Journal articles: 'Woodwind instruments'

1

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

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

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

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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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O'Loughlin, Niall, Anthony Baines, and Leonardo de Lorenzo. "Woodwind Instruments and Their History." Musical Times 134, no. 1802 (April 1993): 214. http://dx.doi.org/10.2307/1002488.

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

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

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

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

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

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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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Chatziioannou, Vasileios, and Alex Hofmann. "Two-dimensional playability maps for single-reed woodwind instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A323. http://dx.doi.org/10.1121/10.0023675.

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One method to analyze musical instrument playability is by visualizing a two-dimensional subspace of the musician's control parameters. This hasbeen widely used in the form of Schelleng diagrams for bowed string instruments. There, it is possible to identify regions within the bow force—bowing position subspace where Helmholtz motion is achieved. Such diagrams may be populated either on the basis of experimental measurements, or via physical modeling. In fact, physical modeling is particularly suited to this task, since playing parameters can be directly controlled. It has been recently suggested (Woodhouse, in Proc. SMAC 2023) that similar diagrams may be used for analyzing wind instrument playability. This study aims at exploring this direction using a physical model which has been previously validated against experimental measurements. Initially, an informed decision is made on which parameters should be chosen for plotting an equivalent playability diagram. Subsequently, various diagram versions are generated, focusing on different aspects of the generated tones. As already pointed out by Woodhouse, similarities appear between the diagrams for bowed-string and woodwind instruments. It remains to examine how valuable information regarding woodwind playability may be extracted from such studies.

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Kotašová, Daniela. "Domestic Music Making and its Instruments: Zpráva z mezinárodní konference hudebních nástrojů v Edinburghu." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 64–68. http://dx.doi.org/10.37520/mmvp.2022.007.

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June 2022 saw the biennial conference on musical instruments organized by The Galpin Society in association with The University of Edinburgh. The papers presented a wide range of organological topics related to the fields of stringed instruments and especially wind instrument (woodwind and brass). During the conference, various options for the research methodology were presented: from the description of the construction and technical features of the instrument, decoration and design, through archival research, socio-economic aspects of production and trade, to the acoustic properties of the instruments. There was also the topic of the use of social media.

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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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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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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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Skoki, Arian, Sandi Ljubic, Jonatan Lerga, and Ivan Štajduhar. "Automatic music transcription for traditional woodwind instruments sopele." Pattern Recognition Letters 128 (December 2019): 340–47. http://dx.doi.org/10.1016/j.patrec.2019.09.024.

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

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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.

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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).

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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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Ricaud, B., P. Guillemain, J. Kergomard, F. Silva, and C. Vergez. "Behavior of Reed Woodwind Instruments Around The Oscillation Threshold." Acta Acustica united with Acustica 95, no. 4 (July 1, 2009): 733–43. http://dx.doi.org/10.3813/aaa.918201.

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Brown, Judith C. "Automatic identification of musical woodwind instruments using pattern recognition." Journal of the Acoustical Society of America 107, no. 5 (May 2000): 2818. http://dx.doi.org/10.1121/1.429088.

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

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Ernoult, Augustin, Juliette Chabassier, Samuel Rodriguez, and Augustin Humeau. "Full waveform inversion for bore reconstruction of woodwind-like instruments." Acta Acustica 5 (2021): 47. http://dx.doi.org/10.1051/aacus/2021038.

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The internal geometry of a wind instrument can be estimated from acoustic measurements. For woodwind instruments, this involves characterizing the inner shape (bore) but also the side holes (dimensions and location). In this study, the geometric parameters are recovered by a gradient-based optimization process, which minimizes the deviation between simulated and measured linear acoustic responses of the resonator for several fingerings through an observable function. The acoustic fields are computed by solving a linear system resulting from the 1D spectral finite elements spatial discretization of the wave propagation equations (including thermo-viscous effects, radiation and side holes). The “full waveform inversion” (FWI) technique exploits the fact that the gradient of the cost function can be computed by solving the same linear system as that of the direct problem but with a different source term. The gradient is computed with better accuracy and less additional cost than with finite-difference. The dependence of the cost function on the choice of the observed quantity, the frequency range and the fingerings used, is first analyzed. Then, the FWI is used to reconstruct, from measured impedances, an elementary instrument with 14 design variables. The results, obtained in about 1 minute on a laptop, are in excellent agreement with the direct geometric measurements.

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Šebesta, Róbert, and Daniela Kotašová. "The Basset Horns of Franz Doleisch in Czech and Worldwide Instrument Collections." Musicalia 13, no. 1-2 (2022): 116–54. http://dx.doi.org/10.37520/muscz.2021.004.

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A biography of Franz Doleisch, a Prague maker of woodwind instruments, summarises the facts so far known about his life. Basset horns account for more than half of the instruments he made. Preserved specimens from Czech and foreign collections are described with respect to their characteristic morphological features, bore diameter, the number and design of the keys, and the trademark. Although the evaluation of findings with respect to the quality of workmanship shows that he was one of the leading Czech instrument makers of his day, current musical organology literature has not yet reflected this fact. The goal of the present study is to present the first phase of research on instruments made by Doleisch, with the intention of drawing attention to one of the elite European instrument makers of the latter half of the 18th century.

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Nabb, David. "Interview with Maarten Visser." Medical Problems of Performing Artists 21, no. 4 (December 1, 2006): 159–63. http://dx.doi.org/10.21091/mppa.2006.4034.

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Maarten Visser, of Amsterdam, is one of the world's leading authorities on adapting woodwind instruments for people with disabilities. He has successfully adapted numerous wind instruments, including a flute with a one-handed mechanism that has a three octave chromatic range, now played by Edit van der Burg-Mayer. This interview was held in Amsterdam on June 29, 2006.

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McAdams, Stephen, Etienne Thoret, Grace Wang, and Marcel Montrey. "Timbral cues for learning to generalize musical instrument identity across pitch register." Journal of the Acoustical Society of America 153, no. 2 (February 2023): 797–811. http://dx.doi.org/10.1121/10.0017100.

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Timbre provides an important cue to identify musical instruments. Many timbral attributes covary with other parameters like pitch. This study explores listeners' ability to construct categories of instrumental sound sources from sounds that vary in pitch. Nonmusicians identified 11 instruments from the woodwind, brass, percussion, and plucked and bowed string families. In experiment 1, they were trained to identify instruments playing a pitch of C4, and in experiments 2 and 3, they were trained with a five-tone sequence (F#3–F#4), exposing them to the way timbre varies with pitch. Participants were required to reach a threshold of 75% correct identification in training. In the testing phase, successful listeners heard single tones (experiments 1 and 2) or three-tone sequences from (A3–D#4) (experiment 3) across each instrument's full pitch range to test their ability to generalize identification from the learned sound(s). Identification generalization over pitch varies a great deal across instruments. No significant differences were found between single-pitch and multi-pitch training or testing conditions. Identification rates can be predicted moderately well by spectrograms or modulation spectra. These results suggest that listeners use the most relevant acoustical invariance to identify musical instrument sounds, also using previous experience with the tested instruments.

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

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

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Lim, Vanessa K., and Eckart Altenmüller. "Musicians’ Cramp: Instrumental and Gender Differences." Medical Problems of Performing Artists 18, no. 1 (March 1, 2003): 21–26. http://dx.doi.org/10.21091/mppa.2003.1005.

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Musicians’ cramp is a disorder characterized by its task specificity and gender bias; male musicians have a higher prevalence of this disorder than females. Previous epidemiological studies on musicians’ cramp have demonstrated that certain instrumental groups are more prone to develop this disorder than others. These studies, however, have not accounted for the gender distribution in healthy musicians. Therefore, the current study investigated 2,661 healthy musicians collected from eight music conservatories within Germany. These controls were compared with 183 patients (154 males) with musicians’ cramp in an outpatient clinic at the Institute for Music Physiology and Music Medicine (IMMM), Hannover, Germany (1994-2000). Comparisons between groups (musicians’ cramp and controls) were made for gender and instrumental groups (keyboard, strings, woodwind, brass, plucking, and percussion). Results were consistent with earlier studies suggesting that particular instrumental groups were more at risk for developing musicians’ cramp than others. When gender was not a factor, both woodwind and plucking (guitar) instrumentalists were more likely to develop musicians’ cramp, while musicians playing string and percussion instruments were less likely to develop musicians’ cramp. Musicians playing keyboard and brass instruments were not significantly different than expected. When gender was included in the analyses, the following pattern was revealed: the number of male patients with musicians’ cramp was greater than expected, even when the number of healthy male musicians was accounted for; the opposite was found for female patients. Furthermore, when gender was also included in the instrumental analyses, male musicians were more likely to have musicians’ cramp than females in keyboard, string, woodwind, and plucking instruments. The only instrumental group without a gender bias for symptoms were the brass instruments. These results suggest that male musicians are more likely to develop musicians’ cramp within certain instrumental groups, and may reflect a general predisposition for male musicians to develop this disorder. The ages at onset of symptoms were not different between the males and females in this sample. The current study demonstrates a clear association between gender, instrumental groups, and the presentation of dystonic symptoms.

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Causse, Rene E., and Carole Lheureux. "Modeling in 3D of directional radiation of curved woodwind instruments." Journal of the Acoustical Society of America 103, no. 5 (May 1998): 2874. http://dx.doi.org/10.1121/1.421534.

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

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

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

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

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Ackermann, David, Fabian Brinkmann, and Stefan Weinzierl. "Musical instruments as dynamic sound sources." Journal of the Acoustical Society of America 155, no. 4 (April 1, 2024): 2302–13. http://dx.doi.org/10.1121/10.0025463.

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Unlike electro-acoustic sound sources, musical instruments have a time-varying, dynamic directivity, due to the note-dependent radiation behavior of the instrument and due to the expressive movements that musicians perform with their instrument. While previous studies have generally examined the directivity of the static, unmoved instrument for specific notes played, we show the individual and combined contributions of these two factors to a temporal modulation of the radiation behavior, based on motion tracking of typical movement patterns for all instruments of a classical symphony orchestra and on the directivity measured for all partials over the entire pitch range of these instruments. The effect of this modulation, which is manifested by changes in timbre and room acoustic excitation, was determined by spectral variations in the free field and under reverberant conditions, as well as by a modulation of room acoustic parameters. Our results show that these effects are well above the just noticeable differences for all musical instruments and all perceptual variables considered. While the effect of motion dominates for brass instruments, string and woodwind instruments exhibit large note-related differences, which should be taken into account in virtual acoustic realities if an auditory liveliness comparable to physical reality is to be achieved.

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Tansella, Francesca, Luisa Vigorelli, Gabriele Ricchiardi, Alessandro Re, Letizia Bonizzoni, Sabrina Grassini, Manuel Staropoli, and Alessandro Lo Giudice. "X-ray Computed Tomography Analysis of Historical Woodwind Instruments of the Late Eighteenth Century." Journal of Imaging 8, no. 10 (September 24, 2022): 260. http://dx.doi.org/10.3390/jimaging8100260.

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In this work, two historical flutes of the late eighteenth century were analysed by means of X-ray computed tomography (CT). The first one is a piccolo flute whose manufacturer is unknown, though some features could suggest an English or American origin. The second musical instrument is a baroque transverse flute, probably produced by Lorenzo Cerino, an Italian instrument maker active in Turin (Italy) in the late eighteenth century. Analyses carried out provided information on manufacturing techniques, materials and conservation state, and are suitable to plan restoration intervention. In particular, through the CT images, it was possible to observe the presence of defects, cracks, fractures and previous restorations, as well as indications of the tools used in the making of the instruments. Particular attention was directed towards extracting metrological information about the objects. In fact, this work is the first step of a study with a final aim of determining an operative protocol to enable the making of precise-sounding copies of ancient instruments starting from CT images, that can be used to plan a virtual restoration, consisting in the creation of digitally restored copies with a 3D printer.

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Myers, Arnold, and Allen B. Skei. "Woodwind, Brass and Percussion Instruments of the Orchestra: A Bibliographic Guide." Galpin Society Journal 42 (August 1989): 151. http://dx.doi.org/10.2307/842639.

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

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Takahashi, Kin'ya, Hiro'aki Kodama, Arihiko Nakajima, and Taka'aki Tachibana. "Numerical Study on Multi-Stable Oscillations of Woodwind Single-Reed Instruments." Acta Acustica united with Acustica 95, no. 6 (November 1, 2009): 1123–39. http://dx.doi.org/10.3813/aaa.918244.

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Noreland, D., J. Kergomard, F. Laloë, C. Vergez, P. Guillemain, and A. Guilloteau. "The Logical Clarinet: Numerical Optimization of the Geometry of Woodwind Instruments." Acta Acustica united with Acustica 99, no. 4 (July 1, 2013): 615–28. http://dx.doi.org/10.3813/aaa.918641.

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Bucur, Voichita. "Traditional and new materials for the reeds of woodwind musical instruments." Wood Science and Technology 53, no. 5 (August 30, 2019): 1157–87. http://dx.doi.org/10.1007/s00226-019-01117-9.

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

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Surtihadi, R. M. "Instrumen Musik Barat dan Gamelan Jawa dalam Iringan Tari Keraton Yogyakarta." Journal of Urban Society's Arts 1, no. 1 (April 10, 2014): 27–43. http://dx.doi.org/10.24821/jousa.v1i1.786.

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Perpaduan instrumen musik Barat dengan instrumen gamelan Jawa untukmengiringi tari di Keraton Yogyakarta sudah berlangsung sejak lampau. Hingga saatini perpaduan tersebut masih dapat dijumpai. Bermula dari peristiwa kontak budayaBarat dan Timur, instrumen musik Barat telah menjadi bagian dari kelengkapanupacara protokoler Keraton Yogyakarta. Tujuan penulisan ini untuk membuat kajianhistoris perpaduan gamelan Jawa dengan seperangkat instrumen musik orkestraBarat untuk mengiringi pertunjukan tari putri pada bagian kapang-kapang Bedhaya,Srimpi, dan tari putra Lawung Ageng Keraton Yogyakarta. Beberapa instrumenmusik Barat seperti instrumen genderang, tambur (percussion section), instrumengesek (string sections), instrumen tiup kayu (woodwind sections) dan tiup logam (brasssections) digunakan dalam mengiringi tarian-tarian tersebut di atas. Metode kualitatifanalisis data dipakai untuk mengupas masalah ini. Namun, pendekatan sosial-politikjuga akan dipakai dalam mengulas permasalahan yang terkait. Berdasarkan penelitianini dapat disimpulkan bahwa dampak peristiwa intrik politik yang terjadi di keratonterbukti telah memengaruhi kehidupan keseniannya. Kebutuhan upacara protokoleryang merupakan kegiatan rutin pada saat itu dilengkapi dengan berbagai macamsajian pertunjukan musik untuk menambah hidup suasana pesta dansa dengandiiringi musik berirama waltz. Blend of Western Musical Instruments and Javanese Gamelan in DanceAccompaniment and Protocol Ceremonies of Keraton Yogyakarta. Westernmusical intruments have been combined with the Javanese gamelan instruments toaccompany dances performed in Keraton Yogyakarta (the Yogyakarta Palace). It startedwith the coming of the Western culture which then ‘interacting’ with the East. Sincethen, the Western musical instruments have completed the protocol ceremonies held byKeraton Yogyakarta. The objective to be obtained with this research is to historicallystudy the blend of the Javanese gamelan with the Western orchestra musical instrumentsin accompanying the female dance performances, which are the kapang-kapang partof Bedhaya and Srimpi, and the male one i.e. Lawung Ageng. Some Western musicalinstruments like, drums (percussion sections), strings instruments (string sections),woodwind instruments (woodwind sections) and brass (brass sections) are used in thosedances shows. The data are analyzed utilizing the qualitative method. The problem willalso be approached socio-politically. It can be concluded that the political intrigue in thepalace has brought about some impacts on the art living in it. Waltz dance is performed toenliven the dance parties and complements the protocol ceremonies as the routine events.

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Chatziioannou, Vasileios, Alex Hofmann, and Montserrat Pàmies-Vilà. "Sound synthesis applications using a physical model of a single-reed woodwind instrument." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A197. http://dx.doi.org/10.1121/10.0027286.

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Physical modeling can be used to analyze and predict the vibrations of a musical instrument. This also enables to numerically synthesize sounds as if they were produced by a real instrument. Focusing on single-reed woodwind instruments, a physical model should incorporate the actions of the player in order to synthesize realistic sounds. This interaction mostly takes place at the instrument mouthpiece—toneholes opened by the player's fingers may be approximated by changing the instrument geometry. A physical model is presented that is able to take embouchure effects into account, in order to reliably simulate note transitions. Regarding physical modeling synthesis, the numerical efficiency of the underlying algorithms should also be considered. Capturing as many physical phenomena as possible may lead to models that require longer running times. Omitting less significant phenomena may lead to models suitable for real-time performance, while retaining most of the sound characteristics of the real instrument. In either case, it is of utmost importance to prove that the simulation algorithms are numerically stable. Sound examples are presented in an attempt to imitate real recordings, as well as in a live performance setting (examples available at https://iwk.mdw.ac.at/sound-synthesis/)

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Li, Zihan. "Creating Zhudi and Guzheng sampler based on Nyquist." Applied and Computational Engineering 21, no. 1 (October 23, 2023): 200–205. http://dx.doi.org/10.54254/2755-2721/21/20231146.

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Nyquist is a strong and basic software for making music with algorithms. With the western instruments available as functions inside the software, this research aims to create sampler of traditional Chinese instruments that can read Musical Instrument Digital Interface (MIDI) files based on the present functions. This research mainly focuses on two instruments: Guzheng, a traditional plucked instrument in China and Zhudi, the oldest Chinese musical instrument found so far and the most representative woodwind in the Chinese musical instrument family. The methods used in this research is built on original functions, envelopes, filters in the software. After creating the samplers, the MIDI file users uploaded will be converted into scores inside Nyquist for the samplers to read. The separation of the MIDI file is done by if and else clauses, splitting the samplers to each focus on a certain part of the song. Based on the methods above, this research yields a sample song that has a MIDI file originally in the timbre of piano applied to both samplers at the same time. The outcome yielded applies two samplers separated at a certain pitch, forming a contrast between the main melody and the chords. This research successfully achieves its intended purpose, creating a bridge that connects western music culture with traditional eastern music culture.

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Pinnock, Andrew, and Paul Carroll. "Baroque Woodwind Instruments: A Guide to Their History, Repertoire and Basic Technique." Galpin Society Journal 53 (April 2000): 332. http://dx.doi.org/10.2307/842335.

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Waterhouse, William, and Phillip T. Young. "Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections." Galpin Society Journal 38 (April 1985): 158. http://dx.doi.org/10.2307/841300.

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Chatziioannou, Vasileios, and Alex Hofmann. "Physics-Based Analysis of Articulatory Player Actions in Single-Reed Woodwind Instruments." Acta Acustica united with Acustica 101, no. 2 (March 1, 2015): 292–99. http://dx.doi.org/10.3813/aaa.918827.

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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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Journal articles on the topic 'Woodwind instruments'

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