Relevant bibliographies by topics / Woodwind instruments

Academic literature on the topic 'Woodwind instruments'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Woodwind instruments.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Woodwind instruments"

1

Jones, Lewis. "New woodwind instruments." Journal of the Acoustical Society of America 109, no. 5 (May 2001): 2367. http://dx.doi.org/10.1121/1.4744329.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rice, Albert R., and Phillip T. Young. "4900 Historical Woodwind Instruments." Galpin Society Journal 48 (March 1995): 242. http://dx.doi.org/10.2307/842835.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

LoPresto, Michael C. "Experimenting with woodwind instruments." Physics Education 42, no. 3 (April 20, 2007): 296–303. http://dx.doi.org/10.1088/0031-9120/42/3/011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Rovner, Philip L. "Mouthpiece system for woodwind instruments." Journal of the Acoustical Society of America 90, no. 5 (November 1991): 2882. http://dx.doi.org/10.1121/1.401790.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Luzader, Stephen. "Homemade “woodwind” and “brass” instruments." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1762. http://dx.doi.org/10.1121/1.3383749.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lyndon-Jones, Maggie. "A Checklist of Woodwind Instruments Marked!!" Galpin Society Journal 52 (April 1999): 243. http://dx.doi.org/10.2307/842526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Lefebvre, Antoine, Gary P. Scavone, and Jean Kergomard. "External Tonehole Interactions in Woodwind Instruments." Acta Acustica united with Acustica 99, no. 6 (November 1, 2013): 975–85. http://dx.doi.org/10.3813/aaa.918676.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Gökpınar, Yasemin. "Woodwind Instruments in al-Fārābī’s Kitāb al-Mūsīqī al-Kabīr." Journal of Music Archaeology 1 (December 4, 2023): 185–200. http://dx.doi.org/10.1553/jma-001-08.

Full text
Abstract:
Al‑Fārābī (d. 950 CE), the so-called ‘Second Master’ (Aristotle being the First Master), is known for his influential works on philosophy, especially his commentaries on Aristotle, as well as for his works on logic, physics and metaphysics, ethics, and politics. It was on behalf of al‑Karḫī, Caliph ar‑Rāḍī’s (r. 934–940 CE) wazīr, that al‑Fārābī wrote his Grand Book on Music, explaining musical concepts such as rhythm and melody to the wazīr. As a logician and practicing musician, he combined and improved upon different sources, such as Greek musical theory, as well as on the Arabic authors and musicians al‑Kindī (d. after 870 CE) and Isḥāq al‑Mawṣilī (d. 850 CE). In this paper, I discuss several issues related to woodwind instruments mentioned in al‑Fārābī’s Grand Book on Music. Al‑Fārābī expounds on their interconnections with the tonal production of other instruments, specifying their tone system in terms of finger positions on the fretboard of the ʿūd. Further questions address the relation between theory and practice, as well as some considerations about the modes that seem to be common on woodwinds.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Woodwind instruments"

1

Lefebvre, Antoine. "Computational acoustic methods for the design of woodwind instruments." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97000.

Full text
Abstract:
This thesis presents a number of methods for the computational analysis of woodwind instruments. The Transmission-Matrix Method (TMM) for the calculation of the input impedance of an instrument is described. An approach based on the Finite Element Method (FEM) is applied to the determination of the transmission-matrix parameters of woodwind instrument toneholes, from which new formulas are developed that extend the range of validity of current theories. The effect of a hanging keypad is investigated and discrepancies with current theories are found for short toneholes. This approach was applied as well to toneholes on a conical bore, and we conclude that the tonehole transmission matrix parameters developed on a cylindrical bore are equally valid for use on a conical bore.A boundary condition for the approximation of the boundary layer losses for use with the FEM was developed, and it enables the simulation of complete woodwind instruments. The comparison of the simulations of instruments with many open or closed toneholes with calculations using the TMM reveal discrepancies that are most likely attributable to internalor external tonehole interactions. This is not taken into account in the TMM and poses a limit to its accuracy. The maximal error is found to be smaller than 10 cents. The effect of the curvature of the main bore is investigated using the FEM. The radiation impedance of a wind instrument bell is calculated using the FEM and compared to TMM calculations; we conclude that the TMM is not appropriate for the simulation of flaring bells.Finally, a method is presented for the calculation of the tonehole positions and dimensions under various constraints using an optimization algorithm, which is based on the estimation of the playing frequencies using the Transmission-Matrix Method. A number of simple woodwind instruments are designed using this algorithm and prototypes evaluated.
Cette thèse présente des méthodes pour la conception d'instruments de musique à vent à l'aide de calculs scientifiques. La méthode des matrices de transfert pour le calcul de l'impédance d'entrée est décrite. Une méthode basée sur le calcul par Éléments Finis est appliquée à la détermination des paramètres des matrices de transfert des trous latéraux des instruments à vent, à partir desquels de nouvelles équations sont développées pour étendre la validité deséquations de la littérature. Des simulations par Éléments Finis de l'effet d'une clé suspendue au-dessus des trous latéraux donnent des résultats différents de la théorie pour les trous courts. La méthode est aussi appliquée à des trous sur un corps conique et nous concluons que les paramètres des matrices de transmission développées pour les tuyaux cylindriques sont également valides pour les tuyaux coniques.Une condition frontière pour l'approximation des pertes viscothermiques dans les calculs par Éléments Finis est développée et permet la simulation d'instruments complets. La comparaison des résultats de simulations d'instruments avec plusieurs trous ouverts ou fermés montre que la méthode des matrices de transfert présente des erreurs probablement attribuables aux interactions internes et externes entre les trous. Cet effet n'est pas pris en compte dans laméthode des matrices de transfert et pose une limite à la précision de cette méthode. L'erreur maximale est de l'ordre de 10 cents. L'effet de la courbure du corps de l'instrument est étudié avec la méthode des Éléments Finis. L'impédance de rayonnement du pavillon d'un instrument est calculée avec la méthode des matrices de transfert et comparée aux résultats de la méthode des Éléments Finis; nous concluons que la méthode des matrices de transfert n'estpas appropriée à la simulation des pavillons.Finalement, une méthode d'optimisation est présentée pour le calcul de la position et des dimensions des trous latéraux avec plusieurs contraintes, qui est basé sur l'estimation des fréquences de jeu avec la méthode des matrices de transfert. Plusieurs instruments simples sont conçus et des prototypes fabriqués et évalués.
APA, Harvard, Vancouver, ISO, and other styles
2

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

Full text
Abstract:
Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
APA, Harvard, Vancouver, ISO, and other styles
3

Bowling, Micah. "Intraoral Pressure and Sound Pressure During Woodwind Performance." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849677/.

Full text
Abstract:
For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.
APA, Harvard, Vancouver, ISO, and other styles
4

Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

White, Paul James. "The early bassoon reed in the development of the bassoon from 1636." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385785.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Cimino, Antonio Leonardo. "The programmatic use of the woodwinds in selected operas of Verdi /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11246.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hoberg, Annelie. "Reducing performance anxiety in woodwind playing through the application of the Alexander technique principles." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10202009-161440/.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Thomazelli, Rodolfo 1984. "Construção e validação de um medidor de impedância para sistemas tubulares." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/258543.

Full text
Abstract:
Orientador: Stelamaris Rolla Bertoli
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
Made available in DSpace on 2018-08-23T15:37:09Z (GMT). No. of bitstreams: 1 Thomazelli_Rodolfo_M.pdf: 57345196 bytes, checksum: 3da9f24b7c1ff80c9e4ffefcf62d51ed (MD5) Previous issue date: 2013
Resumo: A impedância acústica é um dos conceitos importantes para o estudo da propagação de ondas sonoras em dutos, pois por meio de sua determinação, outros parâmetros acústicos são obtidos. É um espectro em freqüências, e pode ser obtida experimentalmente através de um medidor de impedância acústica. Na presente pesquisa foi construído e validado um medidor de impedância acústica. Como objeto de estudo foi utilizados os pífanos - instrumentos de sopro da família das flautas. Dentre os métodos experimentais indicados na literatura, optou-se pelo uso do TMTC (Two Microphones Three Calibrations), devido à acessibilidade aos requisitos práticos e a possibilidade de investigação das flautas. Foram feitas medidas de impedância de dois dutos cilíndricos, de diferentes comprimentos e diâmetros internos constantes, cujos resultados foram comparados com modelos teóricos (etapa de validação). Determinou-se também a impedância acústica de três pífanos de afinações distintas. Da análise dos resultados, verificou-se a eficácia do método adotado e do aparato construído para a investigação da impedância acústica de dutos simples e, em especial, dos pífanos. Discutiu-se também aspectos importantes da construção do aparato, em termos da acessibilidade e complexidade
Abstract: The acoustical impedance is one of the indissociable factors in the studies of sound wave propagation in ducts, once its measuring provides other acoustical parameters. Its values are frequencydependent and can be determined with the use of an acoustical impedance spectrometer. For this research an acoustical impedance spectrometer was designed and validated. The research focused on a Brazilian woodwind instrument called "pífano", from the flute family. The experimental method known as TMTC (Two Microphones Three Calibrations) was chosen, for it provides easy access to practical needs and has wide capacity to interact with flutes. The spectrum from two cylindrical ducts were taken, each duct with a different length but equal inner diameters. The spectrum of three "pífanos" with different tunings, was also measured. The results from the cylindrical ducts were later compared to theoretical models (validation stage). From the results it was possible to ascertain the efficiency of the adopted method and apparatus built to investigate acoustical impedance of regular ducts and "pífano" flutes. Other important aspects of the process of building the apparatus were also discussed, in terms of accessibility and complexity
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
APA, Harvard, Vancouver, ISO, and other styles
10

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Woodwind instruments"

1

Nunn, Daniel. Woodwind. Chicago: Heinemann Library, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dearling, Robert. Woodwind & brass instruments. Philadelphia, PA: Chelsea House Publishers, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ganeri, Anita. Woodwind & wind instruments. London: Franklin Watts, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Woodwind music inprint. Philadelphia: Musicdata, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Peters, Harry B. Woodwind music in print. Philadelphia: Musicdata, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Brass and woodwind. London: Franklin Watts, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Instrumentalist, The. Woodwind anthology. Northfield, IL: Instrumentalist, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Koeppe, Douglas. Woodwinds in early America. Wimberley, Texas: Brother Francis Publishers, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Woodwind instruments and their history. New York: Dover, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Baines, Anthony C. Woodwind instruments and their history. New York, NY: Dover, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Woodwind instruments"

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fletcher, Neville H. "Woodwind Instruments." In Encyclopedia of Acoustics, 1635–42. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2007. http://dx.doi.org/10.1002/9780470172544.ch133.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Eargle, John M. "Directional Properties of Woodwind Instruments." In Electroacoustical Reference Data, 330–31. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4615-2027-6_159.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Becker, Rachel N. "Genre theory and the opera fantasia." In Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments, 84–103. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003392507-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Becker, Rachel N. "The opera fantasia in musicological context." In Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments, 13–39. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003392507-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Woodwind instruments"

1

Chatziioannou, Vasileios, and Alex Hofmann. "Modeling articulation techniques in single-reed woodwind instruments." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799434.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gonzalez, Yubiry, and Ronaldo C. Prati. "Applications of FFT for timbral characterization in woodwind instruments." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19428.

Full text
Abstract:
The conceptualization of the musical timbre, which allows its quantitative evaluation in an audio record, is still an open-ended issue. This paper presents a set of dimensionless descriptors to assess the musical timbre of woodwind instruments in recordings of the fourth octave of the tempered musical scale. These descriptors are calculated from the Fast Fourier Transform (FFT) spectra using the Python Programming Language, specifically the SciPy library. The characteristic spectral signature of the clarinet, bassoon, transverse flute, and oboe are obtained in the fourth musical octave, observing the presence of degeneration for some musical sounds, that is, two given different aerophones may present the same harmonics. It is concluded that the proposed descriptors are sufficient to differentiate the aerophones studied, allowing their recognition, even in the case that there present the same set of harmonic frequencies.
APA, Harvard, Vancouver, ISO, and other styles
3

Da Silva, Andrey R., Yong Shi, and Gary Sacvone. "Computational analysis of the dynamic flow in single-reed woodwind instruments." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799627.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
Abstract:
The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.
APA, Harvard, Vancouver, ISO, and other styles
5

Chatziioannou, Vasileios, Alex Hofmann, and Montserrat Pàmies-Vilà. "An artificial blowing machine to investigate single-reed woodwind instruments under controlled articulation conditions." In 174th Meeting of the Acoustical Society of America. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000794.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Joshi, Vedant, and Francine Battaglia. "A Risk Assessment of Pathogen Transport During an Indoor Orchestra Performance." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-73290.

Full text
Abstract:
Abstract The COVID-19 pandemic has shown that airborne pathogens and viruses have a detrimental impact on the health and well-being of an individual in an indoor space. Respiratory particles are released as droplets of varying velocities and diameters, where smaller droplets (aerosols) linger in air for prolonged periods, increasing the infection risk of individuals in an enclosed space. The pandemic has raised concerns regarding the safety of musicians due to respiratory particles released through woodwind and brass instruments. A collaboration with the Buffalo Philharmonic Orchestra was pursued to assess the risk of infection and develop strategies to mitigate the spread of respiratory particles using computational fluid dynamics. A coupled Eulerian-Lagrangian modeling approach was employed to examine the airflow patterns and airborne particle pathogen transport induced by the musicians in the music hall. The investigation considered three brass instruments (trumpet, tuba, trombone), without and with a bell covering. It was observed that the dispersion of particles for each instrument depended on the bell design and orientation of the instrument. For example, the trumpet produced a higher concentration of respiratory particles compared to a tuba, which has its tubing wrapped. Additionally, the effect of using bell covers (cloth covering on the opening of the brass instruments) showed that the covers reduced the number of pathogens escaping the instruments by capturing large respiratory particles and reducing the escaping velocity of small particles. Reduced particle velocities at the instrument opening meant that the particles traveled shorter distances, which helped mitigate the spread of virus in the music hall. Moreover, the efficacy of using Plexiglas partitions on the sides and in front of the musicians limited the transmission of pathogens from one musician to another. Overall, the findings of this study helped strategize the location of musicians based on the type of instruments being played and the operating conditions in the music hall to decrease the airborne transmission of the novel Coronavirus.
APA, Harvard, Vancouver, ISO, and other styles
7

Gerasimov, Roman. "Simulation and calculation of the toneholes cone-shape undercutting of woodwind instruments on the shift of air channel eigenfrequencies." In 11TH INTERNATIONAL CONFERENCE ON MATHEMATICAL MODELING IN PHYSICAL SCIENCES. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0163364.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

ROCKLIFF, R., DK SKULINA, DM CAMPBELL, and CA GREATED. "PIV MEASUREMENT OF ACOUSTIC VELOCITIES AT WOODWIND INSTRUMENT TONEHOLES." In Spring Conference Acoustics 2002. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18244.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ciobanu-Suhomlin, Irina. "Works for solo instruments from the perspective of the 21st century: the new opuses by the composer Gh. Ciobanu." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.06.

Full text
Abstract:
The 2000s were marked by Gh. Ciobanu's persistent interest in the field of music for solo instruments: these are compositions for woodwinds and keyboards. The author explores the reasons for the composer’s increased attention to this area of modern music, as well as the factors that contributed to the concert demand for new works. Annotations to the works reveal the special attention that the composer pays to the study of the possibilities of the musical sound. It is concluded that the compositions for solo instruments were the result of a holistic understanding of this area by the composer, including an understanding of the nature of various instruments, knowledge of their technical capabilities and features of modern interpretation, deep penetration into the very essence of instrumental performance, as well as understanding their potential from the standpoint of modern compositional techniques.
APA, Harvard, Vancouver, ISO, and other styles
10

Lasickas, T., G. C. A. Caridi, A. Soldati, and V. Chatziioannou. "Investigating the Effect of Woodwind Instrument Tone Hole Size Using Particle Image Velocimetry." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. Turin, Italy: European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.0603.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Woodwind instruments' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography