Bibliografías temáticas / Brass instruments

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Literatura académica sobre el tema "Brass instruments"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Brass instruments"

Jang Jaya, Rico Saktiawan. "Drafting a Business Plan for Brass Instrument Reparation named BrassON in Yogyakarta". Es Economics and Entrepreneurship 1, n.º 02 (31 de diciembre de 2022): 09–23. http://dx.doi.org/10.58812/esee.v1i02.9.

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The purpose of this research is to draft a business plan for brass instrument reparation named BrassON. The brass instruments reparation business is a business that can fix any damage to any type of brass instrument. In Yogyakarta, there is no business that focuses on brass instrument reparation. Therefore, it requires a business plan for brass instruments reparation so that the business can run well. Before drafting the business plan for brass instrument reparation BrassON, a competition analysis of the industry is conducted to know the market situation for brass instrument reparation in Yogyakarta. The formulation of the mission, vision, marketing plan, operation plan, human resource plan, and financial plan of brass instruments reparation business adapted to market conditions brass instruments reparation. Based on data obtained from questionnaires, there are positive responses and interest from potential customers. BrassON presence in Yogyakarta as reparations services of brass instruments is expected to be a solution to the problem is not the presence of service brass instruments reparation in Yogyakarta. The initial investment spending used for the establishment BrassON is Rp 423.554.000. Net Present Value of Rp 145.998.845, Internal Rate of Return of 24 percent, and a payback period of 2.2 years. Based on financial analysis, the brass instrument reparations business BrassON is eligible to run.

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Bowsher, J. M. "Brass instruments". Physics Education 25, n.º 1 (1 de enero de 1990): 30–34. http://dx.doi.org/10.1088/0031-9120/25/1/005.

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Frederick. "Tuning Brass Instruments". International Journal of Recent Advancement in Engineering & Research 3, n.º 12 (26 de diciembre de 2017): 13. http://dx.doi.org/10.24128/ijraer.2017.no34gh.

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Stasney, C. Richard, Mary Es Beaver y Margarita Rodriguez. "Hypopharyngeal Pressure in Brass Musicians". Medical Problems of Performing Artists 18, n.º 4 (1 de diciembre de 2003): 153–55. http://dx.doi.org/10.21091/mppa.2003.4027.

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Brass instrument players are exposed to unique health risks due to increased pharyngeal pressures necessary for performance. One such risk is development of laryngoceles, or “blowout” of the larynx. This cross-sectional observational study was performed to determine the pressure required to play different frequencies in a variety of brass instruments. The hypothesis tested was that enharmonic frequencies require the same pharyngeal pressure regardless of the instrument. The brass instruments tested were high-pressure, low-flow instruments (trumpet or French horn) or low-pressure, high-flow instruments (tuba or trombone). We were not able to substantiate Jacobs’ theory that enharmonic frequencies resulted in equal pressures regardless of instrument, but we did elicit some high pressures in the hypopharynx when playing the trumpet or horn at higher frequencies.

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Jackson, Miranda. "A study of impedance of brass instruments and mouthpieces—Comparison of models and measurements". Journal of the Acoustical Society of America 153, n.º 3_supplement (1 de marzo de 2023): A40. http://dx.doi.org/10.1121/10.0018078.

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The impedance of a brass instrument has an important influence on the frequencies of the notes that can be played and on the timbre of the sound. The shape of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and many brass players own several different horns or mouthpieces, and choose which to use depending on their particular musical requirements at the time. In order to investigate the relationship between the physical parameters of instruments and mouthpieces and the resulting impedance, brass instruments and mouthpieces have been modeled with transfer matrix techniques, and the results are compared with impedance measurements of the instruments alone, the mouthpieces alone, and combination of instruments and mouthpieces. Trumpets, flugelhorns, horns, trombones, and the corresponding mouthpieces have been used for this study. The mouthpiece-instrument combination has been investigated in terms of intonation, playability, and timbre. The question of whether (and why) some mouthpieces are more suited to certain instruments and certain playing styles is investigated as well as the effect of varying the physical parameters of mouthpieces and instruments.

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Rusu, H. Zeynep, M. Burcin Mutlu, Volkan Kilic, Nilgun Poyraz y Halil Eryilmaz. "Bacteria Found in Brasswind Instruments: Analyses Using Culture-Dependent Method and Culture-Independent 16 S rRNA Amplicon Sequencing Method". Medical Problems of Performing Artists 38, n.º 4 (1 de diciembre de 2023): 189–99. http://dx.doi.org/10.21091/mppa.2023.4023.

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BACKGROUND: In wind instrument performance, there is a constant contact between the player and the instrument, during which microorganisms in the mouth flora of the player are transferred into the instrument. The inner surface of the brass instruments provides the perfect environment for microorganisms to grow. As a result, players repeatedly interact with these micro-organisms during playing. In previous studies, different kinds of microorganisms were detected in brass instruments, some of which can carry serious health hazards. PURPOSE: Revealing the common bacterial populations of brasswind instruments will be helpful in raising awareness among musicians and establishing their habits of cleaning/disinfecting their instruments. METHODS: In this study, samples from 4 different areas of 14 brass instruments were collected and analyzed using culture-dependent and -independent (16 S rRNA amplicon sequencing) approaches. The bacterial loads in different parts of the instruments were compared. RESULTS: The amount and variety of bacteria detected in the sampled instruments were unexpectedly large. While some of the found bacteria are harmless, others, such as Chryseobacterium and Elizabethkingia, may occasionally cause serious infections, especially in people with suppressed immune systems. Likewise, the Mycobacterium group includes a type that causes tuberculosis, and the Streptococcus group also shows pathogenic characteristics. The mouthpiece and leadpipe of the instruments had a much larger microbial load compared to the tuning and valve slides. CONCLUSION: According to the findings, brass instruments may harbor a wide variety of bacteria, some of which are potentially hazardous for the musicians’ health, especially if their immune systems are compromised. These risks can be minimized by regularly cleaning and disinfecting the instrument, especially the mouthpiece and leadpipe, which are the areas harboring most of the microorganisms.

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Simpson, Alvin F. "Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments". Update: Applications of Research in Music Education 39, n.º 3 (16 de febrero de 2021): 11–19. http://dx.doi.org/10.1177/8755123321995953.

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I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.

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Stepanova, Anna. "Modern brass band: its components and activities". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, n.º 1 (138) (17 de marzo de 2022): 37–42. http://dx.doi.org/10.24195/2617-6688-2022-1-5.

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The article covers the modern composition of a brass band, the main musical instruments that make up performing groups; the features of sound, range, tessitura of traditional musical instruments. Attention is also paid to the peculiarities of brass band leadership and professional skills of the conductor. One of the main differences of a brass band is the possibility of its use outdoors. Its powerful and loud sound does not need to be amplified by various technical devices – microphones, etc. Therefore, this type of performance of wind music is used mainly to accompany the solemn processions of various kinds, as well as to perform dance music. The highest type of brass band is the "large mixed brass band", which has the ability to perform works of considerable complexity. The composition of the "large mixed brass band" has been characterised, first of all, by the introduction of three or four trombones, three parts of trumpets, four parts of horns. In addition, the "large mixed brass band" has a much more complete group of wooden wind instruments, consisting of three flutes (piccolo flute and two large flutes), two oboes, the English horn, a large group of clarinets with their varieties, two bassoons, contraphagot and saxophones. To provide low-register sounds, helicons are introduced into the "large mixed brass band" – a low-sounding brass instrument arranged in a circle. In the modern composition of the orchestra helicons are replaced by tubes. The effective functioning of the brass band and its management is a historically established process of a special kind of musical and creative activity, which includes constructive and technical inventions of musical instruments, skills and abilities of performance, effective management of the orchestra through professional, communicative and personal qualities of the orchestra leader (conductor).

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Jackson, Miranda y Gary Scavone. "A comparison of modeled and measured impedance of brass instruments and mouthpieces". Journal of the Acoustical Society of America 155, n.º 3_Supplement (1 de marzo de 2024): A109. http://dx.doi.org/10.1121/10.0026977.

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The impedance of a brass instrument has an important influence on its playability and sound timbre. The geometry of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and horns or mouthpieces are chosen depending on the musical requirements. In order to investigate the relationship between the physical parameters and the impedances of instruments and mouthpieces, they have been modeled with transfer matrix and finite element model techniques, and the results are compared with impedance measurements of instruments, mouthpieces, and combinations of instruments and mouthpieces. Trumpets, flugelhorns, (French) horns, trombones, and the corresponding mouthpieces have been used. A detailed analysis of the estimation of the viscothermal losses has been performed, as the loss estimation in the narrow throat of the mouthpiece and in the flaring part of the brass instrument bell departs from the ordinary transfer matrix calculations. The effect of varying the physical parameters of mouthpieces and instruments is investigated by means of impedance considerations and sound synthesis, and the resulting influences on intonation, playability, and timbre are presented.

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Campbell, Donald M. "Lip control of brass instruments". Journal of the Acoustical Society of America 123, n.º 5 (mayo de 2008): 3124. http://dx.doi.org/10.1121/1.2933052.

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Tesis sobre el tema "Brass instruments"

King, Daniel. "An analysis and comparison of the brass methods by James Stamp, Donald Reinhardt, Carmine Caruso, and Claude Gordon". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070918203.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains x, 128 p.; also includes graphics. Includes bibliographical references (p. 97-107).

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Deane, Anne Margaret. "Time domain work on brass instruments". Thesis, University of Surrey, 1986. http://epubs.surrey.ac.uk/847357/.

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This work investigates brass instruments in the time domain, rather than the traditional frequency domain, and considers first, impulse measurements and secondly, their analysis. An existing apparatus for measuring the response to an acoustic impulse at the input of a brass instrument has been refined. Problems of impulse inconsistency, ambient temperature variation and source reflections have been resolved. Developments of the above equipment are used to test the quality of brass instruments on a factory production line. A prototype and a test instrument are compared by taking the arithmetical difference of their impulse responses. The equipment has detected small faults missed by normal inspection methods. The usefulness of this technique to brass instrument manufacturers is discussed. Links between the instrument's measured transient response and its bore geometry have been developed. The stages involved are deconvolution and bore reconstruction. Various deconvolution methods have been studied systematicaly by applying them to simulated noiseless and noisy data. Noise introduces errors, particularly at high frequencies, so deconvolution of real measured data is distorted. Techniques to reduce the effects of noise have been investigated. Attempts to employ the Gerchberg restoration algorithm 'to restore high frequency information proved unsuccessful. A new inverse method, based on an iterative z-transform procedure, of reconstructing an instrument's bore shape and damping profile from its transient response has been developed. It produces perfect results for noiseless model data, but even the smallest amount of noise renders the method unstable. Regularisation is therefore required. The corresponding direct process of predicting the transient response from bore and damping data is stable and produces results which compare well with measured responses. The work strengthens relationships between an instrument's shape and its musical quality, and will enhance the design of better instruments. Further research on the link between transient response and subjective quality is recommended.

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McGrattan, Alexander. "The trumpet in Scotland from 1488 to 1800". Thesis, n.p, 1999. http://ethos.bl.uk/.

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Ayers, Angela Gillian. "Articulation in brass playing : the tongue - friend or foe?" Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7778.

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Bibliography: leaves 97-99.
This dissertation attempts to demonstrate the role the tongue plays in articulation in brass playing. It briefly examines oral anatomy, physiology and theories on motor learning, and describes the tongue's position in producing English speech sounds. It shows how these positions are used to teach different articulation techniques on the various brass instruments. Articulation styles and (tonguing) exercises, which could aid in the improvement of tongue articulation, are highlighted. It is hoped that these highlights will add insight for both present and future brass teachers.

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Braden, Alistair C. P. "Bore optimisation and impedance modelling of brass musical instruments". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/12591.

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The input impedance of a brass musical instrument is a good representation of its resonance characteristics. Methods of calculating input impedance for a known instrument shape, or bore-profile, are reviewed, and an extension to existing theory for bent waveguides is given. These input impedance methods form the basis for consideration of the inverse problem; to find a bore-profile with given impedance characteristics. Such problems can be formulated as bore reconstruction - - finding an unknown bore from its impedance, and performance optimisation - - altering certain characteristics of a known bore. The inverse problems solved by means of optimisation, using either genetic algorithms or the Rosenbrock direct-search method. A number of new techniques are used to improve convergence speed by minimising both the size of the search space and the number of design variables. These techniques are incorporated into an elegant object-oriented instrument representation, allowing convenient and flexible problem definition, and forming the basis of an integrated application in C++.

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Brackett, David J. "The optimisation of brass instruments to include wall vibration effects". Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/8962.

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This thesis focuses on the design optimisation of a brass instrument. The bore profile of such an instrument is known to be the primary influence on the sound of the instrument as it directly controls the shape of the air-column contained within the instruments' walls. It has long been claimed, however, that other factors, such as the wall material and wall vibrations, are also significant, although to a lesser degree. In recent years, it has been proven that wall vibrations do indeed have an audible effect on the sound (Moore et al 2005, Kausel et al 2007, Nachtmann et al 2007, Kausel, Zietlow and Moore 2010). This effect corresponds to a relative increase in the power of upper harmonics of the sound spectrum when vibrations are greatest, and relative increase in the power of the lower harmonics, in particular the fundamental, when vibrations are at their least. The result is a timbral difference where a greater relative power in the upper harmonics results in a 'brighter' sound, and where the opposite results in a 'darker' sound. Studies have also found that the degree of the wall vibration is increased when the resonant frequencies of the air-column and those of the instruments' structure align. It is this principle that this work is based on. The primary objective of this work was to devise a suitable approach for incorporating the wall vibration effect into an optimisation method to investigate the optimum designs for two scenarios: maximum wall vibration and minimum wall vibration. It was also of interest to investigate if there were any design characteristics for each scenario. Two analysis methods were investigated for their suitability, namely free and forced vibration using finite element analysis (FEA). Different approaches to defining the design variables were explored and the suitability of different optimisation algorithms was investigated. The free vibration approach was found to be inadequate for this application due to the inherent omission of valuable magnitude information. The forced vibration approach was found to be more successful, although it was not possible to align a resonance with each frequency of interest.

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Logie, Shona Mary. "Acoustical study of the playing characteristics of brass wind instruments". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7617.

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When assessing the quality of a brass instrument the player must consider a number of factors, the main consideration being the playability of the chosen instrument. The playability of an instrument is a broad term used to describe how well the instrument plays; this includes how in tune the resonant modes are, how easy it is to start and move between notes, how easy it is to bend notes and the degree of spectral enrichment during a crescendo that is able to be produced. The starting transient is known to be of crucial importance for both the musician and listener, and previous work in the field has been mainly concerned with such starting transients; this work focusses on inter-note transitions. Transitions between notes include both starting and finishing transients as the initial note is ended and the next begun. Using high speed photography images synchronised with pressure signals from the mouthpiece and bell end, the internote transitions are explored. Results from these experiments are compared with those from a simple one dimensional time domain model. Other techniques used to determine the playability of a specific instrument include the rate at which the instrument timbre becomes `brassy' due to nonlinear effects, that are a consequence of loud playing. The relative significance of viscothermal wall losses and nonlinear effects within realistic brass instruments have been explored here using experiments on cylindrical tubes of different internal diameters. These experimental results are compared with results from a computational model that uses weakly nonlinear wave propagation theory and includes viscothermal losses. It is also possible on some brass instruments, when playing loudly, to achieve what are known as super high notes; these notes are above the frequency where the instrument has well defined resonances. Experimental results are presented here using optical techniques to visualise the motion of the player's lips during playing of these super high notes.

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Benton, Robert L. "The effect of lip-slur practice on increasing pitch range in brasswind instrument students". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/988.

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Lip-slur exercises comprise part of the practice routines of many professional and serious amateur brasswind players. There are several reasons why so many players practise lip-slurs. One of those reasons is the belief that lip-slurs contribute to the development of the brasswind high register. This study argues that while there is a vast amount of anecdotal evidence from many authors widely deemed to be influential in the form of method books or writings that lip-slurs can contribute to the development of the brasswind high register, there has been little research to support this widely held belief. This study used a matched subjects control group pre-test/post-test design to test a researcher-designed lip-slur teaching program aimed at subjects in their second to fifth years of brasswind study. The subjects were in school years eight, nine and ten. The pre-test and post-test was a researcher-designed high register test utilising a chromatic scale. In order to account for family variables which might influence the experiment, a questionnaire was developed and various statistical procedures used to calculate the effect of family background. The results of this study indicated that lip-slurs play an important role in the acquisition of the high register by brasswind students. The degree of importance is dependent on various factors. From this study, it appears that a major factor is the ceiling effect. Students who scored low to medium pre-test scores gained greater initial benefit from the inclusion of lip-slurs in the teaching program than those who had high pre-test scores. The students on whom the ceiling effect acted most were those who achieved high pre-test scores. This study concluded that low achievers can gain rapid short term advantage from lip-slur practice, while for high achievers, the inclusion of lip-slurs in the daily routine could lead slowly to long term gain.

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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Libros sobre el tema "Brass instruments"

Ganeri, Anita. Brass instruments. London: Franklin Watts, 2011.

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Duckett, Richard. Team brass: Brass band instruments. Woodford Green: IMP, 1988.

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Lillegard, Dee. Brass. Chicago: Childrens Press, 1988.

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Nunn, Daniel. Brass. Chicago: Heinemann Library, 2012.

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Dearling, Robert. Woodwind & brass instruments. Philadelphia, PA: Chelsea House Publishers, 2000.

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International Historic Brass Symposium (1995 Amherst, Mass.)). Perspectives in brass scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995. Editado por Carter Stewart. Stuyvesant, N.Y: Pendragon Press, 1997.

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Dundas, Richard J. Twentieth century brass musical instruments in the United States. [Rutland, Vt.]: R.J. Dundas, 1989.

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Dundas, Richard J. Twentieth century brass musical instruments in the United States. [Rutland, Vt.]: R.J. Dundas, 1986.

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Sharma, Elizabeth. Brass. New York: Thomson Learning, 1993.

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Zorn, Jay D. Brass ensemble methods. 2^a ed. Belmont, CA: Wadsworth, 1995.

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Capítulos de libros sobre el tema "Brass instruments"

Bowsher, J. M. "Brass Instruments". En Encyclopedia of Acoustics, 1643–51. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2007. http://dx.doi.org/10.1002/9780470172544.ch134.

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Hartmann, William M. "Brass Musical Instruments". En Principles of Musical Acoustics, 237–45. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_23.

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Fletcher, Neville H. y Thomas D. Rossing. "Lip-Driven Brass Instruments". En The Physics of Musical Instruments, 365–93. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_14.

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Eargle, John M. "Acoustics of Brass Instruments". En Music, Sound, and Technology, 125–46. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_7.

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Fletcher, Neville H. y Thomas D. Rossing. "Lip-Driven Brass Instruments". En The Physics of Musical Instruments, 429–60. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_14.

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Eargle, John M. "Acoustics of Brass Instruments". En Music, Sound, and Technology, 121–39. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_7.

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Eargle, John M. "Directional Properties of Brass Instruments". En Electroacoustical Reference Data, 328–29. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4615-2027-6_158.

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Snedeker, Jeffrey L. "Valved brass instruments in Paris". En Horn Teaching at the Paris Conservatoire, 1792 to 1903, 64–91. [1.] | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003093237-3.

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Campbell, Murray, Joël Gilbert y Arnold Myers. "How Brass Instruments Are Made". En Modern Acoustics and Signal Processing, 391–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55686-0_8.

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Mannes, David y Eberhard Lehmann. "Monitoring the Condition of Played Historical Brass Instruments by Means of Neutron Imaging". En Musikforschung der Hochschule der Künste Bern, 83–91. Schliengen: Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-007.

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Neutron imaging is a non-destructive testing method that functions according to principles similar to X-ray imaging. In contrast to X-rays, neutrons can generally penetrate metals rather well, but at the same time they have a high sensitivity for hydrogen. This makes neutron imaging – which includes radiography (investigations in 2D) as well as tomography (3D) – an ideal method for studying the impact of playing historical brass instruments. Playing a brass instrument creates an accumulation of moisture inside the instrument, which can eventually lead to the generation and expansion of corroded areas inside it. This moisture, along with many other products of corrosion, contains hydrogen, which provides a high degree of contrast for neutron imaging. This article explains how neutron imaging was used to monitor the condition of historical brass instruments, i.e. the changes in the internal corroded areas, by comparing 3D CT-data sets acquired before and after the instruments had been played on a regular basis over the period of fourteen months.

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Actas de conferencias sobre el tema "Brass instruments"

CAMPBELL, DM. "WHY DO BRASS INSTRUMENTS SOUND BRASSY?" En IOA 40th Anniversary Conference 2014. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16271.

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Chick, John, Shona Logie, Lisa Norman y Campbell Murray. "Transient phenomena in brass instruments". En ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799601.

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Moore, Thomas, Wilfried Kausel, Vasileios Chatziioannou, Nikki Etchenique y Britta Gorman. "Axial vibrations of brass wind instruments". En ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799447.

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Worland, Randy. "Measuring brass instruments: A 'Physics of Music'". En 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4898416.

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CAMPBELL, DM. "INPUT IMPEDANCE MEASUREMENTS ON HISTORIC BRASS INSTRUMENTS". En Acoustics '87 1987. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/21947.

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Gibson, David AJ. "Novel Designer Plastic Trumpet Bells for Brass Instruments". En Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.3.

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Young, Frederick J. "Optimization of valve tube lengths for brass instruments". En 157th Meeting Acoustical Society of America. ASA, 2009. http://dx.doi.org/10.1121/1.3186797.

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Kemp, Jonathan A. y Richard A. Smith. "Modeling pulse-like lip vibrations in brass instruments". En ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799610.

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BOWSHER, JM. "TOWARDS AN UNDERSTANDING OF HOW BRASS INSTRUMENTS WORK". En Spring Conference '84 (Musical Acoustics and Biological Acoustics). Institute of Acoustics, 2024. http://dx.doi.org/10.25144/22593.

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Hoekje, Peter. "Comparing steady-state and transient phenomena in brass instruments". En ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4800045.

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