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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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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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Baadjou, Vera AE, Marjon DF van Eijsden-Besseling, Ans LW Samama-Polak, Rob JEM Smeets, Valéria Lima Passos, and Klaas R. Westererp. "Energy Expenditure in Brass and Woodwind Instrumentalists: The Effect of Body Posture." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 218–23. http://dx.doi.org/10.21091/mppa.2011.4035.
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Body posture appears to influence fatigue and musculoskeletal complaints in musicians. Our aim was to determine energy expenditure and to investigate whether energy expenditure is affected by body posture in brass and woodwind instrumentalists. METHODS: Eighteen musicians (10 women, 8 men; 6 brass, 12 woodwinds), with a mean age of 39 ± 14 years and mean body mass index of 23.8 ± 4.9 kg/m2, played their instruments for 30 minutes twice: once in nonoptimized body posture (posture A), and once in a posture according to the postural exercise therapy method Mensendieck (posture B). Patients were randomized to the order of postures in a crossover design AB/BA. Playing sessions were preceded and followed by 60 minutes of rest. Energy expenditure was measured in a respiration chamber with indirect calorimetry. Basal metabolic rate was measured with a ventilated hood. RESULTS: Mean metabolic equivalents (MET) for playing a wind instrument in the sitting position in a nonoptimized posture and posture according postural exercise therapy were 1.69 (SD 0.18) and 1.80 (SD 0.22), respectively. Percent change between resting metabolic rate and total energy expenditure while playing was 32% (95% CI 25–39%) in posture B and 23% (95% CI 17–30%) in posture A (p = 0.021). CONCLUSION: Average physical activity while playing a wind instrument approximates 1.8 MET. Our data show an association between energy expenditure and body posture while playing a brass or woodwind instrument: playing a musical instrument in a posture according to postural exercise therapy leads to higher energy expenditure as compared to a nonoptimized body posture. These results suggest that fatigue and the general feeling of lack of energy after playing a musical instrument are not related to actual higher energy expenditure.
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Rohwer, Debbie. "Health and Wellness Issues for Adult Band Musicians." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 54–58. http://dx.doi.org/10.21091/mppa.2008.2011.
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Because issues involved with playing an instrument may be complicated by the aging process, age may be an important variable to investigate in health studies. The current study examined the perceived health challenges of a group of adult instrumental musicians and possible accommodations for these challenges. Participants included 83 adult white musicians, aged 47 to 91 yrs, 52 females and 31 males, who were attending a national summer senior band camp. Fifty-two played woodwind and 31 brass or percussion instruments. The participants were given a questionnaire asking about (1) the degree of trouble with vision, hearing, finger/hand, arm/neck, back/leg, and other physical ailments while playing their instrument; (2) whether any pain experienced was greater when playing music than in everyday life; and (3) accommodations they may have found for any physical troubles they experienced. Visual problems when reading music were noted as the participants' greatest challenge, followed by finger/joint pain, hearing speech, and hand pain. Visual problems when reading music were a top concern across all instrument subgroups, followed by finger/joint pain for woodwind players, hearing speech for brass players, and both hand and finger/ joint pain for percussionists. Accommodations for vision problems most commonly included placing the lens line higher on bifocal lenses so that both the conductor and music could be seen. Accommodations for ailments centered around two general issues: things a musician could buy (e.g., ear plugs, instrument rests, cushions) or things they could do to avoid pain (e.g., education, stretching).
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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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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.
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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (October 21, 2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.
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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular demands of the instrument on which a teacher specialises, and the ease with which accomplished students of that instrument may be recruited to conservatoires, there also appear to be substantial differences in the individual approach of teachers. The findings raise the issue of whether it may be appropriate to provide some training for instrumental teachers at conservatoire level; surely one way of making the pool of accumulated wisdom more readily available, to prospective teachers and to the research community.
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Dawson, William J. "Upper-extremity Problems Caused by Playing Specific Instruments." Medical Problems of Performing Artists 17, no. 3 (September 1, 2002): 135–40. http://dx.doi.org/10.21091/mppa.2002.3022.
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This study was undertaken to obtain information on the prevalence of music-related upper-extremity problems peculiar to a specific instrument or group of closely-related instruments, and to help determine what problem types are most common or characteristic for players of specific instruments. Music-related problems in 167 performers from a hand surgical practice were reviewed retrospectively. The musicians ranged in age from 9 to 83 years; 41.9% were males. Nearly 90% were professional performers, teachers, collegiate music students, or dedicated amateurs. More than 75% played strings or keyboard instruments. Multiple diagnoses were found in 37.7% of musicians. Data from the six largest instrumental groups revealed that muscle-tendon strain diagnoses were most common, occurring principally among pianists, violinists and violists, guitarists, and reed instrumentalists. Other common diagnoses included inflammatory disorders (tenosynovitis and the like), hypermobility, masses, and arthritic problems. Of the pianists, 54.7% developed strains, 17.4% inflammatory conditions, and 12.8% nerve problems. Violinists and violists as a group had 64.4% strains and 6.7% inflammatory conditions. Guitarists presented with 37.5% strains, 21.9% inflammatory conditions, and 15.6% nerve problems. Flutists had 25% strains and 45% inflammatory conditions. Other woodwind musicians developed 68.2% strains and 13.6% inflammatory conditions. Percussionists had 36.4% strains and 36.4% inflammatory conditions. Only one musician developed an upper-extremity problem that could be considered unique to playing a specific instrument. Statistically significant occurrence rates were found only in pianists under age 30 with strain diagnoses and in those above age 30 with inflammatory problems. These categories seem to be related to repetitive and/or forceful upper-extremity movements, and the resulting specific pathological processes.
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Ukshini, Enis, and Joris Jan Jozef Dirckx. "Longitudinal and Transversal Elasticity of Natural and Artificial Materials for Musical Instrument Reeds." Materials 13, no. 20 (October 14, 2020): 4566. http://dx.doi.org/10.3390/ma13204566.
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The reed is the primary component in single-reed woodwind instruments to generate the sound. The airflow of the player’s mouth is the energy source and the airflow is modulated by the reed. The oscillations of the reed control the airflow. Traditionally, instrument reeds are made out of natural cane (Arundo Donax), but in efforts to overcome variability problems, synthetic reeds have been introduced. Previous investigations mainly focused on natural cane reeds and direct elasticity measurements did not discriminate between elasticity moduli along different directions. In order to obtain the mechanical properties along the direction of the reed fibres and in the orthogonal direction separately, a three-point bending testing setup was developed, which accommodates the small samples that can be cut from an instrument reed. Static moduli of elasticity were acquired in both directions. Much higher ratios between longitudinal and transversal moduli were seen in the natural cane reed as compared to the artificial reeds. Wet natural reeds showed a strong decrease in moduli of elasticity as compared to dry reeds. Elasticity was significantly higher in artificial reeds. The force–displacement curves of the wet natural reed show hysteresis, whereas the artificial materials did not. In the cane reed, higher energy losses were found in the transversal direction compared to the longitudinal direction
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Kemp, Connor, and Gary Scavone. "Microstructure Contributions to Vibrational Damping and Identification of Damage Mechanisms in Arundo Donax L: Reed Cane for Woodwind Instruments." MRS Advances 2, no. 35-36 (2017): 1869–88. http://dx.doi.org/10.1557/adv.2017.223.
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ABSTRACTNatural cane reeds (Latin name Arundo Donax L and here termed ADL) have been used on woodwind instruments for centuries with little change. The reed acts as a mechanical valve controlling the energy input into the musical instrument and it is the musician’s first option for altering the instrument’s sound and response characteristics. Despite this, their consistency, variable performance, durability and sensitivity to ambient conditions make it difficult for the musician to find and maintain a reed that responds to their liking. Thus it is desirable to examine the material, microstructural and anatomical properties of the reed and their contributions to vibrational performance with input from mechanical engineers, materials scientists and musicians.The current study is part of an on-going research project, and this paper presents preliminary results. In the present work raw samples of ADL obtained from a manufacturer in pre-cut form are sectioned into longitudinal and transverse specimens for mechanical characterization. Prior to testing, samples are conditioned using an incubation system to 37 degrees Celsius and 90% relative humidity, mimicking in-use conditions of the reed. Initial microstructure analysis of each specimen is completed using optical microscopy to quantify fiber spatial arrangement, size and the existence of micro-cracks along the fiber-matrix interface. X-ray diffraction is also used to quantify the fraction of crystalline cellulose present in each sample. Specimens are then excited over a specific frequency range similar to that of in-use reeds using pressure waves in a non-contact setup. Values of internal friction are obtained as logarithmic decrement values for frequency-dependent decay. One set of specimens is then subjected to cyclic mechanical loading at low frequency (< 1Hz) and stresses up to 15MPa. The other set is maintained at the given environmental conditions using the incubator and aged through temperature and humidity cycling. Comparisons of post-testing microstructure damage and internal friction measurements are then completed to delineate specific degradation mechanisms due to mechanical/fatigue deterioration and moisture cycling. Internal friction is found to be dependent on both frequency, moisture and cyclic loading. Furthermore, the existence of microstructural cracks contributes to increasing decrement values at high frequencies in both fatigued and moisture cycled samples. Statistically significant correlations are discovered between logarithmic decrement and vascular bundle orientation at 700 Hz and logarithmic decrement and parenchyma cell diameter at 1000 Hz. Reductions in internal friction below 400 Hz indicate a decreasing loss modulus (E’’) with increased moisture cycles, although this trend will be tested against a larger sample set in further work.
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Ranelli, Sonia, Leon Straker, and Anne Smith. "Playing-related Musculoskeletal Problems in Children Learning Instrumental Music: The Association Between Problem Location and Gender, Age, and Music Exposure Factors." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 123–39. http://dx.doi.org/10.21091/mppa.2011.3021.
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PURPOSE: Playing-related musculoskeletal problems (PRMP) are common in adult musicians, and risk factors include gender, music exposure, and particularly instrument type. Emerging evidence suggests PRMP are common in children and adolescents and that risk factors may be similar. The aim of this study was to determine the prevalence of PRMP, both symptoms and disorders, and PRMP location in children and adolescents as well as the associations with gender, age, and music exposure factors such as type and number of instruments and playing time. METHODS: This study surveyed 731 children (460 females), aged 7 to 17 years, studying instrumental music in government schools in Perth, Australia. Lifetime and monthly symptoms, monthly disorders (inability to play an instrument as usual), and PRMP location were examined. Chi-squared analyses were used to evaluate associations between gender, age, music exposure, and PRMP outcomes. Logistic regression evaluated the independent association of these potential risk factors with PRMP prevalence and location. RESULTS: Sixty-seven percent of students reported PRMP symptoms at some point, 56% reported them within the last month, and 30% reported an inability to play as usual within the last month. After adjustment for gender and age, the type of instrument played (upper and lower strings, woodwind, and brass) was significantly associated with all PRMP (p<0.005) and playing three instruments was protective against monthly symptoms (OR 0.43, p=0.05). The right (24%) and left (23%) hand/elbow and neck (16%) were the most commonly reported PRMP locations, with females affected significantly more than males Prevalence of PRMP increased with age for neck (p<0.001), mid-back (p=0.007), low back (p<0.001), right hand/elbow (p=0.008), and mouth (p=0.011). PRMP prevalence for the left hand/elbow and right and left shoulders demonstrated high rates across all childhood ages. Odds ratios for the risk of PRMP in different locations varied by instrument played. CONCLUSIONS: The high prevalence and location of PRMP are important issues for child and adolescent instrumentalists. Gender, age, and music exposure are associated with PRMP risk and need to be addressed to ensure musicians’ personal well-being and musical longevity.
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Olson, Anna D., Lori F. Gooding, Fara Shikoh, and Julie Graf. "Hearing Health in College Instrumental Musicians and Prevention of Hearing Loss." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 29–36. http://dx.doi.org/10.21091/mppa.2016.1006.
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OBJECTIVE: College musicians exhibit greater declines in hearing than the general population and are at particular risk because they rehearse and perform daily in loud environments. Also, they engage in use of personal listening devices which increases the amount of “exposure” time. Despite increased risk, many do not use hearing protection devices (HPD). The purpose of this study was to (1) to identify the present level of education about hearing health, (2) identify the perceived advantages and disadvantages of using HPD, and (3) evaluate results among different musical instrument groups. METHODS: A mixed-methods group design was used including both quantitative and qualitative instruments. SPSS was used to generate descriptive statistics, and non-parametric statistical analysis was performed on quantitative data. NVivo software was used to evaluate qualitative responses. RESULTS: Of the 90 college instrumental music students who participated, 12% reported a history of hearing loss, and over one-third reported tinnitus. Seventy-seven percent of participants had never received any training about hearing health and only a small percentage of students used HPD. The most cited reason for lack of protection use was its negative impact on sound quality. However, group differences were noted between brass, woodwind, and percussion musicians in terms of HPD uptake. CONCLUSION: Improving the type of information disseminated to college musicians may reduce the risk of ear-related deficits. Noise dosage information, HPD information, and prevention education grounded in theories like the Health Belief Model may increase awareness and promote greater use of HPDs in this population.
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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.
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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
Full textAbstract:
Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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Celentano, Frank, Richard DiPasquale, Edward Simoneau, Nicholas May, Zahra Shahbazi, and Sina Shahbazmohamadi. "Reverse Engineering and Geometric Optimization for Resurrecting Antique Saxophone Sound Using Micro-Computed Tomography and Additive Manufacturing." Journal of Computing and Information Science in Engineering 17, no. 3 (July 20, 2017). http://dx.doi.org/10.1115/1.4037180.
Full textAbstract:
The saxophone mouthpiece is an important, sound generating component of this instrument. The structure of mouthpiece has undergone several design changes since its invention by Adolphe Sax in the mid-18th century. Very few antique mouthpieces survived through the years, and unfortunately, those available are not playable on modern saxophones due to geometric discrepancies. This paper investigates the possibility of using three-dimensional (3D) X-ray tomography and 3D printing combined with solid modeling and reverse engineering concepts to bring back the sound of saxophones as intended by its inventor. We have imaged the interior and exterior of an extant mouthpiece nondestructively using 3D X-ray tomography, and used solid modeling and reverse engineering along with sound testing, to optimize the geometry of a mouthpiece that is faithful to its original design and yet playable on a modern saxophone. To perform sound testing of our design iterations, 3D printed prototypes have been used and proven to generate sufficient sound quality for testing. We have successfully obtained the optimized geometry after a series of iterations that taught us valuable lessons about modeling for 3D printing and correlating geometric features of a mouthpiece to its sound quality. Though the developed principles are applied to saxophone mouthpieces, the present work can be readily extended to various musical instruments that have evolved through time, particularly woodwind instruments and instruments with mouthpieces.
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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.
Full textAbstract:
<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.