Relevant bibliographies by topics / Chamber winds

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

Academic literature on the topic 'Chamber winds'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Chamber winds"

1

Lai, D. Y. F., N. T. Roulet, E. R. Humphreys, T. R. Moore, and M. Dalva. "The effect of atmospheric turbulence and chamber deployment period on autochamber CO<sub>2</sub> and CH<sub>4</sub> flux measurements in an ombrotrophic peatland." Biogeosciences 9, no. 8 (August 24, 2012): 3305–22. http://dx.doi.org/10.5194/bg-9-3305-2012.

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Abstract. Accurate quantification of soil-atmosphere gas exchange is essential for understanding the magnitude and controls of greenhouse gas emissions. We used an automatic, closed, dynamic chamber system to measure the fluxes of CO2 and CH4 for several years at the ombrotrophic Mer Bleue peatland near Ottawa, Canada and found that atmospheric turbulence and chamber deployment period had a considerable influence on the observed flux rates. With a short deployment period of 2.5 min, CH4 flux exhibited strong diel patterns and both CH4 and nighttime CO2 effluxes were highly and negatively correlated with ambient friction velocity as were the CO2 concentration gradients in the top 20 cm of peat. This suggests winds were flushing the very porous and relatively dry near-surface peat layers and reducing the belowground gas concentration gradient, which then led to flux underestimations owing to a decrease in turbulence inside the headspace during chamber deployment compared to the ambient windy conditions. We found a 9 to 57% underestimate of the net biological CH4 flux at any time of day and a 13 to 21% underestimate of nighttime CO2 effluxes in highly turbulent conditions. Conversely, there was evidence of an overestimation of ~ 100% of net biological CH4 and nighttime CO2 fluxes in calm atmospheric conditions possibly due to enhanced near-surface gas concentration gradient by mixing of chamber headspace air by fans. These problems were resolved by extending the deployment period to 30 min. After 13 min of chamber closure, the flux rate of CH4 and nighttime CO2 became constant and were not affected by turbulence thereafter, yielding a reliable estimate of the net biological fluxes. The measurement biases we observed likely exist to some extent in all chamber flux measurements made on porous and aerated substrate, such as peatlands, organic soils in tundra and forests, and snow-covered surfaces, but would be difficult to detect unless high frequency, semi-continuous observations were made.
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2

Lai, D. Y. F., N. T. Roulet, E. R. Humphreys, T. R. Moore, and M. Dalva. "The effect of atmospheric turbulence and chamber deployment period on autochamber CO<sub>2</sub> and CH<sub>4</sub> flux measurements in an ombrotrophic peatland." Biogeosciences Discussions 9, no. 2 (February 1, 2012): 1439–82. http://dx.doi.org/10.5194/bgd-9-1439-2012.

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Abstract. Accurate quantification of soil-atmosphere gas exchange is essential for understanding the magnitude and controls of greenhouse gas emissions. We used an automatic closed dynamic chamber system to measure the fluxes of CO2 and CH4 for several years at the ombrotrophic Mer Bleue peatland near Ottawa, Canada and found that atmospheric turbulence and chamber deployment period had a considerable influence on the observed flux rates. With a short deployment period of 2.5 min, CH4 flux exhibited strong diel patterns and both CH4 and nighttime CO2 effluxes were highly and negatively correlated with friction velocity as were the CO2 concentration gradients in the top 20 cm of peat. This suggests winds were flushing the very porous and relatively dry near surface peat layers, altering the concentration gradient and resulting in a 9 to 57% underestimate of CH4 flux at any time of day and a 13 to 21% underestimate of nighttime CO2 fluxes in highly turbulent conditions. Conversely, there was evidence of an overestimation of ~100% of CH4 and nighttime CO2 effluxes in calm atmospheric conditions possibly due to enhanced near-surface gas concentration gradient by mixing of chamber headspace air by fans. These problems were resolved by extending the deployment period to 30 min. After 13 min of chamber closure, the flux rate of CH4 and nighttime CO2 became constant and were not affected by turbulence thereafter, yielding a reliable estimate of the net biological fluxes. The measurement biases we observed likely exist to some extent in all chamber flux measurements made on porous and aerated substrate, such as peatlands, organic soils in tundra and forests, and snow-covered surfaces, but would be difficult to detect unless high frequency, semi-continuous observations are made.
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Schäfer, K., R. H. Grant, S. Emeis, A. Raabe, C. von der Heide, and H. P. Schmid. "Areal-averaged trace gas emission rates from long-range open-path measurements in stable boundary layer conditions." Atmospheric Measurement Techniques Discussions 5, no. 1 (February 13, 2012): 1459–96. http://dx.doi.org/10.5194/amtd-5-1459-2012.

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Abstract. Measurements of land-surface emission rates of greenhouse and other gases at large spatial scales (10 000 m2) are needed to assess the spatial distribution of emissions. This can be more readily done using spatial-integrating micro-meteorological methods than the widely-utilized small chamber measurements. Several micro-meteorological flux-gradient methods utilizing a non-intrusive path-averaging measurement method were evaluated for determining land-surface emission rates of trace gases under stable boundary layers. Successful application of a flux-gradient method requires confidence in the gradients of trace gas concentration and wind and in the applicability of boundary-layer turbulence theory. While there is relatively high confidence in flux measurements made under unstable atmospheres with mean winds greater than 1 m s−1, there is greater uncertainty in flux measurements made under free convective or stable conditions. The study involved quality-assured determinations of fluxes under low wind, stable or night-time atmospheric conditions when the continuous "steady-state" turbulence of the surface boundary layer breaks down and the layer has intermittent turbulence. Results indicate that the Monin-Obukhov similarity theory (MOST) flux-gradient methods that assume a log-linear profile of the wind speed and concentration gradient incorrectly determine vertical profiles and thus fluxes in the stable boundary layer.
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Grant, Richard H., and Rex A. Omonode. "Estimation of nocturnal CO<sub>2</sub> and N<sub>2</sub>O soil emissions from changes in surface boundary layer mass storage." Atmospheric Measurement Techniques 11, no. 4 (April 12, 2018): 2119–33. http://dx.doi.org/10.5194/amt-11-2119-2018.

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Abstract. Annual budgets of greenhouse and other trace gases require knowledge of the emissions throughout the year. Unfortunately, emissions into the surface boundary layer during stable, calm nocturnal periods are not measurable using most micrometeorological methods due to non-stationarity and uncoupled flow. However, during nocturnal periods with very light winds, carbon dioxide (CO2) and nitrous oxide (N2O) frequently accumulate near the surface and this mass accumulation can be used to determine emissions. Gas concentrations were measured at four heights (one within and three above canopy) and turbulence was measured at three heights above a mature 2.5 m maize canopy from 23 July to 10 September 2015. Nocturnal CO2 and N2O fluxes from the canopy were determined using the accumulation of mass within a 6.3 m control volume and out the top of the control volume within the nocturnal surface boundary layer. Diffusive fluxes were estimated by flux gradient method. The total accumulative and diffusive fluxes during near-calm nights (friction velocities < 0.05 ms−1) averaged 1.16 µmol m−2 s−1 CO2 and 0.53 nmol m−2 s−1 N2O. Fluxes were also measured using chambers. Daily mean CO2 fluxes determined by the accumulation method were 90 to 130 % of those determined using soil chambers. Daily mean N2O fluxes determined by the accumulation method were 60 to 80 % of that determined using soil chambers. The better signal-to-noise ratios of the chamber method for CO2 over N2O, non-stationary flow, assumed Schmidt numbers, and anemometer tilt were likely contributing reasons for the differences in chambers versus accumulated nocturnal mass flux estimates. Near-surface N2O accumulative flux measurements in more homogeneous regions and with greater depth are needed to confirm the conclusion that mass accumulation can be effectively used to estimate soil emissions during nearly calm nights.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Evans, W. G., and R. H. Gooding. "Turbulent plumes of heat, moist heat, and carbon dioxide elicit upwind anemotaxis in tsetse flies Glossina morsitans morsitans Westwood (Diptera: Glossinidae)." Canadian Journal of Zoology 80, no. 7 (July 1, 2002): 1149–55. http://dx.doi.org/10.1139/z02-101.

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The roles and interactions of turbulent plumes of heat, moist heat, and carbon dioxide in mediating upwind flight of adult tsetse flies (Glossina morsitans morsitans Westwood) were investigated using a wind tunnel in a constant-environment chamber. Heat fluctuations in the plume that were detected by a thermocouple and displayed as oscilloscope traces allowed direct visualization of the structures of the plumes. Significantly more flies flew upwind when exposed to plumes of (i) carbon dioxide (0.0051% above background) and air (58% relative humidity) compared with air alone; (ii) carbon dioxide and heated air (35% relative humidity and temperature fluctuating up to 0.09°C above background) compared with carbon dioxide and air; and (iii) carbon dioxide and moist (82% relative humidity) heated air (temperature fluctuating up to 0.05°C above background) compared with carbon dioxide and heated air. However, there were no significant differences in upwind flight of flies exposed to plumes of (i) air compared with humidified air (65% relative humidity); (ii) carbon dioxide and heated air compared with heated air alone; and (iii) carbon dioxide and moist heated air compared with moist heated air alone. Recorded temperature fluctuations in heat plumes transported downwind from a tethered steer in a pasture showed patterns similar to those produced in the wind-tunnel plumes. These results suggest that host emissions of carbon dioxide alone and combined heat and moisture carried downwind by low-velocity winds elicit upwind anemotaxis in tsetse flies, which distinguish these emissions from a background of lower atmospheric levels.
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Shantz, N. C., R. Y. W. Chang, J. G. Slowik, J. P. D. Abbatt, and W. R. Leaitch. "Slower CCN growth kinetics of anthropogenic aerosol compared to biogenic aerosol observed at a rural site." Atmospheric Chemistry and Physics Discussions 9, no. 3 (June 23, 2009): 13775–99. http://dx.doi.org/10.5194/acpd-9-13775-2009.

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Abstract. Growth rates of water droplets were measured with a static diffusion cloud condensation chamber in May–June 2007 at a rural field site in Southern Ontario, Canada, 70 km north of Toronto. Observations were made during periods when the winds were from the south and the site was impacted by anthropogenic air from the US and Southern Ontario as well as during a 5-day period of northerly wind flow when the aerosol was dominated by biogenic sources. The growth of droplets on anthropogenic size-selected particles centred at 0.1 μm diameter and composed of approximately 40% organic and 60% ammonium sulphate (AS) by mass, was delayed on the order of 1 second compared to a pure AS aerosol. Simulations of the growth rate indicate that a lowering of the water mass accommodation coefficient from αc=1 to an average of αc=0.044 is needed (assuming an insoluble organic with hygroscopicity parameter, κorg, of zero). In contrast, the growth rate of the aerosol of biogenic character, consisting of >80% organic, was similar to that of pure AS. Simulations of the predominantly biogenic aerosol show agreement between the observations and simulations when κorg=0.05–0.2 and αc=1. Inhibition of water uptake by the anthropogenic organic applied to an adiabatic cloud parcel model in the form of a constant low αc increases the number of droplets in a cloud compared to pure AS. If the αc is assumed to increase with increasing liquid water on the droplets, then the number of droplets decreases which could diminish the indirect effect. The slightly lower κorg in the biogenic case decreases the number of droplets in a cloud compared to pure AS.
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O'Loughlin, Niall. "Wind Chamber." Musical Times 129, no. 1742 (April 1988): 193. http://dx.doi.org/10.2307/965323.

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Klein, Lorin. "Unique Test Capabilities of the Eglin AFB McKinley Climatic Laboratory." Journal of the IEST 30, no. 6 (November 1, 1987): 27–29. http://dx.doi.org/10.17764/jiet.1.30.6.l3663m6017674334.

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The 92,900m3 (3.28 million ft3) Main Chamber of the Climatic Laboratory (Figure 1) is the largest and most complex climatic environmental test chamber in the world. It employs an air makeup system to cool or heat air to the test temperatures and ingest this air into the chamber to allow the operation of jet engines during climatic tests. Other test chambers discussed are the 2,750 m3 (97,000 ft3) Engine and Equipment Test Facility and the 2,125 m3 (75,000 ft3) Sun, Wind, Rain, and Dust Facility.
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Shantz, N. C., R. Y. W. Chang, J. G. Slowik, A. Vlasenko, J. P. D. Abbatt, and W. R. Leaitch. "Slower CCN growth kinetics of anthropogenic aerosol compared to biogenic aerosol observed at a rural site." Atmospheric Chemistry and Physics 10, no. 1 (January 15, 2010): 299–312. http://dx.doi.org/10.5194/acp-10-299-2010.

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Abstract. Growth rates of water droplets were measured with a static diffusion cloud condensation chamber in May–June 2007 at a rural field site in Southern Ontario, Canada, 70 km north of Toronto. The observations include periods when the winds were from the south and the site was impacted by anthropogenic air from the U.S. and Southern Ontario as well as during a 5-day period of northerly wind flow when the aerosol was dominated by biogenic sources. The growth of droplets on anthropogenic size-selected particles centred at 0.1 μm diameter and composed of approximately 40% organic and 60% ammonium sulphate (AS) by mass, was delayed by on the order of 1 s compared to a pure AS aerosol. Simulations of the growth rate on monodisperse particles indicate that a lowering of the water mass accommodation coefficient from αc=1 to an average of αc=0.04 is needed (assuming an insoluble organic with hygroscopicity parameter, κorg, of zero). Simulations of the initial growth rate on polydisperse anthropogenic particles agree best with observations for αc=0.07. In contrast, the growth rate of droplets on size-selected aerosol of biogenic character, consisting of >80% organic, was similar to that of pure AS. Simulations of the predominantly biogenic polydisperse aerosol show agreement between the observations and simulations when κorg=0.2 (with upper and lower limits of 0.5 and 0.07, respectively) and αc=1. Inhibition of water uptake by the anthropogenic organic applied to an adiabatic cloud parcel model in the form of a constant low αc increases the number of droplets in a cloud compared to pure AS. If the αc is assumed to increase with increasing liquid water on the droplets, then the number of droplets decreases which could diminish the indirect climate forcing effect. The slightly lower κorg in the biogenic case decreases the number of droplets in a cloud compared to pure AS.
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Dissertations / Theses on the topic "Chamber winds"

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Hemberger, Glen J. "Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hemberger%5Fglen/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Includes 8 concert and recital programs (1997-2001). Accompanied by recital, recorded Sept. 6, 2001. Includes bibliographical references (p. 100-107).
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Heller, Lauren. "Bohuslav Martin Chamber Works for Six or More Players Featuring Winds: A Survey and Conductor’s Analytical Study of La revue de cuisine and Jazz Suite." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1335462249.

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Fryer, Cheryl A. "An annotated bibliography of selected chamber music for saxophone, winds and percussion with analyses of Danses exotiques by Jean Françaix and Nonet by Fisher Tull /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20033/fryer%5Fcheryl/index.htm.

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Peersen, Hild Breien. "Franz Berwald's Quartet for piano and winds its historical, stylistic, and social context /." Connect to resource, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1104257313.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center
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Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.

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Fryer, Cheryl A. "An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4421/.

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An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and many performers often contributes to the absence of these works in concert halls. The objective of this lecture-recital document is to make available a tool that includes only original works for the saxophone in a variety of chamber ensemble settings. The nature of this study will be descriptive. The literature chosen for this project reveals varying levels of performance difficulty, compositional techniques, form, and instrumentation. Chosen works employ an ensemble size that requires a conductor or are more successfully performed with a conductor. Selected compositions are illustrated in which the saxophone is identified as a vital ingredient in an already existing repertoire of serious chamber literature. Works in this study include original compositions using from seven to seventeen musicians. Some of the works discussed in this study include double bass and piano. Chapters include information on the Parameters of Study (Introduction, Historical Perspective, Sources, Criteria, Selection of Works for Analysis), composer Jean Françaix, a Historical Overview and Detailed Study of Danses Exotiques, composer Fisher Tull, a Historical Overview and Detailed Study of Nonet and an Annotated Bibliography of compositions matching the established criteria. Appendices include List of Works of Fisher Tull and Jean Françaix.
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Johnson, Christopher Scott. "An examination of major works for wind band, brass ensemble, and chamber winds: “Three songs from Sussex” by Hugh M. Stuart, “Fanfare for brass and percussion” by Karel Husa, and “Serenade no. 10 in B flat” by Wolfgang Amadeus Mozart." Kansas State University, 2015. http://hdl.handle.net/2097/19076.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
This report provides a comprehensive research and teaching guide for three works for wind ensemble, brass ensemble, and chamber winds: Three Songs from Sussex by Hugh M. Stuart, Fanfare for Brass and Percussion by Karel Husa, and Serenade No. 10 in Bb, Largo, Allegro molto by Wolfgang Amadeus Mozart. Each chapter provides information on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, other listening suggestions, and seating arrangement considerations. Also included are the lesson plan outlines that were used to teach each work, and a detailed score analysis grid. The report documents the full process of selecting, researching, rehearsing, and performing the selected literature with the hope that it will aid in future performances of the works.
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McDonald, Richard F. (Richard Frederic). "Kinetico for Chamber Wind Ensemble." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504015/.

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This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.
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Gaudry, Danielle D. "L'Age d'or of the Chamber Wind Ensemble." Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596498.

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This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader's life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d'or of wind chamber music, affecting the local music scene and continuing to hold influence on today's performers of wind music.

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Trew, Michael Russell. "Movements, chamber orchestra Three movements for wind ensemble." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27228.

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Three Movements for Wind Ensemble, a 13-minute work for a wind ensemble consisting of twenty-five instruments, was composed in Vancouver between 1984-86. The first and third movements of this work are reminiscent stylistically of the Neo-classical tradition, while the second is a passacaglia involving a tonal ostinato juxtaposed with atonal ideas. Ideas, both thematic and structural, while entirely original, except for a 6-bar sequence in measures 59-64 of movement 1, were influenced by specific works of several composers. Stylistically, the composition is tonal, and reflects my background in jazz composition as well as my classical training. Chords are frequently characterized by the use of major second configurations, and melodies are derived from numerous sources. The music of Bach, Stravinsky, and Ives exert strong influences on the work. The work is difficult to categorize structurally, because the first and third movements are not traditional forms. I feel that the piece might appeal to both gifted and average listeners. The individual parts are not complex or difficult to perform, but the resulting ensemble yields an overall complexity. It is my hope that other composers will see the possibilities that I have explored as a basis for further exploration.
Arts, Faculty of
Music, School of
Graduate
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Books on the topic "Chamber winds"

1

Wind chamber music: For two to sixteen winds : an annotated guide. Lanham, MD: Scarecrow Press, 2003.

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Wind chamber music: Winds with piano and woodwind quintets : an annotated guide. Lanham, MD: Scarecrow Press, 1996.

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Winther, Rodney. An annotated guide to wind chamber music: For six to eighteen players. Miami, FL: Warner Bros. Publications, 2004.

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Leeson, Daniel N. Divertimenti und Serenaden für Blasinstrumente. Kassel: Bärenreiter, 2002.

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Spiel in kleinen Gruppen: Bläserkammermusik unter besonderer Berücksichtigung musikalisch-pädagogischer und soziologischer Aspekte. Tutzing: Schneider, 1999.

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Townsend, Douglas. Chamber symphony: Flute, oboe, clarinet, bassoon, 2 horns, trumpet, trombone, tuba. [United States?]: Henmar Press, 1987.

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Arrighi, Robert S. Revolutionary atmosphere: The story of the Altitude Wind Tunnel & Space Power Chambers. Washington, DC: NASA History Division, Office of External Relations, NASA Headquarters, 2009.

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Jugendbildung, Bundesakademie für Musikalische. Literatur für zwei und mehr verschiedene Holzblasinstrumente (auch gemischt mit Blechblasinstrumenten). Trossingen: Bundesakademie für Musikalische Jugendbildung, 1994.

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Vester, Frans. W. A. Mozart: On the performance of the works for wind instruments,concertos, divertimentos, serenades,chamber music. Amsterdam: Broekmans en Van Poppel B.V., 1999.

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Cunningham, C. C. Performance optimization of a rotor alone Nacelle for acoustic fan testing. [Cleveland, Ohio]: National Aeronautics and Space Administration, Glenn Research Center, 2000.

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Book chapters on the topic "Chamber winds"

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Fiedler, Torben, Joachim Rösler, Martin Bäker, Felix Hötte, Christoph von Sethe, Dennis Daub, Matthias Haupt, Oskar J. Haidn, Burkard Esser, and Ali Gülhan. "Mechanical Integrity of Thermal Barrier Coatings: Coating Development and Micromechanics." In Notes on Numerical Fluid Mechanics and Multidisciplinary Design, 295–307. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53847-7_19.

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Abstract To protect the copper liners of liquid-fuel rocket combustion chambers, a thermal barrier coating can be applied. Previously, a new metallic coating system was developed, consisting of a NiCuCrAl bond-coat and a Rene 80 top-coat, applied with high velocity oxyfuel spray (HVOF). The coatings are tested in laser cycling experiments to develop a detailed failure model, and critical loads for coating failure were defined. In this work, a coating system is designed for a generic engine to demonstrate the benefits of TBCs in rocket engines, and the mechanical loads and possible coating failure are analysed. Finally, the coatings are tested in a hypersonic wind tunnel with surface temperatures of 1350 K and above, where no coating failure was observed. Furthermore, cyclic experiments with a subscale combustion chamber were carried out. With a diffusion heat treatment, no large-scale coating delamination was observed, but the coating cracked vertically due to large cooling-induced stresses. These cracks are inevitable in rocket engines due to the very large thermal-strain differences between hot coating and cooled substrate. It is supposed that the cracks can be tolerated in rocket-engine application.
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Génin, Chloé, Dirk Schneider, and Ralf Stark. "Dual-Bell Nozzle Design." In Notes on Numerical Fluid Mechanics and Multidisciplinary Design, 395–406. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53847-7_25.

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Abstract The dual-bell nozzle is an altitude adaptive nozzle concept that offers two operation modes. In the framework of the German Research Foundation Special Research Field SFB TRR40, the last twelve years have been dedicated to study the dual-bell nozzle characteristics, both experimentally and numerically. The obtained understanding on nozzle contour and inflection design, transition behavior and transition prediction enabled various follow-ups like a wind tunnel study on the dual-bell wake flow, a shock generator study on a film cooled wall inflection or, in higher scale, the hot firing test of a thrust chamber featuring a film cooled dual-bell nozzle. A parametrical system study revealed the influence of the nozzle geometry on the flow behavior and the resulting launcher performance increase.
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Mallant, R. K. A. M. "A Fog Chamber and Wind Tunnel Facility for Calibration of Cloud Water Collectors." In Acid Deposition at High Elevation Sites, 479–90. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-3079-7_28.

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Hutchinson, G. O. "Sophocles, Philoctetes and Oedipus at Colonus." In Motion in Classical Literature, 153–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0006.

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Tragedy presents motion visually, but this is only part of one level of motion. Actual but unseen motion and metaphorical motion interact with stage motion in the rich mythology and language of tragedies. Tragic plots involve motion beyond the stage and are part of larger myths of motion; lyric and speech in Antigone and OT exhibit dense complexes of poetry, events, action. The tragic language of motion is elaborate; each of Sophocles’ plays has its specialities. Tragedy likes speed; but the Philoctetes and OC exploit laborious movement, fraught with long suffering. They survey through motion Philoctetes’ solitary disability and Oedipus’ old age with his daughter. The passages looked at include Philoctetes telling of his endeavours to get food, an attack on stage in which he falls down, the moral and dramatic intricacies of attempted joint motion with Neoptolemus, Antigone being carried off, the winds assailing old age, the failed journey of Oedipus’ son. They manifest: the difficult specifics of movement, graphic stage movement, interweaving of drama and metaphor, groups and individuals, near-authorial lyric, obstinate immorality. Motion in the plays ranges from imagined entry into heaven or the underworld to pain within the body and awkward sitting down. The chamber Philoctetes offers a vast breadth of motion; the fixed OC shows constant fluctuation.
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Michael, David Moritz. "Complete Wind Chamber Music." In Recent Researches in American Music, 59. A-R Editions, 2006. http://dx.doi.org/10.31022/a059.

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James, Henry. "III." In The Wings of the Dove. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199555437.003.0031.

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Not yet so much as this morning had she felt herself sink into possession; gratefully glad that the warmth of the Southern summer was still in the high florid rooms, palatial chambers where hard cool pavements took reflexions in their lifelong polish, and where...
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Baker, Nina. "James Watt as Musical Organ Maker." In James Watt (1736-1819), 209–29. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620818.003.0010.

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This chapter examines Watt’s work in Glasgow between 1756-1744 when he struggled to make a living from mathematical instruments and also resorted to making and selling musical instruments. He made stringed instruments, including viole da gamba and guitars, plus flutes and organs. There are no complete stringed or wind instruments extant, although tools and parts are held in the London Science Museum. Watt also collaborated with Charles Clagget, an accomplished viol de gamba player and innovator in musical instrument technology, including the first trumpet valves. Watt’s accounts books make clear that he made or repaired barrel, chamber and finger organs and the chapter examines the evidence for these organs including the James Watt Organ in the Glasgow Museums’ Service collection. Its potential links to the great man are considered, to try to uncover the boundaries between myth and reality in regards to the provenance of this instrument.
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Antón, M., C. Eskilsson, J. Andersen, M. B. Kramer, and S. Thomas. "Floating power plant hybrid wind-wave platform: CFD simulations of the influence of chamber geometry." In Developments in Renewable Energies Offshore, 265–73. CRC Press, 2020. http://dx.doi.org/10.1201/9781003134572-32.

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Conference papers on the topic "Chamber winds"

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Parker, Ryan S. "Wind Effects on Air-Cooled Condensers: Wind-Tunnel 2-D Flow Fields for Base Case, Wind Screens, and Louvers." In ASME 2017 Power Conference Joint With ICOPE-17 collocated with the ASME 2017 11th International Conference on Energy Sustainability, the ASME 2017 15th International Conference on Fuel Cell Science, Engineering and Technology, and the ASME 2017 Nuclear Forum. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/power-icope2017-3646.

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Detailed 2-axis hot-wire anemometry measurements were conducted around a scale Air-Cooled Condenser (ACC) model within an atmospheric boundary layer wind-tunnel. The measurements were taken for the “standard” flow field, as well as the effects of using partial wind screens and louvers as mitigation measures. This provides a representation of the complex 2-D flow field present underneath an operating ACC when subjected to various speed cross winds. Optimal ACC operation is achieved when all fans generate a uniform flow pattern into the plenum chamber of the ACC, and this is dependent on the speed and direction of the air at the inlet. The wind-tunnel measurements support the assertion that wind screens reduce the horizontal wind speed directly downstream; however, this comes with a marked increase in turbulence. The results suggest a wind-screen covering a smaller portion (6% tested) of the ACC inlet may be more beneficial than the more common 50% coverage.
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O’Sullivan, Keith, Jimmy Murphy, and Dara O’Sullivan. "Power Output Performance and Smoothing Ability of an Oscillating Water Column Array Wave Energy Converter." In ASME 2013 32nd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/omae2013-11375.

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This paper presents the physical model testing results of a floating oscillating water column (OWC) array wave energy converter (WEC) and the power smoothing ability inherent in the OWC chamber arrangement in the structure. The device can be categorised as a very large floating structure (VLFS) with structure dynamics which may make it a suitable device on which to mount wind turbines. It incorporates 32 individual OWC chambers in a “V” shaped arrangement such that there is a phase-lag between successive wave crests in the OWC chambers as an individual wave passes the structure. This OWC array was tested in both monochromatic and panchromatic unidirectional wave fields and the motion response amplitude operators (RAO) have been calculated. The time series of absorbed power from panchromatic waves was then used as input to a simple Well’s turbine power take-off (PTO) Simulink model to estimate the electrical power produced by each chamber and the additive power produced by the 32 OWC’s. A simple control law of optimum speed of the generator was used for these simulations. The time series of total electrical power from the 32 chambers was compared to the time series of an individual chamber and the standard deviation of the signals were also compared. The OWC array achieved a much smoother power output signal than a device with one chamber. Further smoothing of the output signal is possible by increasing the inertia of the turbine however, this may have implications for the mean efficiency of the power train. A preliminary design of the Well’s turbine is included, both in terms of mechanical parts and generator rating. This paper focusses on the power absorption and motion performance of the device and discusses the potential for the addition of wind turbines.
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Kowalski, Lukasz, and Miguel Garcia Molina. "Hypobaric chamber for wind sensor testing in Martian conditions." In 2011 Spanish Conference on Electron Devices (CDE). IEEE, 2011. http://dx.doi.org/10.1109/sced.2011.5744212.

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Prasad, Deepak D., Mohammed Rafiuddin Ahmed, and Young-Ho Lee. "Effect of Oscillating Water Column Chamber Inclination on the Performance of a Savonius Rotor." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-87313.

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The global power potential of the waves that hit all the coasts worldwide has been estimated to be in the order of 1 TW. On an average, each wave crest transmits 10–50 kW/m of energy and this corresponds to 15 to 20 times more energy per meter than wind or solar energies. Wave energy is environmentally friendly and is the most consistent of all the intermittent sources. While wind, solar and wave are all intermittent, wave is the most consistent. Availability of waves is 90% compared to 30% for wind and solar energy. The oscillating water column (OWC) is the most investigated wave energy converter (WEC). OWC is a partially submerged hollow structure positioned, either vertically or at an angle. The bidirectional flow of air above the water column is used to drive a turbine. Majority of the OWC devices have chambers which are perpendicular to the incident waves. These conventional OWCs suffer severely from flow separation that occurs at the sharp corners of the chamber. In order to address this issue, researchers have proposed inclining the chamber at an angle with respect to the incident waves. This improves the flow characteristics. In addition to this, the flow in the chamber which ultimately decides the turbine performance, also increases. In the present study, the effect of OWC inclination on rotor performance was numerically studied using commercial computational fluid dynamics (CFD) code ANSYS CFX. The results highlight that the 55° inclined OWC showed improved performance when compared to the conventional OWC and current OWC. The maximum power for the inclined OWC was 13% higher than that recorded for the rotor in the current OWC and 28% than that recorded in the conventional OWC at mean wave condition. The 55° inclined OWC recorded peak rotor power of 23.2 kW which corresponded to an efficiency of 27.6% at the mean sea state. The peak power and efficiency at maximum sea state was 26.5 kW and 21.5% respectively. Higher oscillation was observed in the 55° inclined OWC. The combination of increased flow rate and energy in the flow lead to better performance of the 55° inclined OWC.
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"CFD validation of ABL in short wind tunnel chamber along an empty domain." In Engineering Mechanics 2018. Institute of Theoretical and Applied Mechanics of the Czech Academy of Sciences, 2018. http://dx.doi.org/10.21495/91-8-249.

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M Navaratnasamy, J J R Feddes, and I K Edeogu. "Comparison of wind tunnel and vented flux chamber in measuring odour emission rates." In 2004, Ottawa, Canada August 1 - 4, 2004. St. Joseph, MI: American Society of Agricultural and Biological Engineers, 2004. http://dx.doi.org/10.13031/2013.17108.

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St. Clair, Daniel, Christopher Stabler, Mohammed F. Daqaq, Jian Luo, and Gang Li. "A Smart Device for Harnessing Energy From Aerodynamic Flow Fields." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-12301.

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In this work, inspired by music playing harmonicas, we conduct a conceptual investigation of a coupled aero-electromechanical system for wind energy harvesting. The system consists of a piezoelectric cantilever unimorph structure embedded within an air chamber to mimic the vibration of the reeds in a harmonica when subjected to air flow. In principle, when wind blows into the air chamber, the air pressure in the chamber increases and bends the cantilever beam opening an air path between the chamber and the environment. When the volumetric flow rate of air past the cantilever is large enough, the energy pumped into the structure via the nonlinear pressure forces offset the intrinsic damping in the system setting the beam into self-sustained limit-cycle oscillations. These oscillations induce a periodic strain in the piezoelectric layer which produces a voltage difference that can be channeled into an electric load. Unlike traditional vibratory energy harvesters where the excitation frequency needs to match the resonant frequency of the device for efficient energy extraction, the nonlinearly coupled aero-elasto dynamics of this device guarantees autonomous vibration of the cantilever beam near its natural frequency as long as the volumetric flow rate is larger than a certain threshold. Experimental results are presented to demonstrate the ability of this device to harvest wind energy under normal wind conditions.
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Yee, Chi-Tak, and Patrick Spargo. "Wind-Down of a Mature SAGD Steam Chamber at the Dover Project (formerly UTF)." In SPE/CIM Eighth One-Day Conference on Horizontal Well Technology. Society of Petroleum Engineers, 2001. http://dx.doi.org/10.2118/cim-01-09-pt.

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"Impacts of Surface Wind Speed and Deployment Duration on Measuring Accuracy of Closed Chamber." In 2016 ASABE International Meeting. American Society of Agricultural and Biological Engineers, 2016. http://dx.doi.org/10.13031/aim.20162459634.

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Rajani, S. H., Bindu M. Krishna, and Usha Nair. "Stability analysis and temperature effect on the settling chamber pressure of a hypersonic wind tunnel." In 2012 IEEE International Conference on Computational Intelligence and Computing Research (ICCIC). IEEE, 2012. http://dx.doi.org/10.1109/iccic.2012.6510283.

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Reports on the topic "Chamber winds"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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