Relevant bibliographies by topics / Vibrato

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

Academic literature on the topic 'Vibrato'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2025

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Journal articles on the topic "Vibrato"

1

Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (2004): 167–78. http://dx.doi.org/10.2307/3345438.

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We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers were more stable when using vibrato. University players tended to become sharper during both vibrated and nonvibrated tones compared to the younger players. Pitch oscillations during vibrato were alternations both above and below conceived pitch, rather than oscillations only above or only below the conceived pitch.
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MacLeod, Rebecca B. "Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players." Journal of Research in Music Education 56, no. 1 (2008): 43–54. http://dx.doi.org/10.1177/0022429408323070.

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The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated 0.32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages when compared to the piano passages. Furthermore, violinists demonstrated a tendency to vibrate slightly faster and wider than violists, and university performers varied their vibrato width to a greater extent between the piano and forte passages than did the high school performers. These results, along with further study, can contribute to the development of a systematic method for teaching vibrato.
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Geringer, John M., Michael L. Allen, and Rebecca B. MacLeod. "Initial Movement and Continuity in Vibrato among High School and University String Players." Journal of Research in Music Education 53, no. 3 (2005): 248–59. http://dx.doi.org/10.1177/002242940505300306.

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The purpose of the present study was to investigate aspects of vibrato performance among high school and university string players. The main questions were to determine whether students consistently initiate vibrato in an upward or downward direction and whether players vibrate continuously when performing slurs. Forty high school and university violin and cello students played exercises that included tones performed with and without vibrato. We measured direction and magnitude of change when initiating vibrato, pitch levels of vibrated and nonvibrated tones, and duration of nonvibrato when performing slurs. Results showed that these high school and university players did not reveal consistent initial vibrato movements in either direction or magnitude. Performers vibrated both above and below conceived pitch, rather than only upward or only downward. All performers stopped vibrating during the transition between slurred notes. Mean duration of nonvibrato portions of university students (0.42 second) was slightly less than that of high school students (0.50 second). Implications of these results for string pedagogy are discussed. March 28, 2005 June 7, 2005
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Allen, Michael L., John M. Geringer, and Rebecca B. MacLeod. "Performance Practice of Violin Vibrato: An Artist-Level Case Study." String Research Journal os-4, no. 1 (2009): 27–38. http://dx.doi.org/10.1177/1948499209os-400103.

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We investigated performance practice of vibrato with an artist-level violinist whose credits include positions as concertmaster of the New York Philharmonic, Cincinnati Symphony, and the Dallas Symphony Orchestra. The main questions of this case study were to determine mean width, rate, and directional intent of an artist-level violinist. Additionally the present study sought to determine if an artist-level violinist consistently initiated vibrato in an upward or downward direction and whether vibrato was used continuously when performing slurs. We measured pitch levels of vibrated and non-vibrated tones, direction and magnitude of change when initiating vibrato, and duration of non-vibrato when performing slurs. Analyses indicated that the mean rate of the artist-level violin vibrato was approximately 5.7 Hz in first position and 6.3 Hz in fifth position. The mean width of vibrato was approximately 40 cents in first position and 108 cents in fifth position. Pitch oscillations during vibrato were alternations both above and below the conceived pitch, rather than oscillations only above or only below the conceived pitch. The artist initiated vibrato toward the scroll (in a downward direction) and stopped vibrating during the transition between slurred notes. Mean duration of non-vibrato portions of slurred notes was (33 seconds). Implications for future research are discussed.
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Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean frequency of the vibrato for cello and violin tones. Although means were similar, string players exhibited significantly less deviation in tuning judgments than non-string players for both violin and cello tones. Results appear consistent with earlier perceptual research as well as performance research indicating that string performers vibrate both above and below the intended pitch.
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Pang, Heesuk. "A Study on the Characteristic Analysis of Haegeum Vibrato Based on Monotones." National Gugak Center 48 (October 31, 2023): 37–52. http://dx.doi.org/10.29028/jngc.2023.48.037.

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Vibrato, called nonghyeon or nongeum , is one of the typical performance
 techniques frequently used in gugak (Korean traditional music). There have
 been studies that analyzed the characteristics of vibrato of vocal and wind
 instruments in the field of gugak . However, there are not many studies that
 objectively analyzed the characteristics of vibrato of haegeum, one of the
 representative Korean traditional string instruments. This study examines the
 characteristics of haegeum vibrato, using strong, medium, and soft monotones
 of haegeum from the digital sound sources provided by the National Gugak
 Center. It analyzes 42 haegeum monotones specifically in terms of intonation,
 vibrato rate, and vibrato extent.
 As a result, the vibrato speed in haegeum is around 4 Hz (four times per
 second), which is generally lower than that in Western music. The vibrato
 extent ranges from 60 cents to 153 cents on average per note, which covers a
 somewhat larger range compared to that in Western music. In addition, there
 are some discussions regarding the tendency for the vibrato rate to increase,
 which appeared at the end of some vibratos, and the results of the vibrato
 extent according to strong, medium, and soft playing in monotones.
 This study is significant in that it has provided basic data on the
 characteristics of the haegeum vibrato, but also has a limitation of analyzing
 only monotones played by a single performer. It is hoped that future research
 will be conducted to analyze the characteristics of haegeum vibrato on various
 pieces performed by multiple performers.
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Glasner, Joshua D., and John Nix. "Perception of vibrato rate by professional singing voice teachers." Journal of the Acoustical Society of America 152, no. 4 (2022): A54. http://dx.doi.org/10.1121/10.0015518.

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This study sought to investigate how voice clinicians perceive vibrato rate alterations when presented with controlled, synthesized singing voice samples which vary in vibrato rate and vibrato extent. Thirty-four professional voice teachers completed a twelve-item demographic survey and performed a visual sort and rate task (VSR). For the VSR task, each participant listened to twenty synthesized samples and sorted them from slowest vibrato rate to fastest vibrato rate. This task resulted in distance (i.e. individual perception of vibrato rate) and rank-difference measurements for each sample. Two generalized linear mixed effects models (GLMM) and one linear model (LM) were computed. Results for GLMM’s found significant associations between vibrato extent and vibrato rate and both individual perception of vibrato rate and rank-difference. Results for the LM found no significant relationships between demographic information and absolute total ranking error. From the results of this study, it seems that both vibrato extent and vibrato rate influence the perception of vibrato rate for professional voice teachers. Neither age nor teaching experience seemed to relate to the ability to discern vibrato rate accurately.
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Almeida, André, Emery Schubert, and Joe Wolfe. "Timbre Vibrato Perception and Description." Music Perception 38, no. 3 (2021): 282–92. http://dx.doi.org/10.1525/mp.2021.38.3.282.

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In music, vibrato consists of cyclic variations in pitch, loudness, or spectral envelope (hereafter, “timbre vibrato”—TV) or combinations of these. Here, stimuli with TV were compared with those having loudness vibrato (LV). In Experiment 1, participants chose from tones with different vibrato depth to match a reference vibrato tone. When matching to tones with the same vibrato type, 70% of the variance was explained by linear matching of depth. Less variance (40%) was explained when matching dissimilar vibrato types. Fluctuations in loudness were perceived as approximately the same depth as fluctuations in spectral envelope (i.e., about 1.3 times deeper than fluctuations in spectral centroid). In Experiment 2, participants matched a reference with test stimuli of varying depths and types. When the depths of the test and reference tones were similar, the same type was usually selected, over the range of vibrato depths. For very disparate depths, matches were made by type only about 50% of the time. The study revealed good, fairly linear sensitivity to vibrato depth regardless of vibrato type, but also some poorly understood findings between physical signal and perception of TV, suggesting that more research is needed in TV perception.
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Huang, Eleanor. "Investigating the Acoustic Characteristics that Differentiate Naturally Produced Violin Vibrato Tones from Sustained Tones." Theoretical and Natural Science 108, no. 1 (2025): 43–47. https://doi.org/10.54254/2753-8818/2025.22662.

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The purpose of this study is to understand patterns by observing the acoustic characteristics of naturally produced violin vibrato through direct measurement, comparative analysis with sustained tones, and theoretical modeling. Unlike sustained tones, vibrato introduces periodic oscillations in pitch, amplitude, and harmonic content and combines them to create the timbre of the violin. A detailed analysis of bowed vibrato is conducted to explore potential relationships between vibrato and modulation of pitch, amplitude variation, and timbre shifts. Mathematical models are also used to capture these vibrato effects in the form of equations. In essence, the findings confirm the indispensable role of vibrato in forming the tonal complexity of violin sound, with info useful for improved vibrato synthesis, room acoustic optimization, and violin music education.
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Beauchamp, James W. "Vibrato parameterization." Journal of the Acoustical Society of America 136, no. 4 (2014): 2150. http://dx.doi.org/10.1121/1.4899766.

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Dissertations / Theses on the topic "Vibrato"

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Moens-Haenen, Greta. "Vibrato im Barock." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38344.

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Nandamudi, Srihimaja. "Aerodynamics of Vocal Vibrato." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1499427478103556.

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Reese, Lorie. "Laryngeal-level amplitude modulation in vibrato /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1535.pdf.

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Besouw, Rachel Marijke van. "Representing the pitch of vibrato tones." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441069.

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Reese, Lorie C. "Laryngeal-Level Amplitude Modulation in Vibrato." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/767.

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Research in vocal vibrato has established that vocal tract filtering is primarily responsible for the amplitude modulation (AM) present in Western classical vibrato. Using electroglottography (EGG) and the EGG speed quotient, which is sensitive to fluctuations in the amplitude of vocal fold vibration, AM was detected at the laryngeal (source) level, in addition to the subsequent AM which results from vocal tract filtering. Seventeen classically-trained opera singers sang vowels in three pitch and loudness conditions. EGG and microphone measurements of FM and AM and their rates, extents, and periodicity were made. Airflow was also measured, and the samples were rated by voice professors for vibrato consistency, speed, and width. Physiologic and acoustic data revealed that AM from vocal tract filtering, or the resonance-harmonics interaction (RHI) described by Horii and associates, was present throughout the vibrato samples. Laryngeal-level AM was also present throughout, with soft conditions having the highest mean extents. Singers with lower degrees of laryngeal-level AM were also those rated highest for vibrato consistency. Vibrato rate increased as pitch increased, and, to a lesser extent, as intensity increased. These findings document, in addition to the AM resulting from the RHI, the concurrent presence of laryngeal-level AM in a group of singers representing a range of training and experience.
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Secan, Stephen R. "Amplitude and frequency modulation in Oboe Vibrato." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407510603.

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Draiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.

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Music Performance<br>D.M.A.<br>On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.<br>Temple University--Theses
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Holmes, Sharee Oakes. "The Effects of Emotion on Acoustic Characteristics of Vocal Vibrato in Trained Singers." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3616.

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The purpose of this study was to investigate the effects of emotion on several key acoustic features of vibrato including vibrato rate, extent, and steadiness (measured by FM rate COV and FM extent COV). We hypothesized that intensity of emotion would have a significant effect on vibrato rate, extent, and periodicity, although the direction of these changes was undetermined. There were 10 participants, including eight females and two males, who were graduate student singers with high competency ratings. Each participant completed a series of tasks including sustained vowels at several pitch and loudness levels, an assigned song that was determined to have neutral emotion, and a personal selection that was selected because it included sections of intense emotion. Vowel tokens were averaged for each task, and measurements of mean f0, mean dB, FM rate, FM extent, FM rate COV and FM extent COV were calculated by task for each participant. Contrast analyses were performed comparing each task against the personal selection (high emotion) task. The results suggest that FM rate and FM rate COV may have been influenced by level of emotion, and FM extent, FM rate COV and FM extent COV were likely influenced by the performance nature of the task.
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Reidlinger, Christopher R. "Review and analysis of violin vibrato pedagogy with beginning violin students." Full text available online (restricted access), 2000. http://images.lib.monash.edu.au/ts/theses/Reidlinger.pdf.

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Manfredi, Zo Hurd. "Physical Problems in Vibrato Amongst First-year College Violinists: a Descriptive Study." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804848/.

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The purpose of this descriptive study was to first identify to what extent first-year college violinists physically struggle with the vibrato motion, and further, to identify physical problems within the motion that are contributing to their challenges during the learning process. The 16 participants in this study were chosen randomly from the College Music Society Directory of Music Faculties in Colleges and Universities (2013-2014 edition). Participants completed a questionnaire of 32 quantitative and qualitative questions addressing the vibrato of their 2013-2014 first-year violinists. 62% of participants’ first-year students had a physical problem with vibrato, 70% of participants’ students were working on correcting physical problems in vibrato during lessons. Participants also reported that 15% of their students were not able to create a vibrato motion at all. Almost all professors (n=15) indicated that students with a problematic vibrato were too tense in parts of the arm or hand and this negatively affected the motion and thus, the sound. Specific problems also included vibrato being too narrow, but rarely too wide, vibrato being too fast or too slow caused by tension, problems with when and how vibrato was being applied, problems with maintaining intonation before or during use of vibrato, and problems with not understanding the motion needed or imagining an intended sound. Most professors used movement terminology to describe physical problems with vibrato as well as aural problems with vibrato. Only a few professors discussed aural problems in vibrato using terminology depicting the sound. Participants revealed that the most commonly used types of vibrato amongst their first-year students were arm vibrato and a combination vibrato (use of wrist, arm and finger vibratos). Most participants also listed these combined parts of finger, wrist and arm in their own definitions of a good-sounding vibrato. Results from this study can be directed to the attention of classroom teachers, studio teacher and private instructors to these specific physical and aural problems before a student begins to study vibrato early in learning. Conclusions suggest possible ways in which the college or pre-college teacher can address these issues in students that have a problematic vibrato motion.
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Books on the topic "Vibrato"

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H, Dejonckere P., Hirano Minoru 1932-, Sundberg Johan 1936-, and Collegium Medicorum Theatri Congress, eds. Vibrato. Singular Pub., 1995.

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In-wan, Yun, and Ylab, eds. Wesŭt'ŭudŭ pibŭrat'o: Westwood vibrato. Taewŏn Ssiai, 2011.

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Leimdorfer, Gilles. Cannes, vibrato: Photographies, Gilles Leimdorfer. Musées de la mer, 2006.

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Szende, Ottó. Unterweisung im Vibrato auf der Geige. Universal Edition, 1985.

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Alanna, Heiss, Leffingwell Edward G, Kalina Richard, and Sundaram Tagore Gallery, eds. Judith Murray: From vibrato to legato. Sundaram Tagore Gallery, 2006.

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Drushler, Paul. Clarinet vibrato: Terminology, utilization, aesthetics : research article. Shall-u-mo Publications, 1991.

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Moens-Haenen, Greta. Das Vibrato in der Musik des Barock: Ein Handbuch zur Aufführungspraxis für Vokalisten und Instrumentalisten. Akademische Druck- und Verlagsanstalt, 1988.

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Hamber, C. R. Without vibrato: Distant memories and reflections of a cavalry boy trumpeter. Minerva, 1998.

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Frolov, K. V. Vibration technology: Theory and practice. Mir Publishers, 1991.

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Goncharevich, Igorʹ Fomich. Theory of vibratory technology. Edited by Frolov K. V and Rivin Eugene I. Hemisphere Pub. Corp., 1990.

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Book chapters on the topic "Vibrato"

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Milsom, David. "Vibrato." In Theory and Practice in Late Nineteenth-Century Violin Performance. Routledge, 2021. http://dx.doi.org/10.4324/9781315193731-5.

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Brown, Clive. "Vibrato und Portamento." In Geschichte der musikalischen Interpretation im 19. und 20. Jahrhundert, Band 3. J.B. Metzler, 2023. http://dx.doi.org/10.1007/978-3-476-04796-0_18.

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MacLeod, Rebecca B. "Shifting and Vibrato." In Teaching Strings in Today’s Classroom. Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-14.

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Giles, Michael B. "Vibrato Monte Carlo Sensitivities." In Monte Carlo and Quasi-Monte Carlo Methods 2008. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04107-5_23.

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Loni, Deepali Y., and Shaila Subbaraman. "Timbre-Vibrato Model for Singer Identification." In Information and Communication Technology for Intelligent Systems. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1747-7_27.

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Ma, Li, Jing Wang, and Yonghong Li. "Acoustic Study of Vibrato in “Hezhou Hua’er”." In Proceedings of the 2023 4th International Conference on Education, Knowledge and Information Management (ICEKIM 2023). Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-172-2_212.

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Cao, Guangzhuang, Lunpeng Liu, and Tianping Dong. "Speech Synthesis and Vibrato Effect in Digital Music." In Lecture Notes in Electrical Engineering. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40633-1_71.

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Liu, Qin. "An FM-Wavetable-Synthesized Violin with Natural Vibrato and Bow Pressure." In Proceedings of the 2023 International Conference on Data Science, Advanced Algorithm and Intelligent Computing (DAI 2023). Atlantis Press International BV, 2024. http://dx.doi.org/10.2991/978-94-6463-370-2_27.

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Toff, Nancy. "Vibrato." In The Flute Book. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195105025.003.0008.

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Abstract Vibrato is a measured fluctuation in the sound or tone effected by a change in air pressure. The effect is of pulsation or vibration, but because what we hear is not exactly what actually happens, it is not easy to define. For one thing, many people find it difficult if not impossible to distinguish the vibrato component from the tone as a whole. (This is actually a good sign, because the vibrato should be an integral, though not omnipresent, part of the sound.) There are three basic types of vibrato: pitch, intensity (dynamic), and timbre. In pitch vibrato, the pitch fluctuates both above and below the starting note; on A-440, for instance, it varies between 438 and 442 frequencies per second. (Some players, however, advise that the pitch should vary upward only, to avoid the impression of flatness. Also, the higher the pitch, the more brilliant the sound.) Intensity vibrato is a fluctuation in the dynamic level or strength of a note; as a practical matter, it is not totally separable from pitch vibrato. The combination of pitch vibrato and intensity vibrato result in timbre vibrato. The reason is that when the dynamic level of a tone changes, the overtone composition of the tone changes correspondingly; and it is the overtone composition that determines timbre.
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"Vibrato." In The Living Art of Violin Playing. Indiana University Press, 2023. http://dx.doi.org/10.2307/jj.7358703.21.

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Conference papers on the topic "Vibrato"

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Kiri, Alexandra, and Zoltan Weltsch. "Determination of Natural Frequencies with Acoustic Methods and their Relation to Residual Stress." In 10th International Scientific Conference on Advances in Mechanical Engineering. Trans Tech Publications Ltd, 2025. https://doi.org/10.4028/p-e4cril.

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There are number of different methods and procedures in vibration analysis, where the natural frequencies of the specimen or the system are one of the key parameters. It is known that these frequencies can change under load, for example in response to pre-stressing, but the effect of residual stresses is less known. By developing a suitable method, natural frequencies can be used to predetermine residual stress, therefore this method can be used for example predicting whether it will cause deformation during machining of a part, whether it requires increased attention or how to set the parameters well for vibratory stress relief. The results can be significant cost and time savings, as well as the improvements of the quality. Natural frequency is the frequency of free vibration of an undamped linear vibration system, or in other words at which a system left alone will vibrate after excited by an external force [1]. Metal castings or welded structures may have several natural frequencies which appear as frequency bands or ranges on the measurement images. Based on these, to determine the natural frequency of a component or system, we need to excite a frequency as close as possible to the natural frequency for the resonance to occur. When the resonance is reached, the amplitude of the system is at its maximum, and the natural frequencies of the workpiece can be measured. Traditionally, sensors, usually accelerometers are used to measure the natural frequency. The continuous development of information technology has made it possible to replace these sensors with an acoustic diagnostic system. During this research, we have developed an acoustic diagnostic system and procedure, which can generate the acoustic measurement images. We have evaluated the measurement images in many ways, and many different types of components and materials (mostly iron alloys) were analyzed. In addition, the changes of natural frequencies show a similar pattern in the case of parts before treating with vibratory stress relief as for load tests.
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Mesquita, Alexandre Luiz Amarante, and Nadeem Ahmad Khattak. "VIBRATION ANALYSIS OF MODULAR STEEL STRUCTURES SUPPORTING VIBRATORY SCREENS IN A MINERAL PROCESSING PLANT." In 41º Ironmaking and Raw Materials Seminar and 12º Brazilian Symposium on Iron Ore. Editora Blucher, 2011. https://doi.org/10.5151/2594-357x-20579.

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Shi, Yang, and James W. Beauchamp. "Time-scaling vibrato musical tones while retaining vibrato rates." In International Conference on Underwater Acoustics. ASA, 2017. http://dx.doi.org/10.1121/2.0001297.

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Vatti, Marianna, Sébastien Santurette, Niels H. Pontoppidan, and Torsten Dau. "Maximum acceptable vibrato excursion as a function of vibrato rate in musicians and non-musicians." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4894272.

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Chrysochoidis, Georgios, Georgios Kouroupetroglou, and Sergios Theodoridis. "Vibrato detection in Byzantine Chant Music." In 2014 6th International Symposium on Communications, Control and Signal Processing (ISCCSP). IEEE, 2014. http://dx.doi.org/10.1109/isccsp.2014.6877955.

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Zhao, Yudong, Changhong Wang, Gyorgy Fazekas, Emmanouil Benetos, and Mark Sandler. "Violinist identification based on vibrato features." In 2021 29th European Signal Processing Conference (EUSIPCO). IEEE, 2021. http://dx.doi.org/10.23919/eusipco54536.2021.9616197.

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Yoshinaga, Ikuyo, and Jiangping Kong. "Voice production mechanisms of vibrato in Noh." In Interspeech 2012. ISCA, 2012. http://dx.doi.org/10.21437/interspeech.2012-541.

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Zhang, Mingfeng, Mark Bocko, and James Beauchamp. "Measurement and analysis of musical vibrato parameters." In 169th Meeting of the Acoustical Society of America. Acoustical Society of America, 2015. http://dx.doi.org/10.1121/2.0000136.

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Zhang, Mingfeng, Mark Bocko, and James Beauchamp. "Temporal analysis, manipulation, and resynthesis of musical vibrato." In ICA 2013 Montreal. Acoustical Society of America, 2015. http://dx.doi.org/10.1121/2.0000096.

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Mellody, Maureen, and Gregory H. Wakefield. "Modal distribution analysis of vibrato in musical signals." In SPIE's International Symposium on Optical Science, Engineering, and Instrumentation, edited by Franklin T. Luk. SPIE, 1998. http://dx.doi.org/10.1117/12.325678.

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Reports on the topic "Vibrato"

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Rahman, Shahedur, Rodrigo Salgado, Monica Prezzi, and Peter J. Becker. Improvement of Stiffness and Strength of Backfill Soils Through Optimization of Compaction Procedures and Specifications. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317134.

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Vibration compaction is the most effective way of compacting coarse-grained materials. The effects of vibration frequency and amplitude on the compaction density of different backfill materials commonly used by INDOT (No. 4 natural sand, No. 24 stone sand, and No. 5, No. 8, No. 43 aggregates) were studied in this research. The test materials were characterized based on the particle sizes and morphology parameters using digital image analysis technique. Small-scale laboratory compaction tests were carried out with variable frequency and amplitude of vibrations using vibratory hammer and vibratory table. The results show an increase in density with the increase in amplitude and frequency of vibration. However, the increase in density with the increase in amplitude of vibration is more pronounced for the coarse aggregates than for the sands. A comparison of the maximum dry densities of different test materials shows that the dry densities obtained after compaction using the vibratory hammer are greater than those obtained after compaction using the vibratory table when both tools were used at the highest amplitude and frequency of vibration available. Large-scale vibratory roller compaction tests were performed in the field for No. 30 backfill soil to observe the effect of vibration frequency and number of passes on the compaction density. Accelerometer sensors were attached to the roller drum (Caterpillar, model CS56B) to measure the frequency of vibration for the two different vibration settings available to the roller. For this roller and soil tested, the results show that the higher vibration setting is more effective. Direct shear tests and direct interface shear tests were performed to study the impact of particle characteristics of the coarse-grained backfill materials on interface shear resistance. The more angular the particles, the greater the shear resistance measured in the direct shear tests. A unique relationship was found between the normalized surface roughness and the ratio of critical-state interface friction angle between sand-gravel mixture with steel to the internal critical-state friction angle of the sand-gravel mixture.
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Hart, Carl. Vibration survey of Room 47 with a laser doppler vibrometer : Main Laboratory Basement, U.S. Army ERDC-CRREL. Engineer Research and Development Center (U.S.), 2020. http://dx.doi.org/10.21079/11681/38919.

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Plans are underway to create an acousto-optic laboratory on the campus of the Cold Regions Research and Engineering Laboratory. For this purpose, existing space in the basement of the Main Laboratory will be renovated. Demanding measurement techniques, such as interferometry, require a sufficiently quiet vibration environment (i.e., low vibration levels). As such, characterization of existing vibration conditions is necessary to determine vibration isolation requirements so that highly sensitive measurement activities are feasible. To this end, existing vibro-acoustic conditions were briefly surveyed in Room 47, a part of the future laboratory. The survey measured ambient noise and ambient vertical floor vibrations. The ambient vibration environment was characterized according to generic velocity criteria (VC), which are one-third octave band vibration limits. At the time of the survey, the ambient vibration environment fell under a VC-A designation, where the tolerance limit is 2000 μin/s across all one-third octave bands. Under this condition, highly sensitive measurement activities are feasible on a vibration-isolated working surface. The conclusion of this report provides isolation efficiency requirements that satisfy VC-E limits (125 μin/s), which are necessary for interferometric measurements.
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Feng, Zhicao. PR-218-174512-R01 Full-Scale Surface Loading Testing of Buried Pipes. Pipeline Research Council International, Inc. (PRCI), 2021. http://dx.doi.org/10.55274/r0012107.

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In 2015, Kiefner and Associates, Inc. (Kiefner) completed the ENV-6-1 project "Field Validation of Surface Loading Stress Calculations for Buried Pipelines" in which Kiefner monitored three buried pipe test segments at the Berne Station in Ohio to measure circumferential and longitudinal stresses due to heavy equipment crossing over the segments. This ENV-6-2 study "Full-Scale Surface Loading Testing of Buried Pipes Vibratory Compactor and Temporary Crossing" ionducted in the same location and on the same three pipeline specimens. The objective of this project is to develop surface loading criteria for pipelines with shallow burial depth under temporary crossings (e.g. mat, bridge, or steel plate) and pipeline subjected to dynamic loading from a vibrator compactor.
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เนื้อนวลสุวรรณ, ศุภชัย. การประเมินความเสี่ยงการดื้อยาต้านจุลชีพของ Vibrio parahaemolyticus ในกุ้ง : รายงานโครงการวิจัย. คณะสัตวแพทยศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย, 2018. https://doi.org/10.58837/chula.res.2018.87.

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การประเมินความเสี่ยงการดื้อยาต้านจุลชีพของ Vibrio parahaemolyticus ในกุ้ง ประกอบด้วย 4 ชั้นตอน คือ การระบุอันตราย (hazard identification) การอธิบายอันตราย (hazard characterization) การประเมินการสัมผัส (exposure assessment) และการอธิบายความเสี่ยง (risk characterization) การประเมินการสัมผัสเป็นการวิเคราะห์ระดับการปนเปื้อนในรูปของความเข้มข้น (concentration) และความชุก (prevalence) ของ Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพในกุ้ง โดยดำเนินการเก็บตัวอย่างกุ้ง ต่อเนื่อง 2 ปี ระหว่าง พ.ศ. 2560-2561 รวมทั้งสิ้น 1,080 ตัวอย่าง เก็บตัวอย่างจากจังหวัดที่เป็นตัวแทนภาคทั่วประเทศ 6 จังหวัด ประกอบด้วย กรุงเทพ กาญจนบุรี ชลบุรี นครราชสีมา เชียงใหม่ และ ประจวบคีรีขันธ์ แบ่งส่วนย่อยในการเก็บตัวอย่างในตลาดสด ตลาดทันสมัย อำเภอเมือง และ นอกอำเภอเมือง เพื่อเปรียบเทียบระดับการปนเปื้อน และความเสี่ยงจาก Vibrio parahaemolyticus ความชุกเฉลี่ย ปี 1 และ ปี 2 (average prevalence) ของ Vibrio parahaemolyticus ในกุ้งอยู่ระหว่างร้อยละ 18-80 และ 69-94 ตามลำดับ ในขณะที่ระดับการปนเปื้อนเฉลี่ย Vibrio parahaemolyticus ในกุ้ง ปี 1 และ ปี 2 อยู่ระหว่าง 0.10-0.39 log mpn/กรัม ตามลำดับ ระดับความชุกและการปนเปื้อน Vibrio parahaemolyticus ในกุ้งใช้เป็นข้อมูลของความชุกและการปนเปื้อน Vibrio parahaemolyticus r ที่ดื้อยาต้านจุลชีพ ซึ่งถือว่าเป็นกรณีที่เลวร้ายที่สุด (worst case scenario) ที่ Vibrio parahaemolyticus ที่แยกได้ทั้งหมดดื้อต่อยาต้านจุลชีพ 15 ชนิดที่ทดสอบ คือ ampicillin, cefepime, cefotaxime, cefoxitin, chloramphenicol, ciprofloxacin, colistin, gentamicin, imipenem, meropenem, nalidixic acid, streptomycin, sulphamethoxazole, tetracycline และ trimethoprim การอธิบายอันตรายเป็นขั้นตอนในการคำนวณความน่าจะเป็นในการเจ็บป่วยจากการได้รับ Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพเข้าสู่ร่างกายจากการบริโภคกุ้ง โดยใช้ dose-response model ชนิด Beta-Poisson ตามด้วยการคำนวณความน่าจะเป็นที่เกิดจากการดื้อยาต้านจุลชีพที่ใช้ในการรักษาผู้ป่วยที่เข้ารับการรักษาในโรงพยาบาล หรือความน่าจะเป็นในการตายจากการติดเชื้อดื้อยาต้านจุลชีพ (probability of AMR mortality) ประกอบด้วย 3 เหตุการณ์ต่อเนื่องกัน คือ การเข้ารักษาในโรงพยาบาล (hospitalization) การใช้ยาต้านจุลชีพในการรักษา (antimicrobial prescription) และการตายจากการติดเชื้อดื้อยาต้านจุลชีพ (AMR mortality) การอธิบายความเสี่ยง เป็นขั้นตอนสุดท้ายที่บูรณาการการประเมินการสัมผัส ในรูปแบบของความน่าจะเป็นในการสัมผัสกับ Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพจากการบริโภคกุ้ง และการอธิบายอันตรายในรูปของความน่าจะเป็นในการตายจาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพ ได้เป็นความเสี่ยงเสียชีวิตรายปี (annual mortality risk) ของประชากรไทยในแต่ละจังหวัดตาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพจากการบริโภคกุ้ง และรายงานในรูปของจำนวนประชากรชาวไทยในแต่ละจังหวัดที่เสียชีวิตต่อปี (annual mortality cases) จาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพจากการบริโภคกุ้ง พบว่าความเสี่ยงเฉลี่ยเสียชีวิตรายปีจาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพจากการบริโภคกุ้ง ปี 1 และ ปี 2 อยู่ระหว่าง 1 x 10⁻⁷ - 8 x 10⁻⁷ และ 2 x 10⁻⁷ - 7 x 10⁻⁷ ซึ่งจัดได้ว่าอยู่ในเกณฑ์ความเสี่ยงที่ยอมรับได้ (acceptable risk)ในขณะที่จำนวนประชากรในแต่ละจังหวัดที่เสียชีวิตจาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพจากการบริโภคกุ้ง ปี 1 และ ปี 2 ระหว่าง 0.11-0.75 คน/ปี และ 0.31-0.74 คน/ปี ซึ่งมีจำนวนน้อยกว่า 1 คน/ปีเทียบเท่ากับระดับความเสี่ยงที่ละเลยได้ (negligible risk) ดังนั้น การบริโภคกุ้งจึงมีความปลอดภัยสูงมากจาก Vibrio parahaemolyticus ที่ดื้อยาต้านจุลชีพ
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Casten, R. F., and N. V. Zamfir. Anharmonic vibrator description of collective nuclei. Office of Scientific and Technical Information (OSTI), 1995. http://dx.doi.org/10.2172/94556.

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ตัณฑวณิช, ทิพวรรณ, та วีณา เคยพุดซา. ประสิทธิภาพของยาต้านจุลชีพในการยับยั้งเชื้อแบคทีเรีย Vibrio spp. ที่ทำให้เกิดโรคในหอยเป๋าฮื้อไทยชนิด Haliotis asinina LINNAEUS 1758. สถาบันวิจัยทรัพยากรทางน้ำ จุฬาลงกรณ์มหาวิทยาลัย, 2009. https://doi.org/10.58837/chula.res.2009.82.

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ศึกษาประสิทธิภาพของยาต้านจุลชีพในการยับยั้งการเจริญเติบโตของเชื้อแบคทีเรีย Vibrio spp. ที่ทำให้เกิดโรคในหอยเป๋าฮื้อไทย ที่มีขนาดความยาวเปลือก 2.27±0.02 เซนติเมตร และมีน้ำหนักตัวเฉลี่ย 2.77±0.06 กรัม และแสดงวิการโรคบริเวณเนื้อเยื่อปิดอวัยวะภายในฉีกขาด กล้ามเนื้อเท้าเป็นแผลวงสีขาวและไม่เกาะพื้นผิว โดยทำการแยกเชื้อวิบริโอจากอวัยวะต่างๆ ได้แก่ ตับ/ตับอ่อน (Hepatopancreas), อวัยวะสืบพันธุ์ (Gonad), น้ำเลือด (Hemolymph), กล้ามเนื้อเท้า (Foot Muscle) และเนื้อเยื่อปิดอวัยวะภายใน มาเพาะเลี้ยงและทำการพิสูจน์เชื้อเพื่อแยกชนิด (Identification) โดยการทดสอบคุณสมบัติต่างๆทางชีวเคมีด้วยชุดทดสอบ API 20E พบเชื้อแบคทีเรีย Vibrio spp. ทั้งหมด 3 ชนิด ได้แก่ V. cholerae, V. fluvialis และ V. vulnificus นำเชื้อแบคทีเรีย Vibrio spp. ที่พบมาทดสอบความไวต่อยาต้านจุลชีพทั้ง 13 ชนิด โดยวิธี Agar Disc Diffusion Method บนอาหารเลี้ยงเชื้อ Meuller Hilton Agar พบว่า chloramphenicol และ nalidixic acid สามารถยับยั้งเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ 100% รองลงมา ได้แก่ doxycycline hydrochloride, furazolidone, norfloxacin, oxolinic acid, ciprofloxacin, enrofloxacin, oxytetracycline, tetracycline และ sulfadimethoxine ตามลำดับ ส่วน erythromycin และ novobiocin นั้นไม่มีฤทธิ์ในการยับยั้งเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ จากนั้นเลือกยาต้านจุลชีพมาเพียง 5 ชนิด ได้แก่ oxytetracycline, sulfadimethoxine, enrofloxacin, tetracycline และ oxolinic acid เพื่อศึกษาประสิทธิภาพของยาต้านจุลชีพในการยับยั้งและกำจัดเชื้อ V. cholerae, V. fluvialis และ V. vulnificus โดยวิธี Broth Dilution Method พบว่า oxolinic acid มีประสิทธิภาพในการยับยั้งและกำจัด V. cholerae และ V. fluvialis สูงสุด (MIC ≥ 0.125, MBC ≥ 16 ppm และ MIC ≥ 0.125, MBC ≥ 16 ppm ตามลำดับ) ส่วน enrof-loxacin มีประสิทธิภาพในการยับยั้งและกำจัด V. vulnificus สูงสุด (MIC ≥ 0.50, MBC ≥ 32 ppm) ส่วน sulfadimethoxine มีประสิทธิภาพในการยับยั้งและกำจัดเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ต่ำสุดการศึกษาเหนี่ยวนำให้เกิดโรควิบริโอซีสโดยการฉีดเชื้อแบคทีเรีย Vibrio spp. เข้ากล้ามเนื้อเท้าหอยเป๋าฮื้อ พบว่า ค่า LD50 ของเชื้อ V. cholerae (1.04 x 107 CFU/ml.) มีค่าต่ำกว่า V. fluvialis (1.87 x 107 CFU/ml.) และ V. vulnificus (2.87 x 109 CFU/ml.) ซึ่งแสดงว่า V. cholerae มีความรุนแรงในการก่อโรคมากที่สุด จึงเลือก V. cholerae มาเหนี่ยวนำให้เกิดโรควิบริโอซีส (vibriosis) ในหอยเป๋าฮื้อ แล้วทำการศึกษาประสิทธิภาพของยาต้านจุลชีพทั้ง 5 ชนิดในการรักษาโรควิบริโอซีสในหอยเป๋าฮื้อ โดยยาแต่ละชนิดใช้ 3 ขนาด ให้ยาด้วยวิธีการแช่ต่อเนื่องเป็นเวลา 7 วัน พบว่า ความเข้มข้นของยาต้านจุลชีพที่เหมาะสมต่อการรักษาโรคในหอยเป๋าฮื้อของ oxytetracycline, sulfadimethoxine, enrofloxacin, tetracycline และ oxolinic acid มีค่าเป็น 50, 20, 5, 10 และ 1 ppm ตามลำดับ สำหรับอัตราการรอดชีวิตสูงสุดของหอยเป๋าฮื้อมีค่า 66.67±6.67%, 46.67±3.33%, 53.33±3.33%, 43.33±3.33% และ 43.33±3.33% ตามลำดับ
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ตัณฑวณิช, ทิพวรรณ, та วีณา เคยพุดซา. ประสิทธิภาพของยาต้านจุลชีพในการยับยั้งเชื้อแบคทีเรีย Vibrio spp. ที่ทำให้เกิดโรคในหอยเป๋าฮื้อไทยชนิด Haliotis asinina LiNNaEUS 1758. จุฬาลงกรณ์มหาวิทยาลัย, 2010. https://doi.org/10.58837/chula.res.2010.73.

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ศึกษาประสิทธิภาพของยาต้านจุลชีพในการยับยั้งการเจริญเติบโตของเชื้อแบคทีเรีย Vibrio spp. ที่ทำให้เกิดโรคในหอยเป๋าฮื้อไทย ที่มีขนาดความยาวเปลือก 2.27 ±0.02 เซนติเมตร และมีน้ำหนักตัวเฉลี่ย 2.77±0.06 กรัม และแสดงวิการโรคบริเวณเนื้อเยื่อปิดอวัยวะภายในฉีกขาด กล้ามเนื้อเท้าเป็นแผลวงสีขาวและไม่เกาะพื้นผิว โดยทำการแยกเชื้อวิบริโอจากอวัยวะต่าง ๆ ได้แก่ ตับ/ตับอ่อน (Hepatopancreas), อวัยวะสืบพันธุ์ (Gonad), น้ำเลือด (Hemolymph), กล้ามเนื้อเท้า (Foot Muscle) และเนื้อเยื่อปิดอวัยวะภายใน มาเพาะเลี้ยงและทำการพิสูจน์เชื้อเพื่อแยกชนิด (Identification) โดยการทดสอบคุณสมบัติต่าง ๆ ทางชีวเคมีด้วยชุดทดสอบ API 20E พบเชื้อแบคทีเรีย Vibrio spp. ทั้งหมด 3 ชนิด ได้แก่ V. cholerae, V. fluvialis และ V. vulnificus นำเชื้อแบคทีเรีย Vibrio spp. ที่พบมาทดสอบความไวต่อยาต้านจุลชีพทั้ง 13 ชนิด โดยวี Agar Disc Diffusion Method บนอาหารเลี้ยงเชื้อ Meuller Hilton Agar พบว่า chloramphenicol และ nalidixic acid สามารถยับยั้งเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ 100% รองลงมาได้แก่ doxytetracycline, hydrochloride, furazolidone, norfloxacin, oxolinic acid, ciprofloxacin, enrofloxacin oxytetracycline, tetracycline และ sulfadimethoxine ตามลำดับ ส่วน erythromycin และ novobiocin นั้นไม่มีฤทธิ์ในการยับยั้งเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ จากนั้นเลือกยาต้านจุลชีพมาเพียง 5 ชนิด ได้แก่ oxytetracycline, sulfadimethoxine, enrofloxacin, tetracycline และ oxolinic acid เพื่อศึกษาประสิทธิภาพของยาต้านจุลชีพในการยับยั้งและกำจัดเชื้อ V. cholera, V. fluvialis และ V. vulnificus โดยวิธี Broth Dilution Method พบว่า oxolinic acid มีประสิทธิภาพในการยับยั้งและกำจัด V. cholera และ V. fluvialis สูงสุด (MIC ≥ 0.125, MBC≥ 16 ppm และ MIC ≥ 0.125, MBC ≥ 16 ppm ตามลำดับ) ส่วน enrofloxacin มีประสิทธิภาพในการยับยั้งและกำจัด V. vulnificus สูงสุด (MIC ≥ 0.50, MBC≥32 ppm) ส่วน sulfadimethoxine มีประสิทธิภาพในการยับยั้งและกำจัดเชื้อแบคทีเรีย Vibrio spp. ทั้ง 3 ชนิดได้ต่ำสุด การศึกษาเหนี่ยวนำให้เกิดโรควิบริโอซีสโดยการฉีดเชื้อแบคทีเรีย Vibrio spp. เข้ากล้ามเนื้อเท้าหอยเป๋าฮื้อ พบว่าค่า LD₅₀ ของเชื้อ V.cholerae (1.04x10⁷ CFU/ml.) มีค่าต่ำกว่า V.fluvialis (1.87x10⁷ CFU/ml.) และ V.vulnificus (2.87x10⁹ CFU/ml.) ซึ่งแสดงว่า V.cholerae มีความรุนแรงในการก่อโรคมากที่สุด จึงเลือก V.cholerae มาเหนี่ยวนำให้เกิดโรควิบริโอซีส (vibriosis) ในหอยเป๋าฮื้อ แล้วทำการศึกษาประสิทธิภาพของยาต้านจุลชีพทั้ง 5 ชนิดในการรักษาโรควิบริโอซีสในหอยเป๋าฮื้อ โดยยาแต่ละชนิดใช้ 3 ขนาด ให้ยาด้วยวิธีการแช่ต่อเนื่องเป็นเวลา 7 วัน พบว่า ความเข้มข้นของยาต้านจุลชีพที่เหมาะสมต่อการรักษาโรคในหอยเป๋าฮื้อของ oxytetracycline, sulfadimethoxine, enrofloxacin, tetracycline และ oxolinic acid มีค่าเป็น 50, 20, 5, 10 และ 1 ppm ตามลำดับ สำหรับอัตราการรอดชีวิตสูงสุดของหอยเป๋าฮื้อมีค่า 66.67±6.67%, 46.67±3.33%, 53.33±3.33%, 43.33±3.33% และ 43.33±3.33% ตามลำดับ
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Brangham, D., and K. Olson. Vibration Mitigation System. Office of Scientific and Technical Information (OSTI), 2020. http://dx.doi.org/10.2172/1661032.

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McBride, Maranda, Tomasz R. Letowski, and Phuong K. Tran. Bone Conduction Head Sensitivity Mapping: Bone Vibrator. Defense Technical Information Center, 2005. http://dx.doi.org/10.21236/ada436360.

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จันทองจีน, กาญจณา, та ทวีศักดิ์ ปิยะกาญจน์. แบคทีเรียที่สร้างสารกีดขวางช่องโซเดียมในหอยทรายมีพิษที่เก็บจากบริเวณเกาะสีชัง : รายงานผลการวิจัย. จุฬาลงกรณ์์มหาวิทยาลัย, 1991. https://doi.org/10.58837/chula.res.1991.14.

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หอยทรายมีพิษ (Asaphis violascens) จากเกาะสีชังได้ถูกนำมาแยกเนื้อแบคทีเรียที่สร้างสารกีดขวางช่องโซเดียม โดยเก็บตัวอย่างใน 2 ระยะเวลาคือ ระยะพิษสูง (มกราคมถึงมิถุนายน) และระยะพิษต่ำ (กรกฎาคมถึงธันวาคม) ได้แยกเชื้อแบคทีเรียจากอวัยวะต่างๆ 7 ส่วนของหอยทรายคือ siphon, mantle, foot, gill, gonad, hepatopancreas และ stomach แล้วคัดแยกเชื้อที่สร้างสารกีดขวางช่องโซเดียมโดยใช้วิธี tissue culture assay พบว่าจำนวนเชื้อที่สร้างสารพิษในหอยทรายและบริเวณที่เก็บตัวอย่างในระยะพิษสูงจะมีถึง 25% (19 ชนิดจากทั้งหมด 76 ชนิดที่แยกได้) แต่จำนวนเชื้อนี้ในตัวอย่างที่เก็บในระยะพิษต่ำมีเพียง 5.6% (5 ชนิดจากทั้งหมด 89 ชนิดที่แยกได้) ความแตกต่างกันนี้แสดงให้เห็นว่าแบคทีเรียน่าจะมีส่วนในสาเหตุที่ทำให้หอยทรายมีพิษสูงขึ้น ผลการศึกษาพิษในตัวหอยทรายพบว่า ช่วงพิษสูงจะพบสารพิษนี้มากในส่วนของ mantle และ foot ส่วนในอวัยวะอื่นมีจำนวนพิษน้อยกว่าแต่เมื่อถึงระยะพิษต่ำพบว่าที่อวัยวะทั้งสองส่วนนี้จะไม่มีพิษอยู่เลย เชื้อแบคทีเรียที่แยกได้ในสอบระยะของความเป็นพิษมีบางสายพันธุ์ที่คล้ายคลึงกันคือเป็นแบคทีเรีย Genus Vibrio แต่สายพันธุ์อื่นนอกเหนือจาก Vibrio พบว่ามีความแตกต่างกัน จากการวิเคราะห์สารพิษที่ผลิตจากเชื้อแบคทีเรียและในหอยทรายโดยวิธี HPLC พบว่าเป็นสารในกลุ่ม Paralytic Shellfish Poisons และกลุ่ม Tetrodotoxins
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