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1
Bholuram Gurjar, P. K. Sahoo, and Adarsh Kumar. "Design and Development of Variable Rate Metering System for Fertilizer Application." Journal of Agricultural Engineering (India) 54, no. 3 (2024): 12–21. http://dx.doi.org/10.52151/jae2017543.1627.
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A variable rate fertilizer metering mechanism was designed by changing the speed of the feed shaft for use in variable rate fertilizer applicator. A micro-controller unit programmed with a Pulse Width Modulation (PWM) motor driver was used to run the feed shaft for varying speeds. Two types of fluted rollers (straight and helical flute) were used with varying number of flutes having same volume for each fluted roller. No significant difference in discharge rate between helical and straight fluted roller was observed with varying number of flutes (6, 8, 10, and 12). However the discharge rate of SSP fertilizer was significantly higher than that for DAP. Also, significant difference was observed in applied torque and power requirement for straight and helical flute.
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Srinivasan, Vijayaragham, Kambiz Vafai, and Richard N. Christensen. "Analysis of Heat Transfer and Fluid Flow Through a Spirally Fluted Tube Using a Porous Substrate Approach." Journal of Heat Transfer 116, no. 3 (1994): 543–51. http://dx.doi.org/10.1115/1.2910905.
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An innovative approach was opted for modeling the flow and heat transfer through spirally fluted tubes. The model divided the flow domain into two regions. The flutes were modeled as a porous substrate with direction-dependent permeabilities. This enabled modeling the swirl component in the fluted tube. The properties of the porous substrate such as its thickness, porosity, and ratio of the direction-dependent permeabilities were obtained from the geometry of the fluted tube. Experimental data on laminar Nusselt numbers and friction factors for different types of fluted tubes representing a broad range of flute geometry were available. Experimental data from a few of the tubes tested were used to propose a relationship between the permeability of the porous substrate and the flute parameters, particularly the flute spacing. The governing equations were discretized using the Finite Element Method. The model was verified and applied to the other tubes in the test matrix. Very good agreement was found between the numerical predictions and the experimental data.
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Wang, Jianxiao, Wei Sun, Petru Aurelian Simionescu, and Yuanjin Ju. "Optimization of the Fluted Force-Feed Seeder Meter with the Helical Roller Using the Discrete Element Method and Response Surface Analysis." Agriculture 13, no. 7 (2023): 1400. http://dx.doi.org/10.3390/agriculture13071400.
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The seed metering process of a fluted force-feed seeder was simulated using the Discrete Element Method and its parameters optimized using the Box–Behnken Design of Experiments and the Response Surface Method. The rotational speed of the feed roller, the lead (helix) angle of the flutes, and the number of flutes were the independent variables, while the response value was the seeding uniformity index. Two regression models were investigated, and the following conclusions drawn. For the flute lead angle between 0 and 10 degrees, and the number of flutes between 10 and 14, it was found that the number of flutes and the lead angle influenced the seeding performance the most, with the order of importance being the (i) number of flutes, (ii) lead angle and (iii) roller speed. For the flute lead angle between 5 and 15 degrees, and the number of flutes between 12 and 16, it was found that the roller speed and the number of flutes influenced the seeding performance the most, with the order of importance being the (i) roller speed, (ii) number of flutes and (iii) flute lead angle. The two regression models were then minimized for the seeding uniformity index and the corresponding optima verified experimentally on a conveyor belt test stand fitted with an image recognition system.
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Ramsey, Gordon P., and Amanda Newton. "A comparative study of flutes I." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A68. https://doi.org/10.1121/10.0035143.
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This is part one of two presentations on the same project. Various types of flutes have been used for centuries and they are popular in many genres of music. We have done a comparative study of six different flute type instruments to determine what factors play a role in their differences in timbre. The effects of flute geometry, type of mouthpiece, body size, and material were considered on how each affected their sounds. The study included an orchestral flute, a piccolo, two Native American flutes, and two recorders. Measurements were taken at the Loyola acoustics lab and the anechoic chamber at Northwestern. This talk will present theoretical basis for our measurements, including impedance calculations, and will discuss the observations for the individual instruments. The following talk will discuss the comparative study and how our results contribute to selection of the appropriate flute to use in different genres.
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Stein, Robert. "Proms 2014: Holt and Widmann." Tempo 69, no. 271 (2015): 78–79. http://dx.doi.org/10.1017/s0040298214000722.
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How many flutes are there in Simon Holt's flute concerto Morpheus Wakes? Nominally one, here the amazing Emanuel Pahud, but more usefully two or more. Scored for alto as well as standard flute, Holt exploits the timbral possibilities of both while ensuring that the orchestra's own flautist (doubling bass flute) and alto flautist (doubling piccolo) continue the idea of ‘two-in-one’ so central to his other recent concerto Centauromachy for clarinet, flugelhorn and orchestra written in 2010 and given its London premiere at the 2011 Proms.
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Mohd Abbas, Norliana, Muhammad Azriq Haikal Azahari, Muhammad Najib Ibrahim Mat Zaki, and Zanuar Ahmad. "INVESTIGATION ON THE END MILLING CUTTING IN MACHINING POLYVINYL CHLORIDE (PVC) FOAM BOARD FOR ISLAMIC ART." International Journal of Education, Psychology and Counseling 9, no. 53 (2024): 584–90. http://dx.doi.org/10.35631/ijepc.953044.
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The polyvinyl chloride (PVC) foam board is utilized for decorative purpose such as a backdrop stand or three-dimensional (3-D) model. Some of the advantages are lightweight, mobile and ease in adding realistic details through printing or machining. The Selangor Islamic International Arts Complex employs the PVC foam board to create 3-D Islamic art for mosque ornamentation. However, the quality of the product produced does not meet the required quality and rework need to be done when the two flutes end mill cutting tool is used. This study focuses on identifying the reason of the unexpected surface finish and proposing method to improve the quality of the pattern produced. The investigation was done by comparing the pattern exhibits after a four continuous hours of machining between two flutes and single flute of end mill tool under the same parameter setting. It was found that, the single flute end milling yielded good surface finish compared to the two flutes which exhibit burrs and rough surface finish. This is because the single flute end mill tool gives lower friction and less heat during machining and facilitating proper chip removal in comparison to the two flutes end mill tool.
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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.
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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind instruments throughout Europe are beginning to indicate that the flute underwent a process of change far more complex than previously thought.
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Newton, Amanda, and Gordon P. Ramsey. "A comparative study of flutes II." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A69. https://doi.org/10.1121/10.0035144.
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This is part two of the previous presentation on flute acoustics. This talk will expand on the individual observations of each of the six flutes to include a cross-instrument comparison. Factors used in the comparison include instrument range, material, geometry, and instrument types. Findings conclude that material had the predicted effect on tone and geometry was more significant than predicted. Additional findings and confirmation of these from the NW anechoic chamber will be discussed, as well. These comparative findings are significant as they provide insight into the physics of the sound produced in each instrument and how that contributes to the unique tone of each instrument. This is significant for musicians, including flute players and composers, as predicting and manipulating the tone of different flutes is instrumental in making music, from knowing how to make, play, and compose for flutes, including when choosing what flute instruments are applicable in certain musical settings. This talk will also discuss possible extensions of this project, including to extended members of the flute family, and more note ranges tested on each instrument.
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Kachmarchyk, Volodymyr, and Nataliia Kachmarchyk. "A “Well-tempered Flute” by T. Boehm – The Final Stage of its Evolution and the Standardization of its Tuning System." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (2022): 49–62. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.04.
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"The article is dedicated to the development of the flute acoustic and tuning systems during the 18th-19th centuries. Based on the analysis of J. J. Quantz's treatise »Versuch einer Anweisung, die Flöte traversiere zu spielen« and the flute of its construction with two enharmonically unequal keys Es and Di s, the intonation and technological features of using pure tuning system in playing an instrument are revealed. Following Quantz’s ideas was another German musician, the Leipzig master instrument maker J. G. Tromlitz. He strongly recommended maintaining the dominant position of the pure tuning system while performing on the flute. The defining stage in the development of the flute design and the establishment of the well-tempered tuning system as the basis of its acoustic features was the reform of T. Boehm. The models of the inverse conical bore flute with open ring keys (1832) and the cylindrical flute with flap keys (1847) created step-by-step give evidence of the evolution of T. Boehm's views on expanding the sound dynamics and improving the intonation capabilities of the instrument. Keywords: Boehm’s flute, pure tuning system, equal temperament, conical flute, cylindrical instrument, acoustic system, key mechanics. "
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Dyakonov, M. I., and M. S. Shur. "Two dimensional electronic flute." Applied Physics Letters 67, no. 8 (1995): 1137–39. http://dx.doi.org/10.1063/1.114986.
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Merve, Çokamay. "An Evaluation on the Usability of Çanakkale Folk Songs in Flute Education." International Journal of Social and Humanities Sciences Research 10, no. 102 (2023): 3397–414. https://doi.org/10.5281/zenodo.10431450.
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In our country, several local and foreign methods and techniques are used in instrument education, and it is frequently observed that local melodies are included in the content of these methods and techniques. Especially in recent studies, it has been concluded that playing the music of the region the individual inhabits or combining this music with abstract or concrete musical elements, can positively affect the education process. This study was conducted with the assumption that using the folk songs from the Çanakkale region, which has a rich musical culture, in flute education would affect student success. This study discusses using the folk songs from the Çanakkale region, which has a rich musical culture, in flute education. There were three evaluation stages; Practice of Basic Flute Performance Techniques, Aimed Musical Behaviors and Polyphony for Two Flutes. Three Çanakkale folk songs with different makam, methods and melodic characteristics, which are assumed to be used in every stage of flute education, were selected for the study. In order that they can be used in the flute education, the folk songs were processed in the tampered system, musical dynamics were added and the performance capacity was increased with articulations. As a result of the study, it was concluded that, when the basic flute performance techniques are practiced and the aimed musical behaviors are performed, solo and polyphonic Çanakkale folk songs can be used in flute education. Frequently including the local melodies in flute education was suggested.
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Mellinger, Jeffrey C., O. Burak Ozdoganlar, Richard E. DeVor, and Shiv G. Kapoor. "Modeling Chip-Evacuation Forces in Drilling for Various Flute Geometries." Journal of Manufacturing Science and Engineering 125, no. 3 (2003): 405–15. http://dx.doi.org/10.1115/1.1578671.
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In this paper, a chip-evacuation force model is presented to predict the torque and thrust required to evacuate the chips during drilling for various flute geometries. The model considers the chips in the flutes as granular solids and determines the chip-evacuation thrust and torque from the normal and lateral pressure distributions in the chips that fill the flutes. The model requires two coefficients of friction that are established via a calibration procedure. The critical depth for the process is determined by setting a threshold value on the chip-evacuation torque, which is based on the onset of chip-clogging. The effectiveness of the chip-evacuation force model in determining the chip-evacuation thrust and torque and predicting the critical depth has been assessed via a set of validation experiments using both standard and parabolic drills. The parabolic drill produced lower chip-evacuation forces and increased critical depths relative to the standard drill. While the standard drill has a modestly larger effective flute cross-sectional area for most of the flute length, the parabolic drill has a significantly smaller contact area between the chips and the flute surface, which is the main reason for the superior chip-evacuation performance of the parabolic drill.
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Estrela, Carlos, Felipe C. Sampaio, Ana PP Brito, et al. "Flute and Shank Dimensions of Reciprocating Instruments before and after Simulated Root Canal shaping." Journal of Contemporary Dental Practice 18, no. 3 (2017): 198–204. http://dx.doi.org/10.5005/jp-journals-10024-2016.
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ABSTRACT Aim This study analyzed the effect of the dimensions of the flute and shank in the first 4 mm of instrument tips on the deformation and dimensional changes of reciprocating instruments after root canal shaping (RCS). Materials and methods The reciprocating instruments used were Reciproc® R25, R40, and R50; WaveOne® Small, Primary, and Large; and Unicone® #20, #25, and #40. Scanning electron microscopy images of the first 4 mm of the tip were acquired at 30× magnification before and after simulated curved root canals were shaped. Each instrument was used only once. The images were transferred to the AxioVision® software to measure the flute area (µm2, shank area (µm2), flute length (µm), and crosssectional diameter (µm). Student's t test for paired samples was used to compare differences before and after RCS, and analysis of variance followed by the Tukey test, to compare differences between instruments of similar sizes. The instruments were classified according to deformations after RCS. Results Reciproc® instruments had larger flutes and smaller shanks. The Reciproc® R40 had significant differences in crosssectional diameter at 0.5 mm from the tip. Reciproc® had no plastic deformations. Unicone® #20 instruments had significant differences in cross-sectional diameter at 1.5 and 3.0 mm from the tip, and #25 instruments had differences at 1.5 and 3.0 mm and in length of the second and third flutes. One #20 and three #40 instruments had plastic deformations. The differences in length of the first and fourth flutes of WaveOne® Primary and in cross-sectional diameter at 2.0 mm from the tip of WaveOne® Large were significant. Two of three WaveOne® Large instruments had plastic deformations. Conclusion Reciproc® instruments had greater flute areas and lengths and smaller shanks than Unicone® and WaveOne® instruments of similar sizes. Reciproc® instruments had a greater flute-to-shank ratio. WaveOne® instruments had the lowest flute-to-shank ratio. Unicone® instruments had the most plastic deformations. Instruments with larger flutes and smaller shanks had fewer plastic deformations after curved RCS. Clinical significance The knowledge of mechanical behavior before choosing the endodontic instrument may avoid fracture, regardless of the clinical condition, and it is essential to the success of root canal treatment. How to cite this article Sampaio FC, Brito APP, Veloso HHP, Alencar AHG, Decurcio DA, Figueiredo JAP, Estrela C. Flute and Shank Dimensions of Reciprocating Instruments before and after Simulated Root Canal shaping. J Contemp Dent Pract 2017;18(3):198-204.
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Wu, Lien-Chen, Yueh-Ying Hsieh, Fon-Yih Tsuang, Yi-Jie Kuo, and Chang-Jung Chiang. "Cutting Flute and Thread Design on Self-Tapping Pedicle Screws Influence the Insertion Torque and Pullout Strength." Applied Sciences 12, no. 4 (2022): 1956. http://dx.doi.org/10.3390/app12041956.
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Self-tapping screws are commonly used in trauma and maxillofacial surgery and are increasingly used for pedicle screw insertions. In order to evaluate how the quantity and length of cutting flutes on self-tapping pedicle screws affect the insertion torque and pullout strength, eight different self-tapping pedicle screw designs were evaluated. All screws had a threaded length of 35 mm and featured variations in the number of leads, as well as the length and quantity of cutting flutes. Five samples of each design were inserted into pre-drilled, untapped holes (ø2.7 mm, length 35 mm) in sawbone blocks of density 20 PCF. The insertion torque and pullout strength were measured according to ASTM F543. The results showed that screws with a longer cutting flute of 9.5 mm had a lower mean maximum insertion torque than screws with shorter 2.9 mm cutting flutes. Pedicle screws with a double-lead thread design had a greater insertion torque than their single-lead counterparts, and the use of three cutting flutes produced a lower torque than two cutting flutes. The results demonstrated a greater pullout strength in screws with a single-lead thread rather than a double-lead, three cutting flutes instead of two, and a longer length for the cutting flute. In conclusion, to provide immediate stability and reduce the surgical insertion time, a single-lead, self-tapping pedicle screw incorporating three long cutting flutes is recommended because of the significantly greater pullout strength. This design could also reduce the risk of implant loosening in comparison to double-lead, self-tapping pedicle screw designs.
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Conlon, Paula. "Power and good music: The Indigenous southern plains flute tradition." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A109. http://dx.doi.org/10.1121/10.0026979.
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In traditional Indigenous southern plains culture, a young man could not talk to a young woman alone when they were not yet married. Instead, he would play his flute at the edge of the encampment in the evenings, and each young man had his own love song. In southern plains flute origin stories, power is attributed to good music. If a flute song achieves its intended goal of convincing the young woman to marry the flute player, one can assume the song would be considered “good.” But what criteria distinguish good from bad? Which elements typify a “good” flute song? What about the flute itself? Which features epitomize the quintessential flute? Another set of possible criteria in determining that quality is information about the flute player. In her chapter, “Culture and Aesthetics,” ethnomusicologist Marica Herndon (1980) observes the community-centered perspective of Indigenous North America. Our last set of criteria involves an assessment of the moral character of the flute player regarding service to their tribal community. This talk discusses the “good music” of two master Indigenous southern plains flute players—Belo Cozad (1864-1950) (Kiowa) and Doc Tate Nevaquaya (1932-1996) (Comanche).
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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (2022): 39–50. http://dx.doi.org/10.24821/resital.v23i1.6112.
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This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.
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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (2022): 39–50. http://dx.doi.org/10.24821/resital.v1i1.6112.
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This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.
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Spence, Cari. "Prevalence Rates for Medical Problems among Flautists: A Comparison of the UNT-Musician Health Survey and the Flute Health Survey." Medical Problems of Performing Artists 16, no. 3 (2001): 99–101. http://dx.doi.org/10.21091/mppa.2001.3017.
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The purpose of this study was to identify prevalence rates of medical problems among flautists. The Flute Health Survey (FHS), a questionnaire with items regarding musculoskeletal and nonmusculoskeletal problems, was distributed at the 1999 National Flute Association annual meeting (n = 40). This questionnaire was pilot tested at the 1999 Texas Flute Festival, which is hosted by the Texas Flute Society. The University of North Texas has posted on the Internet a similar questionnaire regarding the medical problems of all musicians. Responses from the University of North Texas Musician Health Survey (UNT-MHS) were filtered to include only those respondents who denoted flute as their primary instruments (n = 328). Data sets from both surveys were then processed using comparative statistics. Findings show that there was no significant difference between the demographics of the two populations. Only one musculoskeletal site, the left hand, was found to be statistically significant between the two groups. Four nonmusculoskeletal items, depression, earache, headache, and sleep disturbances, were found to be different between the two groups. The overall findings of this comparison show that there are many medical problems facing the flute playing community. Further investigation and observations of this population are necessary.
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Kassner, Weronika. "Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–1996." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 91–104. http://dx.doi.org/10.14746/rfn.2021.22.8.
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The aim of this discussion is to demonstrate manifestations of reductionism in the works of Henryk Mikołaj Górecki. In order to achieve this the article compares conclusions based on analyses of three works for the flute by Górecki composed during the same decade – For you, Anne-Lill op. 58 for flute and piano (1986), Good Night op. 63 for soprano, alto flute, piano and three tam-tams (1990) as well as Valentine Piece op. 70 for flute and bell (1996). The part of the flute is analysed in particular detail – the way it is shaped, its type of narration, and its relation to other instruments. The article is in two parts: the first outlines the tendencies in flute compositions in 20 th century in Poland and in the world, while the second part presents analyses of selected flute compositions by Górecki. The conclusions point to Górecki having an individual approach to using the flute as a solo instrument or as part of a group of instruments in a chamber composition, as well as to cohesiveness of the development of flute compositions against the background of the composer’s stylistic evolution as a whole.
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Litwinienko, Aleksandra. "The eighteenth century fife from the shipwreck of General Carleton of Whitby." Muzyka 65, no. 1 (2020): 113–18. http://dx.doi.org/10.36744/m.298.
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In the course of the fatal voyage, General Carleton was transporting a cargo of tar and iron. This cargo facilitated the preservation of artefacts: the spilled tar formed a shell, which protected the artefacts from seawater. Therefore, the wood was not damaged nor deformed. These conditions allowed the divers to find another musical instrument, which happened to be a wooden fife. It was lying in the south-eastern part of the wreck, behind the mainmast step, where most personal belongings of the crew members were discovered.
 The state of preservation of the flute is good. The X-ray photo confirmed the cylindrical cross section of the instrument. It’s dimensions indicate the C# or C tuning (transposed to B or Bb). Notwithstanding its atypical two-part construction, it should be classified, according to the Anglo-Saxon nomenclature as a fife, that is „a small cylindrical transverse Flute, but with a narrower bore and hence a louder, shriller sound than the flute proper”.
 The maker’s marks are visible on the surface, under the embouchure hole and between the 3rd and the 4th finger hole. The name indicates that the fife was made by John Just Schuchart or Charles Schuchart. The dating suggests Charles (1720–65) as the maker. He had a shop on Chandois-street, Covent-garden, London, called “Two Flutes and Hautboy”.
 Based on the signature type it can be said that the fife was produced in years 1759–65. The collections around the world include 8 recorders, 26 transverse flutes, 3 oboes, a clarinet and a bassoon from the workshops of father and son. It might be possible that there are no preserved analogies for the described instrument, which enriches the known collection of Schucharts’ instruments by one fife.
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Youjie, Wang. "The ways of renewing the genre role of the flute in Jin Ta’s creativity (on the example of Sonata Op. 3 No. 1)." Aspects of Historical Musicology 35, no. 35 (2024): 272–91. http://dx.doi.org/10.34064/khnum2-35.14.
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Statement of the problem. The ways of transformation of the flute creativity of Chinese composers in the 20th –21st centuries are analysed, in particular those of Jin Ta, a flutist and pedagogue, one of the most notable personalities of the musical art of modern China. Not being a professional composer, on today he created at least two opuses in the sonata genre, which marked a new stage in developing the flute art in China. Objectives, methods, and novelty of the research. The purpose of the study is to identify the genre-style paradigm of Jin Ta’s creativity in the context of global transformational processes in the modern world flute art. Several main methods are involved in the research, the most important of which are the genre, style and system ones. The novelty of the study is connected with a complex approach to the analysis of Jin Ta’s Sonata Op. 3 No. 1 for Flute and Piano taking in account the author’s performing-composing style and the formation of a new paradigm of flute music in the 21st century. Research results and conclusion. The flute art of China can be conventionally divided into two directions – making music on varieties of the Chinese flute and on the Western-style instrument. The tradition of playing the Chinese flute is fundamental, it laid the basis of the semantics and general perception of the instrument in Chinese culture. Hence, the first original compositions for the European flute imitate the imagery (in particular, pastoral) and performing techniques (breathing) of the Chinese flute. Two main periods of fruitful interpenetration of Chinese and European flute music making traditions can be identified: the 1930s and the period from 1976. It was during these years that the genre-style paradigm of flute compositions by Chinese composers was formed. The main genre is the miniature and suites of miniatures, intermediate genres such as poems, capriccios are also popular; there is no concerto genre, currently there are only two sonatas, many ensemble compositions, where the flute is presented in combinations with various instruments. The genre of transcriptions is also gaining popularity (in particular, of the works for the Chinese flute – judi, dizi; for the piano, etc.). Investigating ways of transformation of flute stylistics at the beginning of the 21st century in Jin Ta’s creativity, we have come to the following conclusions. 1. The genre and style paradigm of compositions for the flute by Jin Ta is quite classical. Sonatas became the main genres of his flute creative work. Jin Ta chooses a three-movement structure and saturates the standard form with specific images and stylistics. The author explains the latter by the fact that he does not consider himself a professional composer and can allow quite free handling of traditional forms and genres. Nevertheless, Sonata Op. 3 No. 1 is the largest composition of the flute repertoire in the Chinese music of today. 2. Jin Ta’s compositional style is characterized by the following: – large-scale thinking in a full-fledged ensemble texture, thanks not only to the virtuous art of a flutist, but also to a fluent command of the piano. The piano part in Jin Ta’s works is fully developed (both parts are equal); – he considers the creation of a melody that would be remembered by listeners to be the main thing in his creative work (although it is worth noting that melodiousness is a typical feature of Chinese flute music); – the composer is interested in jazz and hip-hop, so he introduces these elements into his compositions, for example, into the First Sonata for flute and piano, which significantly updates the formed stylistic complex; – regarding the ways of renewal, it is Sonata No. 1 Op. 3 that presents them in full. So, Jin Ta combinates the elements of Western European music (an allusion to F. Poulenc’s Flute Sonata), the components of Latin jazz (in the movements I and III), such as anacrusis, syncopation, the “question-answer” structures, vamp, improvisation, the rhythms of salsa (montuno), etc.; – the performance technique of Jin Ta’s Sonata No. 1 is relatively difficult for classical flutists who have not studied jazz, although the composer himself considers his own jazz style as quite conservative (he does not use too complex rhythms, adheres to more traditional rhythmic patterns; in addition, he uses catchy jazz and pop intonations giving the sound feigned lightness). Thus, Jin Ta’s work for the flute today, firstly, continues to reproduce the traditional flute imagery in Chinese culture, secondly, it is inscribed in the context of the most modern compositional trends, and thirdly, it is tuned to the listener, which makes it extremely popular among young people and experienced performers around the world. All of the above gives the right to soon expect the composer to create an opus of the concerto genre, for the existence of which there are already all grounds.
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Su, Jian, Nigar Anjuman, Maria A. Guarnera, Howard Zhang, Sanford A. Stass, and Feng Jiang. "Analysis of Lung Flute-collected Sputum for Lung Cancer Diagnosis." Biomarker Insights 10 (January 2015): BMI.S26883. http://dx.doi.org/10.4137/bmi.s26883.
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Molecular analysis of sputum can help diagnose lung cancer. We have demonstrated that Lung Flute can be used to collect sputum from individuals who cannot spontaneously expectorate sputum. The objective of this study is to further evaluate the performance of the Lung Flute by comparing the characteristics of parallel samples collected with and without the Lung Flute and the usefulness for diagnosis of lung cancer. Fifty-six early-stage lung cancer patients (40 current smokers and 16 former smokers) and 73 cancer-free individuals (52 current smokers and 21 former smokers) were instructed to spontaneously cough and use Lung Flute for sputum sampling. Sputum cytology and polymerase chain reaction analysis of three miRNAs (miRs-21, 31, and 210) were performed in the specimens. All 92 current smokers and 11 (28.7%) of 37 former smokers spontaneously expectorated sputum and also produced sputum when using the Lung Flute. Twenty-seven former smokers (70.3%) who could not spontaneously expectorate sputum, however, were able to produce sputum when using the Lung Flute. The specimens were of low respiratory origin without contamination from other sources, eg, saliva. There was no difference of sputum volume and cell populations, diagnostic efficiency of cytology, and analysis of the miRNAs in the specimens collected by the two approaches. Analysis of the sputum miRNAs produced 83.93% sensitivity and 87.67% specificity for identifying lung cancer. Therefore, sputum collected by the Lung Flute has comparable features as spontaneously expectorated sputum. Using the Lung Flute enables former smokers who cannot spontaneously expectorate to provide adequate sputum to improve sputum collection for lung cancer diagnosis.
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Prairie, Michael, and Joshua Beeghley. "The warble mechanism of the native American flute." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A185. http://dx.doi.org/10.1121/10.0023211.
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The “warble” is a peculiar sound in many old Native American flutes. It is perceived as a spontaneous oscillation between two octaves of the flute’s lowest note at a rate of a few Hz, and spectrograms reveal amplitude modulation of all partials during the warble period. The modulation of the fundamental is assumed to be generated through interference with difference signals generated from detuned upper partials. We propose the detuned partials are temporarily locked with natural resonance frequencies that are inharmonic due to the construction characteristics of the flute, namely the bore length and the chimney configuration at the sound hole. Natural resonances of several flutes were measured, and then the fundamental note was played using a mechanical blower that slowly increased pressure to produce the warble. Spectrograms showed the harmonic spectrum increase in frequency until the onset of the warble as the third partial locked to the third natural resonance frequency. The results were analyzed using the Alder equation to describe locking and unlocking of the third partial with the natural resonance frequency to establish conditions for warbling. Proper placement of the third resonance frequency is essential to enable the warble, and the necessary construction details are discussed.
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Yakovenko, Margarita. "The Genre of Poems in the Flute Repertory(on The Example of the Works by Ch. Griffiths and J. Kolodub)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 183–96. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278242.
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The essence of the concept "poem" is analyzed in the context of the origins of this genre. The characteristic features of the studied genre are clarified not only from the literary standpoint, but also from the standpoint of the musical-instrumental genre. The relevance of the study of the "poem" genre is highlighted as a type of flute musical work. Its uniqueness and significance in the flute repertoire among diverse flute works is confirmed. Two works of the same genre by American and Ukrainian composers, who are representatives of different composer schools and traditions, but whose works share common features, are considered. A detailed musical analysis of two "Poems" in versions for flute and piano was carried out by studying the musical text and the most popular modern performing interpretations. Their structural, substantive, and shape-forming components have been studied. It has been proven that works that had been created for solo flute accompanied by an orchestra gained more popularity and distribution than versions for flute and piano. It has been clarified to which period of creativity each composer's work belongs. It is indicated which elements of the musical language, means of expression and other compositional techniques characterize this stage of the creative activity of each of the composers. The relationship between the flute and piano parts has been established. The interaction between them and equality, which are characteristic of chamber works, have been revealed. Attention is drawn to the peculiarities of the musical language that characterize each of the composers and that are clearly manifested in the specified works. The author discovered the identity between the eastern motifs that exist in the music of Ch. Griffiths and the features of the use of characteristic musical modes in the work of Zh. Kolodub. The coloristic direction of impressionism was found, which is the main characteristic feature of the studied style, this feature was clearly manifested in both works. The expansion of the technical capabilities of the musical instrument (flute) was studied, which is observed in the use of contrasting nuances, registers, in unexpected solutions, combinations of time signatures, the presence of intricacies of heartbreaking passages and melodic constructions.
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MacLeod, Rebecca B. "A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 33–43. http://dx.doi.org/10.2307/40319328.
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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.
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Park, Jong-Min, Jae-Min Sim, and Hyun-Mo Jung. "Finite Element Simulation of the Flat Crush Behavior of Corrugated Packages." Applied Sciences 11, no. 17 (2021): 7867. http://dx.doi.org/10.3390/app11177867.
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Corrugated paperboards are used for packaging because of their high strength-to-weight ratio, recyclability, and biodegradability. Corrugated paperboard consists of a liner and a corrugated medium and has an orthotropic sandwich structure with unique characteristics for each direction owing to its flute shape. In this study, finite element analysis (FEA) was performed on the flat crush behavior of the corrugated paperboard based on the flute type. The stress-strain (SS) curve and shape change of the flute were analyzed during the flat compression. In addition, it was compared with the FEA results through various experiments. The restraints and boundary conditions applied during FEA were used to properly describe the conditions during the experiment. Specifically, the horizontal translation motion of the top and bottom surfaces of the modeled test specimen was constrained during FEA to correspond to the effect of sandpaper attached to the upper and lower plates of the testing machine. This was done to prevent the specimen from sliding in one direction during the flat crush test. The change in the flute shape of the corrugated paperboard by flute type analyzed through experiments and FEA was very similar; although there was a difference in the absolute value between the two methods of the SS curve, the flute type exhibited a similar trend. Therefore, a qualitative comparative study on the flat crush behavior by flute type was possible with the FEA method, as in this study. Further studies on the material properties of the corrugated paperboard components and the modeling methods of the corrugated paperboard will enable the FEA-based simulation technique to be an alternative tool that can replace the flat crush test.
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Tansella, Francesca, Luisa Vigorelli, Gabriele Ricchiardi, et al. "X-ray Computed Tomography Analysis of Historical Woodwind Instruments of the Late Eighteenth Century." Journal of Imaging 8, no. 10 (2022): 260. http://dx.doi.org/10.3390/jimaging8100260.
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In this work, two historical flutes of the late eighteenth century were analysed by means of X-ray computed tomography (CT). The first one is a piccolo flute whose manufacturer is unknown, though some features could suggest an English or American origin. The second musical instrument is a baroque transverse flute, probably produced by Lorenzo Cerino, an Italian instrument maker active in Turin (Italy) in the late eighteenth century. Analyses carried out provided information on manufacturing techniques, materials and conservation state, and are suitable to plan restoration intervention. In particular, through the CT images, it was possible to observe the presence of defects, cracks, fractures and previous restorations, as well as indications of the tools used in the making of the instruments. Particular attention was directed towards extracting metrological information about the objects. In fact, this work is the first step of a study with a final aim of determining an operative protocol to enable the making of precise-sounding copies of ancient instruments starting from CT images, that can be used to plan a virtual restoration, consisting in the creation of digitally restored copies with a 3D printer.
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Bi, Wenkai. "Comparison Between Native American and Tibetan Musical Instruments Taking Quena and Eagle Bone Flute as Examples." Communications in Humanities Research 25, no. 1 (2024): 231–35. http://dx.doi.org/10.54254/2753-7064/25/20231956.
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Both Tibetans and Native Americans have tribal music and a special unique culture. In addition to the overall composition of regional culture, local musical instruments are a small component of cultural factors in regional culture. By comparison analysis, this essay aims to explore the similarities and differences Eagle bone flute from Tibet and the Quena originated from Native Americans as examples, in terms of their appearance, performing technique, and special customs. As Native Americans are semi-nomadic and Tibetans are nomadic, some of their habits are similar, but differences also appear. This essay finally finds out that the distinctions are on account of their different cultural traditions and lifestyles. The two kinds of flutes demonstrated in this essay have quite different outlooks, different timbres, and tones, but similar cultural backgrounds and performing conditions. The study contributes to future instrument production and provides suggestions about preserving the existence of the two kinds of flutes.
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Tang, Y. L., Rong Di Han, Lin Geng, and Jia Bin Ju. "Research on Specific Structural Parameters of Modified-Tooth Tap for Titanium Alloy TC4." Applied Mechanics and Materials 66-68 (July 2011): 1286–90. http://dx.doi.org/10.4028/www.scientific.net/amm.66-68.1286.
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With Third Wave AdvantEdge FEM software, an equivalent finite element model in tapping has been built, making a simulation study of the chip curling of titanium alloy TC4 and analyzing the influnce of a tap hook angle and chip flute shape on chip curling. Based on the simulation study above, the modified-tooth taps made of high-speed steel W9, which have two types of chip flute shape with a chamfer angle of 7°30´and respectively, were developed and the comparative tests of tapping TC4 have been done. The results indicates that the chip removal effects in hand tapping with the standard flute shape and respectively are on the same level, but the tapping torque has become smaller and more effective to a chamfer angle of .
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Scothern, Paula M. T. "A Comparison of the Medieval White Castle Flute with the Chalcolithic Example of Veyreau." Proceedings of the Prehistoric Society 55, no. 1 (1989): 257–60. http://dx.doi.org/10.1017/s0079497x00005429.
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The clearance of White Castle, Gwent, in the late 1920s led to the discovery of an end-blown flute or flageolet in the moat (Megaw 1961). This was a metatarsal of red deer, pierced by five regularly spaced finger-holes, two rear thumb-holes, a sound and suspension-hole (pl. 35 a, b). Its association with medieval pottery suggested a 13th-century date which was supported by its scratch and dot engraving reminiscent of medieval examples from Bornholm and Wartburg (fig. 2). Megaw considered it to be one in a long tradition of block and duct flutes dating as far back as Avebury (1500 BC) and Malham Tarn (Iron Age).
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Pandey, Durgesh. "ROLE OF ELECTRONIC INSTRUMENTS IN MUSIC TEACHING AND PERFORMANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3419.
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The smallness of the sound is based on intensity. When it affects the brain and the heart, first blood activity is affected and then it is transformed into mental sensation. To measure the intensity of noise, we use the decibel method. It is also known as Phan; It is worth noting here that if the sound level of a flute produced by a flute is 40 fane, the level of the sound of the two flutes would be only about 43 pans instead of 80 pans and the sound level of 10 flutes would be around 50 pans. There is a difference in the intensity of the sound and not the highness of it.
 नाद का छोटा-बड़ापन तीव्रता पर आधारित होता है। इसका प्रभाव मस्तिष्क और हृदय पर जब पड़ता है तो पहले रक्त क्रिया प्रभावित होती है और उसके बाद मानसिक अनुभूति के रूप में उसका रूपांतर होता है। नाद की तीव्रता नापने के लिए डेसीबल पद्धति को अपनाते हैं। इसे फाॅन ;च्ींदद्ध नाम से भी जाना जाता है, जिसके आधार पर साधारण बातचीत की ध्वनि का क्षेत्र 60 से 70 फाँन के मध्य में रहता है। यहाँ यह बात ध्यान देने योग्य है कि यदि एक बाँसुरी से उत्पन्न नाद का ध्वनि स्तर 40 फाॅन है तो दो बाँसुरियों के सम्मिलित नाद का स्तर 80 फाॅन न होकर केवल 43 फाॅन के लगभग होगा और 10 बाँसुरियों का नाद स्तर 50 फाॅन के लगभग होगा। नाद की तीव्रता में अंतर आता है न कि उसके ऊँचे-नीचेपन में।
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Lebedev, A. T., R. R. Iskanderov, and A. S. Shumsky. "Determination of Design Parameters for Horizontal Rotary Crushers for Feed Grain." Agricultural Machinery and Technologies 12, no. 5 (2018): 9–13. http://dx.doi.org/10.22314/2073-7599-2018-12-5-9-13.
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A horizontal impact crusher provides for highquality grinding of grain materials and getting the finished product equalized by particle size distribution to 98 percent. The effectiveness of the crusher is determined by the following parameters: rotor speed, operating clearance, intensity and full filling of the crushing chamber, the duration of impact on the original product, the design features of the working bodies and the geometric design of their corrugated surfaces. (Research purpose) To determine the design parameters of a horizontal rotary crusher for feed grains. (Materials and methods) The influence of the stator flute number on the quality of the crushed product has been studied by three indicators: the grinding degree, the grinding module, the actual effectiveness of the grinding process. It has been found that as the flute number increases, the grinding module and the degree of grinding change insignificantly, and the actual effectiveness of grinding decreases. In this case, the finished product corresponds to coarse grinding. A comparative experiment has been conducted with two design variants of the working surfaces with one stator contradiction to check the effectiveness of changing the shape of the rotor and stator flutes. (Results and discussion) It has been determined that the geometrical parameters of flute working elements of a horizontal rotary crusher can be calculated using the proposed model of theoretical calculation based on the type of material crushed and zootechnic requirements. An angular shape of the rotor grooves also has a positive effect on the overall performance of the grinding process. (Conclusions) The authors present theoretical substantiation of the design features of cutting flute working surfaces of a horizontal rotary crusher and the calculation of the rotor diameter. They have proposed a model for calculating these parameters basing on the type of crushed grain crops. They have experimentally compared various design forms and the number of stator contradictions with respect to the quality of the products obtained. The main manufacturing parameters of rotor grooves have been calculated for the most common grain crops (wheat, barley, oats, and corn) and their optimal values have been theoretically substantiated.
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Byo, James L., Amanda L. Schlegel, and N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists." Journal of Research in Music Education 58, no. 4 (2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.
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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.
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Widnyana, I. Komang Galang. "Nuraga Sanubari Musical Composition | Komposisi Karawitan Nuraga Sanubari." GHURNITA: Jurnal Seni Karawitan 4, no. 3 (2024): 357–64. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i3.3393.
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Nuraga Sanubari is based on musical art, which has the background of the author's desire to create relaxation music that utilizes traditional instruments because, currently, the processing of relaxation music usually tends to use Western instruments. The author wants to express his feelings through musical works to be listened to and distributed to the general public. The spoken media used are as follows, flute gambuh, gumanak, kempur gambuh, gentorag, dun-dun, and Native American Flute. In creating this musical work, the arranger used the method from Alma M. Hawkins in the book Creating Through Dance (1964), which explains that the arranger went through 3 stages: Exploration, Improvisation and Forming. This relaxation music piece has two parts. In the first part, the author wants to emphasize further the tonal character of the gambuh flute, which is combined with the native American flute, and in the second part, the author creates a happy and happy atmosphere by processing the dun-dun, kempur, gumanak, and gentorag instruments. The number of musicians in this relaxation music work is 17 people including the author, and the duration of the work is approximately 11 minutes.
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Cattermole, Jennifer. "Investigating the sonic characteristics of New Zealand’s Indigenous instruments: taonga pūoro and miheke oro (Māori and Moriori musical instruments)." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A184. http://dx.doi.org/10.1121/10.0023206.
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This paper investigates the sonic characteristics of taonga pūoro from a performer’s perspective, as well as on how the instruments’ construction and materials affect their sound. It also presents findings from two recent projects that involved making 3D printed models of Indigenous instruments. The first included taonga pūoro from the Otago Museum, and the second the only two known Moriori flutes (held in the Bishop and Canterbury museums). These were CT scanned, and that data used to create digital models, which were printed. The first project utilized one type of print media, whereas the second utilized several. Because playing the museum instruments is not permitted, other instruments have been used as controls to test the prints’ sonic properties – a kōauau (a type of Māori flute) held by the University of Otago in the first project, and replicas of Moriori flutes made from albatross bone (the flutes’ original material) in the second. Recorded.wav files of both the original and printed replica instruments were compared using the application Izotope Rx5. This application enables sound files to be viewed as spectrograms, allowing for the harmonic and resonant content of the recordings to be compared visually.
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ANGELINI, S., W. M. QUAM, W. W. YUEN, and T. G. THEOFANOUS. "FLUTE: FLUORESCENT TECHNIQUE FOR TWO-PHASE-FLOW LIQUID-FRACTION MEASUREMENTS." Chemical Engineering Communications 118, no. 1 (1992): 237–49. http://dx.doi.org/10.1080/00986449208936096.
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Stashevska, I., and Y. Danilchenko. "R. Dick’s Improvisation “Sliding Life Blues” for Solo Flute (transcriptioned by M. Keeling): Analysis of the Implementation of Modern Performance Techniques." Culture of Ukraine, no. 88 (March 20, 2025): 96–103. https://doi.org/10.31516/2410-5325.088.10.
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The relevance of the topic and statement of the problem. The modern flute, which during its long evolution has undergone considerable changes in its own design, today has a huge sound and timbre expressive potential, which is largely capable of satisfying the broad artistic requirements of composers and performers. This potential lies, on the one hand, in the constructive and organological properties of the flute as a modern academic musical instrument. On the other hand, in the very system of instrumental and performing means of flute art, which today is constantly expanding and consists of a whole set of playing techniques and techniques, sound extraction methods, sound-acoustic and timbre effects, etc. Thus, over the past decades, a significant array of modern original works for the flute (mostly avant-garde) has emerged, in which this set of expressive means finds its adequate and highly artistic embodiment. Therefore, the problem of analysis, systematization and specifics of the implementation of modern expressive means, in which playing techniques and performing and instrumental techniques play the most important role, arises with regular relevance in modern musicology. The fertile ground in this aspect is the musical creativity of the famous American flutist, composer, teacher, inventor Robert Dick, whose flute compositions demonstrate a bright spectrum of the latest (extended) performing techniques and artistic discoveries. The purpose of the study is to analyze the implementation of modern performing techniques in the play by R. Dick’s Improvisation “Sliding Life Blues” for solo flute (performed on the basis of a transcription of the recording of this composition by M. Keeling) through the prism of the musical dramaturgy of the work. The methodology used in the article is based on the use of methods of theoretical musicology (primarily, analysis of musical form, elements of musical language, means of expression, etc.), as well as methods of structural and systemic analysis, generalization and classification. The results of the work focus on highlighting and systematizing the latest performance techniques and techniques identified in the specified work that characterize modern flute art, as well as on determining the features of the compositional structure of this work. The scientific novelty of the work lies in the fact that for the first time in modern musicology, an analysis of the implementation of modern performance techniques in the play by R. Dick’s Improvisation “Sliding Life Blues” for solo flute (in the transcription of the recording of this composition by M. Keeling) has been carried out against the background of consideration of the dramaturgy of this work and its compositional structure. The practical significance of the work lies in the possibility of its use in theoretical courses on the methodology of teaching flute playing and the history of flute performing art, as well as in the practical work of teachers in the flute class. Conclusions. The compositional structure of the work fully corresponds to the typical patterns inherent in this genre variety and is a form of double variations (A+B+A1+B1+A2+B2), based on the alternation of variational transformations of two contrasting themes. The stylistic system of the composition is based on two main intonation-cadence components: the blues scale, which is characteristic of the African-American tradition, and the scales inherent in the musical folklore of Eastern cultures. The spectrum of modern performing techniques and techniques, which is widely used in this composition, reveals the following types: ordinary glissando, tremolo, trill, singing & playing simultaneously, multiphonics techniques, octave harmonics, key-clicks, etc. But the composer uses the Glissando Headjoint technique most widely in this work in various forms of its application (including in combinations with other techniques, such as bent-multiphonic-tremolo glissando, etc.).
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Manoj Kumar and RAMESH KUMAR SAHNI. "A Study on Effectiveness of Fluted Feed Roller Metering Device for High-Speed Soybean Sowing." Journal of Agricultural Engineering (India) 61, no. 6 (2024): 783–93. https://doi.org/10.52151/jae2024616.1891.
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This study investigated the usability of available fluted feed roller for high-speed drilling of soybean seeds. A 7-grove fluted roller having roller, with a roller diameter of 56 mm and a flute diameter of 20 mm, was evaluated in a laboratory setup of a stationary seed drill. The laboratory setup consisted of seed hopper, metering mechanism, delivery pipe, plastic bucket, precision weighing balance, screw mechanism, variable speed motor system, and data acquisition system. The fluted roller was operated in replicated trials at four feed shaft speeds (8, 13, 18 and 23 rpm), three exposure lengths (1/3rd, 2/3rd and full) and at two widths of slot (WS) between roller and bottom plate of the feed unit 10 and 20 mm. Flow accuracy calculated for each trial revealed that the flow accuracy is significantly affected by fluted roller speed and active exposure length. For an optimal flow accuracy, the fluted feed roller should be operated with a full exposure length, at a fluted roller speed of 23 rpm at both WS for the soybean seeds. The best result for seed flow accuracy was found with fluted roller speed of 23 rpm, full exposure length, and 10 mm WS.
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Vijayaraghavan, Athulan, and David A. Dornfeld. "Automated Drill Modeling for Drilling Process Simulation." Journal of Computing and Information Science in Engineering 7, no. 3 (2007): 276–82. http://dx.doi.org/10.1115/1.2768091.
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Accurate models of two-flute conical twist drills are needed for finite element simulations of the drilling process. Existing drill designing methods rely extensively on discretized analytical equations to describe the drill and different sets of equations that need to be formulated as the drill design changes. This paper presents a method to create accurate models of two-flute conical twist drills using solid-modeling techniques, which addresses some of these shortcomings. Boolean operations are used to mimic the drill manufacturing steps and generate the fully designed drill. The drills generated by this method have been used in finite element simulations to study the effect of drill point geometry on burr formation in drilling.
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Сапаралиев, Т. С. "The first instrumental treatises and manuals on the performance of the context of the history of the formation of a transverse flute." Review of pedagogical research 6, no. 5 (2024): 265–73. http://dx.doi.org/10.58224/2687-0428-2024-6-5-265-273.
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на протяжении XVI-XVII веках была создана фундаментальная теоретическая база – больше двухсот трактатов, в которых описаны многочисленные исполнительские, методические и педагогические аспекты флейтового искусства. Корпус трактатов содержит максимально всестороннюю и полную информацию и является сегодня историко-теоретическим фундаментом комплексного подхода к изучению западноевропейского флейтового искусства. В статье исследуется комплекс особенностей западноевропейского флейтового исполнительского искусства XVI-XVII веках как целостного явления и систематизируются представленные в трактатах данного периода правила и рекомендации по определение темпа, применение динамики, флейтовой артикуляции, принципов применение ритмической альтерации, импровизации прелюдий и каденций, а также свободного орнаментирования. throughout the XVI-XVII centuries, a fundamental theoretical base was created-more than two hundred treatises, which describe numerous performing, methodological and pedagogical aspects of flute art. The body of treatises contains the most comprehensive and complete information and is today the historical and theoretical foundation of an integrated approach to the study of Western European flute art. The article explores a set of features of Western European flute performing art of the XVI-XVII centuries as a holistic phenomenon and systematize the rules and recommendations presented in the treatises of this period, the use of dynamics, flute articulation, the principles of the use of rhythmic alteration, improvisation of preludes and cents, as well as free ornamentation.
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Aman, Singhai, and S. Sahu H. "Finite Element Analysis of Micro End Mill and Simulation of Burr Formation in Machining a Review." International Journal of Trend in Scientific Research and Development 3, no. 2 (2019): 347–49. https://doi.org/10.31142/ijtsrd21369.
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The recent technological progressions in industries have offered ascent to the continually growing requests for microstructures, sensors, and parts. Micro milling is a promising method to create these scaled down structures, sensors, and parts. Yet, micro milling still confronts some significant difficulties, tormenting further provision of this innovation. The most noticeable around them is micro burr formation. Burrs created along the completed edges and surfaces in micro milling operation have huge effect on the surface quality and performance of the completed parts and microstructures. In any case, deburring of micro parts is not conceivable because of bad accessibility and tight tolerances in micro segments. One of the methods to minimize micro burr formation in micro milling is by enhancing the geometry of the device. As minimization of micro burrs still remains a key test in micro machining, not many researchers have worked in this field. The main aim of the research work is to present finite element analysis of flat end mill micro cutters used in micro milling by varying geometry of the tools. Apart from this, study has been done in detail on burr formation in micro milling and what factors affect it. Burr formation simulation has been carried out while varying the tool geometry. Aman Singhai | H. S. Sahu "Finite Element Analysis of Micro End Mill and Simulation of Burr Formation in Machining a Review" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-3 | Issue-2 , February 2019, URL: https://www.ijtsrd.com/papers/ijtsrd21369.pdf
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Riikonen, Taina. "Shaken or stirred – virtual reverberation spaces and transformative gender identities in Kaija Saariaho's NoaNoa (1992) for flute and electronics." Organised Sound 8, no. 1 (2003): 109–15. http://dx.doi.org/10.1017/s1355771803001122.
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Kaija Saariaho's NoaNoa for flute and electronics consists of two materials: the live flute part and the electronic component, which can be further divided into real-time and pre-recorded material. The sound mixtures of live instrument, pre-recorded material, and real-time electronics create diverse instrumental positions, which also have effects on the musician's experiences of self and gender. This article examines the live flautist's embodied identity during the real-time reverberation and the pre-recorded part. Different performances of NoaNoa by different performers introduce diverse embodied flautist identities where the negotiations of gender and self are constantly redefined.
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Wheeler, Belinda. "Gwendolyn Bennett's “The Ebony Flute”." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 744–55. http://dx.doi.org/10.1632/pmla.2013.128.3.744.
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IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.
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Pesnia, Liudmila. "Pastoral Traditions in the Sonata for Flute and Piano "Pan's Flute" by J. Mouquet." Философия и культура, no. 3 (March 2023): 51–67. http://dx.doi.org/10.7256/2454-0757.2023.3.39594.
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The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in the Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition.
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Spasov, Miroslav. "Using Strange Attractors to Control Sound Processing in Live Electroacoustic Composition." Computer Music Journal 39, no. 3 (2015): 25–45. http://dx.doi.org/10.1162/comj_a_00313.
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This article explores the possibility of using chaotic attractors to control sound processing with software instruments in live electroacoustic composition. The practice-led investigation involves the Attractors Library, a collection of Max/MSP externals based on iterative mathematical equations representing nonlinear dynamical systems; Attractors Player, a Max/MSP patch that controls the attractors' performance and live processing; and the two compositions based on the software: Strange Attractions for flute, clarinet, horn, and live electronics, and Sabda Vidya No. 2 for flute, tenor saxophone, and live electronics. In the article I discuss some specific attractors' characteristics and their use in interactive composition, relying on the experience from the performances of these two compositions. The idea is to highlight the experience with these nonlinear systems and to encourage other composers to use them in their own works.
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lin, Jiantong, Can Liu, Bingsheng Xie, et al. "Force model of two-flute continuous milling based on tool deflection." Journal of Physics: Conference Series 2229, no. 1 (2022): 012016. http://dx.doi.org/10.1088/1742-6596/2229/1/012016.
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Abstract Accurate modeling of the instantaneous uncut chip thickness is one of the key issues in milling mechanics. Although most current cutting force models take into account the effects of tool deflection and tool run-out, they only consider single-edge continuous milling processes and do not consider processes where multiple edges are simultaneously engaged in milling. Considering the tool runout and tool deflection that affect the end milling process, a novel uncut chip thickness algorithm based on two-flute continuous milling is proposed in this paper, and an analytical force model for actual milling is established. There is no need to use iterative methods, and the predictive power can be obtained by solving a linear system of equations, so the computational cost is greatly reduced. At the same time, stainless steel 316 was processed, and the experimental results showed that the predicted force was in good agreement with the measured force.
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Zheng, L. ‐J. "Stability criteria for edge flute modes in the two‐fluid regime." Physics of Fluids B: Plasma Physics 5, no. 5 (1993): 1402–7. http://dx.doi.org/10.1063/1.860879.
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Schumann, Lukas, Dorothea von Zadow, Alexander Schmidt, et al. "Investigation of the Emission Rate of Particles when Musicians Play Wind, Woodwind, and Brass Instruments." Indoor Air 2023 (December 21, 2023): 1–11. http://dx.doi.org/10.1155/2023/8092828.
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In the context of the high risk of airborne transmission of COVID-19, the question of the production of particles while playing wind instruments is highly relevant. Therefore, in this study, 23 professional musicians played their instruments in a cleanroom in cleanroom-grade clothing. The most common orchestral wind instruments flute, oboe, clarinet, and trumpet were therefore chosen. Aerosol measurements using a laser particle counter were conducted to quantify the emission rate of respiratory particles. Orchestral excerpts as well as sustained tones in two dynamic levels were played. The emitted particles were mostly in a submicron size range. For all instruments besides the clarinet, an influence of the loudness of playing on the emission rate could be observed. The emission rates for all musical instruments were independent of the passages played. Flute and oboe showed similar emission rates but lower than the values for clarinet and trumpet. While playing a note with a small volume, the flute, oboe, and trumpet have a similar emission rate as found for speaking.
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Madeła, Alexandra. "The Hidden Third Siren of the Orphic Argonautica." Mnemosyne 73, no. 1 (2020): 112–22. http://dx.doi.org/10.1163/1568525x-12342626.
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Abstract The Orphic Argonautica features a scene involving a group of Sirens. Their number is assumed to be two, since the text mentions one each throwing away a flute and a lyre. This paper argues that the author leaves open the possibility and even hints that there are in fact three Sirens, one of whom holds no instrument. This conclusion is supported by numerous—both literary and artistic—representations of three Sirens, which include one bare-handed such creature and two holding flute and lyre. It also finds confirmation in an allusion to an epigram by Antipater about three Muses, as well as some intra-textual parallels. The final part of the article discusses the implications of this ambiguity, such as reconciling the Homeric tradition of two Sirens with the number of three that was current in the author’s lifetime, but also allowing for an allegorical reading of the episode.
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Yermak, I. "Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century." Musical art in the educological discourse, no. 3 (2018): 80–88. http://dx.doi.org/10.28925/2518-766x.2018.3.8088.
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For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of the 18th century which contain important information about the performing arts of the era. The need for their study causes the topicality of this article.The article presents the results of the study of the treatise “Nouvelle méthode de flute” (1798) by Aman Vanderhagen, which includes number of valuable guidelines about posture, performance breathing, correct phrasing and ways of correction of the unstable notes on a one-keyed flute. The variety of strokes given in the treatise is a vivid example of the performing traditions of classicism.For the solution of the study tasks it is used historical, source-study, textual, analytical and performance methods. The conclusion is that the «Nouvelle méthode de flute» is an important source of information about peculiarities of performing on wind instruments in the second half of the 18th century and is recommended for the study of modern musicians and music historians.