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1
Siegfried, Abbey Hallberg. "Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11366.
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Cagle, Caroline Woodell. "Technology in Society: The Pipe Organ in Early Modern England." Diss., Virginia Tech, 2002. http://scholar.lib.vt.edu/theses/available/etd-04172003-005110.
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Disley, Alastair Christian. "An exploration of timbral semantics related to the pipe organ." Thesis, University of York, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415171.
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Smith, Charles Walter 1951. "Wilderness management and use in and for Organ Pipe Cactus National Monument." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/291906.
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This study examines the wilderness use in Organ Pipe Cactus National Monument. A tabulation of the Backcountry Use Permits reveals the usage of different parts of the monument wilderness. Along with a discussion of the National Park Service Visitor Survey, the tabulation explains the visitor usage in terms of desirable and undesirable recreational features. A review of other Federal Agencies' Wilderness Management Plans and Proposals provides an overview of problems, deficiencies, and operational management strategies of Wilderness Management. Finally, a series of recommendations are offered to assist Organ Pipe Cactus National Monument in the development of a workable Wilderness Management Plan and to help the visitor understand the effects of the recreational visit on the fragile desert environment.
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Corron, Ashley. "Energy generation with greywater reuse systems| The case of organ pipe cactus national monument." Thesis, The University of Arizona, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252103.
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At the rate the population is growing it is important to find ways to be more efficient with the energy and water we use. The increase in population increases the need for electricity and water, but the way we are using our sources will not leave us with enough for future generations. The constant use of “dirty energy”, energy that emits CO2 and other chemicals into the atmosphere, will continue to harm our environment. A new system is needed to help preserve water and produce green energy that will not harm the only earth we have.
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Corron, Ashley, and Ashley Corron. "Energy Generation with Greywater Reuse Systems: The Case of Organ Pipe Cactus National Monument." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/622898.
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At the rate the population is growing it is important to find ways to be more efficient with the energy and water we use. The increase in population increases the need for electricity and water, but the way we are using our sources will not leave us with enough for future generations. The constant use of "dirty energy", energy that emits CO2 and other chemicals into the atmosphere, will continue to harm our environment. A new system is needed to help preserve water and produce green energy that will not harm the only earth we have.
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Woolley, Alan G. "The physical characteristics of mechanical pipe organ actions and how they affect musical performance." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25337.
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Many organists believe that one of the main advantages of mechanical actions, i.e. those in which there is a direct and uninterrupted mechanical link from the key which the player moves to the pallet valve that admits air to the pipes, is that they allow the player to control the pallet and thus influence the initial sound of the pipe. This project looks at how the key and pallet actually move compared with what the player believes is happening. Measurements of the movement of the keys and, where possible, the pallets were made using LED and laser distance sensors, with the organists being asked to play in a variety of styles that they believed resulted in the keys moving at significantly different speeds. Sound recordings were made in order to compare the transients. The results showed that the key movement could be broken down into two distinct parts. The first part is the movement before pluck and thus before the pallet starts opening in which the flexibility of the action was taken up. The relative length of this movement varied very considerably even on short and rigid actions showing elongations when players believed that they were moving the key slowly. The movement after pluck, and thus during which the pallet was opening and admitting air to the pipes, did not vary greatly and in some cases, despite the player very deliberately trying to vary the speed, remained nearly constant. It could be clearly shown that attempts to vary the speed of key movement were, in fact, resulting in distinct rhythmic changes. The conclusion is that although players vary the time of the complete key movement, any difference occurs mostly in the part of the key movement before the pallet starts opening and thus cannot have any influence on the initial transient.
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Bowen, Thomas. "Hunting the Elusive Organ Pipe Cactus on San Esteban Island in the Gulf of California." University of Arizona (Tucson, AZ), 2003. http://hdl.handle.net/10150/555908.
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McVicker, William Richard. "An analytical approach to open, cylindrical organ-pipe scaling from a historical perspective with specific reference to the scaling practices of selected organ-builders." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/1551/.
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Taylor, Alan. "The effects of centrifugal blowers, control valves, attenuating devices and reservoir resonance on organ pipe flutter." Thesis, University of Salford, 2019. http://usir.salford.ac.uk/49776/.
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The aim of this research is to investigate the noticeable organ pipe flutter that may, under certain conditions, exist on a sounding organ pipe. The effectiveness of a pipe organ wind system is notoriously difficult to predict. For many years pipe organ builders have been aware of organ pipe flutter and several have tried to address the problem with little success. For pureness of tone it is important that the wind system is perfectly steady and without any imperfections that may cause organ pipe flutter. A survey of 83 UK pipe organs, was conducted by 8 organ tuners, confirms that 57% of the pipe organs surveyed had organ pipe flutter. Organ pipe flutter is particularly noticeable when tuning pipework or playing single notes. During this condition there is "no flow" in the duct connecting the blower to the reservoir. Using a specially constructed test apparatus, built from pipe organ components, this research examines the conditions necessary to produce organ pipe flutter, and how organ pipe flutter may be eliminated. Employing a microphone to measure a sounding test organ pipe and an accelerometer to measure the vibration of a reservoir top, various pipe organ wind system elements are examined and correlated with the excitation and attenuation of the reservoir top vibration and organ pipe flutter. The reservoir acts as a mass spring system. For weighted wind systems the mechanical mass, which may exceed 100kgs, is the dominant factor. For sprung reservoir wind systems, the mass is approximately 25% of that for a weighted system and is less dominant. Results indicate that under certain conditions, the blower excites the reservoir at its natural resonant frequency with sufficient amplitude to cause unwanted amplitude modulation on a sounding organ pipe. Results are systematically presented for weighted and sprung reservoir wind systems, organ blowers and the effects of blade frequencies, reservoir control valves, and attenuating devices inserted between the blower and the reservoir, to determine their effect on reservoir top vibration and the development of organ pipe flutter. With this knowledge, the pipe organ builder will be able to build pipe organs with improved wind systems and flutter free pipework.
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Fresolone, Christopher. "The Pedagogical Use of Gerald Near's "Chantworks"." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228432.
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Gerald Near's Chantworks has pedagogical value for the intermediate-level organ student seeking to attain advanced-level skills. Chantworks, composed for organ solo, is a collection of twenty-three pieces of short to moderate duration, based upon Gregorian chants. Gerald Near is an established composer who has won awards, completed numerous commissions, and published a multitude of organ and choral works. The Chantworks pieces are analyzed for their usefulness in the development of the following skills: (1) the advanced use of the expression pedal; (2) advanced manual changes and registration changes; (3) voice-crossing; and (4) the ability to play Gregorian chants with rhythmic sensitivity and appropriate phrase shaping. The study highlights the particular usefulness of Near's collection by comparing its technical demands to selected organ instructional books and musical collections that have been identified as having pedagogical value. This study provides a definition of an "intermediate organist," listing techniques acquired from the successful completion of any of the selected organ pedagogy publications. An examination of selected organ pedagogy publications addresses several techniques characteristic of pipe organ performance mastery that are not emphasized in the method books, but that would be necessary for an organist to acquire in order to tackle the more difficult works of the organ literature. Musical examples and explanations will illustrate how these other techniques can be learned and practiced in a structured manner through the study of pieces from Gerald Near's Chantworks collection. Several pieces within Chantworks contain passages that have pedagogical bearing on aspects of general musicianship, such as irregular meters and cross rhythms. Appendix A includes a compilation of information about each piece within the Chantworks collection, with emphasis on each piece's compositional style, pedagogical merits, and other details worthy of analysis.
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Cortes, Michael. "Symphony No. 1 “The Galilean Satellites”." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277155445.
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Yarnelle, Edward Joseph. "Pipe and electronic church organ acquisitions since 1975 in selected Roman Catholic parishes in the United States." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722778.
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A survey was conducted to determine current conditions pertaining to church organ acquisitions and renovations in selected Roman Catholic parishes in the United States. A need exists to ascertain what problems are occurring with the process of organ acquisition, what solutions are possible, and how trends in organ acquisition are measuring up with the principles outlined by Vatican II.Addresses of organ companies were obtained from the current National Association of Pastoral Musician's Organ Builders Directory_ (1988). The 105 organ companies queried sent the researcher the addresses of 711 past and current Roman Catholic customers; each customer was sent a questionnaire. Fifty-eight percent of the contacts responded, supplying significant information from 362 parishes in the forty-eight contiguous United States. Information was obtained regarding: organ installation/renovation, selection, organ companies considered, console placement, parish size, age of church building, fund-raising, greatest difficulties experienced, points of advice based on experience, diocesan organ acquisition policies, acoustical concerns, and reasons for choosing a pipe or an electronic instrument.Reviews of related research and discussions of current publications, Roman Catholic church music legislation, new technologies used for accompanying church music, and differing opinions of church leaders supplement the survey research.Parishes reported their most difficult problems encountered during organ acquistion and offered their best points of advice for avoiding problems. The data include opinions regarding pipe and electronic instruments; organ companies frequently utilized; examples of sucessful organ console placement; the status and examples of diocesan written policies concerning keyboard accompaniment instruments; the benefits of combining fund-raising with parish education and communication; and the need for greater concern and education regarding acoustics.Case studies describe Roman parishes that achieved quality worship services after thorough preparations for their organ acquisition. Beginning parishes need the greatest amount of help for organ planning. Conclusions call for national-level attention and education about the organ acquisition process, and encourage dioceses to facilitate this goal with well-written policies.School of Music
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Del, Valle Tanya M. "Comparative Growth Rates of the Extinct Coral Montastraea nancyi: A Dominant Framework Builder in the Pleistocene (MIS 5e) Reefs of Curacao, Netherland Antilles." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1352403807.
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Nauman, Travis William. "Digital Soil-Landscape Classification for Soil Survey using ASTER Satellite and Digital Elevation Data in Organ Pipe Cactus National Monument, Arizona." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/193446.
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Digital soil mapping supervised and unsupervised classification methods were evaluated to aide soil survey of unmapped areas in the western United States. Supervised classification of landscape into mountains and basins preceded unsupervised classification of data chosen by iterative data reduction. Principal component data reduction, ISODATA classification, Linear combination of principal components, Zonal averaging of linear combination by ISODATA class, Segmentation of the image into polygons, and Attribution of polygons by majority ISODATA class (PILZSA process) comprised steps isolating unique soil-landscape units. Input data included ASTER satellite imagery and USGS 30-m elevation layers for environmental proxy variables representing soil forming factors. Results indicate that PILZSA captured general soil patterns when compared to an existing soil survey while also detecting fluvial soils sourced from different lithologies and unique mountain areas not delineated by the original survey. PILZSA demonstrates potential for soil pre-mapping, and sampling design efforts for soil survey and survey updates.
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Alcorn-Oppedahl, Allison A. (Allison Ann). "Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278307/.
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Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument.
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Fischer, Jost. "Über Synchronisationsphänomene nichtlinearer akustischer Oszillatoren." Master's thesis, Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2013/6361/.
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In dieser Arbeit werden die Effekte der Synchronisation nichtlinearer, akustischer Oszillatoren am Beispiel zweier Orgelpfeifen untersucht. Aus vorhandenen, experimentellen Messdaten werden die typischen Merkmale der Synchronisation extrahiert und dargestellt. Es folgt eine detaillierte Analyse der Übergangsbereiche in das Synchronisationsplateau, der Phänomene während der Synchronisation, als auch das Austreten aus der Synchronisationsregion beider Orgelpfeifen, bei verschiedenen Kopplungsstärken. Die experimentellen Befunde werfen Fragestellungen nach der Kopplungsfunktion auf. Dazu wird die Tonentstehung in einer Orgelpfeife untersucht. Mit Hilfe von numerischen Simulationen der Tonentstehung wird der Frage nachgegangen, welche fluiddynamischen und aero-akustischen Ursachen die Tonentstehung in der Orgelpfeife hat und inwiefern sich die Mechanismen auf das Modell eines selbsterregten akustischen Oszillators abbilden lässt. Mit der Methode des Coarse Graining wird ein Modellansatz formuliert.In this study, synchronization properties observed in a system of nonlinear acoustic oscillators in form of two coupled organ pipes are investigated. From given measurements we extract the effects of synchronization one would expect typically. Furthermore we set our focus to the domains of transition into the synchronization region, when the system is complete synchronized and when it tears off, under the condition of different coupling strengths. We analyze and discuss the observed phenomena concerning their nonlinearities. Using numerical, fluid-dynamic and aeroacoustic simulation techniques we investigate how an organ pipe can be understand as a self-sustained, acoustic oscillator. With the results of the numerical simulations we show, how to reduce the complex fluid-dynamical interplay with the acoustic field inside the pipe to a self-sustained acoustic oscillator. For this process we use the coarse graining method.
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Goodman, Brian Scott 1958. "Hydrogeology of the Quitobaquito Springs area, La Abra Plain, and the Rio Sonoyta Valley, Organ Pipe Cactus National Monument, Arizona and Sonora, Mexico." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/278243.
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A hydrogeological study was performed on the cross-boundary valley between Organ Pipe Cactus National Monument, Arizona and the Rio Sonoyta Valley, west of Sonoyta, Mexico. The study was carried out to evaluate present hydrologic conditions in the valley and to assess the impact of irrigation ground-water withdrawals in Sonora on water resources in the Monument and in particular the spring system in the Quitobaquito Hills. Through evaluation of available hydrogeologic data, three main aquifers were identified in the north half of the valley. These are the alluvial basin fill and fan system of La Abra Plain, the fractured crystalline rock system of the pediments of the Quitobaquito Hills, and the fluvial aquifer associated with the active channel of the Rio Sonoyta. A detailed evaluation of the location, discharge, and radioisotope composition of the springs in the Quitobaquito Hills was made to characterize the ground-water flow system supplying the springs and to evaluate the possible effects of irrigation withdrawals in Sonora on their discharge. (Abstract shortened by UMI.)
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Batista, Gisele Sant'Ana. "Os órgãos de tubos de Guilherme Berner na cidade do Rio de Janeiro /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95157.
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Orientador: Dorotéa Machado KerrResumo: Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico - dissertações, livros, artigos e entrevistas - bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro.
Abstract: Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner's arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro.
Mestre
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Alsalih, Hussein Ali Naser, and Hussein Ali Naser Alsalih. "Methodology for Daylight Optimization towards Net Zero Buildings in Hot Arid Climate Case Studies the Visitor Center at the Organ Pipe Cactus National Monuments, Ajo, Arizona." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626727.
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World energy consumption attends to increase in all sectors, which leads to more CO2 emissions and air pollution. In 2016, the Energy Information Administration (EIA) projects that world energy consumption will increase up to 48% by 2040. The building sector is the largest consumer of the energy. Consequently, the global needs a universal proposal to mitigate and reduce the impacts on the environment and the natural resources. The energy consumption is accumulative of different aspects, such as buildings, transportation, industrial and other sectors. The building sector is the largest consumer of the energy.
The energy consumption in the building is accumulative of different aspects of the annual usage, such as cooling, heating, lighting, and others. For instance, lighting consumes up to 22 % in the commercial buildings and 14% in the residential buildings in the hot-arid climate (Arizona). Therefore, this study focuses on proposing a method of daylight optimization that leads to Net-zero energy buildings in the hot-arid climate. Achieving Net Zero buildings needs high efficient buildings at the first step to make the task more affordable. By exploring and applying the daylight optimization strategies, energy consumption will be reduced in the way that cut down the CO2 emissions and the air pollution. These strategies attempt to turn off the artificial lighting during the useful daylight illuminance and provides a comfortable level for the occupancies. The Daylight passive technique usually categories under three main topics, which are the Sidelighting, Toplighting, and Corelighting. Furthermore, the daylight performance is assessed through different methods, such as daylight factor, daylight autonomy, glare index and the useful daylight illuminance. The method in this study is proposing passive daylight strategies and, testing how the new strategy would contribute to achieving the net-zero status, and validate the results (physical and digital experiments have been conducted to achieve the optimum proposal) to maintain the daylight through the building envelope (shading device, and fenestrations orientation sizes and materials).
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Carpinetti, Miriam Emerick de Souza. "O orgão tubular : guia pratico sobre seu idiomatico com ilustrações dos Quadros de uma Exposição de Moussorgski." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284709.
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Acompanha 2 CD-ROMOrientador: Edmundo Pacheco Hora
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Com interesse em difundir o órgão, instrumento distante do público brasileiro, esta dissertação de mestrado articulará informações práticas de consulta sobre suas características físicas e qualidades expressivas. Não estando o órgão, inserido na atual cultura brasileira, uma vez que há pouca divulgação do instrumento, em face de escassa produção de obras nacionais e pouca literatura em português, esta pesquisa torna-se, assim, um importante referencial para seu estudo. Ela visa prover um material prático de consulta para a compreensão do idiomático do órgão tubular bem como de sua escrita, seu funcionamento e suas características fônicas, utilizando como ilustração, diferentes transcrições da obra "Quadros de uma Exposição" (1874) de Modeste Petrovich Moussorgsky (1839-1881). O trabalho é composto de dois capítulos. No primeiro, são apresentadas informações como a descrição do instrumento, sua notação e técnica interpretativa, ilustradas por exemplos extraídos das transcrições para órgão, no segundo. Neste, comparam-se os diversos procedimentos utilizados nas transcrições publicadas e gravadas, especialmente apontando dentro desse universo, os procedimentos menos fiéis ao texto original. Este trabalho mostrará os elementos de notação, textura, tessitura, dinâmica, registração, resultados tímbricos e acústicos, os quais são muito diversificados, devido ao fato dos autores das transcrições serem oriundos de países europeus que cultivaram, durante séculos, tradições organísticas diferenciadas. É intenção, pois, que esta pesquisa sirva de apoio para a compreensão da arte de registrar, das adaptações que os organistas precisam fazer ao interpretarem obras em diferentes órgãos, assim como para a realização de composições e transcrições idiomáticas.
Abstract: Aiming at exposing the organ, an instrument distant from the Brazilian audiences, this dissertation will deal with practical information for consulting the organ's physical characteristics and its expressive qualities. Due to little exposure, and scarce production of national works for this instrument, together with scarce literature on this subject in Portuguese and the organ's not being included in current Brazilian culture, this research presents itself as an important reference for the study of the organ. It envisages to be a practical research material for the understanding of the pipe organ's idiomatic writing, its functioning and its sound characteristics, these being illustrated by different transcriptions of Modeste Petrovich Mussorgsky's (1839-1881) Pictures at an Exhibition (1874). This project has two chapters. In the first one, data like the description of the instrument, its notation and interpretive techniques are presented; and in the second they are illustrated with examples taken from transcriptions for the organ. In the latter, various procedures utilized in published and commercial transcriptions and recordings are compared, especially pinpointing the procedures which are less faithful to the original text in that universe. This work will show the elements of notation, texture, tessitura, registration, timbre and acoustic results, which are highly varied due to the fact that the authors of such transcriptions having come from different European countries which cultivated differentiated organ traditions along the centuries. The intent of this dissertation is thus to support one in the art of registration, in the adaptations that organists need to make when interpreting pieces on different organs, as well as in the rendering of compositions and idiomatic writings.
Mestrado
Mestre em Música
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Oliveira, Sérgio de Carvalho. "Aspectos de linguagem organística em Das Wohltemperierte Clavier - 'O cravo bem temperado' - Estilo antigo e temperamento moderno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17112015-103754/.
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O objetivo da presente pesquisa é, decifrando o significado do termo Clavier (-teclado?, em sentido genérico), na obra tecladística de J. S Bach - especialmente nos Prelúdios e Fugas que compõem Das Wohltemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - concentrar-se naqueles que apresentam maiores problemas de execução ao cravo e propor uma leitura dessas peças ao órgão de tubos, levando em conta a linguagem instrumental de cada instrumento.The objective of the present study remains in the meaning of the word Clavier (-keyboard?, in a general sense) in Bach\'s keyboard works - especially the Preludes and Fuges of Das Wolhtemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - to focus in those pieces that presents more difficulties to perform on a harpsichord and suggest a pipe organ performance according to each instrumental language.
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Batista, Gisele Sant'Ana [UNESP]. "Os órgãos de tubos de Guilherme Berner na cidade do Rio de Janeiro." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95157.
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batista_gs_me_ia.pdf: 2073531 bytes, checksum: a55c07f0cac8a7ae6122a25baef41954 (MD5)Universidade Estadual Paulista (UNESP)
Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico – dissertações, livros, artigos e entrevistas – bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro.
Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner’s arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro.
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Bergweiler, Steffen. "Körperoszillation und Schallabstrahlung akustischer Wellenleiter unter Berücksichtigung von Wandungseinflüssen und Kopplungseffekten : Verändern Metalllegierung und Wandungsprofil des Rohrresonators den Klang der labialen Orgelpfeife?" Phd thesis, Universität Potsdam, 2005. http://opus.kobv.de/ubp/volltexte/2006/656/.
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Am Beispiel der Orgelpfeife wurde der Einfluss der Wandungsgeometrie
des akustischen Wellenleiters auf die Schallabstrahlung untersucht.
Für verschiedene Metalllegierungen wurden unterschiedliche Profile
der Orgelpfeifenwandung verglichen: ein konisches Wandungsprofil mit
zur Mündung hin abnehmender Wandungsstärke und ein paralleles
Wandungsprofil mit konstanter Wandungsstärke. Für eine hohe
statistische Sicherheit der Ergebnisse wurden sämtliche
Untersuchungen an vier mal zehn Testpfeifen durchgeführt. Mit
Ausnahme der beschriebenen Unterschiede sind die Pfeifen von
gleichen Abmessungen und auf gleichen Klang intoniert.Die Überprüfung der Wandungseinflüsse auf den Klang besteht aus drei verschiedenen Untersuchungen: Erstens, einer subjektiven Hinterfragung der Wahrnehmbarkeit in einem Hörtest. Zweitens wurde der abgestrahlte Luftschall objektiv gemessen und das Spektrum der Pfeifen in seinen Komponenten (Teiltöne, Grundfrequenz) verglichen. Drittens wurde mit einer neuartigen Messtechnik die Oszillation des Pfeifenkörpers (ein einem akustischen Monopol entsprechendes "Atmen" des Querschnitts) untersucht. Die Ergebnisse belegen die Wahrnehmbarkeit unterschiedlicher Wandungsprofile als auch klare objektive Differenzen zwischen den emittierten Schallspektren. Ein Atmen mit guter Korrelation zur inneren Druckanregung bestätigt den Einfluss wandungsprofilabhängiger Oszillationen auf den Klang der Orgelpfeife. Schließlich wurde die Interaktion zweier in Abstand und Grundfrequenz nah beieinander liegender Orgelpfeifen überprüft. Als Ursache des dabei wahrnehmbaren Oktavsprung des Orgeltons konnte eine gegenphasiger Oszillation des Grundtons beider Pfeifen nachgewiesen werden.
The influence of the wall geometry of an acoustic waveguide on the sound radiation has been investigated on the example of the steady sound quality of an organ pipe. At the example of two different pipe materials two different pipe wall geometries were compared: a wedge-shaped conical wall profile with a decreasing wall strength towards the pipes open end and a constant wall profile with no change in wall strength, respectively. For statistic safety all investigations were exercised on a large test pipe series of 4 by 10 pipes, unique to our knowledge. Apart from the described differences, all pipes are produced and intonated to be as equal as possible.
The verification of the wall geometries influences is based on three investigations: First, a subjective evaluation of the audible differences was performed. Second, differences in the broad spectra, the level of the harmonics partials and in the fundamental frequency were detected in an anechoic chamber. Third, with a new measurement technique we examined the oscillation of the pipe body (monopolic breathing of the pipe bodies cross-section) as source of the detected differences in the sound. The results show clear audible difference which are supported by measurable differences in airborne sound and body oscillations of the investigated pipes. Finally the interaction of two organ pipes closely space in frequency and distance has been investigated. The subjective impression of frequency doubling was detected as an anti-phase phase oscillation of the fundamental tone of both pipes leading to a dominance of the second harmonic.
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Cecilio, Handel 1963. "A arte organística nos Mosteiros Beneditinos do Brasil Colonial e Imperial : seus órgãos, organistas e organeiros." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285260.
Full textAbstract:
Orientador: Helena JankTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O órgão de tubos, mesmo não tendo sua gênese dentro do ambiente eclesiástico, foi pela Igreja Cristã adotado e convertido em um instrumento litúrgico por excelência, tendo sido consagrado no século XVI pelo Concilio de Trento. Neste ambiente, foi possível ao órgão ter seu desenvolvimento técnico de construção, e a ampliação de seus recursos e de variedades tímbricas. A arte organística brasileira, com raízes na escola de organaria ibérica, teve início no século XVI, sendo mantida a tradição organística ao longo dos séculos seguintes. A princípio foram usados pequenos órgãos positivos de mesa e órgãos realejos vindos de Portugal. Posteriormente, no século XVIII, a Coroa Portuguesa supre as catedrais e igrejas brasílicas com grandes órgãos fixos. Ainda neste mesmo século, os órgãos começam a ser construídos in loco, quando ocorre a gênese da organaria brasileira. Considerando-se o desaparecimento da grande maioria dos órgãos de tubos dos períodos colonial e imperial brasileiro, através de um levantamento histórico documental se tornou possível um resgate destes instrumentos. Diversos documentos eclesiásticos registraram compras de órgãos de tubos, gastos com assentos e manutenção desse instrumentos, como também pagamentos aos organistas. Os cronistas de época e os diários de viajantes, como fontes de dados, citam o uso destes instrumentos. A arte organística da Ordem de São Bento se manifesta através de seus órgãos adquiridos, de seus monges organistas e organeiros. Os mosteiros beneditinos portugueses e brasileiros adotaram o órgão de tubos como o instrumento de seus Ofícios Divinos, mantendo essa tradição até os dias atuais. Objetivando resgatar a arte e a tradição organística colonial e imperial brasileira, levantou-se, por meio de registros documentais e de crônicas de época, os órgãos, organistas e organeiros, em uma abordagem detalhada, concisa e objetiva
Abstract: The pipe organ, while not having its genesis within the church environment, was adopted by the Christian Church and converted into a liturgical instrument par excellence, having been consecrated in the sixteenth century by the Council of Trent. In this environment, it was possible to have and this tradition body building technical development, and expansion of its resources and timbral variety. The Brazilian organ-related art, with roots in the school of Iberian organ building, began in the sixteenth century, the organ-related tradition was maintained throughout the following centuries. At first, small positive organs table and realejos organs coming of Portugal were used. Later, in the eighteenth century, the Portuguese Crown meets the Brazilian cathedrals and churches with large fixed pipe organs. Also in this same century, the organs begin to be built in situ, occurring when the genesis of Brazilian organ building. Considering the disappearance of most pipe organs of colonial and Brazilian imperial periods, through a documentary historical survey became possible ransom these instruments. Various church documents recorded purchases of pipe organs, install and maintenance of this instruments, as well as payments to organists. The chroniclers of the time and the diaries of travelers, such as data sources, mentioning the use of these instruments. The organ-related art of the Order of Saint Benedict is manifested through acquired of their pipe organs, their organist monks and organ builders. The Portuguese and Brazilian Benedictine monasteries adopted the pipe organ as the instrument of his divine service, keeping this tradition to the present day. Aiming to rescue the organ-related art and colonial and Brazilian imperial tradition, rose through documentary records and chronicles of the time, the organs, organists and organ builders, in a detailed, concise and objective approach
Doutorado
Fundamentos Teoricos
Doutor em Música
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Hamadicharef, Brahim. "Artificial intelligence-based approach to modelling of pipe organs." Thesis, University of Plymouth, 2005. http://hdl.handle.net/10026.1/1694.
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The aim of the project was to develop a new Artificial Intelligence-based method to aid modeling of musical instruments and sound design. Despite significant advances in music technology, sound design and synthesis of complex musical instruments is still time consuming, error prone and requires expert understanding of the instrument attributes and significant expertise to produce high quality synthesised sounds to meet the needs of musicians and musical instrument builders. Artificial Intelligence (Al) offers an effective means of capturing this expertise and for handling the imprecision and uncertainty inherent in audio knowledge and data. This thesis presents new techniques to capture and exploit audio expertise, following extended knowledge elicitation with two renowned music technologist/audio experts, developed and embodied into an intelligent audio system. The Al combined with perceptual auditory modeling ba.sed techniques (ITU-R BS 1387) make a generic modeling framework providing a robust methodology for sound synthesis parameters optimisation with objective prediction of sound synthesis quality. The evaluation, carried out using typical pipe organ sounds, has shown that the intelligent audio system can automatically design sounds judged by the experts to be of very good quality, while significantly reducing the expert's work-load by up to a factor of three and need for extensive subjective tests. This research work, the first initiative to capture explicitly knowledge from audio experts for sound design, represents an important contribution for future design of electronic musical instruments based on perceptual sound quality will help to develop a new sound quality index for benchmarking sound synthesis techniques and serve as a research framework for modeling of a wide range of musical instruments.
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Bonamigo, Rudimar. "Improvisação coral sobre "Victimae Paschali" de Charles Tournemire : uma abordagem analítica e interpretativa para a elaboração de uma edição de performance." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/98155.
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O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital.The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.
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Pinto, Robin Lothrop. "Cattle Grazing in the National Parks: Historical Development and History of Management in Three Southern Arizona Parks." Thesis, The University of Arizona, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625734.
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This dissertation traces the history of cattle grazing at Saguaro NP, Organ Pipe Cactus NM and Fort Bowie NHS in southern Arizona. This collection of studies examines the factors affecting that use, the ranchers who made their living from the landscape, and the federal land managers responsible for sustaining the natural and cultural resources.
A dominant industry on arid public lands since the Civil War, grazing was altered by a variety of influences: environmental and human-derived. Ranching communities developed from homesteading settlements. Success was determined by climate, topography, and natural resources; social and cultural pressures; economic events and political legislation; and later federal regulations and decisions.
The first agency to oversee grazing, USFS was under constant pressure to maximize short-term human benefits. The NPS Organic Act of 1916 mandated conservation of natural resources "by such means as will leave them unimpaired for future generations" and yet approved cattle grazing, an extractive use, under USFS management. Park managers were frustrated by grazing practices not under their control. Parks were at a cultural and social disadvantage. Residents and politicians often expressed displeasure at park reservations; communities feared that parks would interfere with local industries.
Park employees supervised visitors and developed recreation infrastructure; they came with little experience to manage livestock. Lack of funding for research, limited manpower, and political and administrative interference allowed cattle grazing to continue unregulated for decades altering vegetation and enhancing erosion. In the 1960s, changing values from the environmental movement, the waning power of the livestock industry, and the rise of activist scientists impelled NPS to act. Without monitoring data, NPS turned to legal opinions to terminate grazing.
Now grazing is regulated and carefully monitored. NPS is mandated to incorporate research results into management decisions. Older grazing permits are being retired, but land acquisitions for park additions add new management challenges. Purchasing permits offers a new but financially limited opportunity to protect sensitive lands. Grazing has ended at all three parks, yet ecological changes and historic structures remain. As cultural and administrative legacies, those remnants offer opportunities to interpret a significant regional tradition and an untold controversy.
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Cecilio, Handel 1963. "O orgão setecentista da Igreja do Carmo de Diamantina : seus enigmas e sua estreita ligação com o orgão de Corregos." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285141.
Full textAbstract:
Orientador: Edmundo Pacheco HoraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Órgão de Tubos da Venerável Ordem Terceira do Carmo de Diamantina sempre foi um grande enigma para organistas e organeiros. A maior incógnita seria, nesse sentido, definir seu estilo, sobretudo se corresponde à estética da escola de construção ibérica. Nesse contexto, esta pesquisa teve como objetivo inicial a busca pela identidade do Órgão do Carmo de Diamantina por meio do levantamento técnico e histórico desse instrumento. De forma complementar, verificou-se que algumas dúvidas sobre o Órgão de Diamantina também precisavam ser esclarecidas, as quais estavam correlacionadas com a base desse instrumento, a extensão e a partição do Manual, se o instrumento consiste realmente em um Órgão de Registros Partidos, a localização dos Foles (originais e atuais) e a verificação de que se tratam os Foles atuais e se todos os Tubos são originais. Com o avançar das pesquisas, abriu-se um desdobramento para uma possível relação desse órgão com o Órgão da Matriz do Distrito de Córregos, resultado da análise dos documentos da reforma do Órgão do Carmo em 1940. Levantou-se então a hipótese de que, na referida reforma, alguns Tubos do Órgão de Córregos poderiam ter sido levados para Diamantina e utilizados no Órgão do Carmo. O desafio desta pesquisa manifestou-se, a princípio, pela ausência de literatura e de uma ampla documentação sobre esses dois instrumentos e pela incipiente bibliografia específica acerca da organaria colonial brasileira. Em decorrência disso, foi desenvolvida uma extensa investigação bibliográfica dos documentos associados aos referidos órgãos e aos seus respectivos organeiros, complementada por uma viagem a Portugal (região de Braga) e a várias cidades históricas de Minas Gerais, percorrendo-se o roteiro das cidades por onde atuou José Joaquim Emerico Lobo de Mesquita, o primeiro organista do Órgão do Carmo, desde o Serro até o Rio de Janeiro. Iniciou-se a investigação recorrendo-se às referências na organaria portuguesa devido à tradição histórica de construção de Órgãos no Brasil Colônia e ao fato de ser o construtor do Órgão do Carmo o Padre Manuel de Almeida e Silva. Por meio dos livros da Ordem do Carmo e da Irmandade do Santíssimo Sacramento de Diamantina, foi possível um levantamento histórico do Órgão do Carmo e de seu organeiro. Os Órgãos de Diamantina e de Córregos foram documentos importantes de investigação e de solução de enigmas que existiam sobre o instrumento de Diamantina. Foi consultada uma bibliografia da musicologia histórica brasileira, de organaria e de história do Brasil e de Minas Gerais. Vários documentos da reforma do Órgão do Carmo de 1940 foram analisados, os quais conduziram a descobertas relevantes. Como conseqüência deste estudo, obteve-se uma melhor compreensão da organaria colonial mineira pela comparação entre ambos os instrumentos. Considerando-se que foram acessados todos os documentos, até então conhecidos sobre esses dois representantes da organaria colonial mineira, entende-se que resultados até este momento obtidos são bastante reveladores. Conclui-se que Órgão da Ordem do Carmo de Diamantina consiste em um instrumento com características da estética da escola de construção ibérica e com influências da escola italiana; de base 6' (seis pés); que possui um Manual com extensão: FF - f'''; cujo Teclado é dividido entre o Si2 e o Dó3 , mas não é de Registros Partidos; os Foles atuais são do tipo "Reservatório e Fole-alimentador" (reservoir and feeder-bellows); e que alguns dos Tubos do Órgão de Córregos, provavelmente, hoje fazem parte da Tubaria do Órgão de Diamantina.
Abstract: The Pipe Organ of the Third Order of Carmo in Diamantina municipality, Brazil, has been a mystery to both Pipe Organ builders and organists, being the major concern determining the style of such a Pipe Organ (i.e., whether it belongs or not to the Iberian style of Pipe Organ building). Against this background, this thesis first aimed at shedding light on the identity of the Pipe Organ of the Third Order of Carmo in Diamantina municipality, Brazil, by means of technical and historical survey. Additionally, it also aimed at understanding some issues related to the Diapason (fonic basis) of the Carmo Pipe Organ, the verification whether it is an Pipe Organ with Divided Stops, the Compass and division of the Manual, the location of the former and the current Wind Supply, the Mechanisms of the current Wind Supply, and whether all the current Pipes are original. Advances in research, however, pointed to some links to an Pipe Organ located in Córregos municipality, particularly as a result of the analysis of documents registering the restoration carried out in the Carmo Pipe Organ in 1940. This raised the hypothesis that some Pipes in the Carmo Pipe Organ had been replaced with Pipes from the Córregos Pipe Organ. In the face of the lack of references to both Pipe Organs under scrutiny and also to the Brazilian colonial Pipe Organ building, the answer to such a hypothesis demanded a large bibliographic research focusing on documents related to both Pipe Organs and their Pipe Organ builders, as well as a trip to Portugal (Braga region) and several historical municipalities in Minas Gerais State (i.e., from Serro municipality, in Minas Gerais State, to Rio de Janeiro municipality, in Rio de Janeiro State, Brazil), tracking back the itinerary of cities where Lobo Mesquita, the first Organist of the Carmo Pipe Organ, performed. The inception of this research consisted of finding references to and within the Portuguese Pipe Organ building, because of the historical tradition of Pipe Organ building in Colonial Brazil and also because the Pipe Organ was built by a Portuguese catholic priest, Padre Manuel de Almeida e Silva. Historical data on the Carmo Pipe Organ and its Pipe Organ builder were collected from books of both the Order of Carmo and the Mother Church of Santo Antonio in Diamantina municipality. Further, both the Carmo Pipe Organ and the Córregos Pipe Organ themselves constituted important documents resorted to find answers to several questions about the Carmo Pipe Organ. Moreover, the analysis of several documents related to the 1940 restoration, alongside a bibliography concerning the Brazilian and the so-called Minas Gerais Captaincy's musicology, Pipe Organ building, and history, also provided remarkable insights to this study. The result of this research accounts for a better understanding of the colonial Pipe Organ building in the former Minas Gerais Captaincy, primarily as a result of a pair-wise comparison between the above-mentioned instruments. Bearing in mind that every document about these instruments available up to date have been checked and revisited, the result can be fairly regarded insightful. Particularly as for the Carmo Pipe Organ, this study points out that it holds features typical of the Iberian style of Pipe Organ building, though carrying some influences of the Italian style, the Diapason is 6'- (FF Compass / Principal 6'), a Compass of 61 Notes: FF - f''', with Manual divided at b2 / c'3, even though it is not an Pipe Organ with Divided Stops; and the Wind Supply is a "Reservoir and Feeder-Bellows"; besides, this Pipe Organ probably has some Pipes removed from the Córregos Pipe Organ.
Mestrado
Mestre em Música
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Rioux, Vincent. "Sound quality of flue organ pipes : an interdisciplinary study on the art of voicing /." Göteborg : Chalmers University of Technology, 2001. http://catalogue.bnf.fr/ark:/12148/cb39268431h.
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Heckman, Katherine Ann. "Pedogenesis & Carbon Dynamics Across a Lithosequence Under Ponderosa Pine." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/196016.
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Three studies were completed to investigate the influence of mineral assemblage on soil organic carbon (SOC) cycling and pedogenesis in forest soils. Two studies utilized a lithosequence of four parent materials (rhyolite, granite, basalt, limestone/volcanic cinders) under Pinus ponderosa, to explicitly quantify the contribution of parent material mineral assemblage to the character of the resulting soil. The first study explored variation in pedogenesis and elemental mass loss as a product of parent material through a combination of quantitative X-ray diffraction and elemental mass balance. Results indicated significant differences in degree of soil development, profile characteristics, and mass flux according to parent material.The second study utilized the same lithosequence of soils, but focused on organic C cycling. This study explored variation in SOC content among soils of differing mineralogy and correlations among soil physiochemical variables, SOC content, soil microbial community composition and respiration rates. Metal-humus complex and Fe-oxyhydroxide content emerged as important predictors of SOC dynamics across all parent materials, showing significant correlation with both SOC content and bacterial community composition. Results indicated that within a specific ecosystem, SOC dynamics and microbial community vary predictably with soil physicochemical variables directly related to mineralogical differences among soil parent materials.The third study focused specifically on the influence of goethite and gibbsite on dissolved organic matter characteristics and microbial communities which utilize DOM as a growth substrate. Iron and aluminum oxides were selected for this study due to their wide spread occurrence in soils and their abundance of reactive surface area, qualities which enable them to have a significant effect on SOC transported through forest soils. Results indicated that exposure to goethite and gibbsite surfaces induces significant differences in DOM quality, including changes in thermal properties, molecular structure, and concentrations of P and N. Investigation of the decomposer communities indicated that exposure to goethite and gibbsite surfaces caused significant differences in microbial community structure.These investigations emphasize the important role of mineral assemblage in shaping soil characteristics and regulating the cycling of C in soils, from the molecular scale to the pedon scale.
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Fischer, Jost Leonhardt. "Nichtlineare Kopplungsmechanismen akustischer Oszillatoren am Beispiel der Synchronisation von Orgelpfeifen." Phd thesis, Universität Potsdam, 2014. http://opus.kobv.de/ubp/volltexte/2014/7197/.
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In dieser Arbeit werden nichtlineare Kopplungsmechanismen von akustischen Oszillatoren untersucht, die zu Synchronisation führen können. Aufbauend auf die Fragestellungen vorangegangener Arbeiten werden mit Hilfe theoretischer und experimenteller Studien sowie mit Hilfe numerischer Simulationen die Elemente der Tonentstehung in der Orgelpfeife und die Mechanismen der gegenseitigen Wechselwirkung von Orgelpfeifen identifiziert. Daraus wird erstmalig ein vollständig auf den aeroakustischen und fluiddynamischen Grundprinzipien basierendes nichtlinear gekoppeltes Modell selbst-erregter Oszillatoren für die Beschreibung des Verhaltens zweier wechselwirkender Orgelpfeifen entwickelt. Die durchgeführten Modellrechnungen werden mit den experimentellen Befunden verglichen. Es zeigt sich, dass die Tonentstehung und die Kopplungsmechanismen von Orgelpfeifen durch das entwickelte Oszillatormodell in weiten Teilen richtig beschrieben werden. Insbesondere kann damit die Ursache für den nichtlinearen Zusammenhang von Kopplungsstärke und Synchronisation des gekoppelten Zwei-Pfeifen Systems, welcher sich in einem nichtlinearen Verlauf der Arnoldzunge darstellt, geklärt werden.
Mit den gewonnenen Erkenntnissen wird der Einfluss des Raumes auf die Tonentstehung bei Orgelpfeifen betrachtet. Dafür werden numerische Simulationen der Wechselwirkung einer Orgelpfeife mit verschiedenen Raumgeometrien, wie z. B. ebene, konvexe, konkave, und gezahnte Geometrien, exemplarisch untersucht. Auch der Einfluss von Schwellkästen auf die Tonentstehung und die Klangbildung der Orgelpfeife wird studiert. In weiteren, neuartigen Synchronisationsexperimenten mit identisch gestimmten Orgelpfeifen, sowie mit Mixturen wird die Synchronisation für verschiedene, horizontale und vertikale Pfeifenabstände in der Ebene der Schallabstrahlung, untersucht. Die dabei erstmalig beobachteten räumlich isotropen Unstetigkeiten im Schwingungsverhalten der gekoppelten Pfeifensysteme, deuten auf abstandsabhängige Wechsel zwischen gegen- und gleichphasigen Sychronisationsregimen hin. Abschließend wird die Möglichkeit dokumentiert, das Phänomen der Synchronisation zweier Orgelpfeifen durch numerische Simulationen, also der Behandlung der kompressiblen Navier-Stokes Gleichungen mit entsprechenden Rand- und Anfangsbedingungen, realitätsnah abzubilden. Auch dies stellt ein Novum dar.In this work non-linear coupling mechanisms in acoustic oscillator systems are examined which can lead to synchronization phenomena. This mechanisms are investigated in particular on organ pipes. Building up on the questions of preceding works the elements of the sound generation are identified using detailed experimental and theoretical studies, as well as numerical simulations. Furthermore the organ pipes interaction mechanisms of the mutual coupling are developed. This leads to a non-linear coupled oscillator model which is developed on the aeroacoustical and fluiddynamical first principles. The carried out model calculations are compared to the experimental results from preceding works. It appears that the sound generation and the coupling mechanisms are properly described by the developed nonlinear coupled model of self-sustained oscillators. In particular the cause can be cleared with it for the non-linear edges of the Arnold tongue of the coupled two-pipe system. With the new knowledge the influence of various space geometries on the sound generation of organ pipes is investigated. With numerical simulations the interaction of an organ pipe and different space geometries, like plane, convex, concave, and ridged geometry is studied. Also the influence of so called swell boxes on the sound generation and the sound pattern of the organ pipe is studied. In further new synchronization experiments with precisely equally tuned pairs of organ pipes, as well as with mixtures the synchronization is examined for various grids of horizontal and vertical pipe distances in the 2D-plane of sound radiation. The spatial discontinuities observed in the oscillation behaviour of the coupled pipe systems, point to changes between anti-phase and in-phase regimes of sychronization depending on pipes distances. Finally the possibility is documented to describe the phenomenon of the synchronization of two organ pipes realisticaly by solving the compressible Navier-Stokes equations numerically.
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Heider, David [Verfasser], J. Leo van [Akademischer Betreuer] Hemmen, J. Leo van [Gutachter] Hemmen, and Folkmar [Gutachter] Bornemann. "Geometric Perturbation Theory: Internally Coupled Ears, Tsunamis, and Organ Pipes / David Heider ; Gutachter: J. Leo van Hemmen, Folkmar Bornemann ; Betreuer: J. Leo van Hemmen." München : Universitätsbibliothek der TU München, 2019. http://d-nb.info/1189316676/34.
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Arora, Divyesh. "Hybridation directe d’une pile à combustible PEM et d’un organe supercapacitif de stockage : étude comparative du vieillissement en cyclage urbain, et gestion optimale de la consommation d’hydrogène." Thesis, Université de Lorraine, 2019. http://www.theses.fr/2019LORR0097.
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La pile à combustible (FC) est peu adaptée aux variations brusques de puissance rencontrées dans les applications transport. L’hybridation de la pile à un supercondensateur (SC) a alors été étudiée, puisque cet organe de stockage capacitif permet de gérer les transitoires de puissance. L’hybridation est directe/passive, permettant ainsi de réduire le volume, la masse et le coût du système. Initialement, la faisabilité et l’impact de la taille du SC sur la performance de la FC en mono-cellule ont été examinés numériquement. Cette modélisation montre que l’augmentation de la taille du SC renforce l’effet de lissage induit par l’utilisation du SC sur le courant de la FC. Il en résulte des variations lentes et une réduction des amplitudes de courant et de tension, une diminution du courant efficace de la FC, et donc des pertes électriques de celle-ci. L’hybridation de la FC, comparativement à son fonctionnement seule, permet en outre de réduire la surconsommation en H2 de près de 50 % dans les mêmes conditions opératoires. Ces résultats ont été validés par des essais expérimentaux réalisés en mono-cellule et 3-cellules de 100 cm2 hybridée ou non. Par la suite, toujours en utilisant le protocole de cyclage urbain (FC-DLC), la durabilité de la FC a été étudiée lors d’essais de longue durée. La durabilité de la FC, qu’elle soit hybridée ou non, est la même. L’hybridation n’améliore donc pas la durée de vie de la FC mais ne lui nuit pas non plus. Par la suite, afin d’encore réduire la surconsommation en H2 en longue durée cyclage, différentes stratégies ont été étudiées : diminution du débit minimum des gaz imposé par le cyclage et diminution du coefficient de surstœchiométrie en H2. Ces changements n’ont pas d’influence sur la durabilité de la pile hybridée et ont permis de réduire à 10 % la surconsommation en hydrogène. La FC non hybridée, quant à elle, a vu sa durabilité divisée par deux lors de la diminution des débits minimum et ne fonctionnait pas avec le coefficient de surstœchiométrie ramené à 1,1. Ensuite, les travaux ont été étendus à un stack FC de forte puissance (Système Ballard de 1,2 kW) hybridé à deux modules de SC de 165 F (Maxwell Technologies). En final, un système hybride de 34 kW (FC de 10 kW et SC de 566.67 F) a montré des performances suffisantes pour une application transport urbain et péri-urbain. De plus, comparativement à une pile de 34 kW 21 % d’hydrogène sont économisés et l'investissement des équipements peut être réduit de près 50 %The fuel cell (FC) is poorly adapted to the sudden variations in power encountered in transport applications. The FC hybridization to a supercapacitor (SC) was then studied, since this capacitive storage device allows to manage the power transients. Hybridization is direct/passive, thus reducing the volume, mass and cost of the system. Initially, the feasibility and the impact of SC size on FC performance have been examined numerically. Theoretical investigations show that increasing the size of SC enhances the smoothing effect introduced by the supercapacitor on FC current. This results into slow variations and reduction in both current and voltage amplitudes, a decrease in the fuel cell’s effective current, and therefore in FC electrical losses. Hybridization, compared to its FC operation alone, still reduces hydrogen overconsumption by nearly 50 % under the same operating conditions. These results have been validated by experimental tests carried out on a 100 cm2 single FC and a 3 cell stack. Later, the durability of the FC system has been investigated through long term tests. These durability tests have been conducted on the 100 cm2 single FC test bench using urban cycling protocol (FC-DLC), for both hybridized and unhybridized FC system, with continuous evaluation of degradation extent and causes. These tests suggest no detrimental impact on durability of the FC. For these two operating modes, a progressive aging of the gas diffusion layer seems to appear. Subsequently, in order to further reduce the overconsumption of hydrogen in long-term FC-DLC cycling, different strategies were studied: reducing the minimum gas flow rate imposed by FC-DLC cycling from 0.2 to 0.05 A cm-2, and reducing the hydrogen overstoichiometry coefficient from 1.2 to 1.1. These changes have no influence on the durability of the hybrid cell and have reduced hydrogen overconsumption to 10 %. On the contrary, in case of the unhybridized FC, durability was halved as minimum flows were reduced and it did not work when the overstoichiometry reduced coefficient. Further, work has been extended to high power FC systems (1.2 kW FC system, hybridized with two modules of 165 F, SC module). Finally, the FC downsizing has been demonstrated from 34kW FC system to hybrid source system of 10kW FC hybridized with 566.64 F SC, presenting 21 % hydrogen saving and nearly 50 % net cost savings
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Kuo, Chang-Wei, and 郭章緯. "Finite Element Analysis for Piezoelectric Transducer andLow Frequency Organ Pipe Projector." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50991602665494128070.
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碩士臺灣大學
工程科學及海洋工程學研究所
98
This study use finite element analysis to discuss mechanical、electrical and acoustical characteristics of the piezoelectric transducer. Mechanical and electrical characteristics are concerning the influence of electromechanical coupling coefficient and resonance frequency under different D/T ratio. It is also concerning the influence of vibration behavior and mechanical quality factor when adding different backing layers. In acoustical characteristics, this study use the circular piston directivity function to discuss the differences of directivity and side lobe generated under different excitation frequency. It also use finite element simulation to verify the result. When piezoelectric disk vibrating, it will produce the normal acceleration on the disk surface. This degree of freedom to pass on the fluid medium, it will produce sound pressure distribution in the fluid space. Finally, this study tries to design and simulate an underwater flow measurement transducer, which called Low Frequency Organ Pipe Projector. Transducer sound source can be generated by the radial vibration of piezoelectric ceramic transfer into the metal plate bending motion. It can enlarge vertical displacement of the metal plate to generate greater sound output. However, the frequency generated by the transducer has relationship with tube length. This study tries to determine optimal tube length and discuss the differences of sound pressure which generated by ideal sound source and non- ideal sound source.
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Wagstaff, Laura Frances. "Instrument of enlightenment : a cultural history of the pipe organ in pre-revolutionary eighteenth-century France /." 2009. http://hdl.handle.net/10288/1220.
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"Cecilia's Mirror: the Role of the Pipe Organ in the Catholic Church of the United States in the Aftermath of Vatican II." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8632.
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abstract: The organ in the Catholic Church of the United States is a mirror of its time, reflecting the various challenges facing Catholic liturgy today. In some cases, it reflects the rich patrimony of European immigrants, anxious to replicate the liturgical conditions they left behind. In others, it reflects the efforts of liturgical reformers to "update" the liturgy, creating more opportunities for what they understand to be active participation of the faithful. The absence of the organ in some American Catholic churches, particularly, in the time following the liturgical reforms of Vatican II, raises questions on the direction of sacred music in these churches as well as the survival and viability of the organ as the principal musical instrument of the Catholic liturgy. In all, the organ in American Catholic churches serves as a gauge of the current liturgical climate, and, in a broader sense, the direction and viability of the Catholic Church in America. In this paper, I argue that the survival of the organ in American Catholic churches depends largely on the number of Catholics who continue to remain active in the Church, as well as their views on liturgy, and their musical formation. While recent figures indicate a gradual decline in membership in the Catholic Church among younger generations, interest in organ and traditional Catholic sacred music by some Catholics may ensure the organ's continued presence. The extent to which some groups implement liturgical directives of Pope Benedict XVI, and the activities of groups that support traditional Roman Catholic liturgy, play a role in the organ's continued survival. Also crucial are those who support the organ for its own artistic and musical merit, including contemporary composers of liturgical organ music, organ students in Catholic higher education programs, and organ builders. As opposed to total extinction, the use of the organ in American Catholic churches may take on a new shape, surrounded by a church that struggles to reconcile modern culture with the transcendent.Dissertation/Thesis
D.M.A. Performance 2010
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Gonçalves, Ana Sofia Gomes. "Órgão de tubos e órgão eletrónico: estudo comparativo de intensidades." Master's thesis, 2016. http://hdl.handle.net/10362/19941.
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Os anexos deste trabalhos estão disponíveis para consulta na Biblioteca com a cota TCD 3869O órgão de tubos terá sido um instrumento inventado na Grécia que veio a ser desenvolvido e melhorado ao longo do tempo, tornando-se no instrumento de excelência que pode ser visto em muitas igrejas. Podem ser encontrados em tamanhos mais pequenos, com formato de caixas com algumas dezenas de tubos, ou podem ser monumentais com milhares de tubos, sendo muitas vezes partes constituintes do património histórico e religioso de cada local. A primeira versão do órgão eletrónico surge por volta de 1930 e pretendia imitar o som do órgão acústico, tornando-se um instrumento bastante requisitado pelas pequenas igrejas. Este órgão foi sendo desenvolvido ao longo do tempo, melhorando bastante as suas caraterísticas acústicas, sendo que, atualmente, este é, em termos de sonoridade, uma cópia bastante fiável do órgão de tubos. Tendo em mente estas duas versões do mesmo instrumento, a questão reside em qual dos dois se adapta melhor às necessidades e possibilidades de cada local. Para a escolha entre um e outro, vários detalhes são tidos em conta, nomeadamente aspetos financeiros, talvez os mais considerados na aquisição do instrumento. No entanto, dever-se-á ter em conta os aspetos acústicos do som de cada instrumento, para a melhor adequação do som ao espaço. O presente trabalho de pesquisa pretende isso mesmo, comparar acusticamente as intensidades e algumas caraterísticas subjetivas em três igrejas da cidade de Braga, de forma a concluir sobre qual dos tipos de órgãos se adequa melhor a cada espaço.
The pipe organ have been an instrument invented in Greece that have been developed and improved over the time, becoming an instrument of excellence that can be seen in many churches. They can be found in smaller sizes, looking like boxes with a few tens of tubes, or may be found in monumental sizes with thousands of tubes, often being a part of the historical and religious patrimony of each location. The first version of the electronic organ comes around 1930 and intended to imitate the sound of the acoustic organ, making it an instrument very required by small churches. This organ have been developed over the time, greatly improving its acoustic characteristics, and, currently, in terms of sonority, this is a fairly reliable copy of the pipe organ. Thinking about these two versions of the same instrument, the question is which one suits best to the needs and possibilities of each place. For the choice between the two, many details are taken into account, including financial aspects, perhaps the most considered in the instrument acquisition. However, it should be taken into account aspects related to the acoustic sound of each instrument, to better match the sound space. This research work intends to acoustically compare the intensities and some subjective characteristics in three churches in the city of Braga, in order to conclude which type of organ is best suited to each space.
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Wargovich, Bridgette Elizabeth. "The king of musical instruments and The Spirit of the Liturgy: the pipe organ and its liturgical repertoire analyzed in light of Ratzinger's theology of liturgical music." Thesis, 2018. https://hdl.handle.net/2144/32700.
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Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation.
The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today.
This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.
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Pina, Cláudio Miguel Andrade Fonseca de. "Música instrumental para Órgão de Tubos e Electroacústica." Master's thesis, 2018. http://hdl.handle.net/10362/54282.
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Faz parte desta Tese um ficheiro audio, pode ser consultado na Biblioteca Mário Sottomayor Cardia.Esta dissertação pretende, através da composição de uma obra instrumental para órgão de tubos e electroacústica, propor e desenvolver um método de composição. A proposta e desenvolvimento assentam na análise de repertório. A escolha do repertório baseia-se em todas abordagens que sejam inovadoras na busca de outros sons. Essas inovações são mecânicas, técnicas interpretativas do instrumento e abordagens diferentes na composição. Todos esses elementos são gravados e usados para transformação sonora. É intuito deste trabalho interligar as duas práticas; a música instrumental para órgão de tubos com recurso a técnicas estendidas, e a música electroacústica baseada nos sons produzidos pelo instrumento. O instrumento usado é o órgão de tubos histórico da Igreja Paroquial da N.ª S.ra da Ajuda, construído no séc. XVIII pelo organeiro António Xavier Machado e Cerveira
The goal of this dissertation is to propose and develop a method for composition, through the creation of instrumental music for pipe organ and electroacoustics. This proposal and development is based in the repertoire analysis. The choice of the repertoire is based upon all the innovating approaches regarding sound. These innovations can be mechanic, instrument techniques and other composition approaches. All of these elements are recorded and used for sound transformation. The aim of this work is to merge the two practices; the instrumental music for pipe organ with extended techniques, and electroacoustic music based upon the instrument sounds. The instrument that was used is the historical pipe organ of the Parish of Our Lady of Help, built in the XVIII century by António Xavier Machado e Cerveira
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Gundersen, John-Eric. "Tuning Your Choral Pipes: An Organist's Manual for Choral Sound." Thesis, 2012. http://hdl.handle.net/1911/64659.
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As choir masters, many organists have the responsibility of hiring and working with paid singers as well as a dedicated group of volunteer singers ranging in experience from novice to advanced. The similarities of the human voice to the pipe-organ are numerous. Using these similarities and scientific analysis of the two instruments, organists can familiarize themselves with the tuning system of the human voice.
Like the pipe organ, the human voice is capable of wide variety of sounds, qualities, textures, pitches and levels of volume. Unlike an organ pipe, the voice is not a fixed resonator. The voice is the most flexible of all musical instruments. Instructing an ensemble of singers to shape their sound simultaneously is the beginning of “tuning your choral pipes.” It will be important to establish terminology with your singers in order to successfully communicate with them despite their varying levels of ability and pronunciation differences.
Becoming familiar with the mechanics of the voice and an alphabet of pure vowel sounds can help organist-choir masters achieve a greater degree of success when working with singers. The stops, pipes and expression pedal of the human voice are defined by the laryngeal muscles as they relate to registration, the vocal tract shape as defined by the vowel, and the amount of volume created by the air pressure.
This guide for organists covers these topics and contains exercises for the reader to apply during choral rehearsals.
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Malusa, Jim. "Vegetation of the eastern Cabeza Prieta NWR and adjacent BLM lands, Arizona." 2003. http://hdl.handle.net/10150/145329.
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Malusa, Jim. "Vegetation database for Cabeza Prieta NWR." 2004. http://hdl.handle.net/10150/146030.
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Malusa, Jim. "Digital vegetation maps of eastern Cabeza Prieta NWR and adjacent BLM lands." 2004. http://hdl.handle.net/10150/146035.
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