various results in the literature a mathematical model of the input impedance of flutes is developed and implemented in command-line programs written in the software language C. A user-friendly graphical interface is created using the flute impedance model for the purposes of flute acoustical design and analysis. The program calculates the tuning and other acoustical properties for any given geometry. The program is applied to a modern flute and a classical flute. The capabilities and limitations of the software are thereby illustrated and possible contributions of the program to contemporary flute design are explored.

Este estudo realizado na Escola Profissional Artística do Vale do Ave – Artave assenta no meu percurso de instrumentista e de docente da disciplina do instrumento-trompete, e comutativamente, no interesse de obter respostas sobre os hábitos existentes nas classes de Sopro da Escola, uma vez que desempenho funções pedagógicas de coordenação e, assim, poder ter uma visão mais global da Escola. O estudo assenta nas técnicas/processo e análise de hábitos da respiração existentes nas classes de sopro da escola. Pretende-se investigar os exercícios de respiração utilizados nas diferentes classes, bem como, analisar a importância da respiração no domínio da técnica do instrumento-trompete e as suas consequências ao nível do som e do timbre. A respiração como um elemento basilar para execução nos instrumentos de sopro, era um assunto com toda a pertinência a ser estudado, no âmbito de uma escola profissional, com alunos com quem se ambiciona atingir um elevado grau de performance musical. A metodologia adotada é de carácter qualitativo, sendo um estudo de caso. Elaborou-se questionários a alunos, que foram objeto de uma análise quantitativa, e entrevistas a professores. Definiu-se objetivos, que pretendiam perceber as dinâmicas existentes nas classes de sopro no que se refere à respiração; compreender os diferentes exercícios de respiração propostos pelos professores; perceber na classe de trompete, em particular, de que modo os princípios serão eficazes, nas metodologias utilizadas no estudo da respiração; obter uma comparação de hábitos de estudo da respiração em alunos das classes das madeiras e dos metais. Os resultados deste estudo, refletem uma assimetria de hábitos nos alunos das classes de madeiras e de metais, bem como, uma diversidade de visões por parte dos professores, no que concerne ao estudo da respiração e nos exercícios propostos aos alunos.
This study in the Escola Profissional Artística do Vale do Ave - Artave based on my instrumentalist and teacher experience of the subject of the instrument-trumpet, and also in the interest of obtaining answers about the existing habits of the wind and brass classes. Since I have pedagogical and coordination functions thus may have a more global vision of the School. The study is based on technical / process analysis and habits of breathing in existing wind and brass classes of the artistic school. We intend to explore the breathing exercises used in the different classes, and to evaluate the importance of breathing technique in the field of instrument-trumpet and its consequences in terms of sound and timbre. Breathing as a basic element for execution in wind instruments, is a matter quite rightly to be studied in the context of a professional school with students who aims to achieve a high level of musical performance. The methodology is of qualitative in nature, being a case study. We prepared questionnaires to students who have been handled as a quantitative analysis, and interviews with teachers. Set up goals, they wanted to understand the dynamics existing in wind classes concerning breathing; understand the different breathing exercises proposed by teachers; realize the trumpet class, in particular, how the principles will be effective in methodologies used in the study of respiration, a comparison of the breath study habits of students in classes of woodwind and brass instruments. The results of this study reflect an asymmetry habits in students of woodwind and brass classes, as well as a diversity of views from teachers, with regard to the study of breathing and exercises offered to students.

The bassoon is a conical woodwind instrument blown with a double-reed mouthpiece. The sound is generated by the periodic oscillation of the mouthpiece which excites the air column. The fundamental frequency of this oscillation is determined to a large extent by the resonances of the air column. These can be varied by opening or closing tone-holes. For any given tone hole setting a fine-tuning in pitch is necessary during playing. Musicians adjust the slit opening of the double-reed by pressing their lips against the opposing reed blades. These so-called embouchure corrections are required to tune the pitch, loudness and sound color of single notes. They may be tedious, especially if successive notes require inverse corrections. However, such corrections are essential: Due to the very high frequency sensitivity of the human ear playing in tune is the paramount requirement when playing music. This implies, that embouchure actions provide an important insight into a subjective quality assessment of reed wind instruments from the viewpoint of the musician: An instrument requiring only small corrections will be comfortable to play. Theoretical investigations of the whole system of resonator, reed, and musician by use of a physical model nowadays still seem insufficient with respect to the required precision. Therefore the path of well-described artificial mouth measurements has been chosen here. For the separate treatment of the resonator and the double-reed, existing classical models have been used. Modifications to these models are suggested and verified experimentally. The influence of the musician is incorporated by the lip force-dependent initial reed slit height. For this investigation a measurement setup has been built that allows precise adjustment of lip force during playing. With measurements of the artificial mouth parameters blowing pressure, mouthpiece pressure, volume-flow rate and axial lip position on reed, the experiment is fully described for a given resonator setting represented by an input impedance curve. By use of the suggested empirical model the adjustment parameters can be turned into model parameters. A large data set from blowing experiments covering the full tonal and dynamical range on five modern German bassoons of different make is given and interpreted. The experimental data presented with this work can be a basis for extending the knowledge and understanding of the interaction of instrument, mouthpiece and player. On the one hand, they provide an objective insight into tuning aspects of the studied bassoons. On the other hand the experiments define working points of the coupled system by means of quasi-static model parameters. These may be useful to validate dynamical physical models in further studies. The experimental data provide an important prerequisite for scientific proposals of optimizations of the bassoon and other reed wind instruments. It can further serve as a fundament for the interdisciplinary communication between musicians, musical instrument makers and scientists.:1 Introduction 1 1.1 Motivation 1 1.2 Scientific Approaches to Woodwind Musical Instruments 3 1.3 Organization of the Thesis 6 2 Acoustical Properties of the Bassoon Air Column 7 2.1 Wave propagation in tubes 7 2.1.1 Theory 7 2.1.2 Transmission Line Modeling 8 2.1.3 Implementation 18 2.1.4 Remarks on Modeling Wall Losses in a Conical Waveguide 19 2.2 Input Impedance Measurement 23 2.2.1 Principle 23 2.2.2 Device 23 2.2.3 Calibration and Correction 24 2.3 Comparison of Theory and Experiment 27 2.3.1 Repeatability and Measurement Uncertainty 27 2.3.2 Comparison of numerical and experimental Impedance Curves 32 2.4 Harmonicity Analysis of the Resonator 35 2.4.1 The Role of the Resonator 35 2.4.2 The reed equivalent Volume 35 2.4.3 Harmonicity Map 36 2.5 Summary 38 3 Characterization of the Double Reed Mouthpiece 41 3.1 Physical Model of the Double-Reed 41 3.1.1 Working Principle 41 3.1.2 Structural Mechanical Characteristics 42 3.1.3 Fluid Mechanical Characteristics 44 3.2 Measurement of Reed Parameters 49 3.2.1 Quasi-stationary Measurement 49 3.2.2 Dynamic Measurement 50 3.3 Construction of an Artificial Mouth 52 3.3.1 Requirements Profile 52 3.3.2 Generic Design 53 3.3.3 The artificial Lip 54 3.3.4 Air Supply 55 3.3.5 Sensors and Data Acquisition 57 3.3.6 Experimental setup 59 3.4 Summary 59 4 Modeling Realistic Embouchures with Reed Parameters 61 4.1 Reed Channel Geometry and Flow Characteristics 61 4.1.1 The Double-Reed as a Flow Duct 61 4.1.2 Bernoulli Flow-Model with Pressure Losses 65 4.1.3 Discussion of the Model 68 4.2 Quasi-static Interaction of Flow and Reed-Channel 72 4.2.1 Pressure-driven Deformation of the Duct Intake 72 4.2.2 Reed-Flow Model including Channel Deformation 75 4.2.3 Influence of Model Parameters 76 4.2.4 Experimental Verification 78 4.3 Effect of the Embouchure on the Reed-Flow 81 4.3.1 Adjustment of the Initial Slit Height 81 4.3.2 Quasi-static Flow in the Deformed Reed-Channel 83 4.3.3 Simplified empirical Model including a Lip Force 85 4.4 Summary 93 5 Survey of Performance Characteristics of the Modern German Bassoon 5.1 Experimental Procedure and Data Analysis 95 5.1.1 Description of the Experiment 95 5.1.2 Time Domain Analysis 97 5.1.3 Spectral Analysis – Period Synchronized Sampling 98 5.1.4 Spectral Centroid and Formants 99 5.1.5 Embouchure parameters 100 5.2 Observations on the Bassoon under Operating Conditions 105 5.2.1 Excitation Parameter Ranges 106 5.2.2 Characteristics of the radiated Sound 110 5.2.3 Reed Pressure Waveform Analysis 115 5.2.4 Summarizing Overview 118 5.3 Performance Control with the Embouchure 120 5.3.1 Register-dependent Embouchure Characteristics 120 5.3.2 Intonation Corrections 123 5.3.3 Sound Color Adjustments 127 5.3.4 Relation to the acoustical Properties of the Resonator 129 5.4 Summary 137 6 Conclusion 139 6.1 Summary 139 6.2 Outlook 141