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Relevant bibliographies by topics / Contemporary flute

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Academic literature on the topic 'Contemporary flute'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Contemporary flute"

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Sakin, Ajda Senol. "Use of Extended Flute Techniques in Flute Education in Turkey." Higher Education Studies 8, no. 1 (December 20, 2017): 1. http://dx.doi.org/10.5539/hes.v8n1p1.

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Extended flute techniques, which are frequently found in contemporary flute literature, carry the flute to a different dimension, pushing the boundaries of composers and performers. Although the number of pieces containing these techniques in the world has increased rapidly, along with Turkish flute repertoire, written Turkish sources about extended flute techniques are limited to theses and articles. In this research, the use of extended flute techniques in flute education programmes in Turkey was investigated. A survey method was used in the research, and 20 teaching staff members participated in the survey by answering the questionnaire. As a result of the research, it was determined that 18 teaching staff members included extended flute techniques in their flute education programmes, and 2 teaching staff members did not use these techniques in flute education, particularly because “the techniques and pieces do not accord with the levels of the students” and because of “the difficulty of the pieces”. In the conclusion, the difficulties faced by the teaching staff during training in extended flute techniques are summarized, and the suggestions of the teaching staff are mentioned.

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Castellengo, Michèle, Benoît Fabre, and Catherine Dale. "The contemporary transverse flute and the shakuhachi: Convergences." Contemporary Music Review 8, no. 2 (January 1993): 217–37. http://dx.doi.org/10.1080/07494469400640111.

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Cambridge, Nicolas. "New Whistle and Flute: Orchestrating Sartorial Performances of Contemporary Masculinities." Fashion Practice 9, no. 2 (March 28, 2017): 183–99. http://dx.doi.org/10.1080/17569370.2016.1258140.

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Howard, Karen. "Traditional Japanese Music in Contemporary Times." General Music Today 33, no. 3 (February 11, 2020): 52–57. http://dx.doi.org/10.1177/1048371320902753.

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Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.

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Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).

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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomenon is born on the productive basis of national genre, namely Ukrainian solo singing. V. Martyniuk realizes artistic creative potential in the singing expressive melody, improvisation, priority of solo representation of musical compositions, the composer removes the assignment of a certain instrument for a specific musical composition, creates the priority for secondo-third interval connections. The author of the article affirms the contemporary conception of Ukrainian instrumental solo singing in the academic instrumental music.

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PUGLIESE, ROMANA MARGHERITA. "The origins of Lucia di Lammermoor's cadenza." Cambridge Opera Journal 16, no. 1 (March 2004): 23–42. http://dx.doi.org/10.1017/s0954586704001776.

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This article addresses the long-controversial dating of the cadenza with flute in the mad scene of Donizetti’s Lucia di Lammermoor. New manuscript sources indicate that the famous cadenza dates not from the first half of the nineteenth century, as musicologists had assumed, but from 1889, when it was added to the opera for Nelly Melba’s performances at the Palais Garnier, Paris. The cadenza was most likely composed by Melba’s teacher Mathilde Marchesi to showcase the light voice and virtuosic technique of her student. Once introduced, the cadenza with flute decisively altered the impact and reception of the mad scene. In the first two decades after the opera’s 1835 première, the mad scene had not been particularly popular, perhaps because it contravened contemporary Italian taste for mad scenes featuring docile, virginal heroines. By the fin de siècle, however, the mad scene was regarded as the highlight of the opera, the excesses of the cadenza resonating with the new vogue for violent and hysterical heroines on the operatic stage.

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CAMPBELL, CAREY. "SOLOIST PARTICIPATION DURING THE TUTTIS OF EIGHTEENTH-CENTURY WOODWIND CONCERTOS." Eighteenth Century Music 7, no. 1 (January 21, 2010): 63–79. http://dx.doi.org/10.1017/s1478570609990455.

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ABSTRACTAlthough the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by statements in contemporary treatises) reveals that many eighteenth-century composers expected woodwind soloists to participate during all or some orchestral ritornellos. Printed and manuscript parts of the period reveal several types of soloist participation, suggesting that the practice was widespread yet also flexible. Reinstatement of the soloist in the tuttis, performing all of the music that eighteenth-century composers asked them to perform, would alter the way these concertos sound, in turn forcing a change in how they are perceived.

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Streitova, Monika. "Types of Vibrato in Contemporary Music and the Possibility of Their Use in Flute Pedagogy." American Journal of Art and Design 5, no. 4 (2020): 97. http://dx.doi.org/10.11648/j.ajad.20200504.13.

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Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (November 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

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Dissertations / Theses on the topic "Contemporary flute"

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Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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Bond, Renee. "Reflections on the collaborative process in five contemporary works for flute and dance." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279908.

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This lecture-recital document evaluates the collaborative process in five American works written for flute and dance. My perspective is that of a musician interpreting and performing music for choreography and dance. This project aims to elevate the significance of collaborative works in general, and in the flutist's repertoire specifically. The second and broader purpose of this study is to identify fundamental elements of the collaborative process. Using five works as a model, I have developed collaborative guidelines that assist musicians, dancers, and choreographers in the performance of these and other works. This study asserts that a shared vision is vital to a successful collaborative experience. An awareness of the differences between musical language and kinesthetic vocabulary is also necessary. In addition, the incorporation of theatrical parameters must be explored. Teamwork, trust, flexibility, and communication must be developed between the performers. Understanding fundamental elements of the collaborative process provides a foundation for bringing music and dance together in performance.

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Day, Kikutsubo Galathea Mikhailovna Mizuno. "Remberance of things past : creating a contemporary repertoire for the archaic jinashi shakuhachi." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550791.

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Cardoso, Miriam Carmen Diniz Talete. "A flauta no contexto da música de câmara contemporânea portuguesa: os últimos 40 anos." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/17520.

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O presente trabalho tem como principal objetivo compreender a evolução da música de câmara em Portugal nos últimos quarenta anos, especificamente a música contemporânea portuguesa e perceber o papel da flauta neste contexto. Para tal fez-se primeiramente uma análise do contexto social, político e cultural bem como os seus principais intervenientes. Analisaram-se as instituições que durante muitos anos foram a referência para o estudo da música assim como o papel dos docentes de flauta na divulgação do repertório camerístico português. Definiram-se algumas instituições promotoras de eventos dedicados à música de câmara, analisando a flauta como instrumento integrante. Por fim foi realizada uma abordagem biográfica de alguns grupos de música de câmara contemporânea portuguesa com flauta, a sua importância e o seu contributo para o tema em estudo; Abstract: The flute in the context of Portuguese contemporary chamber music – The last 40 years. The main purpose of this thesis “The flute in the context of Portuguese contemporary chamber music – The last 40 years” is to understand the evolution of chamber music in Portugal in the last forty years, specifically the Portuguese contemporary music and to understand the role of the flute in this context. Firstly a social, political and cultural analysis was done, as well as to their key players. The institutions that for many years were the reference for the study of music were analyzed, as well as the role of flute teachers in spreading the Portuguese chamber music repertoire. Some institutions that promote events dedicated to chamber music were determined, analyzing the flute as an integral instrument. Finally, a biographical approach of some Portuguese contemporary chamber music groups with flute was done, their importance and their contribution to the subject under study.

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Moldovean, Octavian. "Contextualizing Traditional Influences within Romanian Contemporary Music: Stylistic Elements in Selected Works for Solo Flute by Doina Rotaru, Violeta Dinescu, and Carmen Carneci." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1589748472721111.

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Chambo, Wayla Joy Ewart. "The Devil and the Details: Negotiating Virtuosity, Agency, and Authenticity in Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem for Solo Flute." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799513/.

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Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem presents mental, physical, and musical challenges that go beyond the usual expectations of an instrumentalist, extending and redefining the traditional idea of virtuosity. Using firsthand performance experience, score and recording study, and flutist interviews, this document explores the effects of some of these heightened demands and argues that the particular performance situation presented by Kathinkas Gesang brings up critical questions about the performer’s role, the nature of performance and of the musical work, and the existence of an authoritatively “authentic” interpretation. Employing an expanded definition of virtuosity that includes interpretation and encompasses both choices and actions, the document discusses the extensions of virtuosity into two main areas: first, memory; and second, staging and movement, covering both practical suggestions and larger implications. Finally, it examines how the performer’s negotiation of these challenges relates to questions about authenticity and agency. Performance is defined here as a creative and collaborative act, not attempting to duplicate previous performances or recordings, but rather to give the best realization of the piece possible in the given circumstances, according to the individual’s interpretation of the score’s directions. There is no single “authentic” interpretation, but rather a rich multiplicity of possibilities, and the performer’s creative agency and personal authenticity are necessary for the full realization of the work.

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Ribeiro, Irene Aniceto. "Relatório de prática de ensino supervisionada realizada na Escola de Música de Nossa Senhora do Cabo (Linda a Velha) - A abordagem pedagógica da linguagem musical contemporânea." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29389.

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A primeira parte deste trabalho refere-se ao relatório de estágio, realizado na Escola de Música Nossa Senhora do Cabo em Linda-a-Velha, no âmbito da unidade curricular de Prática de Ensino Supervisionada no Ensino Vocacional de Música do Mestrado em Ensino de Música da Universidade de Évora, sob a orientação da Profª Drª Monika Streitová e da orientadora cooperante Profª Lídia Serejo. Visa enquadrar o universo da instituição, de seguida abordar mais especificamente a classe de flauta transversal, e registar os conhecimentos adquiridos e também as atividades desenvolvidas no âmbito desta parceria. A segunda parte mostra a investigação relativamente à abordagem pedagógica da linguagem musical contemporânea, analisando os benefícios e dificuldades da introdução de obras contemporâneas no ensino da flauta transversal, através de entrevistas realizadas a docentes do instrumento e de análise e pesquisa documental. Apresenta-se também uma recolha de obras contemporâneas portuguesas e a sua categorização por níveis de dificuldade; Report of “Prática de Ensino Supervisionada” at Escola de Música Nossa Senhora do Cabo (Linda-a-Velha) – The Pedagogical Approach to Contemporary Musical Language Abstract: The first part of this work refers to the internship report, carried out at “Escola de Música Nossa Senhora do Cabo” at “Linda-a-Velha”, within the scope of the curricular unit “Prática de Ensino Supervisionada no Ensino Vocacional de Música” in the Master Degree in Music Teaching at Universidade de Évora, under the guidance of Profª Drª Monika Streitová and the cooperative advisor Profª Lídia Serejo. It aims to frame the universe of the institution, then more specifically the flute class, and record the knowledge acquired and also the activities developed within the scope of this partnership. The second part shows the investigation regarding the pedagogical approach of contemporary musical language, analyzing the benefits and difficulties of the introduction of contemporary pieces in the flute teaching, through interviews with flute teachers, and documentary research. There is also a collection of contemporary portuguese pieces and their categorization by levels of difficulty.

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Bukvic, Ivica Ico. "Tabula Rasa." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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Bomfim, Cássia Carrascoza. "O problema do tempo no repertório de obras mistas para flauta solista." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-22092016-134713/.

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O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier
The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.

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González, Lloreda Lucía. "Evolución técnica y sonora dentro del repertorio de música contemporánea para flauta travesera en España." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23163.

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Este trabalho apresenta o estudo da música contemporânea escrita para a Flauta Transversal na Espanha. Centra-se nos eventos musicais, figuras mais representativas e focos de difusão musical de maior importância no século XIX na Espanha. Igualmente foram selecionados os estilos musicais mais influentes da Europa do século XX, que marcaram o ponto de partida de toda a música contemporânea escrita na península neste período. Foi realizado um estudo das principais obras do repertório espanhol contemporâneo escrito para Flauta Transversal. Apresentámos também uma análise estilística e interpretativa de duas obras selecionadas, em quais podemos detectar claramente a evolução tanto na linguagem musical quanto nas possibilidades sonoras do instrumento. Este trabalho baseia-se na necessidade de abrir uma porta para o conhecimento sobre música em Espanha escrita para Flauta Transversal nas últimas décadas do século XIX, bem como no início do século XX; RESUMEN: Este trabajo presenta un estudio de la música contemporánea escrita para Flauta Travesera en España, para ello se me ha echo imprescindible realizar un pequeño recorrido en torno a los acontecimientos históricos, musicales, figuras más representativas y focos de difusión musical de mayor importancia en el siglo XIX en España. Con Posterioridad realizo un pequeño estudio de las corrientes musicales más influyentes en Europa en el siglo XX, que marcaron el punto de inicio de toda la música contemporánea escrita en la península en este periodo. Ya para finalizar el proyecto, se lleva a cabo un estudio de las principales obras del repertorio cotemporáneo español escritas para Flauta Travesera y se realizará un pequeño análisis estlístico e interpretativo donde se podrá ver la evolución tanto en el lenguaje como en las posibilidades sonoras propias del instrumento. Todo este trabajo se fundamenta en la necesidad de abrir una puerta al conocimiento sobre la música en España escrita para Flauta Travesera en torno a las últimas décadas del siglo XIX así como a principios del siglo XX; ABSTRACT: This work presents a study of contemporary music written for Flute Travesera in Spain, for this I have made it essential to perform a short tour around the historical events, musicals, most representative figures and foci of musical diffusion of greater importance in the century XIX in Spain. Later I make a small study of the most influential musical currents in Europe in the twentieth century, which marked the starting point of all contemporary music written on the peninsula in this period. To finish the project, a study of the main works of the Spanish cotemporane repertoire written for Flute Travesera is carried out and a small statistical and interpretative analysis will be carried out where the evolution can be seen both in the language and in the sound possibilities proper to the instrument. All this work is based on the need to open a door to knowledge about music in Spain written for Flute Travesera around the last decades of the nineteenth century as well as at the beginning of the twentieth century.

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Books on the topic "Contemporary flute"

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Koizumi, Hiroshi. Technique for contemporary flute music: For players and composers. Japan: Schott, 1996.

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Variation on a theme. New York, N.Y: HarperTorch, 2001.

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(Editor), Mardi McSullea, Lawrence Whiffin (Editor), and Richard Vella (Editor), eds. Contemporary Australian Flute (Currency Music). Currency Press, 1998.

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Hal Leonard Publishing Corporation (COR). Contemporary Christian Music Hits: Flute. Hal Leonard Corporation, 2004.

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(Editor), Mardi McSullea, Lawrence Whiffin (Editor), and Richard Vella (Editor), eds. Contemporary Australian Flute (Currency Music). Currency Press, 1998.

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Renaissance Flute: A Contemporary Guide. Oxford University Press, Incorporated, 2020.

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Renaissance Flute: A Contemporary Guide. Oxford University Press, Incorporated, 2020.

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Hal Leonard Publishing Corporation (COR). Contemporary Gospel Favorites: Flute or Violin. Hal Leonard Corporation, 1988.

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Elderberry Flute Song: Contemporary Coyote Tales. 4th ed. White Pine Press (NY), 2002.

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Elderberry Flute Song Contemporary Coyote Tales. White Pine Pr, 1989.

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Book chapters on the topic "Contemporary flute"

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Habbestad, Bjørnar. "No Flute Is an Island, Entire of Itself. Transgressing Performers, Instruments and Instrumentality in Contemporary Music." In Musical Instruments in the 21st Century, 315–25. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_20.

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Benítez, Joaquim M., and Matsushita Hitoshi. "A Survey of Contemporary Music for Shakuhachi." In Flute and Shakuhachi, 239–56. Routledge, 2020. http://dx.doi.org/10.4324/9781315077192-11.

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Castellengo, Michèle, and Benoît Fabre. "The Contemporary Transverse Flute and the Shakuhachi: Convergences." In Flute and Shakuhachi, 217–37. Routledge, 2020. http://dx.doi.org/10.4324/9781315077192-10.

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Yoshikazu, Iwamoto. "The Potential of the Shakuhachi in Contemporary Music." In Flute and Shakuhachi, 5–44. Routledge, 2020. http://dx.doi.org/10.4324/9781315077192-2.

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Denyer, Frank. "The Shakuhachi and the Contemporary Music Instrumentarium: A Personal View." In Flute and Shakuhachi, 45–52. Routledge, 2020. http://dx.doi.org/10.4324/9781315077192-3.

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"14. A Question to the Man Who Blew the Flute. The Rats of Hamelin." In The Voyage of Contemporary Japanese Theatre, 68–71. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824865160-016.

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Anno, Mariko. "Introduction." In Piercing the Structure of Tradition, 1–22. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.003.0001.

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This chapter investigates flute performance as a space for exploring the relationship between tradition and innovation and traces the characteristics of the nohkan and its music. It examines the musical structure and nohkan melodic patterns of five traditional Noh plays. It also assesses the degree to which Issō School nohkan players maintain the continuity of their musical tradition in three contemporary Noh plays inspired by the twentieth-century Irish poet William Butler Yeats. The chapter reviews three contemporary works draw upon Yeats's At the Hawk's Well, which was influenced by Noh drama. The chapter argues that traditions of musical style and usage remain vastly influential in shaping contemporary Noh composition and performance practice, and that the freedom within fixed patterns can be understood through a firm foundation in Noh tradition.

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Conference papers on the topic "Contemporary flute"

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Zhou, Ningbo. "Analysis on the Feasibility of Introducing the National Instrument Bamboo Flute into the Music Class of Primary and Secondary Schools." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.116.

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Xue, Ming. "Analysis on the Performing Techniques of Chinese-style Piano Music Take the adapted piano music “Flute and Drum at Sunset” of Li Yinghai as Example." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.30.

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Zhou, Ningbo. "Study on the Relationship Among Different Forms of Flutes and Tang Poetry." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.006.

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Balash, Cheslav, David Sterling, Matt Broadhurst, Arno Dubois, and Morgan Behrel. "Hydrodynamic Evaluation of a Generic Sail Used in an Innovative Prawn-Trawl Otter Board." In ASME 2015 34th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/omae2015-41335.

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Abstract:

In prawn-trawling operations, otter boards provide the horizontal force required to maintain net openings, and are typically low aspect ratio (∼0.5) flat plates operating on the seabed at high angles of attack (AOA; 35–40°). Such characteristics cause otter boards to account for up to 30% of the total trawling resistance, including that from the vessel. A recent innovation is the batwing otter board, which is designed to spread trawls with substantially less towing resistance and benthic impacts. A key design feature is the use of a sail, instead of a flat plate, as the hydrodynamic foil. The superior drag and benthic performance of the batwing is achieved by (i) successful operation at an AOA of ∼20° and (ii) having the heavy sea floor contact shoe in line with the direction of tow. This study investigated the hydrodynamic characteristics of a generic sail by varying its twist and camber, to identify optimal settings for maximum spreading efficiency and stability. Loads in six degrees of freedom were measured at AOAs between 0 and 40° in a flume tank at a constant flow velocity, and with five combinations of twist and camber. The results showed that for the studied sail, the design AOA (20°) provides a suitable compromise between greater efficiency (occurring at lower AOAs) and greater effectiveness (occurring at higher AOAs). At optimum settings (20°, medium camber and twist), a lift-to-drag ratio >3 was achieved, which is ∼3 times more than that of contemporary prawn-trawling otter boards. Such a result implies relative drag reductions of 10–20% for trawling systems, depending on the rig configuration.

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