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Relevant bibliographies by topics / Pipe (Musical instrument)

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Academic literature on the topic 'Pipe (Musical instrument)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Pipe (Musical instrument)"

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Temple, James A., Whitney L. Coyle, and Adrien David-Sivelle. "Using the lattice Boltzmann method to study the open-pipe end correction." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A82. http://dx.doi.org/10.1121/10.0015621.

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The lattice Boltzmann method (LBM) is a well-known and often used computational technique to simulate air-flow in musical instruments. Most LBM simulations in musical acoustics published in the past have used unrealistic values for air viscosity and have focused their study on other aspects of the instrument than the open-end. Due to recent experimental discoveries, it is now interesting to focus more on the behavior at the open end of the a musical instrument, such as an organ pipe, while also including realistic playing parameters and fluid characteristics. This paper will discuss the model improvements necessary to investigate the end correction of open-ended musical instruments with LBM. Comparison of results will be made with a Comsol Multiphysics model and experimental work using transmission electronic speckle pattern interferometry (TESPI).

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Psaroudakēs, Stelios. "The Daphnē Aulos." Greek and Roman Musical Studies 1, no. 1 (2013): 93–121. http://dx.doi.org/10.1163/22129758-12341239.

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Abstract The present paper concentrates on one of the musical instruments retrieved from Grave II at Daphnē, the wooden aulos. Only one pipe of the instrument, together with its bulbous mouthpiece, was found. In the organological account which follows, the pipe is described and assessed, and an attempt is made to reconstruct it and discover its scale.

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Dong, Rui. "Teaching Development and Playing Art of Trumpet." Learning & Education 10, no. 2 (September 16, 2021): 110. http://dx.doi.org/10.18282/l-e.v10i2.2294.

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In the many types of orchestral instruments, the trumpet sound is loud and expressive, known as the king of steel pipe instruments, which plays a very important role in the development of musical instruments. This modern wind instrument has a rich artistic expression and has relatively high requirements for the players. Based on this, this paper discusses the teaching development and basic playing method of the trumpet teaching instrument to improve the teaching effect.

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Yarmola, Victoriya. "Ergology of Western Polissian folk reed pipes." Ethnomusic 14, no. 1 (2018): 104–31. http://dx.doi.org/10.33398/2523-4846-2018-14-104-131.

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In the publication, a technological system of traditional whistling reed pipes produced by folk artists, widespread in Western Polissia, is revealed for the first time in a step-by-step process. The proposed exploration is based on its expeditionary records and material collected by various folklorists and employ- ees of Kyiv and Lviv research institutions, as well as some literary sources. 131 The existence of three types of nozzle instruments, the names of which correspond to the methods of their production: a pipe made from bark, a vykrutka and kolianka are established. Western Polissian folk reed pipes belong to the type of longitudinal whis- tle flutes with an internal cleft formed by the insertion of the whistling device at the upper end of the tube, and with holes placed on the front, sometimes on the back of the instrument. Whistle airphones have specific production features, according to the age group of masters: shepherd children, teens and adults. The easiest to manufacture among the discovered pipe instruments are ones made of bark, which had been previously removed from the branches of bush trees. In the process of removing the bark shepherds told special spells, which were recorded by the author on the researched area. The following two types of tools were made of wood: a kolianka in the form of a longitudinal splitting of the branch into two equal parts, a vykrutka - a screwing out the core of pine wood, which required a masters knowledge of certain empirical and professional skills. The folk pipe instruments played the role of a musical instrument, which corresponded to the individual artistic and aesthetic test of the flute maker and served as an integral part of the Polisian shepherd's everyday life

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Hall, Donald E. "Musical Dynamic Levels of Pipe Organ Sounds." Music Perception 10, no. 4 (1993): 417–34. http://dx.doi.org/10.2307/40285581.

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The pipe organ offers the opportunity to conduct psychoacoustic experiments in which the sound of a natural instrument can be perfectly steady and reproducible. This study takes advantage of the pipe organ to concentrate on that aspect of musical dynamics determined by the physical parameters of steady sounds, leaving aside the admittedly important effects of other variables such as context and articulation. Juries of musicians and music students provided judgments of musical dynamic levels produced by steady sounding of various stops and combinations on two pipe organs. The physical strength of each of these sounds was measured, and they were analyzed in $\frac{1}{3}$ octave band spectra. Correlations between the physical parameters and the musical judgments were examined. Results of this study provide some support for the hypothesis that loudness calculated by a procedure such as Zwicker's will be a good predictor of the steady aspect of musical dynamic strength, whereas a simple unweighted sound level in decibels is rather poor.

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Xiangkun, Liu. "Re-Contemplating the Classification of Multiple Reeds." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 19–26. http://dx.doi.org/10.30819/aemr.8-3.

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The 2011 Revision of the Hornbostel-Sachs Classification of Musical Instruments by the MIMO Consortium categorises the “reedpipes with double (or quadruple) reeds” (422.1) according to the number of pipes, bore shapes, and finger holes, as it does to many other instrument groups. However, this scheme rather overlooks the significantly varied features of the multiple reeds themselves – their structural difference that determines their making and functioning, and how they connect to the pipe body – especially considering the vast varieties and distribution of multiple reeds compared with other types of reed pipes. Following the hierarchical classification of reed pipes (422) primarily according to the types of reeds, this paper would propose a further classification based on the “subtypes” of multiple reeds. The first level divides into “idioglot reeds” and “staple-mounted reeds” based on the connection of reeds with the pipe body. Idioglot reeds make one-part and two-part reed pipes, the former “usually a flattened stem” of the upper end of the pipe itself and the latter made from unbroken thick cane that fits inside the pipe bore. In contrast, staple-mounted reeds make three-part reed pipes. Some have fixed sides so that only the tips of reed blades are free to vibrate, while others have detached individual leaves that can vibrate on all sides. Given that reeds, as the primary source of sonic vibration, decide many fundamental features of a reed pipe, this recontemplated classification is likely to provide more distinct insight into their construct, functioning, and historical lineages.

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d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (April 2019): 41–53. http://dx.doi.org/10.1017/s1355771819000050.

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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.

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Baretzky, B., M. Friesel, and B. Straumal. "Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life." MRS Bulletin 32, no. 3 (March 2007): 249–55. http://dx.doi.org/10.1557/mrs2007.30.

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AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.

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Pchelovodova, I. V., and O. O. Baysarova. "Natural chipchirgan pipe: tradition and modernity (based on materials from expeditions 2023–2024)." Historical and cultural heritage 14, no. 2 (2024): 218–26. http://dx.doi.org/10.62669/30342139.2024.2.20.

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The article examines the traditional and modern existence of one of the archaic aerophones of the Udmurts - chipchirgan. There are only a few analogues of such musical instruments on a global scale. Its special position in musical folklore is emphasized by a unique method of sound production - drawing air into oneself through the performer’s tightly compressed lips. An analysis of published sources showed that this instrument occupied an important place in the traditional culture of the Udmurts. This is evidenced by the onomatopoeic nature of the tunes performed on the chipchirgan, in which one can hear the resemblance of a swan purring and whistling. This fact allows us to connect the chipchirgan with one of the revered totemic ancestors of the Udmurts - the swan (yu). Modern expeditionary finds have refuted the opinions of researchers about its disappearance in the natural environment. Thanks to the active work of local historian Semyon Nikolaevich Romanov from the village of Puro-Mozhga, Malopurginsky district of the Udmurt Republic, Chipchirgan received a chance for revival. Today, students of the Republican College of Music are mastering the unique sound of the instrument. The apotheosis of the reconstruction of playing this instrument is the reporting performance of students of the choral folk singing department, which took place in December 2023. Also, the chipchirgan took its rightful place in the concert program of the state exam of O. O. Baysarova in 2024.

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Morgan, Harry. "A Horn for Phemius." Mnemosyne 72, no. 2 (March 11, 2019): 250–72. http://dx.doi.org/10.1163/1568525x-12342506.

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AbstractIn 51 BC, Titus Pomponius Atticus wrote to his friend Cicero with an unusual request: his musician Phemius needed a new instrument—a special ‘horn’ (κέρας) that could only be found in the region of Cilicia where Cicero was serving as governor. Several months later, the object in question was finally tracked down and an order placed. What exactly was this elusive piece of musical exotica, and why was Atticus so eager to get his hands on it? This article states a case for identifying Phemius’ κέρας with the Phrygian aulos/tibia, a species of pipe noted for its resonant ox-horn bell. Atticus’ acquisition of the ‘Phrygian pipe’ provides a revealing counterpoint to the often stereotyped depictions of musical entertainment (symphoniae) that we find in contemporary literature. It therefore presents an effective model for re-evaluating the place of musical culture in late Republican elite society.

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Dissertations / Theses on the topic "Pipe (Musical instrument)"

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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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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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Di, Giorgi Camilo Hernandez. "A banda de um homem só = estudo organólogico da flauta e tambor." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284911.

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Orientador: Paulo Mugayar Kuhl
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Neste estudo, o duo formado pela flauta e tambor tocados pela mesma pessoa, conhecido também como tamboril, é abordado morfológica e historicamente em sua trajetória e situação atual na Europa e América Latina. Discute-se aspectos relativos à sua acústica, aos seus usos sócio-musicais e à sua representação na iconografia. Realiza-se também um levantamento e exame de informações sobre este conjunto em alguns dos tratados e obras enciclopédicas dos séculos XVI, XVII e XVII
Abstract: The tabor pipe duo, also known as tamboril, is approched morfologically and historically in its trajectory and present state in Europe and Latin America. Aspects relative to acustics, socialmusical uses and iconography are discussed. Issues about this ensemble in the XVI, XVII and XVIII centuries treatises and encyclopedical works are also raised, examined and discussed
Mestrado
Fundamentos Teoricos
Mestre em Música

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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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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 Kerr
Resumo: 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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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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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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Tseng, Yu-Chung 1960. "Song of Pi-Pa." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279013/.

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Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.

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Heyl, Christoph. "The Pastoral Pipes: A New Musical Instrument and the Aesthetics of Neo-Classicism." 2020. https://slub.qucosa.de/id/qucosa%3A73210.

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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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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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Books on the topic "Pipe (Musical instrument)"

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Schnurr, Stephen J. Pipe organs of Chicago. Oak Park, Ill: Chauncey Park Press, 2005.

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Bizjak, Milko. Pipe organs in Slovenia. Ljubljana: Državna založba Slovenije, 1985.

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Schnurr, Stephen J. Pipe organs of Chicago. Oak Park, Ill: Chauncey Park Press, 2005.

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Dalton, Christopher. Pipe organs of British Columbia. [Victoria, B.C: L.B. Word Works], 2010.

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Trzaskalik-Wyrwa, Małgorzata. Organy miasta Siedlce: Pipe organs of the town of Siedlce. Warszawa: Uniwersytet Muzyczny Fryderyka Chopina, 2019.

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Shannon, John R. Understanding the pipe organ: A guide for students, teachers and lovers of the instrument. Jefferson, N.C: McFarland, 2009.

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Wickens, David C. Aspects of English organ pipe scaling. Oxford: Positif Press, 2004.

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Universitatea de Vest din Timișoara, ed. Orgile din România =: Pipe organs of Romania. Timișoara: Editura Universitǎţii de Vest, 2008.

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Bosmans, Wim. Eenhandsfluit en trom in de Lage Landen =: The pipe and tabor in the Low Countries. Peer: Alamire, 1991.

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Association, West Sussex Organists', ed. A millennium survey of the pipe organs of West Sussex. Chichester: West Sussex Organists' Association, 2000.

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Book chapters on the topic "Pipe (Musical instrument)"

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Fletcher, Neville H., and Thomas D. Rossing. "Pipe Organs." In The Physics of Musical Instruments, 467–93. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_17.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipe Organs." In The Physics of Musical Instruments, 552–80. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_17.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipes and Horns." In The Physics of Musical Instruments, 172–204. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_8.

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Bucur, Voichita. "Restoration of Pipe Organs." In Handbook of Materials for Wind Musical Instruments, 707–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_20.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipes, Horns and Cavities." In The Physics of Musical Instruments, 190–235. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_8.

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Fletcher, Neville H., and Thomas D. Rossing. "Flutes and Flue Organ Pipes." In The Physics of Musical Instruments, 426–66. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_16.

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Fletcher, Neville H., and Thomas D. Rossing. "Flutes and Flue Organ Pipes." In The Physics of Musical Instruments, 503–51. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_16.

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Bucur, Voichita. "Marble, The Nondegradable Material for Pipe Organ." In Handbook of Materials for Wind Musical Instruments, 787–800. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_21.

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Machlin, Paul S. "Born Again: The Pipe Organ as Jazz Instrument." In Stride: The Music of Fats Waller, 41–77. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08567-5_3.

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Bucur, Voichita. "Manufacturing of Tubes and Pipes in Wood." In Handbook of Materials for Wind Musical Instruments, 527–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_13.

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Conference papers on the topic "Pipe (Musical instrument)"

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Felician, Rosca, Madalina Dorgo, and Cristina Struta. "ROMANIA AND THE ELEARNING MUSICAL EDUCATION SYSTEMS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-171.

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The musical education systems based on technology are well-known in Europe and especially in Asia and The United States of America. The countries with the most numerous online systems of musical education are Japan, Israel and The United States of America. In Romania these systems are much more modest with two universities where the system is implemented at higher education level, namely at Gh. Dima Music Academy in Cluj Napoca and Spiru Haret University in București (The Faculty of Music). Here, with all the progress that has been made, we cannot talk about notable performances in the field. At primary and secondary levels (in state schools or private schools) there are no schools where this system is used, not even partially. This paper is a research in the field comparing the level of digital musical educationin Romania and other countries, the benefits of implementing this type of musical education and the inconveniences of the eLearning musical education system in Romania. The present paper deals mainly with electronic and digital systems built in classical pipe organs, initially, in the key action and later in the stop action. Especially in the registration systems, the application of electronic and digital systems to the combination action revolutionized the organ building, the latest developments in digital technologies and systems that are used today in the manufacturing of musical instruments, especially in classical pipe organs. The sampling technology (based on pre-recordings) would necessitate, ideally, storing of significant amounts of audio material. Out of practical concerns, because of the cost factor, but also because of the technical limitations of the systems used, a compromise is usually made. More specifically, the sound recordings are very short, the sound is played back in a loop, the attack phase is synthesized and not the real attack of the pipe, there are no recordings for each individual note but only for a few notes in an octave (from one up to three or four), the others are obtained by applying digital signal processing. All these techniques are lowering the quality potential of the digital organs.

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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.

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Heyl, Christoph. "The Pastoral Pipes: A New Musical Instrument and the Aesthetics of Neo-Classicism." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.119.

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"Metallography of organ pipe grain structure may enable more faithful conservation of historical musical instruments." In Microscience Microscopy Congress 2023 incorporating EMAG 2023. Royal Microscopical Society, 2023. http://dx.doi.org/10.22443/rms.mmc2023.322.

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Wang, Yuancheng, Yuhui Huang, Wei Wei, Dorian Cazau, Olivier Adam, and Qiao Wang. "Automatic Music Transcription dedicated to Chinese Traditional Plucked String Instrument Pipa using Multi-string Probabilistic Latent Component Analysis Models." In 11th International Conference of Pattern Recognition Systems (ICPRS 2021). Institution of Engineering and Technology, 2021. http://dx.doi.org/10.1049/icp.2021.1460.

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