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Journal articles on the topic 'Woodwind instruments – Acoustics'

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Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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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.

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2

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.

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3

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.

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4

Chatziioannou, Vasileios, and Alex Hofmann. "Modeling articulation techniques in single-reed woodwind instruments." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3501. http://dx.doi.org/10.1121/1.4806223.

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5

Boutillon, Xavier. "Applying the reactive power approach to the woodwind instruments." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2859. http://dx.doi.org/10.1121/1.409537.

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6

Cusack, John F., and Gerald H. Finch. "Mouthpiece for woodwind instruments having a raised lay portion." Journal of the Acoustical Society of America 99, no. 4 (1996): 1822. http://dx.doi.org/10.1121/1.415359.

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7

Cordourier‐Maruri, Héctor Alfonso, and Felipe Orduña‐Bustamante. "Interactive program for computer‐aided design of woodwind musical instruments." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3332–33. http://dx.doi.org/10.1121/1.4781277.

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8

Feller, David E., and Carl G. Wood. "Apparatus for measuring lip pressure on reed of woodwind instruments." Journal of the Acoustical Society of America 90, no. 6 (December 1991): 3394. http://dx.doi.org/10.1121/1.401318.

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9

Brown, Judith C., Olivier Houix, and Stephen McAdams. "Feature dependence in the automatic identification of musical woodwind instruments." Journal of the Acoustical Society of America 109, no. 3 (March 2001): 1064–72. http://dx.doi.org/10.1121/1.1342075.

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10

Skouroupathis, Apostolos. "Optimized interpolations and nonlinearity in numerical studies of woodwind instruments." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2478. http://dx.doi.org/10.1121/1.4787634.

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11

Idogawa, Tohru, Masakazu Iwaki, Toshikatsu Naoi, and Michiko Shimizu. "An experimental study on the reed vibrations of the woodwind instruments." Journal of the Acoustical Society of America 84, S1 (November 1988): S161. http://dx.doi.org/10.1121/1.2025920.

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12

da Silva, Andrey R., Shi Yong, and Gary Scavone. "Computational analysis of the dynamic flow in single-reed woodwind instruments." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3416. http://dx.doi.org/10.1121/1.4805978.

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13

Kausel, Wilfried, and Helmut Kuehnelt. "A practical way to measure intonation quality of woodwind instruments using standard equipment without custom made adapters." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3015. http://dx.doi.org/10.1121/1.2932620.

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14

Causse, Rene, and Antoine Rousseau. "Comparison of the directivity of woodwind instruments: Improvement of diffusion techniques in sound synthesis by physical modeling." Journal of the Acoustical Society of America 100, no. 4 (October 1996): 2812. http://dx.doi.org/10.1121/1.416585.

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15

Stavash, John C. "Woodwind musical instrument." Journal of the Acoustical Society of America 96, no. 5 (November 1994): 3211. http://dx.doi.org/10.1121/1.411238.

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16

Park, Michael, and Douglas H. Keefe. "Woodwind instrument simulation in real‐time." Journal of the Acoustical Society of America 83, S1 (May 1988): S120. http://dx.doi.org/10.1121/1.2025194.

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17

Ghosal, Arijit, Suchibrota Dutta, and Debanjan Banerjee. "A Hierarchical Stratagem for Classification of String Instrument." International Journal of Web-Based Learning and Teaching Technologies 15, no. 1 (January 2020): 1–23. http://dx.doi.org/10.4018/ijwltt.2020010101.

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Automatic recognition of instrument types from an audio signal is a challenging and a promising research topic. It is challenging as there has been work performed in this domain and because of its applications in the music industry. Different broad categories of instruments like strings, woodwinds, etc., have already been identified. Very few works have been done for the sub-categorization of different categories of instruments. Mel Frequency Cepstral Coefficients (MFCC) is a frequently used acoustic feature. In this work, a hierarchical scheme is proposed to classify string instruments without using MFCC-based features. Chroma reflects the strength of notes in a Western 12-note scale. Chroma-based features are able to differentiate from the different broad categories of string instruments in the first level. The identity of an instrument can be traced through the sound envelope produced by a note which bears a certain pitch. Pitch-based features have been considered to further sub-classify string instruments in the second level. To classify, a neural network, k-NN, Naïve Bayes' and Support Vector Machine have been used.

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18

Petersen, Erik, Tom Colinot, Jean Kergomard, and Philippe Guillemain. "On the tonehole lattice cutoff frequency of conical resonators: applications to the saxophone." Acta Acustica 4, no. 4 (2020): 13. http://dx.doi.org/10.1051/aacus/2020012.

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The tonehole lattice cutoff frequency is a well-known feature of woodwind instruments. However, most analytic studies of the cutoff have focused on cylindrical instruments due to their relative geometric simplicity. Here, the tonehole lattice cutoff frequency of conical instruments such as the saxophone is studied analytically, using a generalization of the framework developed for cylindrical resonators. First, a definition of local cutoff of a conical tonehole lattice is derived and used to design “acoustically regular” resonators with determinate cutoff frequencies. The study is then expanded to an acoustically irregular lattice: a saxophone resonator, of known input impedance and geometry. Because the lattices of real instruments are acoustically irregular, different methods of analysis are developed. These methods, derived from either acoustic (input impedance) or geometric (tonehole geometry) measurements, are used to determine the tonehole lattice cutoff frequency of conical resonators. Each method provides a slightly different estimation of the tonehole lattice cutoff for each fingering, and the range of cutoffs across the first register is interpreted as the acoustic irregularity of the lattice. It is shown that, in contrast with many other woodwind instruments, the cutoff frequency of a saxophone decreases significantly from the high to low notes of the first register.

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19

Beauchamp, James. "Perceptually Correlated Parameters of Musical Instrument Tones." Archives of Acoustics 36, no. 2 (May 1, 2011): 225–38. http://dx.doi.org/10.2478/v10168-011-0018-8.

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AbstractIn Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.

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20

Bowen, D. Keith, Kurijn Buys, Mathew Dart, and David Sharp. "Assessing the sound of a woodwind instrument that cannot be played." Applied Acoustics 143 (January 2019): 84–99. http://dx.doi.org/10.1016/j.apacoust.2018.08.028.

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21

Grand, Noel, Ana Barjau, and Vincent Gibiat. "Differential formulation: A powerful tool for woodwind instrument numerical simulations." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2860. http://dx.doi.org/10.1121/1.409489.

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22

van Walstijn, Maarten, and Murray Campbell. "Discrete-time modeling of woodwind instrument bores using wave variables." Journal of the Acoustical Society of America 113, no. 1 (January 2003): 575–85. http://dx.doi.org/10.1121/1.1515776.

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23

Ernoult, Augustin, Christophe Vergez, Samy Missoum, Philippe Guillemain, and Michael Jousserand. "Woodwind instrument design optimization based on impedance characteristics with geometric constraints." Journal of the Acoustical Society of America 148, no. 5 (November 2020): 2864–77. http://dx.doi.org/10.1121/10.0002449.

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24

Smith, Gary. "Adjustable barrel tuning apparatus for use with a woodwind musical instrument." Journal of the Acoustical Society of America 96, no. 3 (September 1994): 1951. http://dx.doi.org/10.1121/1.410130.

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25

Backus, John. "The effect of the player’s vocal tract on woodwind instrument tone." Journal of the Acoustical Society of America 78, no. 1 (July 1985): 17–20. http://dx.doi.org/10.1121/1.392556.

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26

MIRANDA, EDUARDO RECK, JAMES CORREA, and JOE WRIGHT. "Categorising complex dynamic sounds." Organised Sound 5, no. 2 (August 2000): 95–102. http://dx.doi.org/10.1017/s1355771800002065.

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Chaosynth is a cellular automata-based granular synthesis system whose capabilities for producing unusual complex dynamic sounds are limitless. However, due to its newness and flexibility, potential users have found it very hard to explore its possibilities as there is no clear referential framework to hold on to when designing sounds. Standard software synthesis systems take this framework for granted by adopting a taxonomy for synthesis instruments that has been inherited from the acoustic musical instruments tradition, i.e. woodwind, brass, string, percussion, etc. Sadly, the most interesting synthesised sounds that these systems can produce are simply referred to as effects. This scheme clearly does not meet the demands of more innovative software synthesizers. In order to alleviate this problem, we propose an alternative taxonomy for Chaosynth timbres. The paper begins with a brief introduction to the basic functioning of Chaosynth. It then presents our proposed taxonomy and ends with concluding comments. A number of examples are provided on this volume's Organised Sound CD.

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27

Guilloteau, Alexis, Philippe Guillemain, Jean Kergomard, and Michael Jousserand. "The effect of the size of the opening on the acoustic power radiated by a reed woodwind instrument." Journal of Sound and Vibration 343 (May 2015): 166–75. http://dx.doi.org/10.1016/j.jsv.2015.01.020.

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28

Petersen, Erik Alan, Tom Colinot, Philippe Guillemain, and Jean Kergomard. "The link between the tonehole lattice cutoff frequency and clarinet sound radiation: a quantitative study." Acta Acustica 4, no. 5 (2020): 18. http://dx.doi.org/10.1051/aacus/2020018.

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Musical instruments are said to have a personality, which we notice in the sound that they produce. The oscillation mechanism inside woodwinds is commonly studied, but the transmission from internal waveforms to radiated sound is often overlooked, although it is musically essential. It is influenced by the geometry of their resonators which are acoustical waveguides with frequency dependent behavior due in part to the lattice of open toneholes. For this acoustically periodic medium, wave propagation theory predicts that waves are evanescent in low frequency and propagate into the lattice above the cutoff frequency. These phenomena are generally assumed to impact the external sound perceived by the instrumentalist and the audience, however, a quantitative link has never been demonstrated. Here we show that the lattice shapes the radiated sound by inducing a reinforced frequency band in the envelope of the spectrum near the cutoff of the lattice. This is a direct result of the size and spacing between toneholes, independent of the generating sound source and musician, which we show using external measurements and simulations in playing conditions. As with the clarinet, the amplitude of the even harmonics increases with frequency until they match odd harmonics at the reinforced spectrum region.

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29

Ozer, Fulya, Cem Ozer, Seyra Erbek, and Levent N. Ozluoglu. "Middle-Ear Resonance Frequency and Eustachian Tube Function in Players of Wind Instruments." Folia Phoniatrica et Logopaedica, August 19, 2021, 1–9. http://dx.doi.org/10.1159/000517064.

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<b><i>Introduction:</i></b> The effect of the continuous forced expiration action of players of wind instruments to produce sound, on the eustachian tube functions and the middle-ear resonance frequency (RF), has not been investigated in the literature to date. The aim of this study is to evaluate eustachian tube functions and the middle-ear RF of players of wind instruments. <b><i>Methods:</i></b> In this prospective case-control clinical study, a study group of 28 players of wind instruments in the orchestra (28 participants, 56 ears) and a control group of 34 volunteers (34 participants, 68 ears) were included. The eustachian function of wind instrument players in a symphony orchestra was measured using an automatic eustachian tube function test in acoustic tympanometry and the RF of the middle ear was determined in multifrequency tympanometry. <b><i>Results:</i></b> There was a statistically significant difference among the musicians, especially in players of woodwind instruments, in terms of dysfunction of the eustachian tubes (<i>p</i> = 0.048). In the musicians, the pre- and postperformance RF mean values for all ears were 925 and 1,020 Hz, respectively, and these were significantly different (<i>p</i> = 0.004). <b><i>Conclusion:</i></b> This is the first study to uses multifrequency tympanometry to examine the middle-ear RF and eustachian tube function of wind instrument musicians in an orchestra. Eustachian tube dysfunction was found to be more prominent and a higher RF of the middle ear was seen after a performance, especially in players of wood wind instruments. However, the effect of these on the professional performance of players of wind instruments should be investigated in future work.

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30

Horbal, Vadym. "Orchestra in concerts of Johann Joachim Quantz in the light of the doctrines of instrumental performance of the Baroque period." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 308–20. http://dx.doi.org/10.33398/2310-0583.2019.45.308.320.

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The article examines the groundbreaking work of the German flutist, oboist, educator, composer and conductor Johann Joachim Quantz (in particular, The Experience of Instructions for Playing the Transverse Flute, Berlin, 1752), which provides a theoretical understanding of important aspects of the instrumental culture of the Baroque era. J.J. Quantz's arguments about the orchestra, formulated in the treatise, not only allow to form ideas about the types of performing groups of the Baroque period, but also reflect the aesthetics of ideas about the optimum of orchestral writing, acoustic, timbre and dramaturgical patterns of orchestral groups and textured layers. Even taking into account the personal creative priorities of the composer-performer, on the examples of concerts for solo woodwinds (two flutes and flute and oboe) from his own creative work you can get an idea of the use of small orchestral composition in the contemporary compositional and performing tradition. musician baroque instruments. It is obvious that the orchestra is interpreted as a means of accompaniment to soloists, taking on leading functions only in short episodes of introductions to individual thematic constructions, orchestral connections in caesuras of solo parts or final cadence constructions of individual parts. The main functions of the orchestra's voices are clearly divided, depending on the drama of the deployment and the ratio of the soloists' parts, accompanying them or duplicating them in the function of ripieno. The accompaniment can be interpreted as basso continuo, as a complementary chord complex of middle voices or as an interval duplication of close instruments in terms of tenure and timbre.

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