Dissertations / Theses on the topic 'Woodwind instruments'
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Lefebvre, Antoine. "Computational acoustic methods for the design of woodwind instruments." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97000.
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This thesis presents a number of methods for the computational analysis of woodwind instruments. The Transmission-Matrix Method (TMM) for the calculation of the input impedance of an instrument is described. An approach based on the Finite Element Method (FEM) is applied to the determination of the transmission-matrix parameters of woodwind instrument toneholes, from which new formulas are developed that extend the range of validity of current theories. The effect of a hanging keypad is investigated and discrepancies with current theories are found for short toneholes. This approach was applied as well to toneholes on a conical bore, and we conclude that the tonehole transmission matrix parameters developed on a cylindrical bore are equally valid for use on a conical bore.A boundary condition for the approximation of the boundary layer losses for use with the FEM was developed, and it enables the simulation of complete woodwind instruments. The comparison of the simulations of instruments with many open or closed toneholes with calculations using the TMM reveal discrepancies that are most likely attributable to internalor external tonehole interactions. This is not taken into account in the TMM and poses a limit to its accuracy. The maximal error is found to be smaller than 10 cents. The effect of the curvature of the main bore is investigated using the FEM. The radiation impedance of a wind instrument bell is calculated using the FEM and compared to TMM calculations; we conclude that the TMM is not appropriate for the simulation of flaring bells.Finally, a method is presented for the calculation of the tonehole positions and dimensions under various constraints using an optimization algorithm, which is based on the estimation of the playing frequencies using the Transmission-Matrix Method. A number of simple woodwind instruments are designed using this algorithm and prototypes evaluated.Cette thèse présente des méthodes pour la conception d'instruments de musique à vent à l'aide de calculs scientifiques. La méthode des matrices de transfert pour le calcul de l'impédance d'entrée est décrite. Une méthode basée sur le calcul par Éléments Finis est appliquée à la détermination des paramètres des matrices de transfert des trous latéraux des instruments à vent, à partir desquels de nouvelles équations sont développées pour étendre la validité deséquations de la littérature. Des simulations par Éléments Finis de l'effet d'une clé suspendue au-dessus des trous latéraux donnent des résultats différents de la théorie pour les trous courts. La méthode est aussi appliquée à des trous sur un corps conique et nous concluons que les paramètres des matrices de transmission développées pour les tuyaux cylindriques sont également valides pour les tuyaux coniques.Une condition frontière pour l'approximation des pertes viscothermiques dans les calculs par Éléments Finis est développée et permet la simulation d'instruments complets. La comparaison des résultats de simulations d'instruments avec plusieurs trous ouverts ou fermés montre que la méthode des matrices de transfert présente des erreurs probablement attribuables aux interactions internes et externes entre les trous. Cet effet n'est pas pris en compte dans laméthode des matrices de transfert et pose une limite à la précision de cette méthode. L'erreur maximale est de l'ordre de 10 cents. L'effet de la courbure du corps de l'instrument est étudié avec la méthode des Éléments Finis. L'impédance de rayonnement du pavillon d'un instrument est calculée avec la méthode des matrices de transfert et comparée aux résultats de la méthode des Éléments Finis; nous concluons que la méthode des matrices de transfert n'estpas appropriée à la simulation des pavillons.Finalement, une méthode d'optimisation est présentée pour le calcul de la position et des dimensions des trous latéraux avec plusieurs contraintes, qui est basé sur l'estimation des fréquences de jeu avec la méthode des matrices de transfert. Plusieurs instruments simples sont conçus et des prototypes fabriqués et évalués.
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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.
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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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Bowling, Micah. "Intraoral Pressure and Sound Pressure During Woodwind Performance." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849677/.
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For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments.
My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.
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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.
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White, Paul James. "The early bassoon reed in the development of the bassoon from 1636." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385785.
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Cimino, Antonio Leonardo. "The programmatic use of the woodwinds in selected operas of Verdi /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11246.
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Dunnigan, Patrick. "Effects of tempo, bass loudness, and tonic chord degree on the perception and performance of intonation by wind instrumentalists /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Hoberg, Annelie. "Reducing performance anxiety in woodwind playing through the application of the Alexander technique principles." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10202009-161440/.
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Thomazelli, Rodolfo 1984. "Construção e validação de um medidor de impedância para sistemas tubulares." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/258543.
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Orientador: Stelamaris Rolla BertoliDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
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Resumo: A impedância acústica é um dos conceitos importantes para o estudo da propagação de ondas sonoras em dutos, pois por meio de sua determinação, outros parâmetros acústicos são obtidos. É um espectro em freqüências, e pode ser obtida experimentalmente através de um medidor de impedância acústica. Na presente pesquisa foi construído e validado um medidor de impedância acústica. Como objeto de estudo foi utilizados os pífanos - instrumentos de sopro da família das flautas. Dentre os métodos experimentais indicados na literatura, optou-se pelo uso do TMTC (Two Microphones Three Calibrations), devido à acessibilidade aos requisitos práticos e a possibilidade de investigação das flautas. Foram feitas medidas de impedância de dois dutos cilíndricos, de diferentes comprimentos e diâmetros internos constantes, cujos resultados foram comparados com modelos teóricos (etapa de validação). Determinou-se também a impedância acústica de três pífanos de afinações distintas. Da análise dos resultados, verificou-se a eficácia do método adotado e do aparato construído para a investigação da impedância acústica de dutos simples e, em especial, dos pífanos. Discutiu-se também aspectos importantes da construção do aparato, em termos da acessibilidade e complexidade
Abstract: The acoustical impedance is one of the indissociable factors in the studies of sound wave propagation in ducts, once its measuring provides other acoustical parameters. Its values are frequencydependent and can be determined with the use of an acoustical impedance spectrometer. For this research an acoustical impedance spectrometer was designed and validated. The research focused on a Brazilian woodwind instrument called "pífano", from the flute family. The experimental method known as TMTC (Two Microphones Three Calibrations) was chosen, for it provides easy access to practical needs and has wide capacity to interact with flutes. The spectrum from two cylindrical ducts were taken, each duct with a different length but equal inner diameters. The spectrum of three "pífanos" with different tunings, was also measured. The results from the cylindrical ducts were later compared to theoretical models (validation stage). From the results it was possible to ascertain the efficiency of the adopted method and apparatus built to investigate acoustical impedance of regular ducts and "pífano" flutes. Other important aspects of the process of building the apparatus were also discussed, in terms of accessibility and complexity
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
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Thornton, Linda C. P. "The effects of listening condition on melodic error detection by novice woodwind students /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904870.
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Van, Walstijn Maarten. "Discrete-time modelling of brass and reed woodwind instruments with application to musical sound synthesis." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/27572.
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This work deals with simulation of brass and reed woodwind instruments. The principal objective is to develop discrete-time models that are suitable for application in a musical sound synthesis environment. The main bulk of the thesis describes methods for linear modelling of the instrument air column. Using a travelling-wave based approach, the air column is modelled as a series of modules, each representing a part of the bore. New methods for digital modelling of brass and woodwind mouthpieces, woodwind toneholes, and brass bells are presented. The study also includes new methods for discrete-time modelling of conical bore sections. In addition, the mechanical behaviour of a clarinet reed is studied by means of a distributed model that is formulated numerically using the finite-difference approach. Precise measurements of the reed shape and the mouthpiece lay geometry have been carried out in order to accurately simulate the bending of the reed against the lay during oscillation. An equivalent lumped oscillator model is formulated, and its properties are analysed to a reed-driven pipe simulation. In general, the discrete-time models described in this work are validated via comparison with either measurements or established acoustic theories. The modular approach taken in the derivation of these models allow for dynamic and intuitive control of the musically important simulation parameters.
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Chatzionnou, Vasileios. "Forward and inverse modelling of single-reed woodwind instruments with application to digital sound synthesis." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534704.
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Davis, Kimberly Nicole. "Man of many parts| A study of Buddy Collette's jazz vocabulary on multiple woodwind instruments." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10108179.
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This paper is a study of Buddy Collette’s improvisatory style on four woodwind instruments: alto saxophone, tenor saxophone, clarinet and flute. Transcription and analysis of Collette’s solos provide examples of the vocabulary he generated and used on each of instrument. This paper also includes some of Collette’s significant life events, including contributions made to the Los Angeles jazz scene.
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Lan, Yang. "Acoustics of the xiao : a case study of modern methods for the design of woodwind instruments." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51768.
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The xiao is a Chinese end-blown flute with a history over a thousand years and well known in China for its elegant sound. The xiao is little known outside China, but its close relative, the Japanese shakuhachi, is better known internationally. The xiao has not been well developed or standardized (because of the bamboo's varying geometries) for the contemporary musical requirements and is imperfect in tuning, tone range, tonal stability and playability of high notes. In acoustics, all these imperfections can be characterized by the acoustical impedance. As an air-reed instrument, the xiao plays at its input impedance minima. In the work reported in this thesis, the xiao was modelled by a modified transmission-matrix method, and an impedance tube was built for measuring the xiao's acoustical impedance to validate the model (accurate to a few cents). Then player effects were taken into account by an empirical formula, and the model was able to predict the playing frequencies of a xiao with any tone hole positions, sizes, and arbitrary bore shape along the symmetry axis. Based on this model, numerical optimizations were applied to improve the xiao, and a set of optimal fingerings for the xiao were obtained systematically. Several xiaos made from PVC pipes with optimized tone holes show good tuning over three octaves. A xiao with additionally optimized bore shape was machined out of acrylic, showing improved tonal stability and rich harmonics.Science, Faculty of
Physics and Astronomy, Department of
Graduate
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Matei, Corvin. "Peculiarities and anomalies of intonation with special reference to the construction and evolution of woodwind instruments." Doctoral thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/7890.
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Includes bibliographical references.The author has been playing principal flute for almost twenty years, in the ""G Enescu"" Bucharest Philharmonic Orchestra, the Cape Town Symphony Orchestra and the Cape Philharmonic and was fortunate to hear live some of the leading world orchestras, among them the Berlin Philharmonic, Vienna Philharmonic, Gewandhaus, London Philharmonic, London Symphony, Orchestre Nationale de France, New York Philharmonic, Chicago Symphony and the Boston Symphony. All these great orchestras experienced intonation problems, mainly in the woodwind section, and I have started to study this phenomenon, which has followed me through my entire life.
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Ely, Mark Christopher. "The effects of timbre on intonational performance and perception by college performers of selected woodwind instruments /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050227073.
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Jaasund, Annette. "Motiverad att fortsätta spela?! : Några träblåslärares syn på motivation hos sina elever." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26587.
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Syftet med studien är att få större insikt i hur pedagoger kan hjälpa sina elever att få motivation till eget musicerande och spelglädje. Med en fenomenografisk utgångspunkt och genom kvalitativa intervjuer där fyra träblåslärare vid olika musik- och kulturskolor deltog, undersöktes deras syn på hur de ser på sina elevers motivation och hur de undervisar för att inspirera sina elever till fortsatt musicerande. Av intervjusvaren framgår tydligt att viktiga källor till motivation är mål, samspel, grupptillhörighet och jag-kan känsla. I resultatdelen har jag kategoriserat och analyserat intervjusvaren och avslutningsvis förs en diskussion kring resultaten i förhållande till begreppen motivation och didaktik.The aim of the study was to gain greater insight into how teachers can help their students to get motivation to their own musicianship and joy of playing. With a phenomenographic approach and through qualitative interviews with four woodwind teachers at various music and culture schools, their views are analyzed of how they see their students' motivation and how they in their teaching can inspire students to continue playing. The result shows, that the major sources of motivation are goals, interactions, group membership and “I-can!” esteem. In conclusion I have categorized and discussed all interview responses in relation to the concepts of motivation and education.
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Koster, Keith A. "Demonstrator gender and the woodwinds : investigating children's differential views of gender propriety /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904854.
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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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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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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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Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.
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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.
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Cecconi-Roberts, Lecia Anne. "Effects of practice strategies on improvement of performance of intermediate woodwind instrumentalists /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3012957.
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Shi, Yong. "Comparing theory and measurements of woodwind-like instrument acoustic radiation." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32497.
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This thesis provides a review of a computational modeling technique for woodwind-like musical instruments with arbitrarily shaped bore and finger holes. The model of a simple acoustic structure implemented in Matlab is verified through experimental measurements in terms of radiation directivity. The methods of calculating the acoustical impedance at the input end and the internal sound pressure at any position along the principle axis of the bore are presented. The procedure for calculating the radiation pressure is detailed in an example featuring a main bore with two open holes. The far-field and near-field formulas of radiation distances and angles are given. A modified pulse reflectometry system is used to measure the radiation directivity of the sample woodwind-like instrument. The measurement and data processing are simulated using a digital waveguide model to test the validity of the measurement system. The final measurements are performed with five fingerings for the measured object. The measurement results are compared with the theoretically predicted values to evaluate the fitness of the model. Suggestions for further improvement of both the measurement and the model are given.Cette thèse propose une analyse des techniques de modélisation informatique des instruments de musique de la famille des bois à perce et trous arbitraires. Le modèle d'une structure acoustique simple implémenté avec Matlab est vérifié par des mesures expérimentales de la directivité du rayonnement. Les méthodes de calcul de l'impédance acoustique à l'entrée ainsi que de la pression acoustique à n'importe quelle position le long de l'instrument sont présentées. La procedure de calcul de la pression de radiation est détaillée pour le cas d'un tuyau cylindrique ouvert avec deux trous latéraux. Les formules de calcul du rayonnement en champ lointain et en champ proche sont données. Un système de mesure de la réponse impulsionnelle est utilisé pour mesurer la directivité de la radiation sur un prototype d'instrument ayant les caractéristiques de la famille des bois. La mesure et le traitement des données sont simulés en utilisant un modèle de guide d'ondes numérique pour tester la validité du système de mesure. Les mesures finales sont effectuées pour les cinq doigts de l'objet mesuré. Les résultats sont comparés aux valeurs théoriques pour évaluer la qualité du modèle. Des suggestions pour l'amélioration de la mesure et du modèle sont données.
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Levels, Brian Eugene. "Breaking the Doubler Barrier: Using Sy Brandon’sDivertissement to Demonstrate a Practical Approach to Performing Multiple WoodwindWorks." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699910/.
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Multiple woodwind training is ideal for securing certain types of employment; however, with so many different instruments, performance standards on each are difficult to maintain. Furthermore, for many multiple woodwind players, proficiency on all woodwinds ceases to be a top priority after graduation, even though they continue to market themselves as highly proficient on all of these instruments. The problem for most begins with what it means to be proficient on each instrument. The technical demands of multiple woodwind performance vary widely, but often a performance calls for complete proficiency on a variety of instruments. Multiple woodwind players who lack in professional level proficiency damage the credibility of the field and jeopardize employment opportunities for others. This study aims to address the common problems involving proficiency and to help multiple woodwind players, band directors, and doublers become familiar with and overcome these common pitfalls. Sy Brandon’s Divertissement provides an outstanding platform to address problems and provide solutions for multiple wind players, band directors, and doublers. This dissertation serves as a multiple woodwind specialist’s resource for maximum efficiency in learning and playing repertoire that involves multiple woodwinds, such as musicals, and other multiple woodwind genres.
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Rice, Kathryn Elizabeth. "Pedagogical Applications in the Clarinet Quartets of Yvonne Desportes." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707316/.
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Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.
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Theoro, Jaqueline de Paula 1974. "A importância dos quintetos de sopro de Anton Reicha no repertório camerístico dos trompistas = estudo analítico e interpretativo dos quintetos n. 1 opus 88 e n. 24 opus 100, à luz de seus tratados de harmonia, composição e melodia." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284941.
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Orientador: Eduardo Augusto OstergrenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol Maior opus 100 nº 24", ambos para flauta, oboé, clarinete, fagote e trompa, tendo como parâmetros os tratados: Traite de Melodie (1814), o Cours de Composition Musicale ou Traité Complet et Raisonné d?Harmonie Pratique (1818) e o Traité de Haute Composition Musicale (1824-26) do próprio compositor. Na época de composição das obras, Reicha já tinha um amplo conhecimento da trompa natural e por isso, as análises interpretativas foram direcionadas tanto à performance na trompa natural, como na trompa moderna, e desta forma, o trompista atual, mesmo sem utilizar a trompa natural ou a técnica de mão, poderá utilizar na trompa moderna, as informações e observações referentes ao resultado sonoro, exclusivamente característico à técnica de mão, enriquecendo sua interpretação com nuances e características timbrísticas, que antes só poderiam ser percebidas com a performance na trompa natural. Assim, este trabalho além de proporcionar o resgate aos tratados teóricos, amplamente utilizados como referência na época, promove um enriquecimento interpretativo aos trompistas
Abstract: Upon examining the importance of the Woodwind Quintets by Anton Reicha for the chamber music literature and as important repertoire for french horn players, this study has as its main purpose to present an analytical and interpretive study of Woodwind Quintets in E flat major, op. 88 n.1 and Quintet in B flat major op. 100 n. 24. Scored both for flute, oboe, clarinet, bassoon and french horn, this author used as parameters Anton Reicha's own theoretical treatises namely "Traité de Mélodie (1814)" , "Cours de Composition Musicale ou Traité Complet et Raisonné d'Harmonie Pratique (1818)" and "Traité de Haute Composition Musicale (1824-26)" .The dates of these compositions can very well indicate that Reicha had a thorough knowledge of the natural horn. The interpretive analysis here presented are aimed at either the performance of the historical natural horn or the modern french horn. In this way the modern player, even without having access to the natural instrument or the utilization of hand technique, can apply on the modern french horn the information offered here regarding the sound qualities that are a characteristic of hand technique which helps enrich timbristic nuances that can only be perceived on the natural horn. This work, besides offering an insight into the composers theoretical treatises widely used by his contemporaries also offers interpretive suggestions to the modern players of the french horn
Mestrado
Fundamentos Teoricos
Mestre em Música
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Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.
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Neikirk, Anne L. "Missa Ad Honorem Sancti Francisci for Satb Choir, Soloists and Woodwind Quintet." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242249236.
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Oliveira, Luís Carlos de. "Síntese por modelagem física da clarineta = modelo por guia de ondas com escoamento." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/261074.
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Orientadores: Rafael Santos Mendes, Ricardo GoldembergTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
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Resumo: Este trabalho aplica a técnica do guia de ondas digital ("Digital Waveguide") na síntese de instrumentos de sopro da família das madeiras, em particular, da clarineta. Esta técnica foi desenvolvida na década de 1980 e, desde então, tem sido utilizada em síntese de instrumentosmusicais por modelagem física. A técnica consiste, grosso modo, no processo de discretização da solução por ondas viajantes da Equação da Onda. Este procedimento permite obter uma estrutura de filtros digitais que simula a propagação da onda sonora para a direita e para a esquerda com velocidade de propagação equivalente à velocidade do som, c. No entanto, nos resultados de modelagem física publicados, constatou-se a ausência da velocidade de escoamento do ar, u. A contribuição deste trabalho consiste em reelaborar a estrutura de filtros digitais de modo a contemplar a velocidade de escoamento do fluido. A fundamentação teórica estabelece que para um meio de propagação sonora em movimento as velocidades de propagação para a direita é c + u e para a esquerda é c ? u. Propõe-se então, uma estratificação do tubo da clarineta em camadas divididas por mesma área ou mesma largura de modo a verificar a influência do perfil de velocidades na síntese sonora. Foi observado que a inclusão do escoamento implica uma "distorção" na curva da pressão interna do tubo, o que aproxima essa forma dos resultados experimentais
Abstract: This study aims to apply the technique of Digital Waveguide in synthesis of woodwind instruments, particularly the clarinet. This technique was developed in the mid-80 and since then, has application in the synthesis of musical instruments by physical modeling. It consists, roughly, in the process of discretization of the traveling wave solution of the Wave Equation. This leads to a digital filter structure that simulates the propagation of sound waves to the right and left with the speed of sound propagation, c. However, in the published results of physical modeling, the air flow velocity, u, was not included. The contribution of this work is to redesign the structure of digital filters in order to contemplate the velocity of the fluid. The theoretical framework provides that in a medium in motion the velocities of propagation to the right is c + u and to the left is c ? u. It is proposed then a stratification of the tube of the clarinet in layers divided by the same area or same width in order to verify the influence of velocity profile in the synthesized sound. It was observed that the inclusion of flow provides a "distortion" in the internal pressure of the tube. It sets resemblance to experimental results
Doutorado
Engenharia de Computação
Doutor em Engenharia Elétrica
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Andersson, Andreas. "Tre musikinstrument - En röst : En självstudie om omställningsprocesser mellan träblåsinstrument." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-56754.
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Tre musikinstrument – En röst. En studie om omställningsprocessen mellan ett träblåsinstrument till ett annat. Detta område omfattar tvärflöjt- oboe- och altsaxofonspel. Arbetet bygger på observationer av en sex veckor lång instuderingsprocess, sett i relation till ett urval av tidigare forskning och högskoleuppsatser inom området. Studien har i syfte att utforska omställningsprocessen när jag byter från det ena blåsinstrumentet till det andra. Detta för att ge en djupare inblick i en multiinstrumentalists vardag och belysa de fenomen som ligger till grund för spelet för respektive instrument och som sedan tas med i omställningsprocessen. Denna kvalitativa studie utgår från ett livsvärldsperspektiv och metod är loggboksskrivande samt videodokumentation. Resultatet bärs upp av två teman: Inre röst och instrumentbyte-muskelbyte som står för mentala respektive fysiska handlingar. Efter resultatet följer en diskussion som sätts i förhållande till litteratur och tidigare forskning inom området. Arbetet avslutas med tankar om dess betydelse samt möjligheter till framtida forskning.Three musical instruments – One voice. A study of the conversion process between a woodwind instrument to another. This area includes the flute, oboe and the alto saxophone. This study is based on observations of a six-week rehearsal process in relation to a sample of previous research and academic papers in the field. The study is aimed to explore the conversion process when I switch from one wind instrument to the other. This is to provide a deeper insight into a multiinstrumentalists everyday life and highlight all the phenomena that form the basis of the play for each instrument and then be included in the conversion process. This qualitative study is based on a life-world perspective and method logbook writing and video documentation. The result is supported by two themes: Inner voice and change of instrument-muscle change representing mental and physical actions. After the result is a discussion that is related to the literature and previous research in the area. The work concludes with thoughts about its importance as well as opportunities for future research.
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Wood, James J. "A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3593.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).
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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
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Grothe, Timo. "Experimental Investigations of Bassoon Acoustics." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-150193.
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The bassoon is a conical woodwind instrument blown with a double-reed mouthpiece. The sound is generated by the periodic oscillation of the mouthpiece which excites the air column. The fundamental frequency of this oscillation is determined to a large extent by the resonances of the air column. These can be varied by opening or closing tone-holes. For any given tone hole setting a fine-tuning in pitch is necessary during playing. Musicians adjust the slit opening of the double-reed by pressing their lips against the opposing reed blades. These so-called embouchure corrections are required to tune the pitch, loudness and sound color of single notes. They may be tedious, especially if successive notes require inverse corrections. However, such corrections are essential: Due to the very high frequency sensitivity of the human ear playing in tune is the paramount requirement when playing music. This implies, that embouchure actions provide an important insight into a subjective quality assessment of reed wind instruments from the viewpoint of the musician: An instrument requiring only small corrections will be comfortable to play.
Theoretical investigations of the whole system of resonator, reed, and musician by use of a physical model nowadays still seem insufficient with respect to the required precision. Therefore the path of well-described artificial mouth measurements has been chosen here. For the separate treatment of the resonator and the double-reed, existing classical models have been used. Modifications to these models are suggested and verified experimentally. The influence of the musician is incorporated by the lip force-dependent initial reed slit height. For this investigation a measurement setup has been built that allows precise adjustment of lip force during playing. With measurements of the artificial mouth parameters blowing pressure, mouthpiece pressure, volume-flow rate and axial lip position on reed, the experiment is fully described for a given resonator setting represented by an input impedance curve. By use of the suggested empirical model the adjustment parameters can be turned into model parameters. A large data set from blowing experiments covering the full tonal and dynamical range on five modern German bassoons of different make is given and interpreted.
The experimental data presented with this work can be a basis for extending the knowledge and understanding of the interaction of instrument, mouthpiece and player. On the one hand, they provide an objective insight into tuning aspects of the studied bassoons. On the other hand the experiments define working points of the coupled system by means of quasi-static model parameters.
These may be useful to validate dynamical physical models in further studies. The experimental data provide an important prerequisite for scientific proposals of optimizations of the bassoon and other reed wind instruments. It can further serve as a fundament for the interdisciplinary communication between musicians, musical instrument makers and scientists.
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Stone, Emily Clare. "Portfolio of recorded performances and exegesis: the evolution of the bassoon and its impact upon solo repertoire and performance." Thesis, 2008. http://hdl.handle.net/2440/50102.
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The research investigated the conception of the early bassoon in the late 1600’s and its subsequent development through to the modern day. It explored the technical evolution of the bassoon and its impact upon solo compositions1 and performance.
The recital repertoire was chosen to demonstrate the changing capabilities of the instrument associated with each evolutionary phase, and to show how an understanding of these changes helps to place accepted modern techniques into an historical context. The submission consists of two recital CDs which are supported by an exegesis. The exegesis outlines the ways in which the performer’s musical interpretation is enhanced through an understanding of the instrument’s developmental history. It is also a commentary of the musical and technical issues faced by the author whilst preparing and performing the repertoire.Thesis (M.Mus.) - University of Adelaide, Elder Conservatorium of Music, 2008
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Stone, Emily Clare. "Portfolio of recorded performances and exegesis: the evolution of the bassoon and its impact upon solo repertoire and performance." 2008. http://hdl.handle.net/2440/50102.
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The research investigated the conception of the early bassoon in the late 1600’s and its subsequent development through to the modern day. It explored the technical evolution of the bassoon and its impact upon solo compositions1 and performance. The recital repertoire was chosen to demonstrate the changing capabilities of the instrument associated with each evolutionary phase, and to show how an understanding of these changes helps to place accepted modern techniques into an historical context. The submission consists of two recital CDs which are supported by an exegesis. The exegesis outlines the ways in which the performer’s musical interpretation is enhanced through an understanding of the instrument’s developmental history. It is also a commentary of the musical and technical issues faced by the author whilst preparing and performing the repertoire.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351017
Thesis (M.Mus.) - University of Adelaide, Elder Conservatorium of Music, 2008
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Yang, Tsai-Hsuan, and 楊才萱. "Discussion and Analysis of Woodwind Instruments Injuries: A Study of Bassoon playing Injuries." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9sfksh.
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碩士國立臺東大學
音樂學系碩士班
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Music learning is an endless journey. Learning the bassoon is a process of accumulating practice over a long period. Recalling having studied ten-year music from elementary school to senior high school, researcher had heard not much about the term “Performance Injury” from teachers. For that reason, the aim of this study was to find out further knowledge of playing a bassoon. This study uses document analysis to play the performance injury questionnaire of the bassoon as a research tool, combined with the music and medical fields, playing the part of the bassoon that is easily injured: neck, shoulders, elbows, hands or wrists, upper back and temporomandibular joint. The common performance injury associated with bassoon players are tennis elbow, tenosynovitis, sacral disorders, sarcolemma syndrome, and overuse syndrome.In order to continue the playing career, you must have the correct playing style and practice method. The results of this study were (a) “Warming up” is the initial and necessary practice before playing, (b) Having correct understanding of “body relaxed,” (c) “Pain” is a warning sign, (d) Keeping the body in correct position while playing instrument and forming a habit of keeping it for performance, (e) Accepting the process of learning it step by step, gradually and repeatedly. In this efficiency-oriented generation, the player always hopes to see the greatest results in the shortest time, whether it is before the test, before the game or before the main course, the uninterrupted practice, the body is uncomfortable and does not stop. Therefore, it ignores the "pain" message from the body and considers it to be a serious or normal phenomenon. Therefore, this study proposes the following suggestions: (a) Practice must have a correct mentality, avoid the practice of quick success; (b) 3C products to examine their own playing; (c) Change the concept of no pain without success; (d) Academic units may add courses or lectures on performance medicine to enable students to have a basic understanding of performance injury. It is hoped that this research can reduce the occurrence of damage caused by the bassoon player and further prevent and avoid the various damages caused when playing or practicing the bassoon.
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Pimentel, Bret. "Woodwind doubling on folk, ethnic, and period instruments in film and theater music case studies and a practical manual /." 2009. http://purl.galileo.usg.edu/uga%5Fetd/pimentel%5Fbret%5Fr%5F200905%5Fdma.
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Dickens, Paul Physics Faculty of Science UNSW. "Flute acoustics: measurement, modelling and design." 2007. http://handle.unsw.edu.au/1959.4/40607.
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A well-made flute is always a compromise and the job of flute makers is to achieve a musically and aesthetically satisfying compromise; a task that involves much trial and-error. The practical aim of this thesis is to develop a mathematical model of the flute and a computer program that assists in the flute design process. Many musical qualities of a woodwind instrument may be calculated from the acoustic impedance spectrum of the instrument. A technique for fast and accurate measurement of this quantity is developed. The technique is based on the multiple-microphone technique, and uses resonance-free impedance loads to calibrate the system and spectral shaping to improve the precision at impedance extrema. The impedance spectra of the flute and clarinet are measured over a wide range of fingerings, yielding a comprehensive and accurate database. The impedance properties of single finger holes are measured using a related technique, and fitformulae are derived for the length corrections of closed finger holes for a typical range of hole sizes and lengths. The bore surface of wooden instruments can change over time with playing and this can affect the acoustic impedance, and therefore the playing quality. Such changes in acoustic impedance are explored using wooden test pipes. To account for the effect of a typical player on flute tuning, an empirical correction is determined from the measured tuning of both modern and classical flutes as played by several professional and semi-professional players. By combining the measured impedance database with the player effects and various results in the literature a mathematical model of the input impedance of flutes is developed and implemented in command-line programs written in the software language C. A user-friendly graphical interface is created using the flute impedance model for the purposes of flute acoustical design and analysis. The program calculates the tuning and other acoustical properties for any given geometry. The program is applied to a modern flute and a classical flute. The capabilities and limitations of the software are thereby illustrated and possible contributions of the program to contemporary flute design are explored.
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Rhee, Sophia. "The bassoon in Australia : repertoire and contemporary relevance." Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/507002.
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This project attempts to assess and predict the future of the bassoon in Australia. This must be contextualised within the future of classical music in general. Classical music has a long history, its antecedents stemming from the liturgical and secular music of the Medieval and Renaissance periods. The Classical and Romantic periods of the eighteenth and nineteenth centuries established what some regard as a set or standard identity for classical music; however, various forces combine to destabilise this standard and drive the classical genre to evolve in order to maintain relevance. In the past several decades, scholars, reviewers and those in the industry have referred to a crisis in classical music. This crisis is the result of the movement of attention and education away from classical and toward popular music; the structure of the music recording marketing industry which has, over an extensive period, virtually prohibited the entry of obscure or innovative music into mass markets; and the perception that the enjoyment of classical music is somehow a specialised, possibly elitist skill and one that is not suited or accessible to the mass audience. Given that much of the long term viability of an art form depends on its success in the market and its ability to connect with audiences, overcoming these barriers to the accessibly and enjoyment of classical music is regarded as key to its very survival. However, with the current changes in technology and marketing structures, it is possible for the current crisis to be regarded as a significant opportunity for further growth of the classical repertoire and the market for it. In fact the long term viability and survival of classical music, and therefore of the bassoon, may depend on the ability of those in the field to understand the current challenges and opportunities. By adopting mixed methodologies which include an analysis of literature, a pedagogical survey involving aspects of practice-based research and empirical research, the thesis examines the existing Australian bassoon repertoire and the views of those deeply involved in playing, composing for, and promoting the bassoon on the Australian music scene. Following qualitative interviews with bassoonists, composers and classical music marketers, it is observed that the bassoon has several special challenges. It is an instrument which has sometimes been overlooked or poorly recognised, and whose unique sounds and abilities have often been used in a comic way, resulting in its stereotyping as the 'clown of the orchestra'. It presents a physical challenge because of its weight and dimensions, it is expensive and the repertoire that currently exists in Australia is limited, a fact demonstrated by the pedagogical survey. The thesis seeks ways of resolving or working with these challenges. However, the potential of the bassoon to build a relevant contemporary identity both through traditional and extended techniques used in composition and the extension of repertoire is profound. Coupled with and extending the pedagogical survey was the commissioning and recording of a CD sampler of new and previously unrecorded contemporary classical bassoon music, also involving practice-led research. The pieces recorded on the CD are an attempt to respond to the strengths and weaknesses identified through other research in the thesis in relation to compositional style and variety. It also serves as a means of seeking responses from marketers of classical CDs. The production of the CD demonstrates what can be accomplished when composers are commissioned to write new pieces, how these add to the repertoire and how such repertoire might be marketed. It also requires an active ideological, musical and spoken dialogue between composers and performers presenting new, relevant repertoire as well as pieces not previously recorded. In doing so, the CD represents one of several ways in which the bassoon can continue to be relevant to the contemporary Australian audience.
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Marešovský, Lukáš. "Hra na saxofon a její možná zdravotní rizika." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313032.
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PLAYING SAXOPHONE AND ITS POTENTIAL HEALTH RISKS Objectives: Main purpose of this study is to provide comprehensive review of health issues related to saxophone playing. The aim of this study is to collect available resources focused on saxophone players teaching methods, analyse them and compare them with existing findings of medical science. Also to try to find answers to asked research questions and to verify or disprove stated hypotheses, on the basis of acquired datas and principles eventually trying to arrange some possible outlines to complement teaching methods or preventative-compensational excercises for saxophone players. Methods: Method of this thesis is literature research using available Czech and foreign literary resources. For this purpose there have been used electronic archives as Pubmed, Ebsco, Springer, Wiley and Science Direct, monographic publications and scholarly papers from periodicals. This work is divided into few main parts. Introductional part contains basic review of health issues related to instrumental musicians, methodics contained in saxophone schools written in the Czech language, aims and methods of this thesis. Theoretical part is more widely focused on methodics, principles and mechanics of saxophone players' education. The main part is dedicated to possible...
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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.
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Silva, António Paulo Alves da. "A técnica de respiração nos instrumentos musicais de sopro : estudo de caso na Escola Profissional Artística do Vale do Ave : Artave." Master's thesis, 2013. http://hdl.handle.net/10400.14/13864.
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Este estudo realizado na Escola Profissional Artística do Vale do Ave – Artave assenta no meu percurso de instrumentista e de docente da disciplina do instrumento-trompete, e comutativamente, no interesse de obter respostas sobre os hábitos existentes nas classes de Sopro da Escola, uma vez que desempenho funções pedagógicas de coordenação e, assim, poder ter uma visão mais global da Escola.
O estudo assenta nas técnicas/processo e análise de hábitos da respiração existentes nas classes de sopro da escola. Pretende-se investigar os exercícios de respiração utilizados nas diferentes classes, bem como, analisar a importância da respiração no domínio da técnica do instrumento-trompete e as suas consequências ao nível do som e do timbre.
A respiração como um elemento basilar para execução nos instrumentos de sopro, era um assunto com toda a pertinência a ser estudado, no âmbito de uma escola profissional, com alunos com quem se ambiciona atingir um elevado grau de performance musical.
A metodologia adotada é de carácter qualitativo, sendo um estudo de caso. Elaborou-se questionários a alunos, que foram objeto de uma análise quantitativa, e entrevistas a professores. Definiu-se objetivos, que pretendiam perceber as dinâmicas existentes nas classes de sopro no que se refere à respiração; compreender os diferentes exercícios de respiração propostos pelos professores; perceber na classe de trompete, em particular, de que modo os princípios serão eficazes, nas metodologias utilizadas no estudo da respiração; obter uma comparação de hábitos de estudo da respiração em alunos das classes das madeiras e dos metais. Os resultados deste estudo, refletem uma assimetria de hábitos nos alunos das classes de madeiras e de metais, bem como, uma diversidade de visões por parte dos professores, no que concerne ao estudo da respiração e nos exercícios propostos aos alunos.This study in the Escola Profissional Artística do Vale do Ave - Artave based on my instrumentalist and teacher experience of the subject of the instrument-trumpet, and also in the interest of obtaining answers about the existing habits of the wind and brass classes. Since I have pedagogical and coordination functions thus may have a more global vision of the School. The study is based on technical / process analysis and habits of breathing in existing wind and brass classes of the artistic school. We intend to explore the breathing exercises used in the different classes, and to evaluate the importance of breathing technique in the field of instrument-trumpet and its consequences in terms of sound and timbre. Breathing as a basic element for execution in wind instruments, is a matter quite rightly to be studied in the context of a professional school with students who aims to achieve a high level of musical performance. The methodology is of qualitative in nature, being a case study. We prepared questionnaires to students who have been handled as a quantitative analysis, and interviews with teachers. Set up goals, they wanted to understand the dynamics existing in wind classes concerning breathing; understand the different breathing exercises proposed by teachers; realize the trumpet class, in particular, how the principles will be effective in methodologies used in the study of respiration, a comparison of the breath study habits of students in classes of woodwind and brass instruments. The results of this study reflect an asymmetry habits in students of woodwind and brass classes, as well as a diversity of views from teachers, with regard to the study of breathing and exercises offered to students.
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Grothe, Timo. "Experimental Investigations of Bassoon Acoustics." Doctoral thesis, 2013. https://tud.qucosa.de/id/qucosa%3A28232.
Full textAbstract:
The bassoon is a conical woodwind instrument blown with a double-reed mouthpiece. The sound is generated by the periodic oscillation of the mouthpiece which excites the air column. The fundamental frequency of this oscillation is determined to a large extent by the resonances of the air column. These can be varied by opening or closing tone-holes. For any given tone hole setting a fine-tuning in pitch is necessary during playing. Musicians adjust the slit opening of the double-reed by pressing their lips against the opposing reed blades. These so-called embouchure corrections are required to tune the pitch, loudness and sound color of single notes. They may be tedious, especially if successive notes require inverse corrections. However, such corrections are essential: Due to the very high frequency sensitivity of the human ear playing in tune is the paramount requirement when playing music. This implies, that embouchure actions provide an important insight into a subjective quality assessment of reed wind instruments from the viewpoint of the musician: An instrument requiring only small corrections will be comfortable to play.
Theoretical investigations of the whole system of resonator, reed, and musician by use of a physical model nowadays still seem insufficient with respect to the required precision. Therefore the path of well-described artificial mouth measurements has been chosen here. For the separate treatment of the resonator and the double-reed, existing classical models have been used. Modifications to these models are suggested and verified experimentally. The influence of the musician is incorporated by the lip force-dependent initial reed slit height. For this investigation a measurement setup has been built that allows precise adjustment of lip force during playing. With measurements of the artificial mouth parameters blowing pressure, mouthpiece pressure, volume-flow rate and axial lip position on reed, the experiment is fully described for a given resonator setting represented by an input impedance curve. By use of the suggested empirical model the adjustment parameters can be turned into model parameters. A large data set from blowing experiments covering the full tonal and dynamical range on five modern German bassoons of different make is given and interpreted.
The experimental data presented with this work can be a basis for extending the knowledge and understanding of the interaction of instrument, mouthpiece and player. On the one hand, they provide an objective insight into tuning aspects of the studied bassoons. On the other hand the experiments define working points of the coupled system by means of quasi-static model parameters.
These may be useful to validate dynamical physical models in further studies. The experimental data provide an important prerequisite for scientific proposals of optimizations of the bassoon and other reed wind instruments. It can further serve as a fundament for the interdisciplinary communication between musicians, musical instrument makers and scientists.:1 Introduction 1
1.1 Motivation 1
1.2 Scientific Approaches to Woodwind Musical Instruments 3
1.3 Organization of the Thesis 6
2 Acoustical Properties of the Bassoon Air Column 7
2.1 Wave propagation in tubes 7
2.1.1 Theory 7
2.1.2 Transmission Line Modeling 8
2.1.3 Implementation 18
2.1.4 Remarks on Modeling Wall Losses in a Conical Waveguide 19
2.2 Input Impedance Measurement 23
2.2.1 Principle 23
2.2.2 Device 23
2.2.3 Calibration and Correction 24
2.3 Comparison of Theory and Experiment 27
2.3.1 Repeatability and Measurement Uncertainty 27
2.3.2 Comparison of numerical and experimental Impedance Curves 32
2.4 Harmonicity Analysis of the Resonator 35
2.4.1 The Role of the Resonator 35
2.4.2 The reed equivalent Volume 35
2.4.3 Harmonicity Map 36
2.5 Summary 38
3 Characterization of the Double Reed Mouthpiece 41
3.1 Physical Model of the Double-Reed 41
3.1.1 Working Principle 41
3.1.2 Structural Mechanical Characteristics 42
3.1.3 Fluid Mechanical Characteristics 44
3.2 Measurement of Reed Parameters 49
3.2.1 Quasi-stationary Measurement 49
3.2.2 Dynamic Measurement 50
3.3 Construction of an Artificial Mouth 52
3.3.1 Requirements Profile 52
3.3.2 Generic Design 53
3.3.3 The artificial Lip 54
3.3.4 Air Supply 55
3.3.5 Sensors and Data Acquisition 57
3.3.6 Experimental setup 59
3.4 Summary 59
4 Modeling Realistic Embouchures with Reed Parameters 61
4.1 Reed Channel Geometry and Flow Characteristics 61
4.1.1 The Double-Reed as a Flow Duct 61
4.1.2 Bernoulli Flow-Model with Pressure Losses 65
4.1.3 Discussion of the Model 68
4.2 Quasi-static Interaction of Flow and Reed-Channel 72
4.2.1 Pressure-driven Deformation of the Duct Intake 72
4.2.2 Reed-Flow Model including Channel Deformation 75
4.2.3 Influence of Model Parameters 76
4.2.4 Experimental Verification 78
4.3 Effect of the Embouchure on the Reed-Flow 81
4.3.1 Adjustment of the Initial Slit Height 81
4.3.2 Quasi-static Flow in the Deformed Reed-Channel 83
4.3.3 Simplified empirical Model including a Lip Force 85
4.4 Summary 93
5 Survey of Performance Characteristics of the Modern German Bassoon
5.1 Experimental Procedure and Data Analysis 95
5.1.1 Description of the Experiment 95
5.1.2 Time Domain Analysis 97
5.1.3 Spectral Analysis – Period Synchronized Sampling 98
5.1.4 Spectral Centroid and Formants 99
5.1.5 Embouchure parameters 100
5.2 Observations on the Bassoon under Operating Conditions 105
5.2.1 Excitation Parameter Ranges 106
5.2.2 Characteristics of the radiated Sound 110
5.2.3 Reed Pressure Waveform Analysis 115
5.2.4 Summarizing Overview 118
5.3 Performance Control with the Embouchure 120
5.3.1 Register-dependent Embouchure Characteristics 120
5.3.2 Intonation Corrections 123
5.3.3 Sound Color Adjustments 127
5.3.4 Relation to the acoustical Properties of the Resonator 129
5.4 Summary 137
6 Conclusion 139
6.1 Summary 139
6.2 Outlook 141