Relevant bibliographies by topics / Woodwind instruments Woodwind instrument mouthpieces

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  2. Dissertations / Theses
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Academic literature on the topic 'Woodwind instruments Woodwind instrument mouthpieces'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Woodwind instruments Woodwind instrument mouthpieces"

1

Carral, Sandra, Christophe Vergez, and Cornelis Nederveen. "Toward a Single Reed Mouthpiece for the Oboe." Archives of Acoustics 36, no. 2 (May 1, 2011): 267–82. http://dx.doi.org/10.2478/v10168-011-0021-0.

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AbstractReed woodwind instruments differ in both their geometry (mainly cylindrical or mainly conical) and their excitation mechanism (single or double reed). How much of the resulting sound is due to the single/double reed, and how much to the geometry of the instrument? Measurements done by Almeidaet al.(J. Acoust. Soc. Am.,121, 1, 536-546, 2007) show that the flow vs pressure characteristic curve of an oboe reed is not that different from that of a clarinet reed, the only difference probably being due to pressure recovery inside the conical staple. Is it possible to make a single reed mouthpiece for an oboe, while keeping the conical staple, that would still give the oboe its characteristic sound? To find it out, a mouthpiece with the following characteristics was made: A standard clarinetBb reed can be attached to it, its volume is approximately that of the missing part of the instrument cone, and a standard French oboe staple can be inserted to it, so that it can be inserted in the usual way in any french oboe. In this paper, the first prototype of the mouthpiece is shown. Also, a sound comparison of the oboe sounds played with this mouthpiece and a standard double reed by a professional player is presented.
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Clemente, Miguel P., André Moreira, Joaquim Mendes, Afonso P. Ferreira, and José M. Amarante. "Wind Instrumentalist Embouchure and the Applied Forces on the Perioral Structures." Open Dentistry Journal 13, no. 1 (March 28, 2019): 107–14. http://dx.doi.org/10.2174/1874210601913010107.

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Introduction:The wind instrumentalist embouchure is probably one of the most demanding tasks that occurs during their musical performance. It is important to quantify the forces that are applied during the wind instrumentalist embouchure on the perioral structures.Objective:Quantify the force on the perioral structures involved during the embouchure mechanism of wind instrumentalists.Methods:Piezoresistive sensors of FlexiForceTMwere placed on the mouthpiece of 28 different wind instrumentalists, in order to obtain the applied forces transmitted to the upper lip or the lower lip. The application of the sensors were done according to the particular characteristics of the different types of wind instruments, single reed, double reed or metal. Each participant performed three times three different notes at different pitches: high, medium and low. The average medium and maximum pressure was obtained from the nine essays. The sensors were connected to a data acquisition board from National Instruments and the results displayed in LabVIEW 2011.Results:Measurement values were obtained for the different groups of wind instruments. In an ascending order, the pressures registered where for the bassoon (6g-31g), the oboe (17g-125g), the saxophone (39g-120g), the clarinet (54g-106g), the trumpet, (63g-172g), the bisel flute (73g-245g), the French horn (56g-305g), the transversal flute (220g-305g) and the trombone (201g-325g).Conclusion:Metal instrumentalists seem to apply greater forces than woodwind musicians when performing the embouchure mechanism, being in this specific case the trombone the instrument from the metal group to exert more force, while on the contrary, the bassoon registered the lower values.
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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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Spahn, Claudia, Anna Maria Hipp, Bernd Schubert, Marcus Rudolf Axt, Markus Stratmann, Christian Schmölder, and Bernhard Richter. "Airflow and Air Velocity Measurements While Playing Wind Instruments, with Respect to Risk Assessment of a SARS-CoV-2 Infection." International Journal of Environmental Research and Public Health 18, no. 10 (May 19, 2021): 5413. http://dx.doi.org/10.3390/ijerph18105413.

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Due to airborne transmission of the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument. To examine this question and to help clarify the possible risk, we analyzed 14 wind instruments, first qualitatively by making airflows visible while playing, and second quantitatively by measuring air velocity at three distances (1, 1.5, 2 m) in the direction of the instruments’ bells. Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall. Our findings highlight that while playing, no airflows escaping from any of the wind instruments—from the bell with brass instruments or from the mouthpiece, keyholes or bell with woodwinds—were measurable beyond a distance of 1.5 m, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of 1 m/s in hall-like rooms. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to the mouthpiece, which escaped directly into the room.
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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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6

Handel, Stephen, and Molly L. Erickson. "Sound Source Identification: The Possible Role of Timbre Transformations." Music Perception 21, no. 4 (June 1, 2004): 587–610. http://dx.doi.org/10.1525/mp.2004.21.4.587.

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Timbre is typically investigated as a perceptual attribute that differentiates instruments at one pitch. Yet the perceptual usefulness of timbre is that it allows listeners to recognize one instrument at different pitches. Using stimuli produced across the playing range by three wind instruments from two categories, woodwind and brass, we measured listeners' judgments of instrumental timbre across pitch in a dissimilarity task and measured listeners' ability to identify stimuli as being produced by the same or different instrument in a three-note oddball task. The resulting multidimensional scaling representation showed that Dimension 1 correlated with pitch, whereas Dimension 2 correlated with spectral centroid and separated the instrumental stimuli into the categories woodwind and brass. For three-note sequences, the task was extremely difficult for the woodwind pair, with listeners typically choosing the most dissimilarly pitched stimulus as coming from the oddball source. In contrast, the three-note sequences were easy for the woodwind-brass pairs. The results from these experiments illustrate the difficulty of extrapolating the timbre of a sound source across large differences in pitch.
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Liu, Yang, and Svetlana Anatolievna Mozgot. "The Making of Woodwind Art in China." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 301–10. http://dx.doi.org/10.34069/ai/2020.27.03.33.

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The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.
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Hallam, Susan, Andrea Creech, Maria Varvarigou, and Ioulia Papageorgi. "Are there differences in practice depending on the instrument played?" Psychology of Music 48, no. 6 (February 15, 2019): 745–65. http://dx.doi.org/10.1177/0305735618816370.

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There has been little research on instrument differences in the length and nature of instrumental practice or how these may interact with level of expertise. This paper aimed to address this issue. A total of 3,325 young people ranging in level of expertise from beginner to the level required for entry to higher education conservatoire completed a questionnaire which consisted of a number of statements relating to time spent practicing, practicing strategies, organization of practice, and motivation to practice with a seven-point rating scale. Data were analyzed in relation to nine levels of expertise. Factor analysis revealed seven factors which were used to make comparisons between those playing different classical instruments. The findings showed that those playing keyboard instruments practiced the most, followed by strings, brass, and woodwind. There were relatively few statistically significant instrument differences in practice strategies. Where there were differences it was the woodwind players who tended to adopt less effective strategies. There were some interactions between level of expertise and practice which generally showed no clear patterns suggesting complexity in the development of musical expertise in relation to different instruments. The findings are discussed in terms of possible reasons for these differences.
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Simpson, Alvin F. "Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments." Update: Applications of Research in Music Education 39, no. 3 (February 16, 2021): 11–19. http://dx.doi.org/10.1177/8755123321995953.

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I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.
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Chatziioannou, Vasileios, Sebastian Schmutzhard, Montserrat Pàmies-Vilà, and Alex Hofmann. "Investigating Clarinet Articulation Using a Physical Model and an Artificial Blowing Machine." Acta Acustica united with Acustica 105, no. 4 (July 1, 2019): 682–94. http://dx.doi.org/10.3813/aaa.919348.

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A time-domain physical model is presented that is capable of simulating a variety of articulation techniques in single-reed woodwind instruments and suitable for real-time sound synthesis. Due to the nonlinear nature of the excitation mechanism, an energy-based approach is adopted for the construction of the numerical scheme in order to ensure algorithm stability. To validate the model, measurements are carried out using an artificial blowing machine. The construction of the machine, including a sensor-equipped reed and mouthpiece as well as an automated artificial tongue and lip, is described in detail. By adjusting the motion of the tongue, the blowing machine can generate audio signals corresponding to portato and staccato articulation. These signals are resynthesised following an inverse modelling approach based on the presented physical model, during which model parameters are estimated. All estimated parameters lie in a physically feasible range and may be used for sound synthesis and sound analysis applications.
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Dissertations / Theses on the topic "Woodwind instruments Woodwind instrument mouthpieces"

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Kush, Jason Matthew. "François Louis: The Invention of the Aulochrome and Contributions to the Development of the Saxophone." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/216.

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The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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3

Thompson, Phil A. "A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278544/.

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Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.
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Books on the topic "Woodwind instruments Woodwind instrument mouthpieces"

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Woodwind music inprint. Philadelphia: Musicdata, 1997.

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

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3

Walton, Simon. Flute, recorder, and other woodwind instruments. New York: Gloucester Press, 1993.

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

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Bär, Frank P. Holzblasinstrumente im 16. und frühen 17. Jahrhundert: Familienbildung und Musiktheorie. Tutzing: Hans Schneider, 2002.

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Møller, Dorthe Falcon. Fløjte, obo, klarinet & fagot: Træblæsertraditionen i dansk instrumentbygning. København: Falcon, 1987.

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Christian, Ahrens, Klinke Gregor, and Herne (Arnsberg Germany), eds. Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts : Symposium im Rahmen der 33. Tage Alter Musik in Herne 2008. München: Katzbichler, 2008.

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8

Young, Phillip T. Die Holzblasinstrumente im Oberösterreichischen Landesmuseum =: Woodwind instruments of the Oberösterreichisches Landesmuseum. Linz: Land Oberösterreich/OÖ. Landesmuseum, 1997.

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Guildhall School of Music and Drama (London, England). Woodwind instruments: Including jazz clarinet and saxaphone : graded and certificate examinations. London: Guildhall School of Music and Drama, Department of Initial Studies, 1997.

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10

P'ullip ŭl ttasŏ karak ŭl pitta: Han'guk p'ulp'iri ŭmak munhwa. Sŏul T'ŭkpyŏlsi: Ch'aeryun, 2010.

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Book chapters on the topic "Woodwind instruments Woodwind instrument mouthpieces"

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Tzanetakis, George. "Natural Human-Computer Interaction with Musical Instruments." In Advances in Multimedia and Interactive Technologies, 116–36. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch006.

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The playing of a musical instrument is one of the most skilled and complex interactions between a human and an artifact. Professional musicians spend a significant part of their lives initially learning their instruments and then perfecting their skills. The production, distribution and consumption of music has been profoundly transformed by digital technology. Today music is recorded and mixed using computers, distributed through online stores and streaming services, and heard on smartphones and portable music players. Computers have also been used to synthesize new sounds, generate music, and even create sound acoustically in the field of music robotics. Despite all these advances the way musicians interact with computers has remained relatively unchanged in the last 20-30 years. Most interaction with computers in the context of music making still occurs either using the standard mouse/keyboard/screen interaction that everyone is familiar with, or using special digital musical instruments and controllers such as keyboards, synthesizers and drum machines. The string, woodwind, and brass families of instruments do not have widely available digital counterparts and in the few cases that they do the digital version is nowhere as expressive as the acoustic one. It is possible to retrofit and augment existing acoustic instruments with digital sensors in order to create what are termed hyper-instruments. These hyper-instruments allow musicians to interact naturally with their instrument as they are accustomed to, while at the same time transmitting information about what they are playing to computing systems. This approach requires significant alterations to the acoustic instrument which is something many musicians are hesitant to do. In addition, hyper-instruments are typically one of a kind research prototypes making their wider adoption practically impossible. In the past few years researchers have started exploring the use of non-invasive and minimally invasive sensing technologies that address these two limitations by allowing acoustic instruments to be used without any modifications directly as digital controllers. This enables natural human-computer interaction with all the rich and delicate control of acoustic instruments, while retaining the wide array of possibilities that digital technology can provide. In this chapter, an overview of these efforts will be provided followed by some more detailed case studies from research that has been conducted by the author's group. This natural interaction blurs the boundaries between the virtual and physical world which is something that will increasingly happen in other aspects of human-computer interaction in addition to music. It also opens up new possibilities for computer-assisted music tutoring, cyber-physical ensembles, and assistive music technologies.
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Conference papers on the topic "Woodwind instruments Woodwind instrument mouthpieces"

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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.

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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.
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