Relevant bibliographies by topics / Brass instrument players

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Brass instrument players'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Brass instrument players"

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Powell, Sean R., Molly A. Weaver, and Robin K. Henson. "Relationship of Preservice Music Teachers’ Primary Instrument Background and Teaching Effectiveness in Brass and Woodwind Techniques Classes." Journal of Music Teacher Education 27, no. 3 (2017): 38–50. http://dx.doi.org/10.1177/1057083717733469.

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The purpose of this study was to examine the relationship between preservice music teachers’ primary instrument background and their teaching effectiveness in brass and woodwind techniques classes. Study participants ( N = 135) were preservice music teachers enrolled in secondary instrument techniques courses (brass and woodwinds) from fall 2011 through spring 2015 in three universities. Participants taught a 10-minute video recorded lesson to a beginning-level university student on a brass or woodwind instrument at the end of the semester. All videos were subsequently assessed by two research
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Stasney, C. Richard, Mary Es Beaver, and Margarita Rodriguez. "Hypopharyngeal Pressure in Brass Musicians." Medical Problems of Performing Artists 18, no. 4 (2003): 153–55. http://dx.doi.org/10.21091/mppa.2003.4027.

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Brass instrument players are exposed to unique health risks due to increased pharyngeal pressures necessary for performance. One such risk is development of laryngoceles, or “blowout” of the larynx. This cross-sectional observational study was performed to determine the pressure required to play different frequencies in a variety of brass instruments. The hypothesis tested was that enharmonic frequencies require the same pharyngeal pressure regardless of the instrument. The brass instruments tested were high-pressure, low-flow instruments (trumpet or French horn) or low-pressure, high-flow ins
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Rusu, H. Zeynep, M. Burcin Mutlu, Volkan Kilic, Nilgun Poyraz, and Halil Eryilmaz. "Bacteria Found in Brasswind Instruments: Analyses Using Culture-Dependent Method and Culture-Independent 16 S rRNA Amplicon Sequencing Method." Medical Problems of Performing Artists 38, no. 4 (2023): 189–99. http://dx.doi.org/10.21091/mppa.2023.4023.

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BACKGROUND: In wind instrument performance, there is a constant contact between the player and the instrument, during which microorganisms in the mouth flora of the player are transferred into the instrument. The inner surface of the brass instruments provides the perfect environment for microorganisms to grow. As a result, players repeatedly interact with these micro-organisms during playing. In previous studies, different kinds of microorganisms were detected in brass instruments, some of which can carry serious health hazards. PURPOSE: Revealing the common bacterial populations of brasswind
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Jackson, Miranda. "A study of impedance of brass instruments and mouthpieces—Comparison of models and measurements." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A40. http://dx.doi.org/10.1121/10.0018078.

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The impedance of a brass instrument has an important influence on the frequencies of the notes that can be played and on the timbre of the sound. The shape of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and many brass players own several different horns or mouthpieces, and choose which to use depending on their particular musical requirements at the time.
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Mattéoli, Rémi, Joël Gilbert, Soizic Terrien, et al. "Diversity of ghost notes in tubas, euphoniums and saxhorns." Acta Acustica 6 (2022): 32. http://dx.doi.org/10.1051/aacus/2022026.

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The ghost note is a natural note which can be played exclusively on bass brass instruments with a predominantly-expanding bore profile such as tubas, euphoniums or saxhorns. It stands between the pedal note – the lowest natural note playable, or first regime – and the instrument’s second regime. However, if the interval between the pedal note and the second regime remains close to an octave regardless of the instrument, the interval between the pedal note and the ghost note vary from a minor third to a perfect fourth. References about this note are very scarce, and it is not commonly known amo
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Fuhrmann, Anita, Suzanne Wijsman, Philip Weinstein, Darryl Poulsen, and Peter Franklin. "Asthma Among Musicians in Australia: Is There a Difference Between Wind/Brass and Other Players?" Medical Problems of Performing Artists 24, no. 4 (2009): 170–74. http://dx.doi.org/10.21091/mppa.2009.4034.

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Control of respiration is important in wind/brass instrument playing. Although respiratory diseases, such as asthma, may affect breathing control, little is known about the prevalence of asthma among wind and brass musicians. The aim of this study was to compare the prevalence of self-reported asthma between wind/brass musicians and non-wind/brass musicians through different stages of experience. A total of 1960 musicians completed a respiratory health questionnaire. The participants were categorized into the following five subgroups: primary students, secondary students, tertiary students, co
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Woldendorp, Kees H., Hans Boschma, Anne M. Boonstra, Hans J. Arendzen, and Michiel F. Reneman. "Fundamentals of Embouchure in Brass Players: Towards a Definition and Clinical Assessment." Medical Problems of Performing Artists 31, no. 4 (2016): 232–43. http://dx.doi.org/10.21091/mppa.2016.4038.

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Brass players may experience problems producing an optimal sound (or range of sounds) in their instrument. Assessing and treating dysfunctional embouchure requires knowledge of functional embouchure, but peer-reviewed literature on dysfunctional and functional embouchure is scarce. OBJECTIVE: This study aimed to provide a narrative overview of embouchure based on information from different scientific and clinical fields. This should be regarded as a first step in constructing a reliable, valid, and practical multi-item method to assess embouchure for brass players. METHODS: Literature reviews
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Copeland, Lyndsey. "The anxiety of blowing: experiences of breath and brass instruments in Benin." Africa 89, no. 2 (2019): 353–77. http://dx.doi.org/10.1017/s0001972019000123.

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AbstractWithin amateur musical circles in Benin, one is told that if a male blows too hard into a brass instrument his testicles might swell up, fall off, or even run away. Concerned parents warn their children against ‘blowing’ brass instruments, telling stories of inguinal hernias and infertility, and many maintain that male brass players must take preventative measures. Accompanying this unease about blowing out is a complementary concern with breathing in, and the possible inhalation of micro-organisms or poison through the mouth. Engaging with this anxiety of blowing, this article takes s
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Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (2000): 136–50. http://dx.doi.org/10.2307/3345572.

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The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables inc
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Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (2004): 314–27. http://dx.doi.org/10.1177/002242940405200404.

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The purpose of this investigation was to examine the influence of teaching-career level and primary instrument on music teachers' assessment of music performance. The main and interaction effects of three career-level conditions (in-service teachers, upper-division undergraduate students, and lower-division undergraduate students) were examined, along with two primary instrument conditions (brass, not brass), on tone, intonation, melodic accuracy, rhythmic accuracy, tempo, interpretation, and technique/articulation. Participants ( N=150) listened to performances of six junior high trumpet play
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Dissertations / Theses on the topic "Brass instrument players"

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Brown, Philip. "Brass music during the American revolutionary era /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11253.

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Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. "Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Kenney, Vince. "Practical Considerations for Euphonium Players Doubling on Tuba." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505278/.

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There is currently a great deal of information available to euphonium players who double on trombone, but far less for euphonium players who double on tuba. This dissertation takes information gathered from many top euphonium/tuba doublers, including: Benjamin Pierce, D.M.A., Aaron Tindall, D.M.A., Gail Robertson, D.M.A., Gretchen Renshaw James, D.M.A., Matthew Murchison, D.M.A., Matthew Shipes, D.M.A., Matthew Tropman, D.M.A., and Keith Kile, and presents a synopsis of their thoughts/reflections on tuba doubling. This dissertation is designed to aide euphonium players in the process of learni
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Bromage, Seona. "Visualisation of the lip motion of brass instrument players, and investigations of an artificial mouth as a tool for comparative studies of instruments." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/1966.

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When playing a brass instrument the lips of the player fulfil a similar role to the cane reeds of wood-wind instruments. The nature of the motion of this lip-reed determines the ow of air through the lips, between the player's mouth and the instrument. It is a complicated feedback system in which the motion of the lips controls the air ow, which itself affects the behaviour of the lips. In recent years several designs of artificial mouth have been developed; these model the human lips using latex rubber tubes filled with water. These artificial mouths are increasingly used in experiments rathe
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Wampler, Stephen G. "A brass players' guide to the transcription and performance of J.S. Bach /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11393.

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Crow, Derrick Alan. "The effect of instrumental rehearsal on blood glucose levels of five low brass players /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203557731&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Books on the topic "Brass instrument players"

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Meckna, Michael. Twentieth-century brass soloists. Greenwood, 1994.

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Heikkilä, Leena. Holger Fransman: Suomalaisen käyrätorvikoulun uranuurtaja. Sibelius-Akatemia, 2009.

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Willener, Alfred. --When will the walls come tumbling down-- ?: An essay on women playing trumpet and other brass instruments / by Alfred Willener ; with contributions by Susan F. Fleet ; Gerald Best Webster, editor. Best Press, 1994.

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Charles, Gorham. Mahler, a brass player's guide to the German instructions contained in the symphonies of Mahler. PP Music, 1992.

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Pilafian, Sam. The brass gym: Euphonium : a comprehensive daily workout for brass players. Focus on Music, 2006.

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Pilafian, Sam. The brass gym: Tuba : a comprehensive daily workout for brass players. Focus on Music, 2005.

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Schickele, Peter. Canzon per sonar a sei--count them--sei =: Instrumental piece for six--eccoli--six players : (S. 6) for 2 B♭ trumpets, 2 F horns, trombone, and tuba. T. Presser, 1989.

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Broken embouchures: An embouchure handbook and repair guide for players suffering from embouchure problems caused by overuse, injury, medical/dental conditions, or damaged mechanics. Oscar's House Press, 2002.

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Pioneers in Brass. Trescott Research, 2001.

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The Pioneers in Brass. Tresott Research, 2000.

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Book chapters on the topic "Brass instrument players"

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Mannes, David, and Eberhard Lehmann. "Monitoring the Condition of Played Historical Brass Instruments by Means of Neutron Imaging." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-007.

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Neutron imaging is a non-destructive testing method that functions according to principles similar to X-ray imaging. In contrast to X-rays, neutrons can generally penetrate metals rather well, but at the same time they have a high sensitivity for hydrogen. This makes neutron imaging – which includes radiography (investigations in 2D) as well as tomography (3D) – an ideal method for studying the impact of playing historical brass instruments. Playing a brass instrument creates an accumulation of moisture inside the instrument, which can eventually lead to the generation and expansion of corroded areas inside it. This moisture, along with many other products of corrosion, contains hydrogen, which provides a high degree of contrast for neutron imaging. This article explains how neutron imaging was used to monitor the condition of historical brass instruments, i.e. the changes in the internal corroded areas, by comparing 3D CT-data sets acquired before and after the instruments had been played on a regular basis over the period of fourteen months.
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Ledergerber, Martin. "Endoscopy as an Investigative Method." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-008.

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Endoscopy is a non-destructive, straightforward, optical investigative method that permits one to examine changes inside brass instruments. This article describes the results of repeated endoscopic examinations of sixteen period brass instruments that were played regularly over several months. Moreover, endoscopic assessments were made of the effectiveness of preventive conservation measures that had been developed by researchers of the project and applied by musicians while the instruments were in use.
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Ledergerber, Martin, Emilie Cornet, and Erwin Hildbrand. "Humidity in Regularly Played Historical Brass Instruments. The Possibilities and Limitations of Preventive Conservation." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-004.

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Historical brass instruments that are played regularly face a number of risks to their preservation in the long run. Apart from mechanical damage caused by intensive handling and normal wear and tear, one of the major threats is the interior humidity accumulated through and during playing. As far as brass instruments are concerned, no investigations have yet been undertaken to measure the amount of humidity accumulated during playing and its damage potential. With the aid of climate measurements and complementary tests, the effective corrosive impact of regular playing on the interior surfaces of brass instruments was assessed over a period of several months. Based on the insights gained there, potential preventive conservation strategies were evaluated, and maintenance measures suggested that musicians could implement in situ and with ease.
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Elsener, Bernhard, Tiziana Lombardo, Federica Cocco, Marzia Fantauzzi, Marie Wörle, and Antonella Rossi. "Breathing New Life into Historical Instruments. How to Monitor Corrosion." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-005.

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‘To play or to display’ is the dilemma that museums have to face, given the increasing trend towards historically informed performance. Brass instruments can suffer corrosion both during and after playing due to the high humidity inside them. To forestall or at least reduce corrosion, drying with a fan has been chosen as a preventive measure. The state of corrosion inside the tuning slides of the instruments was determined with a specially developed electrochemical sensor. The results of the project show that drying with a fan indeed reduces ongoing corrosion, when compared to a group of instruments played without preventive measures that showed an increasing corrosion rate over time.
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Sandke, Randy. "The Trumpet in Jazz." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0048.

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Abstract Metal trumpets were known in Egypt as far back as the second millennium B.C., but it wasn’t until the early nineteenth century that the valved instrument, capable of playing a full chromatic scale, was invented. The cornet, a descendent of the military bugle, developed around the same time. Trumpets and cornets are made of brass and share the same range and technique, differing only in the diameter of their tubing: trumpets have a uniformly cylindrical bore until the flare of the bell, whereas cornets have a constantly expanding “conical” bore. This produces a generally brighter, more penetrating tone on the trumpet and a darker, more rounded tone on the cornet. Toward the latter half of the nineteenth century the trumpet was the preferred instrument of symphony orchestras, where it played and continues to play a largely subservient role, while the cornet became the leading voice in wind bands. As such, the cornet developed more quickly as a solo instrument, capable of dazzling agility and expressiveness. This was the golden age of the cornet virtuoso as personified by J.B. Arban (author of the method book brass players still cut their teeth on) and Herbert L. Clarke, soloist of the Sousa band.
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Crow, Bill. "Bix Beiderbecke." In Jazz Anecdotes. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0027.

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Abstract Bix Beiderbecke played the cornet with a lovely vibrant sound. Eddie Condon described it as “like a girl saying yes.” Bix taught himself the instrument by playing along with records, and he developed an original conception of tone and phrasing at a time when nearly every other jazz musician was under the spell of Louis Armstrong. Bix lived in Chicago while Armstrong was playing there, heard Louis and loved his playing, but he went his own way and took a number of young admirers along with him. Max Kaminsky was one of the younger generation of brass players who fell in love with Bix’s music. He tells of the passion that possessed him: A few months after I first heard Bix play, I was working down at the Cape for the summer, and one Sunday night on the train going back to the Cape, I met Howie Freeman, a drummer from Boston, who immediately showed me a brand new recording he had just bought of Bix’s “Singing the Blues” and “Clarinet Marmalade.”
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Tzanetakis, George. "Natural Human-Computer Interaction with Musical Instruments." In Advances in Multimedia and Interactive Technologies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch006.

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The playing of a musical instrument is one of the most skilled and complex interactions between a human and an artifact. Professional musicians spend a significant part of their lives initially learning their instruments and then perfecting their skills. The production, distribution and consumption of music has been profoundly transformed by digital technology. Today music is recorded and mixed using computers, distributed through online stores and streaming services, and heard on smartphones and portable music players. Computers have also been used to synthesize new sounds, generate music, and even create sound acoustically in the field of music robotics. Despite all these advances the way musicians interact with computers has remained relatively unchanged in the last 20-30 years. Most interaction with computers in the context of music making still occurs either using the standard mouse/keyboard/screen interaction that everyone is familiar with, or using special digital musical instruments and controllers such as keyboards, synthesizers and drum machines. The string, woodwind, and brass families of instruments do not have widely available digital counterparts and in the few cases that they do the digital version is nowhere as expressive as the acoustic one. It is possible to retrofit and augment existing acoustic instruments with digital sensors in order to create what are termed hyper-instruments. These hyper-instruments allow musicians to interact naturally with their instrument as they are accustomed to, while at the same time transmitting information about what they are playing to computing systems. This approach requires significant alterations to the acoustic instrument which is something many musicians are hesitant to do. In addition, hyper-instruments are typically one of a kind research prototypes making their wider adoption practically impossible. In the past few years researchers have started exploring the use of non-invasive and minimally invasive sensing technologies that address these two limitations by allowing acoustic instruments to be used without any modifications directly as digital controllers. This enables natural human-computer interaction with all the rich and delicate control of acoustic instruments, while retaining the wide array of possibilities that digital technology can provide. In this chapter, an overview of these efforts will be provided followed by some more detailed case studies from research that has been conducted by the author's group. This natural interaction blurs the boundaries between the virtual and physical world which is something that will increasingly happen in other aspects of human-computer interaction in addition to music. It also opens up new possibilities for computer-assisted music tutoring, cyber-physical ensembles, and assistive music technologies.
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Myers, Arnold. "Instruments and Instrumentation of British Brass Bands." In The British Brass Band. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0005.

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Abstract The first all-brass bands of the r 83os departed from the centuries-old band tradition of accompanying melody played on woodwind with harmony played on brass. The common wind band instrumentation of clarinets with horns and other brass instruments was varied to produce the brass band: cornets as principal melody instruments, accompanied by a variety of brass instruments of middle and low tessituras. The widespread adoption of the new instrumentation would seem to have been a matter of taste: a preference for the sound of concerted brass instruments made possible by the inventions of the early years of the nineteenth century. The price lists of D’ Almaine and Jordan (Appendix r) show that the expense of equipping a band with cornets would have been slightly more than for providing the same number of clarinets.
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O’Neill, Susan A. "Gender and music." In The Social Psychology of Music. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198523840.003.0003.

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Abstract Historically in Western culture, men have dominated the music profession and occupied positions of power and privilege. Prior to the 1850s, the vast majority of orchestras refused to employ women. It was thought to be ‘improper’ for a woman to perform in public. Women were traditionally encouraged to play instruments such as the harp and keyboard which could be played as accompaniment to the voice and used to entertain family and friends in the home. They were discouraged from playing instruments such as the drums, woodwind, and brass, either because women were thought to be too weak (e.g. physical strength, lung capacity) or because it would ‘spoil their appearance’. In 1904, an American conductor was quoted as saying, ‘nature never intended the fair sex to become cornettists, trombonists, and players of wind instruments. In the first place, they are not strong enough to play them as well as men ... Another point against them is that women cannot play brass instruments and look pretty and why should they spoil their good looks?’ (cited in Pugh 1991, p. 7).
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Weltak, Marcel. "The European Tradition." In Surinamese Music in the Netherlands and Suriname. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0005.

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This chapter discusses the European influences on Surinamese music and provides a survey of the most important classical music composers as well as detailing the music of military and police brass bands, church choirs, and bazuinkoor ensembles that played music with heavy European influences. European classical music in Suriname was mainly influenced by German composers, and predominately Johannes Sebastian Bach. The most plausible explanation for this can be found in the largest European religious denomination in Suriname the Protestant church founded by Moravian missionaries. Another influence stems from English church music that dates to the time of English rule. English hymns that together with German chorales that were played by the bazuinkoor (choir of trumpets) small ensembles of brass instruments, ended up becoming vehicles for the composer’s repertoire. The earliest songs were almost purely European, but gradually evolved to incorporate popular local rhythmic patterns to become part of compositions.
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Conference papers on the topic "Brass instrument players"

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Sen Saklica, Dilara, Deniz Inal-Ince, Melda Saglam, Naciye Vardar-Yagli, Ebru Calik-Kutukcu, and Hulya Arikan. "Respiratory Parameters and Exercise Capacity in Brass Instrument Players and Healthy Controls." In ERS International Congress 2017 abstracts. European Respiratory Society, 2017. http://dx.doi.org/10.1183/1393003.congress-2017.pa2538.

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Joshi, Vedant, and Francine Battaglia. "A Risk Assessment of Pathogen Transport During an Indoor Orchestra Performance." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-73290.

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Abstract The COVID-19 pandemic has shown that airborne pathogens and viruses have a detrimental impact on the health and well-being of an individual in an indoor space. Respiratory particles are released as droplets of varying velocities and diameters, where smaller droplets (aerosols) linger in air for prolonged periods, increasing the infection risk of individuals in an enclosed space. The pandemic has raised concerns regarding the safety of musicians due to respiratory particles released through woodwind and brass instruments. A collaboration with the Buffalo Philharmonic Orchestra was purs
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Esteve Rico, Juan Carlos, Sergio Castiñeira-Ibáñez, Jenaro Vera Guarinos, and Constanza Rubio Michavila. "NEW TEACHING METHOD FOR DEVELOPMENT OF SOUND QUALITY IN BRASS INSTRUMENTS PLAYERS - THE TROMBONE." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.1298.

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Tournemenne, Robin, Jean-François Petiot, Bastien Talgorn, and Michael Kokkolaras. "Brass Instruments Design Using Physics-Based Sound Simulation Models and Surrogate-Assisted Derivative-Free Optimization." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59532.

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This paper presents a method for design optimization of brass wind instruments. The shape of a trumpet’s bore is optimized to improve intonation using a physics-based sound simulation model. This physics-based model consists of an acoustic model of the resonator (input impedance), a mechanical model of the excitator (the lips of a virtual musician) and a model of the coupling between the excitator and the resonator. The harmonic balance technique allows the computation of sounds in a permanent regime, representative of the shape of the resonator according to control parameters of the virtual m
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Celentano, Frank, Nicholas May, Edward Simoneau, Richard DiPasquale, Zahra Shahbazi, and Sina Shahbazmohamadi. "3D Printing for Manufacturing Antique and Modern Musical Instrument Parts." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66652.

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Professional musicians today often invest in obtaining antique or vintage instruments. These pieces can be used as collector items or more practically, as performance instruments to give a unique sound of a past music era. Unfortunately, these relics are rare, fragile, and particularly expensive to obtain for a modern day musician. The opportunity to reproduce the sound of an antique instrument through the use of additive manufacturing (3D printing) can make this desired product significantly more affordable. 3D printing allows for duplication of unique parts in a low cost and environmentally
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