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Books on the topic 'Wind instruments Physiological aspects'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Teirilä, Marjatta. Physiology of wind-instrument playing and the implications for pedagogy. Jyväskylä: University of Jyväskylä, 1998.

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2

Fugett, Bob. Impulse and strength: Playing musical instruments toward perfection. Sugar Loaf, N.Y. (P.O. Box 31, Sugar Loaf 10981): KeyTap Productions, 1992.

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3

Dorgeuille, Claude. Textes sur la musique et les instruments. Paris: Editions Actualité freudienne, 1995.

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4

Steenstrup, Kristian. Teaching brass. Aarhus [Denmark]: Det Jyske Musikkonservatorium, 2004.

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5

Stauffer, Donald W. Mind, muscle & motion: Studies of instrumental performing & conducting. [Birmingham, AL]: Stauffer Press, 1988.

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6

Untersuchung funktionaler Ablaufbedingungen komplexer sensumotorischer Fertigkeiten am Beispiel des Streichinstrumentenspiels. Frankfurt am Main: P. Lang, 1990.

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7

Pilafian, Sam. The brass gym: Tuba : a comprehensive daily workout for brass players. [S.l.]: Focus on Music, 2005.

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8

Pilafian, Sam. The brass gym: Euphonium : a comprehensive daily workout for brass players. [S.l.]: Focus on Music, 2006.

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9

Gaede, Thomas. Das Oberflächenelektromyogramm bei Geigern und Bratschern während des Streichinstrumentenspiels und seine Beziehung zum Ton, zu Körpermassen und zu körperlichen Beschwerden. Hamburg: Verlag Dr. Kovač, 1998.

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10

Benade, Arthur H. Horns, strings, and harmony. New York: Dover, 1992.

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11

Kōgakkai, Nihon Sōon Seigyo. Heisei 20-nendo idō hasseigen tō no teishūhaon ni kansuru kentō chōsa gyōmu hōkokusho. [Tokyo]: Nihon Sōon Seigyo Kōgakkai, 2009.

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12

Kōgakkai, Nihon Sōon Seigyo. Heisei 20-nendo idō hasseigen tō no teishūhaon ni kansuru kentō chōsa gyōmu: Sankō shiryō. [Tokyo]: Nihon Sōon Seigyo Kōgakkai, 2009.

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13

Kōgakkai, Nihon Sōon Seigyo. Heisei 21-nendo idō hasseigen tō no teishūhaon ni kansuru kentō chōsa tō gyōmu: Bessatsu shiryō. [Tokyo]: Nihon Sōon Seigyo Kōgakkai, 2010.

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14

Mental practice and imagery for musicians: A practical guide for optimizing practice time, enhancing performance, and preventing injury. Boulder, CO: Integrated Musician's Press, 1999.

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15

Roberta, Gary, Miles Thom, and Conable Barbara, eds. What every pianist needs to know about the body: A manual for players of keyboard instruments : piano, organ, digital keyboard, harpsichord, clavichord. Chicago: GIA Publications, 2003.

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16

Walker, Kim, and Peter J. Schoenbach. Spirited Wind Playing: The Performance Dimension. Indiana University Press, 2016.

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17

Walker, Kim, and Peter J. Schoenbach. Spirited Wind Playing: The Performance Dimension. Indiana University Press, 2016.

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18

Winberg, Jack S., and Merle Salus. Stretching for Strings. Tichenor Pub, 1990.

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19

Gregor, Widholm, and Nagy Michael, eds. Das Instrumentalspiel: Beiträge zur Akustik der Musikinstrumente, medizinische und psychologische Aspekte des Musizierens : Bericht vom internationalen Symposion Wien, 12.-14. April 1988. Wien: Doblinger, 1989.

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20

de, Alcantara Pedro. The integrated string player: Embodied vibration. 2018.

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21

Healthy string playing: Physical wellness tips from the pages of Strings magazine. Milwaukee, Wis: Hal Leonard, 2007.

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22

Hal Leonard Publishing Corporation (COR). HEALTHY STRING PLAYING PHYSICAL WELLNESS TIPS FROM THE PAGES OF STRING MAGAZINE. STRING LETTER-LICENSED, 2007.

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23

Aho, Marko. Tangible in Music: The Tactile Learning of a Musical Instrument. Taylor & Francis Group, 2017.

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24

Tangible in Music: The Tactile Learning of a Musical Instrument. Taylor & Francis Group, 2016.

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25

Aho, Marko. Tangible in Music: The Tactile Learning of a Musical Instrument. Taylor & Francis Group, 2016.

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26

Aho, Marko. Tangible in Music: The Tactile Learning of a Musical Instrument. Taylor & Francis Group, 2016.

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27

Mark, Thomas, Roberta Gary, and Thom Miles. What Every Pianist Needs to Know About the Body. Gia Publications, 2004.

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28

Mark, Thomas, Roberta Gary, and Thom Miles. What Every Pianist Needs to Know about the Body. G I A Publications, Incorporated, 2021.

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29

Reynolds, Don R., and Jason W. Chapman. Long-range migration and orientation behavior. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797500.003.0007.

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The dramatic long-distance flights of butterflies and other large insects, occurring near the ground, have long been regarded as migratory. In contrast, high-altitude wind-borne movements of small insects have often been viewed differently, as uncontrolled or even accidental displacements. This chapter shows how an individual-based behavioral definition provides a unifying framework for these, and other modes of migration in insects and other terrestrial arthropods, and how it can distinguish migration from other types of movement. The chapter highlights some remarkable behavioral phenomena revealed by radar, including sophisticated flight orientations shown by high-flying migrants. Migration behavior is always supported by a suite of morphological, physiological and life-history traits—together forming a ‘migration syndrome’, itself one interacting component of a ‘migration system’. These traits steer the migrants along a ‘population pathway’ through space and time, while natural selection acts contemporaneously, continually modifying behavior and other aspects of the syndrome.

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30

Rao, Rahul, and Ilana Crome. Assessment in the Older Patient. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199392063.003.0008.

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Increased longevity and progressive increases in substance use in older people require clinicians to be proficient in assessing substance misuse in this age group. Assessment requires age-appropriate knowledge, skills and attitudes, taking into account atypical presentations that may challenge conventional diagnostic processes. A greater focus is needed on physical and social aspects of assessment, paying special attention to the influence of comorbid psychiatric and physical disorders. Physiological and pharmacological changes in older people alter the way that substances and other drugs are processed by the body and systemic effects on end-organ function. Such effects can include intoxication, withdrawal, and dependence. Assessment should take into account capacity, elder abuse, cultural competence, and the use of age-appropriate screening instruments. Such an approach will strongly influence treatment options and outcomes. The systematic approach outlined in this chapter is fundamental to the development of a successful treatment management plan.

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31

Fiala, Michele L., and Martin Schuring. Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.001.0001.

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This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, developing finger technique, and creating a useful warm-up routine. The oboists discuss their ideals in reed making, articulation, and vibrato. They also share stories from their lives and careers. The oboists and English hornists profiled from North America are Pedro Diaz, Elaine Douvas, and Nathan Hughes (Metropolitan Opera Orchestra); John Ferrillo (Boston Symphony Orchestra); Carolyn Hove (Los Angeles Philharmonic); Richard Killmer (Eastman School); Nancy Ambrose King (University of Michigan); Frank Rosenwein and Robert Walters (Cleveland Orchestra); Humbert Lucarelli (soloist); Grover Schiltz (formerly Chicago Symphony); Eugene Izotov (San Francisco Symphony, originally from Russia); Allan Vogel (Los Angeles Chamber Orchestra retired); David Weiss (formerly Los Angeles Philharmonic); Randall Wolfgang (New York City Ballet and formerly Orpheus Chamber Orchestra); Alex Klein (Brazil, formerly Chicago Symphony and currently Calgary, Canada); and Sarah Jeffrey, Toronto Symphony Orchestra. The performers based in Europe are Neil Black, Nicholas Daniel, and Gordon Hunt (England); Maurice Bourgue and David Walter (France); Thomas Indermühle (Switzerland); László Hadady (Hungary and France); and Omar Zoboli (Italy). From Australia is Diana Doherty of the Sydney Symphony Orchestra.

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