Relevant bibliographies by topics / Wind instrument music

Contents

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

Academic literature on the topic 'Wind instrument music'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Wind instrument music"

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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011033.

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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.
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Rizki Septiadi, Viandika, and Esy Maestro. "Pembelajaran Teknik Tonguing pada Instrumen Flute dalam Mata Kuliah Praktik Instrumen Mayor Tiup." Jurnal Sendratasik 11, no. 3 (2022): 361. http://dx.doi.org/10.24036/js.v11i3.118756.

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The purpose of this study is to find out how the process of Learning Tonguing Techniques on flute Instruments in the Wind Major Instrument Practice Course in the UNP Music Education Study Program. In this study, an analytical descriptive method was used by utilizing qualitative data. The research instrument in this thesis is the researcher himself. In the implementation of Tonguing Technique Learning on flute Instruments in the Wind Major Instrument Practice Course in the Music Education Study Program UNP involves students of the class of 2021 who have just taken the wind instrument major 1 practice course. Learning outcomes are that students are able to understand some of the basic things of learning wind instruments properly and correctly. The tonguing technique is one of the basic techniques in the game of flute instruments and is one of the things that must be considered in flute instrument games. The tonguing technique had a great influence in the game of flute instruments. So in this case the researcher examines the learning process of the tonguing technique on the flute instrument by looking for the process, learning experience and learning evaluation.
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S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (2021): 65–69. http://dx.doi.org/10.34256/irjt2129.

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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.
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Powell, Sean R. "Wind Instrument Intonation: A Research Synthesis." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 79–96. http://dx.doi.org/10.2307/27861484.

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Abstract The development of intonation skills is among the many challenges facing instrumental music educators. The purpose of this review is to synthesize the research on wind instrument intonation in order to develop a consensus in regard to intonation perception and performance. The research studies reviewed are organized into three main sections: studies examining the physical factors of wind instruments that influence intonation, studies examining intonation perception and performance by players of wind instruments, and studies examining various methods to improve wind intonation. Discussion, conclusion, and implication sections are included following the review of the literature.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.

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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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Braasch, Jonas. "Acoustical affordances and challenges with indigenous and orchestral wind instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A185. http://dx.doi.org/10.1121/10.0023209.

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All our orchestral wind instruments evolved over many centuries from indigenous prototypes. The latter were developed using found hollow objects like animal horns for early brass instruments, vulture bones for flutes, and termite-infested eucalyptus branches for the Australian didjeridu. Already over 40,000 years ago, the concept of finger holes was conceived that allowed musicians to play various scales on instruments. During the Rennaissance and early Baroque, wind instrument ranges were extended to 1 1/2 octaves and beyond on a diatonic scale and extended cross-fingering capabilities, but it was during the romantic period that our orchestral instruments reached their final form, with chromatic extended tonal ranges and known well balanced timbral qualities. Built on an industrial scale, these instruments became a commodity without real alternatives for subsequent music styles, including jazz, rock, and classical avant-garde. These styles often sought a new timbral expressiveness that can go beyond the intended design of orchestral instruments. In this paper, it will be discussed how different wind instrument designs offer(ed) unique opportunities for music genres over time and how the original design of indigenous instruments better meets some of the more recent requirements than our commonly used orchestral instruments.
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Whalen, David S., Henry Lowengard, and Jonas Braasch. "Electronic wind instruments for mobility-restricted musicians." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A149. http://dx.doi.org/10.1121/10.0027121.

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One of the earliest applications of analog music synthesizers was the simulation of orchestral instruments. Electronic wind instrument sounds were played through piano-like keyboards or interfaces with breath controllers that mimicked physical wind instruments. Synthesizers are also often the best alternative for artists with disabilities to play a musical instrument. This talk focuses on methods and experiences the authors were involved with to design electronic alternatives to wind instruments for people who lost control of their arms. The Jamboxx is a USB controller that was specifically designed as a head-only interface using a breath controller to simulate airflow but also operates as a suck/puff device to activate menus and buttons, a slider to manipulate pitch, and a tilt-sensor to control expression parameters. The Jamboxx also addressed musicians seeking a harmonica-type interface to augment their guitar performance. The AUMI instrument is a touchless device based on camera tracking. This talk will address different sound synthesis methods to achieve realistic wind instruments, the ability to integrate these instruments with other off-the-shelf products (e.g., VST plugins), and special requirements for artists with special needs to play these instruments without too much fatigue. [Work supported by the Craig H. Neilsen Foundation.]
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Chen, Dawei, and Xu Guo. "Application of Multiacoustic Data in Feature Extraction of Anemometer." Complexity 2021 (July 23, 2021): 1–10. http://dx.doi.org/10.1155/2021/7955909.

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The acoustic characteristics of wind instruments are a major feature in the field of vocal music. This paper studies the application effect of wind power instrument feature extraction based on multiacoustic data. Combined with the acoustic data training model, the classification algorithm based on deep trust network is used to process multiple acoustic data. Using multiple acoustic data for feature extraction, the recognition and matching between multiple acoustic data and wind measuring instrument are realized. The experiment not only evaluates the error of the network classification algorithm but also describes the evaluation function of the deep belief network classification algorithm in the system. The traditional SNR evaluation method is used to improve the deficiency of evaluation function. Through the deep belief network classification algorithm for self-learning, the instrument recognition method with strong applicability is established. Finally, the effectiveness of multiacoustic data in wind power instrument feature extraction is verified.
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Korchinskaya, Lyudmila Mikhailovna. "Chamber Sonatas for Wind Instruments with Piano by P. Hindemith. General Review. Historical Retrospective." Culture. Art. Education, no. 3 (April 24, 2023): 23–34. http://dx.doi.org/10.37816/2949-1762-2023-2-1-23-34.

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The article is devoted to the study of chamber music by Paul Hindemith, in particular, sonatas for wind instruments with piano. The work enhances the keen feeling and great desire of the composer to write power for spiritual instruments. The author considers the issue related to the concert and pedagogical repertoire for spiritual instruments, examines the topic of expanding the repertoire in this area through the works of P. Hindemith. The author also paid special attention to the composer’s interpretation of each instrument in chamber sonatas for wind instruments with piano, where composer’s attention was shown to each instrument in an unusual relation to its role due to the expansion of the boundaries of expression.
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Ongaro, Giulio M. "16th-century Venetian wind instrument makers and their clients." Early Music 13, no. 3 (1985): 391–97. http://dx.doi.org/10.1093/earlyj/13.3.391.

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Dissertations / Theses on the topic "Wind instrument music"

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Batzner, Jay C. Miller Walter M. Mobberley James. "Illuminations." Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.<br>For wind ensemble. "A dissertation in music composition." Advisor: James Mobberley. "Inspired by central themes found in Walter M. Miller's science-fiction classic A canticle for Leibowitz"--p. ii. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Howell, Jocelyn. "Boosey & Hawkes : the rise and fall of a wind instrument manufacturing empire." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16081/.

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For over 150 years the names Boosey and Hawkes dominated the British music scene, at first independently, and from 1930, in response to the difficult trading conditions of the Depression, as a single firm – Boosey & Hawkes. Although it was run as one company it comprised two divisions – the publishing business and instrument manufacturing. This thesis examines the history, role and significance of Boosey & Hawkes and its associated companies as musical instrument makers. Acquisition of new firms played an important part in business expansion, and particular focus is given here to the complex and lengthy incorporation of Besson & Co. into Boosey & Hawkes. The influence of Boosey & Hawkes extended far beyond Great Britain; in its heyday, besides providing wind instruments for the numerous civilian bands at home, the company supplied instruments to military regiments of the British armed forces, resulting in global distribution. Consequently the company became a symbol both of the British Empire and of British music. After the upheaval of the Second World War hand-crafting instruments gave way to mass production with many instruments made for educational purposes. Productivity increased, but quality-control declined, and it has been argued that the more successful new instruments were essentially the result of old-fashioned craftsmanship. These changing methods of manufacture are appraised here, and instrument design and innovation are examined and evaluated. During the 1960s and 1970s Boosey & Hawkes monopolised the market and the firm became one of the largest and most successful instrument manufacturing companies in the world. However, competition from companies abroad, mismanagement and bad workmanship caused the demise and eventual closure of Boosey & Hawkes instrument-making division in 2003.
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Pamidi, Swathi. "Development of an iOS App for Learning Intonation of Wind Instruments." Wright State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=wright1527083617720508.

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Fuchigami, Rafael Hirochi 1985. "Aspectos culturais e musicológicos do shakuhachi no Brasil." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285218.

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Orientador: Eduardo Augusto Ostergren<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T02:17:31Z (GMT). No. of bitstreams: 1 Fuchigami_RafaelHirochi_M.pdf: 4928207 bytes, checksum: a0ed12a80c12607b98a9de37140877a4 (MD5) Previous issue date: 2014<br>Resumo: Este trabalho organiza informações sobre a introdução e difusão das tradições da flauta shakuhachi no Brasil, desde os primórdios do século XX até os dias atuais, levando em consideração os aspectos históricos e etnomusicológicos desse processo. Partimos dos estudos realizados por Olsen (1982, 1983, 2004) e Satomi (2004), tocando em assuntos relacionados com a difusão da música e cultura pelos imigrantes japoneses e seus descendentes. Entretanto, o objetivo central desta pesquisa é tratar da presença do shakuhachi em nosso país, independentemente da região ou grupo étnico no qual está inserido. Se, por um lado, restringimos o foco para um único instrumento da cultura japonesa, por outro, aprofundamos sua abordagem e ampliamos a pesquisa para todo o país, para além do estado de São Paulo. Discorremos sobre a trajetória da flauta a partir de um levantamento bibliográfico e acrescentamos novas informações que se revelaram durante o trabalho de campo. Abordamos a utilização atual do shakuhachi, visto que nos últimos anos estão ocorrendo mudanças significativas em seu panorama no país, como a introdução das obras e estilo difundidos por Katsuya Yokoyama (1934-2010), o aumento significativo de tocadores não-descendentes de japoneses, entre os quais alguns se tornaram líderes de grupos de música japonesa, e a utilização da internet como ferramenta de difusão das tradições do shakuhachi. Essas transformações evidenciaram o fato de que a cultura japonesa está se deslocando independentemente da população japonesa, um fenômeno recente no contexto do shakuhachi no Brasil<br>Abstract: The present work attempts to organize information gathered about the introduction and dissemination of the shakuhachi flute tradition in Brasil, from the earliest days of the twentieth-century to the present time, taking into consideration the historical and ethnomusicological aspects of this process. We began with the studies done by Olsen (1982, 1983, 2004) and Satomi (2004) touching on subjects related to the diffusion of music and culture of the immigrants and its descendants as it would be expected. However the focal point of this research is to call attention to the presence of the Shakuhachi flute in our country independently of the geographic region or ethnic group in which it is inserted. If on one hand one narrows the focus of the research to consider just one single instrument of the Japanese culture, on the other one furthers its approach thereby extending the study process to go beyond the borders of the State of São Paulo so to cover the entire country. We have examined the path of the flute¿s evolution begining with a bibliographical survey and adding new information that appeared in the course of our fieldwork. We approached current use of the Shakuhachi taking into consideration the fact that in recent years significant changes have occurred in this country as to the instrument¿s scenario such as the introducing of works and styles diffused by Katsuya Yokoyama (1934-2010), the significant increasing in numbers of non- Japanese descendent players, among which few have become group leaders of Japanese music, and the use of the internet as a tool to promote and divulge Shakuhachi tradition. These transformations make it evident the fact that Japanese culture is gradually being shifted independently from Japanese settlements, a new phenomenon in the environment context of the Shakuhachi in Brazil<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Granstam, Emma. "Med sång och luftflöde mot musikaliska och tekniska mål : En praktisk applicering av Arnold Jacobs teorier." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3483.

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Arnold Jacobs var en världsberömd tubaist och pedagog som utvecklade en metod som han kallade för song and wind. Metoden kopplades tydligt till vetenskapliga upptäckter inom fysiologi och psykologi och gick ut på att jobba med sång och mentala föreställningar och att använda luftflödet. I det här arbetet undersöks en praktiskt applicerad metod från Arnold Jacobs metod. Metoden går ut på att ta korta bitar musik och arbeta med dem genom fyra steg, sjunga, sjunga i huvudet, blåsa, sjunga i huvudet och trycka ner ventilerna och till sist spela på instrumentet. Resultatet följs upp genom omdömen från ett inspelningstillfälle före och ett efter arbetet med metoden samt loggbok av arbetets gång. Genom att arbeta med metoden förbättrades klang, intonation och träffsäkerhet och en oväntad positivt förändrad attityd uppkom som ledde till säkrare insatser, mer uttryck och energi.<br><p>Den klingande delen utgörs av följande inspelningar: Inspelningstillfälle 1 orkesterutdrag, Inspelningstillfälle 1 Tomasi, Inspelningstillfälle 2 orkesterutdrag, Inspelningstillfälle 2 Jolivet och Tomasi. Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningen kan komma att kompletteras. </p>
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Fuks, Leonardo. "From air to music : acoustical, physiological and perceptual aspects of reed wind instrument playing and vocal-ventricular fold phonation /." Stockholm, 1999. http://www.lib.kth.se/abs99/fuks0122.pdf.

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Martinsson, Sara. "En amatörmusikkår i en föränderlig verklighet : En berättelsebaserad dokumentation med ett antal frågeställningar." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4839.

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<p>The local wind band in Lilla Edet, <em>Lilla Edets Musikförening</em>, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments.</p><p>The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities.</p><p>There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society.</p><p>To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive.</p><br><p>Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument.</p><p>Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken.</p><p>Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället.</p><p>För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.</p>
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Moritz, Felipe Arthur. "Composição musical : processos de aprendizagem de instrumentistas de sopro." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1559.

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Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122575.pdf: 1879558 bytes, checksum: e893766e97468f704ae16cd4b4b3982c (MD5) Previous issue date: 2015-03-04<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta pesquisa investiga os processos de aprendizagem, no que se refere à composição musical, de três instrumentistas de sopro catarinenses, procurando evidenciar como esta prática contribui na aprendizagem musical destes músicos. Para isso, realizou-se um estudo multicaso, dentro de uma abordagem qualitativa, com instrumentistas profissionais, membros de uma banda de música catarinense. Como técnica de pesquisa, optou-se pela utilização de três modelos agregados: a entrevista semiestruturada, o Grupo Focal e o Portfólio. Os referenciais teóricos que nortearam este trabalho foram: Wilkins (2006), que embasa os processos de ensino e aprendizagem da composição musical; e Illeris (2013), que traz suporte à aprendizagem humana, através de uma visão contemporânea. As categorias de análise centraram-se em cinco modalidades: a) os músicos participantes, sua formação e experiências musicais; b) as influências das bandas na formação musical dos participantes da pesquisa; c) a tomada de decisões composicionais; d) a análise das composições; e) as percepções dos músicos sobre os processos de aprendizagem da composição. Os resultados descrevem o cenário de aprendizagem, as tomadas de decisões composicionais e os processos de aprendizagem da composição de três instrumentistas pesquisados. As considerações finais trazem reflexões acerca do processo de pesquisa, dos dados recolhidos, e também apresentam sugestões para pesquisas futuras.
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Bowman, Peter. "Microtonality and the recorder 1961-2013 : repertoire, tone colour, and performance." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/15736/.

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This thesis investigates the development of the recorder's microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder's contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course of this study.
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Smith, Derek T. "Development and validation of a rating scale for wind jazz improvisation performance." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4684.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 13, 2007) Vita. Includes bibliographical references.
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Books on the topic "Wind instrument music"

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

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Mahāwitthayālai Mahidon. Sathāban Wičhai Phāsā læ Watthanatham phư̄a Phatthanā Chonnabot., ed. Prawat læ phatthanākān khō̜ng pī Thai. Sathāban Wičhai Phāsā læ Watthanatham phư̄a Phatthanā Chonnabot, Mahāwitthayālai Mahidon, 1990.

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Kinder, Keith William. Best music for chorus & winds. Manhattan Beach Music, 2005.

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Leon, Markiewicz, and Bula Karol, eds. Materiały z sesji popularno-naukowej instrumentów dętych =: Berichte aus der den Blasinstrumenten gewidmeten populär-wissenschaftlichen Tagungen. Wydawnictwa Akademii Muzycznej im. Karola Szymanowskiego w Katowicach, 1987.

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International Historic Brass Symposium (1995 Amherst, Mass.)). Perspectives in brass scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995. Edited by Carter Stewart. Pendragon Press, 1997.

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Gipson, Richard Carrell. An observational analysis of wind instrument private lessons. U.M.I., 1989.

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Laporte, Maria-Pia, and Patrick Laviron. Les duos avec instruments à vent. Cité de la musique, 2009.

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Waldmann, Friedrich. Österreichische, tschechische Blas- und Militärmusik auf Schallplatten (Tonträgern) (1950-1990). 2nd ed. Friedrich Waldmann, Musikhandel, 2004.

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Teirilä, Marjatta. Physiology of wind-instrument playing and the implications for pedagogy. University of Jyväskylä, 1998.

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Biba, Gregory. Band instrument "quick fix" repair solutions. GIA Publications, 2006.

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Book chapters on the topic "Wind instrument music"

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Butković, Ana. "14. The Personality of Music Students with Diverse Vocal and Instrumental Skills." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.14.

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This chapter presents the results of a study that examined personality differences in a sample of music students (N = 246) with diverse vocal and instrumental skills. Personality data, measured with the Big Five Inventory (BFI), from voice, keyboard, string, and wind instrument students of the Academy of Music in Zagreb were analysed. The results indicate personality differences between different job specialisations among musicians, but they also suggest that the differences are limited to one personality trait, Openness. Individual differences in the other four personality traits were not found across music student groups.
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Watanabe, Misato, Yosuke Onoue, Aiko Uemura, and Tetsuro Kitahara. "Suiview: A Web-Based Application that Enables Users to Practice Wind Instrument Performance." In Music in the AI Era. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35382-6_7.

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Bader, Rolf. "More Wind Instruments." In How Music Works. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67155-6_7.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "Winds Principles." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-15.

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Dou, Huijing, Yan Feng, Yanzhou Qian, and Jianchao Shi. "Automatic Classification between Wind and Bowstring Instrumental Music Using Support Vector Machine." In Recent Advances in Computer Science and Information Engineering. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-25781-0_31.

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Vollmer, Theresa. "Zur Multimethodik der Ethnographie der Streichensembles." In Gemeinsam Musizieren. Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-42162-5_4.

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ZusammenfassungDie Ethnographie der Streichensembles verfolgt die Forschungsfrage: „Wie machen Klassisch ausgebildete Musiker:innen mit ihren Instrumenten und Noten in Streichensembles gemeinsam Musik und erleben sie dabei?“ (Kapitel III.E). Im vorliegenden Kapitel wird das Forschungsdesign und die Samplingstrategie der Studie dargelegt. Aus dem Forschungsstand und der erörterten Kritik wurden Hinweise für die methodologische Grundlegung des Untersuchungsdesigns erarbeitet (Kapitel III.D).
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Essay before the Brahms Clarinet Sonatas (1916)." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0082.

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Abstract The two Clarinet Sonatas of Brahms form, with the Clarinet Quintet and Trio, a remarkable body of work displaying the power a fine player may have to inspire a composer. Brahms’s treatment of the clarinet in orchestral music had always shown a sympathetic understanding of it, but no special predilection such as Mozart displayed when he could be sure of having clarinets at all. An instrument in the orchestra is, however, a very different thing from the same instrument in chamber music; and wind instruments in chamber music present the composer with very sharply defined special problems, which he would hardly be tempted to work out without some equally definite special stimulus.
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Fiala, Michele. "Pedro Díaz." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0004.

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Pedro Díaz is the solo English Horn of the Metropolitan Opera Orchestra. In this interview, he talks about his start in music, auditions, becoming an English horn player, musical phrasing, and breathing and support on a wind instrument. He also discusses the relationship of vocal to instrumental music, how to become a good ensemble player, his pedagogy, and highlights of his career.
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Bowman, Judith. "Applied Music." In The Music Professor Online. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0005.

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This chapter describes issues related to teaching applied music online and presents experiences with online applied music instruction in narratives provided by professors engaged in this practice. It provides background on the challenges of online applied music teaching and the nature of applied music study, and it explains the signature pedagogy of applied music, a master–apprentice model. It reviews the state of the practice of online applied music instruction at various levels and asks how instructors might teach applied music effectively online. It features three professors who describe their online teaching experiences: applied piano using specialized equipment at various levels and in various contexts, wind instrument instruction via desktop videoconferencing, and iPad-based instrumental music instruction in a music education methods course. Each professor offers suggestions for prospective online teachers of applied music, and the chapter concludes with some lessons drawn from the field.
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Williams, David A. "The iPad as a Musical Instrument!" In Creative Music Making at Your Fingertips. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0007.

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When used to make music, the tablet device is a musical instrument and has several things in common with traditional wind and string instruments: It can be played well, making wonderful music, and it can be played poorly, producing sounds that are wanting in terms of musicality. First, and foremost, a tablet will make no sound until a human touches it. Second, practice is required to perform correctly on a tablet, and the performer must build technique. The tablet, like an oboe or violin, will do nothing musical until a human being interacts with it, develops technique through practice, and makes musical decisions using it. It is possible to use tablets in live performance by examining real-life examples by an iPad ensemble that model learner-centered pedagogical principles. Taking into account the social and musical aspects of the musicians, the chapter discusses possible approaches to rehearsals, what performances might involve, including collaborations with other artists, and breaking down the artificial fourth wall that too often is placed between musicians and audience.
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Conference papers on the topic "Wind instrument music"

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Terashita, Naoyuki, Kyoichi Sugahara, and Yosuke Terashita. "Turning Your Wind Instrument into a Music Controller: Real-time Fingering Estimation by Classifying Reflected White Noise." In CHI '21: CHI Conference on Human Factors in Computing Systems. ACM, 2021. http://dx.doi.org/10.1145/3411763.3451719.

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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.

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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.
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Gomes, Monique, Amanda Rodrigues, Indianara Rosa, and Daniel Perez Sampaio. "MUSIC THERAPY IN DEMENTIA PATIENTS: WHAT ARE THE BENEFITS?" In XIII Meeting of Researchers on Alzheimer's Disease and Related Disorders. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1980-5764.rpda078.

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Background: Dementia is an acquired status, characterized by a decline in at least two cognitive domains, severe enough to affect social or occupational functioning. The standard pharmacological treatment for dementia has limited efficacy, especially in non-cognitive outcomes. Music therapy (MT) is being studied as anon-pharmacological therapy for Dementia, due to its stimulating effects. Objective: Understand the main benefits of MT in dementia patients, through a systematic review. Methods: A literature research was carried out using the databases: PubMed and Scielo. The period of publication was limited from 2016 to 2021, with the search keywords: Music Therapy, Dementia. 297 studies were found, and 15 met the inclusion criteria for our review. Results: MT includes passive (listening to music) and active participation, such as playing instruments, singing or songwriting. Listening to music is linked with wild cortical activation and is a strong stimulus for neuroplastic changes. MT provides multimodal skills, performing integration of various cognitive functions, such as memory and attention, especially in interactive interventions. Conclusion: Studies showed mixed results, especially due to the lack of standardized methods for musical stimulus, but in general, MT was considered to improve verbal and language fluency, anxiety and depression levels, apathy, cognitive function and quality of life, and decrease neuronal degeneration by enhancing cerebral plasticity.
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Reports on the topic "Wind instrument music"

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Hagel, Stefan. Reconstructing the Auloi from Queen Amanishakheto’s Pyramid. Verlag der Österreichischen Akademie der Wissenschaften, 2023. http://dx.doi.org/10.1553/oeai_ambh_1.

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Aus dem Grab der kuschitischen Königin Amanischacheto wurde im Jahr 1921 eine Sammlung stark zerstörter gedoppelter Rohrblattinstrumente (Auloi) geborgen, die sich bisher jedem Rekonstruktionsversuch widersetzt haben. Auf der Grundlage jüngster Erkenntnisse zur antiken Musik im Allgemeinen und dem Aulos im Besonderen wird hier eine neue Methode vorgestellt, die die Wiederherstellung der Instrumente mit einem hohen Wahrscheinlichkeitsgrad erlaubt. Auf dem Weg dahin müssen einige Hypothesen zugunsten eines tieferen Verständnisses der Herstellung und Verwendung des Aulos aufgegeben werden. Eines der Instrumente wird beispielhaft im Detail vorgestellt. Während es harmonische Grundcharakteristiken mit anderen bekannten Instrumenten teilt, bietet es andererseits erstmals einen archäologischen Beleg für die berühmte Enharmonik der antiken griechischen Musik.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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