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Journal articles on the topic 'Brass instrument players'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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8

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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9

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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10

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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11

Rosyidah, Haifa Nabila, Erna Kurnikasari, and Rasmi Rikmasari. "Diagnosis of temporomandibular joint disorders in wind instrument players." Indonesian Journal of Prosthodontics 1, no. 2 (2020): 42–47. http://dx.doi.org/10.46934/ijp.v1i2.19.

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Introduction: Playing certain kinds of musical instruments may cause disturbances around the oral cavity. Blowing activity in wind players involves contractions of the muscles around the mouth. Continuous or repetitive muscle contraction can cause muscle fatigue that triggers the onset of symptoms of temporomandibular joint disorders (TMD). The aim of this study was to determine the description of diagnosis of TMD in wind players. Method: The research was conducted to 30 brass instrument players at Gema Wibawa Mukti Marching Band Community (22 boys, 8 girls) aged 13-27 who had been actively pl

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Ito, Kyoko, Takeshi Hirano, Kazufumi Noto, Shogo Nishida, and Tatsuyuki Ohtsuki. "A Practice Indexes for Improving Facial Movements of Brass Instrument Players." IEEJ Transactions on Electronics, Information and Systems 131, no. 10 (2011): 1775–85. http://dx.doi.org/10.1541/ieejeiss.131.1775.

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Mahdi, Khairul, and Esy Maestro. "Pelatihan Instrumen Tiup Brass pada Unit Marching Band GNPM Kabupaten Mandailing Natal." Jurnal Sendratasik 12, no. 1 (2023): 103. http://dx.doi.org/10.24036/js.v12i1.113985.

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The research at this writing is to determine the brass instrument training system in the Marching Band Gita Nada Pratama Mandailing Natal unit. The purpose of this study was to see how to find out the procedures for training the Brass Instrument in the Marching Band Gita Nada Pratama Mandailing Natal unit. This research was conducted in December-February 2021. It is a qualitative descriptive study that reveals the current phenomenon. The group of brass instrument players in the Marching Band Gita Nada Pratama Mandailing Natal Unit is the object of research. The research location is the Youth a

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Rohwer, Debbie. "Health and Wellness Issues for Adult Band Musicians." Medical Problems of Performing Artists 23, no. 2 (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 t

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15

Woldendorp, Kees H., Elise Ploos van Amstel, Hans Boschma, Anne M. Boonstra, Hans J. Arendzen, and Michiel F. Reneman. "Towards Consensus on Clinical Assessment of Embouchure in Brass Players: A Delphi Study." Medical Problems of Performing Artists 34, no. 1 (2019): 6–13. http://dx.doi.org/10.21091/mppa.2019.1003.

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AIMS: The objective of this study was to determine the content validity of an assessment instrument for embouchure (the “CODE of Embouchure”) which covers the main aspects of the construct of embouchure in brass players. METHODS: The study design followed the Delphi technique. A select panel of 35 international experts gave their opinion via a three-round digital Delphi survey as to whether the instrument as a whole, and its items, adequately measure the construct of embouchure. Criteria for consensus and whether items should go through to the next Delphi round were pre-determined. Data were i

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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.

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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular de

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17

Price, Kevin, and Alan HD Watson. "Effect of Using Ergobrass Ergonomic Supports on Postural Muscles in Trumpet, Trombone, and French Horn Players." Medical Problems of Performing Artists 33, no. 3 (2018): 183–90. http://dx.doi.org/10.21091/mppa.2018.3026.

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AIMS: Though ergonomic supports are widely used for many groups of instruments, they are rare for brass instruments, despite the instruments’ considerable weight. Musculoskeletal injury and postural problems are common among this group, and so, both adult and young players are likely to benefit from supports that reduce the load placed on the body. This study assessed the effects on postural muscle activity of a recently developed range of supports (Ergobrass) that use a rod to transfer the weight of the instrument to a harness or to the chair or floor. METHODS: Twenty conservatoire students (

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18

Hewitt, Michael P. "Influence of Primary Performance Instrument and Education Level on Music Performance Evaluation." Journal of Research in Music Education 55, no. 1 (2007): 18–30. http://dx.doi.org/10.1177/002242940705500103.

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The purpose of this study was to examine the impact that education level and primary performance instrument have on the evaluation of music performances. Participants (N = 423) in the study were middle school (n = 187), high school (n = 113), and college (n = 123) musicians who performed on either a brass (n = 115) or a nonbrass (n = 301) instrument. They listened to six junior high trumpet performances by players of various abilities. Results indicated statistically significant findings on six of seven performance subareas for the interaction of education level and performer, and significant

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19

Baráth, Zoltán, Nóra Heltai, Éva Kereszty, et al. "Copper Accumulation in the Lips of Brass Players: Case Report of a Rare Phenomenon." Dentistry Journal 10, no. 11 (2022): 203. http://dx.doi.org/10.3390/dj10110203.

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Work-related exposures affecting oral health are important factors of morbidity and decreased quality of life, which may emerge from numerous physical, chemical, or mental occupational exposures. Copper (Cu) is an important trace element, however, it may also cause allergies, depose and accumulate in the body, leading to acute and chronic toxicity. In the present report, we describe a rare phenomenon found during the examination of two professional brass players, after incidentally noting an artefact during magnetic resonance imaging (MRI) scans, which were performed to monitor bone healing af

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Cukic, Ognjen, Aleksandar Milenkovic, Jelena Sotirovic, and Milanko Milojevic. "Organ preservation surgery for laryngeal cancer in a brass instrument player: A case report." Vojnosanitetski pregled, no. 00 (2023): 39. http://dx.doi.org/10.2298/vsp230622039c.

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Introduction. Modern treatments for early glottic carcinoma achieve high rates of local control and long-term survival, but side effects can have a substantial impact on a patient's quality of life. Little available research is present on the effects of organ-preservation therapy in musicians, highlighting the challenge of balancing functional outcomes with occupational demands. Case report. We present the successful surgical treatment of a mid-membranous left vocal fold squamous cell carcinoma (T1a) in a professional trombonist with a history of smoking. Due to suboptimal exposure during init

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Schmalenberger, Sarah, and Patricia Maddox. "Female Brass Musicians Address Gender Parity, Gender Equity, and Sexual Harassment: A Preliminary Report on Data from the Brass Bodies Study." Societies 9, no. 1 (2019): 20. http://dx.doi.org/10.3390/soc9010020.

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The Brass Bodies Study is an exploratory cross-sectional study designed to describe and understand the experience of female brass players. This report discusses selected data from close-ended and open-ended responses to questions regarding gender equity, parity, and sexual harassment within a web-based survey that launched the first phase of the study. The survey queried subjects’ physical changes to their brass playing due to various catalysts: life-cycle events; injury, illness, harassment, mental health, racism, and homophobia. The survey instrument further queried whether subjects received

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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 (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 e

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Stambaugh, Laura A. "Effects of Focus of Attention on Performance by Second-Year Band Students." Journal of Research in Music Education 67, no. 2 (2019): 233–46. http://dx.doi.org/10.1177/0022429419835841.

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This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the ave

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Putra, Gea Lesmana, Yurnalis Yurnalis, and Syafniati Syafniati. "Fungsi Talempong Pacik Dalam Upacara Perkawinan Dan Batagak." Jurnal Musik Etnik Nusantara 3, no. 2 (2023): 165. http://dx.doi.org/10.26887/jmen.v3i2.4066.

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Talempong pacik is a type of percussion music that is classified as a percussion instrument (idiophone). which is made from a mixture of metal and copper or brass which is played by four or five players consisting of five or six talempongs and one gandang instrument. This talempong art is played in processions during wedding ceremonies and Batagak Pangulu ceremonies. The aim of this research is to describe the form of presentation of talempong and its function in wedding ceremonies and batagak pangulu in the lives of the people of Jorong Subarang Nagari Paninggahan, Solok Regency. This researc

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Boutin, Henri, John Smith, and Joseph Wolfe. "Lip-valve interactions with the resonant bore of a trombone." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A344. http://dx.doi.org/10.1121/10.0023744.

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Players of brass instruments usually play at a pitch close to one of the strong resonances of the instrument bore, but can easily play either above or below a resonance. Simple one-degree-of freedom models having aperture in phase with longitudinal lip displacement do not readily explain auto-oscillationwith realistic values of lip losses and cannot explain oscillation at frequencies below resonance. Experimental measurements of lip motion, pressures and flows show that the lips’ longitudinal motion leads the transverse: the lips move downstream closed, then open, then retract while open. Beca

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Brandfonbrener, Alice G. "History of Playing-related Pain in 330 University Freshman Music Students." Medical Problems of Performing Artists 24, no. 1 (2009): 30–36. http://dx.doi.org/10.21091/mppa.2009.1007.

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To understand what factors may contribute to the problems experienced by conservatory/music school students, we surveyed incoming freshman music students about their history of playing-related pain from four consecutive entering classes at a midwestern university school of music. A total of 330 students (46% male, 54% female) participated in the study and completed a 22-item questionnaire. Seventy-nine percent of students reported a history of playing-related pain. Pain frequency varied by instrument class, ranging from 61% among voice students to 100% for percussionists, but for strings, keyb

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Iltis, Peter W., Jens Frahm, Eckart Altenmüller, Dirk Voit, Arun Joseph, and Kevin Kozakowski. "Tongue Position Variability During Sustained Notes in Healthy vs Dystonic Horn Players Using Real-Time MRI." Medical Problems of Performing Artists 34, no. 1 (2019): 33–38. http://dx.doi.org/10.21091/mppa.2019.1007.

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OBJECTIVE: Embouchure dystonia (EmD) is a variant of focal task-specific dystonia in musicians characterized by the loss of control in facial and oral muscles while controlling airflow into the mouthpiece of a wind or brass instrument. We compared tongue position variability (TPV) during sustained notes between healthy, elite horn players and horn players affected by EmD. METHODS: Real-time MRI films at 33.3 ms resolution were obtained from 8 healthy elite and 5 EmD horn players as they performed on a non-ferromagnetic horn at each of three different dynamic levels: pianissimo, mezzo forte, an

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Türk-Espitalier, Alexandra, Matthias Bertsch, and Isabelle Cossette. "Effect of Expiratory Muscle Strength Training on the Performance of Professional Male Trumpet Players." Medical Problems of Performing Artists 39, no. 1 (2024): 18–26. http://dx.doi.org/10.21091/mppa.2024.1003.

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BACKGROUND: Many trumpet players use breathing training devices in addition to their daily practice routine. Playing a brass instrument requires, besides many other skills, a controlled air stream to generate the necessary air pressures. On the trumpet, high intraoral pressures are needed, especially during high and loud notes. Therefore, it is not uncommon in trumpet pedagogy to teach that the use of breathing training devices enhances physical strength so that the required pressures can be produced with less effort. However, to date, no systematic assessment of the use of breathing training

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Mattéoli, Rémi, Joël Gilbert, Christophe Vergez, et al. "Minimal blowing pressure allowing periodic oscillations in a model of bass brass instruments." Acta Acustica 5 (2021): 57. http://dx.doi.org/10.1051/aacus/2021049.

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In this study, an acoustic resonator – a bass brass instrument – with multiple resonances coupled to an exciter – the player’s lips – with one resonance is modelled by a multidimensional dynamical system, and studied using a continuation and bifurcation software. Bifurcation diagrams are explored with respect to the blowing pressure, in particular with focus on the minimal blowing pressure allowing stable periodic oscillations and the associated frequency. The behaviour of the instrument is first studied close to a (non oscillating) equilibrium using linear stability analysis. This allows to d

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Spyridon, Stefos. "Musical instruments, oral problems and prosthodontics: A review and a clinical report of a musician menopausal woman." Journal of Dental Problems and Solutions 10, no. 2 (2023): 021–32. http://dx.doi.org/10.17352/2394-8418.000124.

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The condition of teeth and the function of the oral organs are important when playing musical, especially brass or wind, instruments. This article describes the prosthodontic treatment provided for a musician who had lost a tooth and her subsequent musical performance. The relevant literature is also discussed. A 49-year-old professional clarinet player who fractured and avulsed the upper left central incisor during a fall sought maxillofacial rehabilitation for the missing tooth to maintain her ability to play the clarinet. Her treatment consisted of a provisional removable prosthesis with an

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Braasch, Jonas. "Circular breathing—An introspective study across all types of wind-instrument generators." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A39. http://dx.doi.org/10.1121/10.0018074.

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Circular breathing is an extended technique for wind instruments to play a continuous sound. To do so, the performer pushes out air temporarily stored in the cheeks while inhaling. In the second part of the cycle, the player exhales, refilling the air in the cheeks while driving the wind instrument. The two main challenges of this technique are maintaining a constant embouchure and air supply. This talk spans from the author’s Hyperspecialization technique on the soprano saxophone that involves all major types of wind-instrument generators, including brass, flute, double-reed, single-reed, and

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Pyle, Robert. "Player‐to‐player variability of the dependence of brass‐instrument timbre on bell alloy." Journal of the Acoustical Society of America 128, no. 4 (2010): 2419. http://dx.doi.org/10.1121/1.3508636.

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Smith, David W. E. "The Great Symphony Orchestra — A Relatively Good Place to Grow Old." International Journal of Aging and Human Development 27, no. 4 (1988): 233–47. http://dx.doi.org/10.2190/p701-1chj-u8by-1hxk.

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The retired musicians of one of America's great symphony orchestras were interviewed. Their careers, which began in the 1930s and 1940s, were long, with retirement sometimes occurring when they were well over seventy years old. Older players were valued for their excellence and experience and were difficult to replace. Obsolescence was not a problem, and the gradual deterioration of playing with age was generally not incompatible with working to an advanced age. Players of string instruments had longer careers than players of woodwind and brass instruments. The players liked their careers and

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Norman, L., J. P. Chick, D. M. Campbell, A. Myers, and J. Gilbert. "Player Control of 'Brassiness' at Intermediate Dynamic Levels in Brass Instruments." Acta Acustica united with Acustica 96, no. 4 (2010): 614–21. http://dx.doi.org/10.3813/aaa.918316.

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Harrison, Reginald Langford, Stefan Bilbao, James Perry, and Trevor Wishart. "An Environment for Physical Modeling of Articulated Brass Instruments." Computer Music Journal 39, no. 4 (2015): 80–95. http://dx.doi.org/10.1162/comj_a_00332.

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This article presents a synthesis environment for physical modeling of valved brass instrument sounds. Synthesis is performed using finite-difference time-domain methods that allow for flexible simulation of time-varying systems. Users have control over the instrument configuration as well as player parameters, such as mouth pressure, lip dynamics, and valve depressions, which can be varied over the duration of a gesture. This article introduces the model used in the environment, the development of code from prototyping in MATLAB and optimization in C, and the incorporation of the executable f

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Palazhenko, Oleg, Serhii Vytkalov, and Stepan Tsyulyupa. "FEATURES OF THE DEVELOPMENT OF MUSICAL HEARING IN THE ORCHESTRA TRAINING OF A PLAYER OF WIND INSTRUMENTS." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 30, 2023): 63–71. http://dx.doi.org/10.31499/2307-4906.1.2023.276938.

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The article presents and characterizes the most important approaches to the development of the musical ear of brass musicians in the process of their orchestral training. Professional training for the development of musical hearing among brass performers in institutions of higher education of the artistic direction will be effective and purposeful, provided that the musician observes continuous and thorough auditory self-control, which will ultimately help the performer to coordinate and direct the work of the entire performing apparatus as a whole. Professional mastery of musical ear is a key

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BILITSKI, JAMES. "CALIBRATION OF AN ARTIFICIAL MOUTH FOR AUTOMATIC PERFORMANCE OF A TRUMPET USING A GENETIC ALGORITHM." International Journal of Computational Intelligence and Applications 06, no. 02 (2006): 209–30. http://dx.doi.org/10.1142/s1469026806001952.

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The artificial mouth is a robotic device that simulates a human mouth. It consists of moveable lips and an adjustable air supply. In this study the use of a genetic algorithm to compute air pressure and lip pressure values so that the artificial mouth can correctly play five notes on a brass instrument is investigated. In order to properly play a brass instrument, a player must apply proper tension between the lips and apply proper airflow so that the lips vibrate at the proper frequency. A fast search algorithm was needed because it takes about 4 seconds to measure the frequency produced by e

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Fréour, Vincent, Louis Guillot, Hideyuki Masuda, Christophe Vergez, and Bruno Cochelin. "Parameter identification of a physical model of brass instruments by constrained continuation." Acta Acustica 6 (2022): 9. http://dx.doi.org/10.1051/aacus/2022004.

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Numerical continuation using the Asymptotic Numerical Method (ANM), together with the Harmonic Balance Method (HBM), makes it possible to follow the periodic solutions of non-linear dynamical systems such as physical models of wind instruments. This has been recently applied to practical problems such as the categorization of musical instruments from the calculated bifurcation diagrams [V. Fréour et al. Journal of the Acoustical Society of America 148 (2020) https://doi.org/10.1121/10.0001603]. Nevertheless, one problem often encountered concerns the uncertainty on some parameters of the model

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Worland, Randy. "Combination tones and multiphonics in a physics of music lab." Journal of the Acoustical Society of America 152, no. 4 (2022): A54. http://dx.doi.org/10.1121/10.0015516.

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Laboratory exercises related to multiphonic tones in wind instruments have been developed for use in an undergraduate Physics of Music class. Although the concepts of nonlinear mixing and production of combination tones can be challenging to present at a non-technical level, a hand’s-on (mouth’s-on!) approach allows students to can gain a visceral and aural appreciation of this type of mixing and its musical use by wind players. The exercises make use of inexpensive free-reed pitch pipes. A pair of pipes can be played independently, producing a linear combination of the two sources, and as a p

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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French

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Mihajlovski, Zoran. "Personality, Intelligence And Music Instrument / Osobnost, inteligencija i glazbeni instrument." Croatian Journal of Education - Hrvatski časopis za odgoj i obrazovanje 15 (May 31, 2013). http://dx.doi.org/10.15516/cje.v15i0.606.

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AbstractAn empirical study examining differences in personality traits and general intellectual ability of academic musicians was conducted on Macedonian sample of musicians, consisted of four different groups of instrumentalists, taken from four instrumental sections, respectively: a) piano (55); strings: violin, viola, cello, double bass (103); woodwind: flute, oboe, clarinet, bassoon (72); brass: trumpet, trombone, French horn, saxophone (58). Sample includes three age-based groups of musicians: music high school learners, music academy (university) students and adult professional musicians

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Liu, Yue. "Differences in instrumental practice time and strategies among Chinese music majors." Research Studies in Music Education, December 15, 2021, 1321103X2110388. http://dx.doi.org/10.1177/1321103x211038839.

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The purpose of this study was to explore differences in time spent practicing and the practice strategies used by Chinese music majors according to university location, instrument played, and participant gender. A total of 154 participants who played string, woodwind, brass, and keyboard instruments, including 103 participants attending Chinese universities and 51 Chinese participants pursuing degrees abroad (in the United States, Russia, and Great Britain) completed a Likert-type scale questionnaire. Findings indicated that students studying abroad spent more hours on weekly practice and had

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Cilingir, H. Zeynep, M. Burcin Mutlu, Volkan Kilic, Nilgün Poyraz, and Halil Eryilmaz. "P495 Contamination of wind instruments: A potential threat to musicians." Medical Mycology 60, Supplement_1 (2022). http://dx.doi.org/10.1093/mmy/myac072.p495.

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Abstract Poster session 3, September 23, 2022, 12:30 PM - 1:30 PM Research shows that wind instruments are often contaminated with various bacteria and mould, creating a potential threat to musicians. These microorganisms are partially transferred from the players to the instrument during playing. Since the moist and dark inner surface of the instruments create the perfect environment for the microorganisms, they can easily nestle and grow. Then, they are retransferred back to the players as they inhale during playing. Current literature reports many cases of Hypersensitivity Pneumonia caused

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Yilmaz, Coşkun, Özgür Bostancı, and Seyhan Bulut. "Effect of Respiratory Muscle Training on Pitch Range and Sound Duration in Brass Instrument Players and Singers." Journal of Voice, May 2020. http://dx.doi.org/10.1016/j.jvoice.2020.04.012.

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DOOMS, T. "Taakspecifieke focale dystonie bij musici." Tijdschrift voor Geneeskunde, April 29, 2021. http://dx.doi.org/10.47671/tvg.77.21.028.

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Task-specific focal dystonia in musicians Task-specific focal dystonia is a neurological movement disorder characterized by involuntary contractions during a specific activity. In musicians, the abnormal movement can occur while playing an instrument or while singing. The muscle contractions are usually painless, but the function of the affected region is disturbed. The clinical picture occurs more in men than in women and is most frequent in pianists or guitarists. The abnormality is usually localized in the fingers, the hands or the entire arm. Drummers can have problems in the lower limbs.

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Sergeant, Desmond C., and Evangelos Himonides. "Performing sex: The representation of male and female musicians in three genres of music performance." Psychology of Music, October 8, 2022, 030573562211154. http://dx.doi.org/10.1177/03057356221115458.

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In this article, the representation of male and female musicians is compared between three major genres of music performance and across three geographical regions: the United Kingdom, Europe, and the United States. Relevant data of artists from 40 world-class orchestras, 40 competition brass bands, and 40 top-selling recorded popular music groups were obtained from the websites of the respective organizations and from other authenticated sources. Information collected included the instruments played by each artist, the artist’s status in the ensemble (e.g., principal/section leader/rank and fi

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Collins, Nicolas. "The Development of the !trumpet." Musica/Tecnologia, December 23, 2021, 81–107. http://dx.doi.org/10.36253/music_tec-13302.

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The !trumpet is software synthesis system controlled from, and playing back through, a trumpet. It is not an electronically extended trumpet: the player produces no acoustic sounds by blowing through the mouthpiece. Instead, breath pressure and valve movement on the brass instrument are read by an embedded Arduino microcontroller and sent to a laptop, where the data is mapped onto various parameters in synthesis software; the resulting electronic sound is returned to the trumpet, where it plays through a loudspeaker inside the bell, and is further processed acoustically by valve position (chan

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Hellwig, Soenke J., Peter W. Iltis, Arun A. Joseph, et al. "Tongue involvement in embouchure dystonia: new piloting results using real-time MRI of trumpet players." Journal of Clinical Movement Disorders 6, no. 1 (2019). http://dx.doi.org/10.1186/s40734-019-0080-3.

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Abstract Background The embouchure of trumpet players is of utmost importance for tone production and quality of playing. It requires skilled coordination of lips, facial muscles, tongue, oral cavity, larynx and breathing and has to be maintained by steady practice. In rare cases, embouchure dystonia (EmD), a highly task specific movement disorder, may cause deterioration of sound quality and reduced control of tongue and lip movements. In order to better understand the pathophysiology of this movement disorder, we use real-time MRI to analyse differences in tongue movements between healthy tr

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Holman, Peter. "The wreck of the Gloucester revisited." Early Music, December 15, 2023. http://dx.doi.org/10.1093/em/caad060.

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Abstract The wreck of the frigate Gloucester off Norfolk on 6 May 1682 has always figured in histories of the Restoration period; it was taking James, Duke of York (the future James II and VII) to Edinburgh to collect his wife Mary of Modena and his daughter Princess Anne after his years of exile in Scotland. It has long been known that there were royal musicians on board, two of whom were drowned, though interest in the subject has been rekindled by the discovery of the wreck and an exhibition of artefacts from it in Norwich in 2023. Some other historic wrecks have proved to contain musical i

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Hattori, Mariko, Sebastian B. M. Patzelt, Michiichiro Itoh, Yuka I. Sumita, and Noriyuki Wakabayashi. "Case Report: Dental treatment for an oboist: Post-trauma prosthetic rehabilitation and evaluation of musical performance." Frontiers in Psychology 13 (February 1, 2023). http://dx.doi.org/10.3389/fpsyg.2022.1022205.

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IntroductionThe condition of teeth and function of the oral organs are important when playing wind or brass instruments. Although there are some reports on dental treatment for musicians, few studies have investigated their acoustic performance following treatment. This report describes the prosthodontic rehabilitation provided for an oboist who had lost a tooth as a result of trauma and includes an evaluation of her subsequent musical performance using acoustic analyzes.Case descriptionThe patient was a 63-year-old professional oboe player who fractured the upper and lower alveolar bone and a

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