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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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MIRANDA, EDUARDO RECK, JAMES CORREA, and JOE WRIGHT. "Categorising complex dynamic sounds." Organised Sound 5, no. 2 (August 2000): 95–102. http://dx.doi.org/10.1017/s1355771800002065.
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Chaosynth is a cellular automata-based granular synthesis system whose capabilities for producing unusual complex dynamic sounds are limitless. However, due to its newness and flexibility, potential users have found it very hard to explore its possibilities as there is no clear referential framework to hold on to when designing sounds. Standard software synthesis systems take this framework for granted by adopting a taxonomy for synthesis instruments that has been inherited from the acoustic musical instruments tradition, i.e. woodwind, brass, string, percussion, etc. Sadly, the most interesting synthesised sounds that these systems can produce are simply referred to as effects. This scheme clearly does not meet the demands of more innovative software synthesizers. In order to alleviate this problem, we propose an alternative taxonomy for Chaosynth timbres. The paper begins with a brief introduction to the basic functioning of Chaosynth. It then presents our proposed taxonomy and ends with concluding comments. A number of examples are provided on this volume's Organised Sound CD.
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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
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Clemente, Miguel P., André Moreira, Joaquim Mendes, Afonso P. Ferreira, and José M. Amarante. "Wind Instrumentalist Embouchure and the Applied Forces on the Perioral Structures." Open Dentistry Journal 13, no. 1 (March 28, 2019): 107–14. http://dx.doi.org/10.2174/1874210601913010107.
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Introduction:The wind instrumentalist embouchure is probably one of the most demanding tasks that occurs during their musical performance. It is important to quantify the forces that are applied during the wind instrumentalist embouchure on the perioral structures.Objective:Quantify the force on the perioral structures involved during the embouchure mechanism of wind instrumentalists.Methods:Piezoresistive sensors of FlexiForceTMwere placed on the mouthpiece of 28 different wind instrumentalists, in order to obtain the applied forces transmitted to the upper lip or the lower lip. The application of the sensors were done according to the particular characteristics of the different types of wind instruments, single reed, double reed or metal. Each participant performed three times three different notes at different pitches: high, medium and low. The average medium and maximum pressure was obtained from the nine essays. The sensors were connected to a data acquisition board from National Instruments and the results displayed in LabVIEW 2011.Results:Measurement values were obtained for the different groups of wind instruments. In an ascending order, the pressures registered where for the bassoon (6g-31g), the oboe (17g-125g), the saxophone (39g-120g), the clarinet (54g-106g), the trumpet, (63g-172g), the bisel flute (73g-245g), the French horn (56g-305g), the transversal flute (220g-305g) and the trombone (201g-325g).Conclusion:Metal instrumentalists seem to apply greater forces than woodwind musicians when performing the embouchure mechanism, being in this specific case the trombone the instrument from the metal group to exert more force, while on the contrary, the bassoon registered the lower values.
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Kemp, Connor, and Gary Scavone. "Microstructure Contributions to Vibrational Damping and Identification of Damage Mechanisms in Arundo Donax L: Reed Cane for Woodwind Instruments." MRS Advances 2, no. 35-36 (2017): 1869–88. http://dx.doi.org/10.1557/adv.2017.223.
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ABSTRACTNatural cane reeds (Latin name Arundo Donax L and here termed ADL) have been used on woodwind instruments for centuries with little change. The reed acts as a mechanical valve controlling the energy input into the musical instrument and it is the musician’s first option for altering the instrument’s sound and response characteristics. Despite this, their consistency, variable performance, durability and sensitivity to ambient conditions make it difficult for the musician to find and maintain a reed that responds to their liking. Thus it is desirable to examine the material, microstructural and anatomical properties of the reed and their contributions to vibrational performance with input from mechanical engineers, materials scientists and musicians.The current study is part of an on-going research project, and this paper presents preliminary results. In the present work raw samples of ADL obtained from a manufacturer in pre-cut form are sectioned into longitudinal and transverse specimens for mechanical characterization. Prior to testing, samples are conditioned using an incubation system to 37 degrees Celsius and 90% relative humidity, mimicking in-use conditions of the reed. Initial microstructure analysis of each specimen is completed using optical microscopy to quantify fiber spatial arrangement, size and the existence of micro-cracks along the fiber-matrix interface. X-ray diffraction is also used to quantify the fraction of crystalline cellulose present in each sample. Specimens are then excited over a specific frequency range similar to that of in-use reeds using pressure waves in a non-contact setup. Values of internal friction are obtained as logarithmic decrement values for frequency-dependent decay. One set of specimens is then subjected to cyclic mechanical loading at low frequency (< 1Hz) and stresses up to 15MPa. The other set is maintained at the given environmental conditions using the incubator and aged through temperature and humidity cycling. Comparisons of post-testing microstructure damage and internal friction measurements are then completed to delineate specific degradation mechanisms due to mechanical/fatigue deterioration and moisture cycling. Internal friction is found to be dependent on both frequency, moisture and cyclic loading. Furthermore, the existence of microstructural cracks contributes to increasing decrement values at high frequencies in both fatigued and moisture cycled samples. Statistically significant correlations are discovered between logarithmic decrement and vascular bundle orientation at 700 Hz and logarithmic decrement and parenchyma cell diameter at 1000 Hz. Reductions in internal friction below 400 Hz indicate a decreasing loss modulus (E’’) with increased moisture cycles, although this trend will be tested against a larger sample set in further work.
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Olson, Anna D., Lori F. Gooding, Fara Shikoh, and Julie Graf. "Hearing Health in College Instrumental Musicians and Prevention of Hearing Loss." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 29–36. http://dx.doi.org/10.21091/mppa.2016.1006.
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OBJECTIVE: College musicians exhibit greater declines in hearing than the general population and are at particular risk because they rehearse and perform daily in loud environments. Also, they engage in use of personal listening devices which increases the amount of “exposure” time. Despite increased risk, many do not use hearing protection devices (HPD). The purpose of this study was to (1) to identify the present level of education about hearing health, (2) identify the perceived advantages and disadvantages of using HPD, and (3) evaluate results among different musical instrument groups. METHODS: A mixed-methods group design was used including both quantitative and qualitative instruments. SPSS was used to generate descriptive statistics, and non-parametric statistical analysis was performed on quantitative data. NVivo software was used to evaluate qualitative responses. RESULTS: Of the 90 college instrumental music students who participated, 12% reported a history of hearing loss, and over one-third reported tinnitus. Seventy-seven percent of participants had never received any training about hearing health and only a small percentage of students used HPD. The most cited reason for lack of protection use was its negative impact on sound quality. However, group differences were noted between brass, woodwind, and percussion musicians in terms of HPD uptake. CONCLUSION: Improving the type of information disseminated to college musicians may reduce the risk of ear-related deficits. Noise dosage information, HPD information, and prevention education grounded in theories like the Health Belief Model may increase awareness and promote greater use of HPDs in this population.
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Ranelli, Sonia, Leon Straker, and Anne Smith. "Playing-related Musculoskeletal Problems in Children Learning Instrumental Music: The Association Between Problem Location and Gender, Age, and Music Exposure Factors." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 123–39. http://dx.doi.org/10.21091/mppa.2011.3021.
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PURPOSE: Playing-related musculoskeletal problems (PRMP) are common in adult musicians, and risk factors include gender, music exposure, and particularly instrument type. Emerging evidence suggests PRMP are common in children and adolescents and that risk factors may be similar. The aim of this study was to determine the prevalence of PRMP, both symptoms and disorders, and PRMP location in children and adolescents as well as the associations with gender, age, and music exposure factors such as type and number of instruments and playing time. METHODS: This study surveyed 731 children (460 females), aged 7 to 17 years, studying instrumental music in government schools in Perth, Australia. Lifetime and monthly symptoms, monthly disorders (inability to play an instrument as usual), and PRMP location were examined. Chi-squared analyses were used to evaluate associations between gender, age, music exposure, and PRMP outcomes. Logistic regression evaluated the independent association of these potential risk factors with PRMP prevalence and location. RESULTS: Sixty-seven percent of students reported PRMP symptoms at some point, 56% reported them within the last month, and 30% reported an inability to play as usual within the last month. After adjustment for gender and age, the type of instrument played (upper and lower strings, woodwind, and brass) was significantly associated with all PRMP (p<0.005) and playing three instruments was protective against monthly symptoms (OR 0.43, p=0.05). The right (24%) and left (23%) hand/elbow and neck (16%) were the most commonly reported PRMP locations, with females affected significantly more than males Prevalence of PRMP increased with age for neck (p<0.001), mid-back (p=0.007), low back (p<0.001), right hand/elbow (p=0.008), and mouth (p=0.011). PRMP prevalence for the left hand/elbow and right and left shoulders demonstrated high rates across all childhood ages. Odds ratios for the risk of PRMP in different locations varied by instrument played. CONCLUSIONS: The high prevalence and location of PRMP are important issues for child and adolescent instrumentalists. Gender, age, and music exposure are associated with PRMP risk and need to be addressed to ensure musicians’ personal well-being and musical longevity.
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Powell, Sean R., Molly A. Weaver, and Robin K. Henson. "Relationship of Preservice Music Teachers’ Primary Instrument Background and Teaching Effectiveness in Brass and Woodwind Techniques Classes." Journal of Music Teacher Education 27, no. 3 (September 26, 2017): 38–50. http://dx.doi.org/10.1177/1057083717733469.
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The purpose of this study was to examine the relationship between preservice music teachers’ primary instrument background and their teaching effectiveness in brass and woodwind techniques classes. Study participants ( N = 135) were preservice music teachers enrolled in secondary instrument techniques courses (brass and woodwinds) from fall 2011 through spring 2015 in three universities. Participants taught a 10-minute video recorded lesson to a beginning-level university student on a brass or woodwind instrument at the end of the semester. All videos were subsequently assessed by two researchers using a researcher-designed rubric. The results of analyses of variance showed that brass-teaching scores tended to be higher than woodwind-teaching scores for all groups. Brass players taught brass more effectively than woodwind players, and woodwind players taught woodwinds better than brass players. Brass and woodwind players scored higher than percussionists, vocalists, pianists, and string players in both brass and woodwind teaching. Implications for music teacher education are discussed.
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Lee, Eunsung, Yerim Shin, Sungmin Jo, and Jinsook Kim. "A Study for Composition and Comparison of the Music Perception Tests for Normal Hearing and Cochlear Implant Users." Audiology and Speech Research 17, no. 3 (July 31, 2021): 291–99. http://dx.doi.org/10.21848/asr.210016.
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Purpose: The aim of this study was to compose the test for music perception and analyze the characteristic of cochlear implant users’ music perception.Methods: The test was made up with the pitch, melody, and timbre factors, using three low and high frequencies, six music genres, and four types of musical instruments correspondingly. The tests were conducted to 10 normal-hearing (NH) young adults and 10 young cochlear-implant (CI) users.Results: All the music perception tests showed significant differences between NH and CI group [F(1, 4) = 0.018, p = 0.019]. In the pitch test, CI group showed significantly lower correction rate(51.3%) than NH group (82.7%) did with higher correction rates in low frequencies. In the melody test, CI group showed significantly lower correction rate (29.7%) than NH group (95.8%) did with the highest performance in folk songs (51.7%). In the timbre test, CI group showed significantly reduced performance (22.5%) than NH group (65.8%) did. For both CI and NH groups, the pitched percussion showed the highest scores (45% and 100%) while the woodwind showed the lowest scores (13.3% and 48.3%).Conclusion: Out of three tests, CI group showed better performance in pitch perception than melody and timber perception. CI group showed better performances in low pitch sounds, melodies of familiar genre, and sound of pitched percussion instruments’ timber showing complicated music perception ability. To enhance the music perception ability for CI users by aural rehabilitation, more specified and systematic music perception test material should be developed.
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Stavash, John C. "Woodwind musical instrument." Journal of the Acoustical Society of America 96, no. 5 (November 1994): 3211. http://dx.doi.org/10.1121/1.411238.
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Handel, Stephen, and Molly L. Erickson. "Sound Source Identification: The Possible Role of Timbre Transformations." Music Perception 21, no. 4 (June 1, 2004): 587–610. http://dx.doi.org/10.1525/mp.2004.21.4.587.
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Timbre is typically investigated as a perceptual attribute that differentiates instruments at one pitch. Yet the perceptual usefulness of timbre is that it allows listeners to recognize one instrument at different pitches. Using stimuli produced across the playing range by three wind instruments from two categories, woodwind and brass, we measured listeners' judgments of instrumental timbre across pitch in a dissimilarity task and measured listeners' ability to identify stimuli as being produced by the same or different instrument in a three-note oddball task. The resulting multidimensional scaling representation showed that Dimension 1 correlated with pitch, whereas Dimension 2 correlated with spectral centroid and separated the instrumental stimuli into the categories woodwind and brass. For three-note sequences, the task was extremely difficult for the woodwind pair, with listeners typically choosing the most dissimilarly pitched stimulus as coming from the oddball source. In contrast, the three-note sequences were easy for the woodwind-brass pairs. The results from these experiments illustrate the difficulty of extrapolating the timbre of a sound source across large differences in pitch.
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Moore, J. E. "Always blow your own trumpet! Potential cross-infection hazards through salivary and respiratory secretions in the sharing of brass and woodwind musical instruments during music therapy sessions." Journal of Hospital Infection 56, no. 3 (March 2004): 245. http://dx.doi.org/10.1016/j.jhin.2003.07.005.
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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.
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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.
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O'Loughlin, Niall, Anthony Baines, and Leonardo de Lorenzo. "Woodwind Instruments and Their History." Musical Times 134, no. 1802 (April 1993): 214. http://dx.doi.org/10.2307/1002488.
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Blackwell, Jennifer A., and Nicholas E. Roseth. "Problem-Based Learning in a Woodwind Methods Course: An Action Research Study." Journal of Music Teacher Education 28, no. 1 (April 16, 2018): 55–69. http://dx.doi.org/10.1177/1057083718769262.
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The purpose of this action research study was to explore the use of problem-based learning (PBL) in a secondary instrument methods course. Six students enrolled in a woodwind methods course and participated in PBL activities—including video assessment, written scenarios, emergent performance scenarios in the classroom, group activities, and structured peer teaching—aimed at improving their ability to diagnose and solve instrument-specific performance problems. We examined students’ perceptions of PBL, including their teaching confidence, retention of course materials, and overall course engagement. The data collected suggest that students perceived themselves to be learning effectively in this PBL environment, and they felt generally confident in their ability to teach woodwinds. In addition, students appreciated opportunities for “real-life” teaching scenarios and expressed high levels of motivation, though they found this approach somewhat haphazard and unstructured. We suggest that PBL may be a viable method for educating preservice music teachers.
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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (October 21, 2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.
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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular demands of the instrument on which a teacher specialises, and the ease with which accomplished students of that instrument may be recruited to conservatoires, there also appear to be substantial differences in the individual approach of teachers. The findings raise the issue of whether it may be appropriate to provide some training for instrumental teachers at conservatoire level; surely one way of making the pool of accumulated wisdom more readily available, to prospective teachers and to the research community.
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Smith, Gary. "Adjustable barrel tuning apparatus for use with a woodwind musical instrument." Journal of the Acoustical Society of America 96, no. 3 (September 1994): 1951. http://dx.doi.org/10.1121/1.410130.
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Nager, Wido, Tilla Franke, Tobias Wagner-Altendorf, Eckart Altenmüller, and Thomas F. Münte. "Musical Experience Shapes Neural Processing." Zeitschrift für Neuropsychologie 31, no. 2 (June 1, 2020): 81–86. http://dx.doi.org/10.1024/1016-264x/a000295.
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Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.
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James, Stuart. "Flutes98461Barrie Carson Turner Illustrated by John See. FlutesStringsWoodwind and BrassPercussion. London: Belitha Press 1998. 32 pp. each, ISBN: 1 85561 789 7 [Flutes]; 1 85561 788 9 [Strings]; 1 85561 791 9 [Woodwind and Brass];, ISSN: 561 790 0 [Percussion] £7.99 each Musical Instruments of the World series." Reference Reviews 12, no. 8 (August 1998): 39. http://dx.doi.org/10.1108/rr.1998.12.8.39.461.
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Stambaugh, Laura A. "Effects of Focus of Attention on Performance by Second-Year Band Students." Journal of Research in Music Education 67, no. 2 (March 6, 2019): 233–46. http://dx.doi.org/10.1177/0022429419835841.
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This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the average duration of each pitch per trial, or evenness. No significant differences were found between conditions (control, internal, external) on Day 1 or Day 2 ( p > .05). Likewise, no significant differences were found within instrument groups from Day 1 to Day 2 ( p > .05). When evenness scores were examined at the level of the individual student, more woodwind and valved brass players benefited from the internal (fingers) FOA than from control or external conditions. Individual differences among trombone players were less pronounced, slightly favoring the external (sound) condition. Music teachers should consider implementing both internal and external FOAs with their beginning wind students.
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Schuele, Stephan, and Richard J. Lederman. "Focal Dystonia in Woodwind Instrumentalists: Long-term Outcome." Medical Problems of Performing Artists 18, no. 1 (March 1, 2003): 15–20. http://dx.doi.org/10.21091/mppa.2003.1004.
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This study was conducted to describe the clinical characteristics and long-term outcome in woodwind instrumentalists with focal dystonia. Occupational cramp in musicians has been recognized for 150 years, but only in the past two decades has there been a resurgence of interest in this problem. Despite its overall rarity, the diagnosis of focal dystonia is made in a substantial number of instrumental musicians seeking care for playing-related problems, ranging from 5% to 14% in three larger series. The authors present the clinical characteristics and the results of a follow-up survey of 24 woodwind instrumentalists with focal dystonia seen at their institution between 1987 and 2001. Of the 24 musicians, 15 were male, 9 female. Mean age at onset was 34 years (range 18 to 56 years). Duration of symptoms on presentation averaged 3.5 years. Of the 24, 20 were professional musicians, three music students, and one amateur. Fifteen musicians (63%) responded to the written questionnaire, another five were assessed on subsequent visits, and four were lost to follow-up. The questionnaire was administered on average 7.1 years after initial presentation. Long-term information was available on average 8.5 years after the initial onset of symptoms. The main complaint was “impaired control” of movements, in 18 (75%) affecting the limb and in six (25%) the muscles of embouchure. Four patients (22%) with limb and two (33%) with embouchure dystonia had spreading of the dystonia to other activities. In 77% of the patients abnormal involuntary movement and posturing were noted during playing the instrument. Three patients with limb dystonia experienced moderate benefit from anticholinergic treatment, in two combined with botulinum toxin injections. Another four patients indicated benefit from splinting or incidental casting of their limb. Two patients with embouchure dystonia benefited from rebuilding their embouchure. Overall, half of the patients were unable to pursue their careers as professional musicians, in equal proportions in the two groups. Focal dystonia may affect the limb or muscles of embouchure in woodwind instrumentalists. Available treatment is often of little value, and in half of the patients the dystonia leads to the end of the musical career. More effective approaches are badly needed.
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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.
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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.
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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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Ruswanto, Yohanes, and Juanita Theresia Adimurti. "Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 23. http://dx.doi.org/10.15294/harmonia.v17i1.8467.
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<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was conducted through collecting references on the art of <em>Dolo-Dolo</em> and woodwind quintet so it can be used to create an idea for </span><span lang="EN-GB">this arrangement. The result shows that a rhythmic character that characterizes the traditional Flores music lies in a dotted sixteenth pattern. The richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of Flores folk music. The result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the Catholic Church. </span></p>
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Petersen, Erik Alan, Tom Colinot, Philippe Guillemain, and Jean Kergomard. "The link between the tonehole lattice cutoff frequency and clarinet sound radiation: a quantitative study." Acta Acustica 4, no. 5 (2020): 18. http://dx.doi.org/10.1051/aacus/2020018.
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Musical instruments are said to have a personality, which we notice in the sound that they produce. The oscillation mechanism inside woodwinds is commonly studied, but the transmission from internal waveforms to radiated sound is often overlooked, although it is musically essential. It is influenced by the geometry of their resonators which are acoustical waveguides with frequency dependent behavior due in part to the lattice of open toneholes. For this acoustically periodic medium, wave propagation theory predicts that waves are evanescent in low frequency and propagate into the lattice above the cutoff frequency. These phenomena are generally assumed to impact the external sound perceived by the instrumentalist and the audience, however, a quantitative link has never been demonstrated. Here we show that the lattice shapes the radiated sound by inducing a reinforced frequency band in the envelope of the spectrum near the cutoff of the lattice. This is a direct result of the size and spacing between toneholes, independent of the generating sound source and musician, which we show using external measurements and simulations in playing conditions. As with the clarinet, the amplitude of the even harmonics increases with frequency until they match odd harmonics at the reinforced spectrum region.
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Lasocki, David. "Baroque Woodwind Instruments: A Guide to Their History, Repertoire, and Basic Technique (review)." Notes 57, no. 2 (2000): 386–88. http://dx.doi.org/10.1353/not.2000.0081.
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Baird, Jo Ann C. "Video Views: Take Care! Take Pride! a Video Guide to Musical Instrument Care. Volume I: Brass. Volume II: Woodwind." Music Educators Journal 76, no. 6 (February 1990): 18. http://dx.doi.org/10.2307/3400962.
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Simones, Lilian Lima. "A framework for studying teachers’ hand gestures in instrumental and vocal music contexts." Musicae Scientiae 23, no. 2 (November 24, 2017): 231–49. http://dx.doi.org/10.1177/1029864917743089.
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A framework for studying teachers’ hand gestures in instrumental music pedagogy is proposed, focusing on teachers’ teaching behaviours as a context-dependent basis for understanding the meaning and functionality of their gestures. The application of the Teacher Behaviour and Gesture framework across instrumental music pedagogical settings (one-to-one, small and large teaching groups and across singing, woodwind, brass, strings, and other pedagogical contexts) will bring understandings on the role of teachers’ gestures in their pedagogical interactions with students, with implications for student learning and instrumental music teachers’ teaching and education.
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Ely, Mark C. "Effects of Timbre on College Woodwind Players' Intonational Performance and Perception." Journal of Research in Music Education 40, no. 2 (July 1992): 158–67. http://dx.doi.org/10.2307/3345565.
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The purpose of this study was to investigate the effects of timbre on musicians' intonational acuities during a listening and a performance task. Nine saxophonists, nine clarinetists, and nine flutists from The Ohio State University School of Music participated in the listening and performance segments of this experiment. The performance data consisted of subjects' intonational deviations from recorded examples, and the listening data consisted of subjects' correct and incorrect responses to in-tune or out-of-tune tone pairs. The relationship between subjects' abilities to perform in tune and detect intonation problems, and the effects of timbre on subjects' abilities to perform in tune and detect intonation problems were assessed. Results revealed a low correlation between subjects abilities to play in tune and their abilities to detect intonation problems. Results also indicated that timbre had a significant effect on subjects' abilities to detect intonation problems, but not on their abilities to play in tune. Although there was no significant difference between instrument groups' abilities to detect intonation problems, a significant difference was found between these groups' abilities to play in tune across all timbres. Subjects played significantly more flat than sharp when matching other instrument timbres.
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Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (December 2004): 314–27. http://dx.doi.org/10.1177/002242940405200404.
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The purpose of this investigation was to examine the influence of teaching-career level and primary instrument on music teachers' assessment of music performance. The main and interaction effects of three career-level conditions (in-service teachers, upper-division undergraduate students, and lower-division undergraduate students) were examined, along with two primary instrument conditions (brass, not brass), on tone, intonation, melodic accuracy, rhythmic accuracy, tempo, interpretation, and technique/articulation. Participants ( N=150) listened to performances of six junior high trumpet players of various abilities and rated them using the Woodwind Brass Solo Evaluation Form (Saunders & Holahan, 1997). No statistically significant differences were found for the vast majority of interactions or main effects for either career level or instrument condition, suggesting that no relationship exists between teaching-career level and primary performance instrument on the evaluation of music performances. June 1, 2004 October 27, 2004.
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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.
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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.
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Iușcă, Dorina Geta. "Successful Music Performer’s Personality Traits." Review of Artistic Education 22, no. 1 (June 1, 2021): 318–23. http://dx.doi.org/10.2478/rae-2021-0040.
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Abstract Music-education practice has revealed the fact that, in order to become a successful music performer, not only certain physical and perceptive attributes (such as the amplitude of open palm, thoracic capacity, rhythmic accuracy, musical hearing), but a series of personality traits related to the complexity of social, cognitive and emotional activities associated to music performance are also needed. Scientific research focused on high quality music performers’ personality traits has been generated by a series of stereotypes that had been developed across time in the musical world. For example, it has often been said (Woody, 1999) that trumpet players are proud, impetuous, detached and dominating, whereas woodwind players are more feminine, more intelligent and shyer. The present study aims to review the most relevant experiments related to the personality profile of the successful music performer. A growing body of research has discovered ten important traits: androgyny, originality, independence, self-motivation, perseverance, sensibility, high capacity of interpersonal communication, extroversion, the need for attention, and trait anxiety. I discuss about a series of educational implications of this personality profile in connection to the development of a successful career in academic music. Discovering and developing these traits early on could be an essential support in creating an exceptional educational path in vocal and instrumental music performance.
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Kaminski, Joseph S. "Retired Chinese Workers, Musical Education, and Participant-Observation in The Beijing Sunshine Wind Band Art Troupe." ICONI, no. 2 (2021): 75–93. http://dx.doi.org/10.33779/2658-4824.2021.2.075-093.
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The Beijing Sunshine Wind Band performs in community concerts in Beijing year round. The band began in 2007, founded by Lin Yi and her husband Zhao Yinglin. Lin Yi underwent cancer surgery in 1995 and recovered to form the band of around 100 retirees. Members begin musical training in retirement, and as adult learners practice hours gaining musical profi ciency. The music is Chinese and in jianpu numerical notation, but all of their instruments are Western woodwinds, brass, and percussion. The band performs at national events, museums and libraries, and toured Taiwan, Korea, Hong Kong, and Macau. Concert bands are civilian versions of military bands. Their marches include “The People’s Liberation Army March,” and lyrical songs such as “My Country” from a 1956 fi lm. Their performances draw revolutionary sentiments in suites such as The Red Detachment of Women, and the band performs songs from post-Mao decades, such as “Dare to Ask the Way,” from the television series Journey to the West. Trevor Herbert stated that concert bands serve communities as “rational recreation.” The goal of this article is show how a Chinese national concert band reached and created healthy lifestyles for retired workers recovering from cancer and other disabilities.
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Wolfe, Jocelyn. "An investigation into the nature and function of metaphor in advanced music instruction." Research Studies in Music Education 41, no. 3 (September 19, 2018): 280–92. http://dx.doi.org/10.1177/1321103x18773113.
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Metaphors are an important linguistic device that can enable music teachers to explain expressive performance features in a way that makes sense to their students. This study extends the limited literature on the application of metaphors within advanced music instruction, providing new insights into the nature and function of metaphor in the way that music is perceived, performed and taught. It is based on an investigation of 80 hours of teacher instruction recorded across five instrument areas: strings, woodwinds, brass, percussion and keyboard. Metaphors were identified, analysed in relation to contextual meanings, and explored in relation to relevant literature. The findings suggest that with attentive use, metaphors can be useful “bridges to learning” in music instruction contexts.
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Bergee, Martin J. "Relationships among Faculty, Peer, and Self-Evaluations of Applied Performances." Journal of Research in Music Education 45, no. 4 (December 1997): 601–12. http://dx.doi.org/10.2307/3345425.
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This study is the second in a series examining relationships among faculty, peer, and self-evaluations of applied music end-of-semester performances. At three locations, college and university voice, percussion, woodwind, brass, and stringed instrument instructors rated undergraduate performances. Later, the performers rated the same set of performances (one of which was their own) on videotape. Ranging from .23 to .93, total score faculty interjudge reliability was mixed. Total score interjudge reliability among student (peer) panels was more consistent (.83-. 89). Most category score reliabilities were acceptable, although there was a wide range. Consistent with results of the first investigation, correlations between faculty and peer evaluations generally were high, ranging from .61 (p < .10) to .98 (p < .01). Also consistent with results of the first investigation, self-evaluation correlated poorly with both faculty and peer evaluation. No significant differences in self-evaluation were found among performance concentrations (voice, percussion, etc.) or between preliminary-level (first or second year) and upper-level (third year and beyond) performance status.
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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.
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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.
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Celentano, Frank, Richard DiPasquale, Edward Simoneau, Nicholas May, Zahra Shahbazi, and Sina Shahbazmohamadi. "Reverse Engineering and Geometric Optimization for Resurrecting Antique Saxophone Sound Using Micro-Computed Tomography and Additive Manufacturing." Journal of Computing and Information Science in Engineering 17, no. 3 (July 20, 2017). http://dx.doi.org/10.1115/1.4037180.
Full textAbstract:
The saxophone mouthpiece is an important, sound generating component of this instrument. The structure of mouthpiece has undergone several design changes since its invention by Adolphe Sax in the mid-18th century. Very few antique mouthpieces survived through the years, and unfortunately, those available are not playable on modern saxophones due to geometric discrepancies. This paper investigates the possibility of using three-dimensional (3D) X-ray tomography and 3D printing combined with solid modeling and reverse engineering concepts to bring back the sound of saxophones as intended by its inventor. We have imaged the interior and exterior of an extant mouthpiece nondestructively using 3D X-ray tomography, and used solid modeling and reverse engineering along with sound testing, to optimize the geometry of a mouthpiece that is faithful to its original design and yet playable on a modern saxophone. To perform sound testing of our design iterations, 3D printed prototypes have been used and proven to generate sufficient sound quality for testing. We have successfully obtained the optimized geometry after a series of iterations that taught us valuable lessons about modeling for 3D printing and correlating geometric features of a mouthpiece to its sound quality. Though the developed principles are applied to saxophone mouthpieces, the present work can be readily extended to various musical instruments that have evolved through time, particularly woodwind instruments and instruments with mouthpieces.
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Antal, G. "Giant reed (Arundo donax L.) from ornamental plant to dedicated bioenergy species: review of economic prospects of biomass production and utilization." International Journal of Horticultural Science 24, no. 1-2 (June 10, 2018). http://dx.doi.org/10.31421/ijhs/24/1-2./1545.
Full textAbstract:
Giant reed (Arundo donax L.) is a perennial, herbaceous grass, it has been spread all over the world from continent to tropical conditions by human activities. In continental climate, especially Hungary, it has been considered as ornamental species, due to its decorative appearance, striped variants’ colour of leaves, long growing season and low maintenance requirements. It does not produced viable seeds, so it can be propagated vegetative ways by rhizomes or stem cuttings and by in vitro biotechnology methods. Because of its growth habits and good adaptation capability, it has been considered invasive weed primarily in coastal regions in warmer climate areas. In the previous century, giant reed produced for paper/cellulose/viscose production, woodwind musical instruments, stakes for plants or fishing rods etc. Over the last few decades, it has been produced for bioenergy purposes (bioethanol, biogas, direct combustion) or utilize as chemical basic compounds or construction materials. It has been considered a dedicated promising biomass crops thanks to high biomass production, high energy balance of cultivation and adaptability of different kind of soils and conditions. The objective of the present paper is to overview the most significance literature data on giant reed production and utilization, compare to own experimental data and economic calculations and to determine some critical factors, advantages and disadvantages of giant reed production compare to other biomass species.
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MacMillan, Douglas. "The Flageolet: A Woodwind Instrument that Transcended Social Class and Gender in Nineteenth-Century England." Nineteenth-Century Music Review, October 29, 2020, 1–24. http://dx.doi.org/10.1017/s1479409820000142.
Full textAbstract:
The flageolet – a woodwind instrument closely akin to the recorder – achieved considerably popularity in nineteenth-century England. It was predominantly an instrument of the amateur musician, and its story becomes a mirror of the musical society in which the instrument flourished. An account of the organology of the flageolet in both its English and French forms, and of its evolution into double, triple and transverse versions, precedes a study of pedagogical material and repertoire. The work of William Bainbridge, who modified the flageolet to simplify its technique and hence enhance its suitability for amateur players, is emphasized, along with his skill as an innovator of complex flageolets. The flageolet attracted a small number of professional exponents who tended to favour the French form of the instrument. The principal focus of the article is an examination of the role of the flageolet within the context of musical praxis in England and its societal implications during the long nineteenth century. After consideration of matters of finance, social class and gender, the article examines the use of the flageolet by amateur and professional musicians, particularly highlighting the importance of the instrument in domestic music-making as well as in amateur public performance. Professional use of the instrument within the context of the concert hall, the theatre, the ballroom and the music hall is explored and examples given of prominent players and ensembles, some of which were composed entirely of female musicians. Final paragraphs note the playing of the flageolet by itinerant and street musicians.
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DOOMS, T. "Taakspecifieke focale dystonie bij musici." Tijdschrift voor Geneeskunde, April 29, 2021. http://dx.doi.org/10.47671/tvg.77.21.028.
Full textAbstract:
Task-specific focal dystonia in musicians Task-specific focal dystonia is a neurological movement disorder characterized by involuntary contractions during a specific activity. In musicians, the abnormal movement can occur while playing an instrument or while singing. The muscle contractions are usually painless, but the function of the affected region is disturbed. The clinical picture occurs more in men than in women and is most frequent in pianists or guitarists. The abnormality is usually localized in the fingers, the hands or the entire arm. Drummers can have problems in the lower limbs. Brass and woodwind players can lose control of the lips, tongue or facial muscles. This is called “embouchure dystonia”. Singers suffer from the larynx. The diagnosis is a clinical diagnosis. It is important to observe the musician making music. Outside the musical activity, all tests are normal. Technical examinations can be useful to rule out other diagnoses. The therapy is difficult and often unsatisfactory. In many cases, the disease predicts the end of the musical career.
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Zhukov, Katie, Sieu Khuu, and Gary E. McPherson. "Eye-movement efficiency and sight-reading expertise in woodwind players." Journal of Eye Movement Research 12, no. 2 (August 31, 2019). http://dx.doi.org/10.16910/jemr.12.2.6.
Full textAbstract:
The ability to sight-read traditional staff notation is an important skill for all classically trained musicians. Up until now, however, most research has focused on pianists, by comparing experts and novices. Eye movement studies are a niche area of sight-reading research, focusing on eye-hand span and perceptual span of musicians, mostly pianists. Research into eye movement of non-piano sight-reading is limited. Studies into eye movement of woodwind sight-reading were conducted in the 1980s and early 2000s, highlighting the need for new research using modern equipment. This pilot study examined the eye movements of six woodwind (flute, clarinet) undergraduates of intermediate-to-advanced skill level during sight-reading of scores of increased difficulty. The data was analysed in relation to expertise level and task difficulty, focusing on numbers of fixations and fixation durations. The results show that as music examples became more difficult the numbers of fixations increased and fixation durations decreased; more experienced players with better sight-reading skills required less time to process musical notation; and participants with better sight- reading skills utilised fewer fixations to acquire information visually. The findings confirm that the efficiency of eye movements is related to instrumental and sight-reading expertise, and that task difficulty affects eye movement strategies.