Tesis: "Brass instruments"

1

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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2

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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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Watson, Andrew Philip. "Impulse measurements on tubular acoustic systems". Thesis, University of Surrey, 1989. http://epubs.surrey.ac.uk/843862/.

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This thesis investigates the transient measurement and analysis of brass musical instruments. The experimental apparatus of Deane (1986) has been substantially revised and developed to allow accurate determination of the input impulse response of instruments up to 8kHz. The inverse problem of calculating the bore of an instrument from its impulse response has been studied with good success. The bores of trumpets have been accurately determined to within 0.1mm up to the bell section where the flare is too great for the algorithm to be valid. Further developments have been made to the application of transient measurements to the manufacturing environment. The apparatus has been shown to detect valve misalignments as small as 0.25mm. A modified apparatus has been developed to allow determination of the input impedance of instruments from transient measurements. The shape of the calculated impedance curves show good agreement with measurements made in the frequency domain although absolute calibration shows errors related to truncation of the transient responses. The internal field of a French Horn bell is studied with the results presented in a series of space-time and space-frequency diagrams. This technique allows detailed examination of the shape of an impulse travelling through the horn. Finally, the relationships between impedance, impulse response and bore have been analysed to form the foundations of a Computer Aided Design technique for brass instruments.

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12

Noreland, Daniel. "Numerical Techniques for Acoustic Modelling and Design of Brass Wind Instruments". Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3507.

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13

Kemp, Jonathan A. "Theoretical and experimental study of wave propagation in brass musical instruments". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/15145.

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The concept of input impedance is a very useful representation of the resonance characteristics of an acoustic horn. A large part of this work discuses its theoretical and experimental determination. It is demonstrated that higher modes, waves with a non-uniform pressure distribution on the plane perpendicular to the axis of the instrument, should be used in the theory of wave propagation in musical instruments featuring a flared bell as an improvement on assuming plane wave propagation. The impedance at the output end of an acoustic horn is known as the radiation impedance. The existing method for the calculation of the multimodal radiation impedance of a cylindrical tube terminated in an infinite baffle is reviewed. New work is then presented for the calculation of the radiation impedance of a rectangular duct terminated in an infinite baffle. An existing method for calculating the input impedance of an acoustic horn of cylindrical cross-section starting from the radiation impedance is utilised. The method is then formulated for horns of rectangular cross-section. Pressure field calculations are also presented. In acoustic pulse reflectometry an acoustic pulse is directed into the object under test and the sampled reflections analysed to provide the internal profile and the input impedance. It is shown that better agreement is observed between the experimental and theoretical input impedance when higher modes are included in the calculation. Currently the bore reconstruction analysis assumes plane wave propagation since this provides a simple formula for the frequency independent reflection and transmission coefficients at changes in cross-section in a pipe. The multimodal reflection and transmission coefficients are, however, frequency dependent. A higher-mode method is presented to calculate the reflection of an impulse with the aim of improving the technique’s accuracy for horns which feature a large rate of flare at the end. Digital filters designed to represent losses and cancel reflection from the sound source are also shown to increase accuracy and make possible the measurement of longer objects.

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14

Harrison-Harsley, Reginald Langford. "Physical modelling of brass instruments using finite-difference time-domain methods". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31272.

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This work considers the synthesis of brass instrument sounds using time-domain numerical methods. The operation of such a brass instrument is as follows. The player's lips are set into motion by forcing air through them, which in turn creates a pressure disturbance in the instrument mouthpiece. These disturbances produce waves that propagate along the air column, here described using one spatial dimension, to set up a series of resonances that interact with the vibrating lips of the player. Accurate description of these resonances requires the inclusion of attenuation of the wave during propagation, due to the boundary layer effects in the tube, along with how sound radiates from the instrument. A musically interesting instrument must also be flexible in the control of the available resonances, achieved, for example, by the manipulation of valves in trumpet-like instruments. These features are incorporated into a synthesis framework that allows the user to design and play a virtual instrument. This is all achieved using the finite-difference time-domain method. Robustness of simulations is vital, so a global energy measure is employed, where possible, to ensure numerical stability of the algorithms. A new passive model of viscothermal losses is proposed using tools from electrical network theory. An embedded system is also presented that couples a one-dimensional tube to the three-dimensional wave equation to model sound radiation. Additional control of the instrument using a simple lip model as well a time varying valve model to modify the instrument resonances is presented and the range of the virtual instrument is explored. Looking towards extensions of this tool, three nonlinear propagation models are compared, and differences related to distortion and response to changing bore profiles are highlighted. A preliminary experimental investigation into the effects of partially open valve configurations is also performed.

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15

O'Donnell, James F. "Beginning brass instruction : teaching strategies for selected skills and concepts". Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/506639.

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The purpose of this study was to construct teaching strategies for selected skills and concepts in brass-instrument performance. The skills to be studied initially consisted of breathing, embouchure, sound production, and articulation; after research and analysis the skill of posture Haas added. The selected concepts were those identified by various brass authors as representing the elements of classical style; namely, "sostenuto," "accent," "staccato," and the "short accent" or "inarcato." While the brass authors also indicated the importance of tempo and dynamics to classical style, the latter were seen by the writer to be self-explanatory to a far greater extent than the primary elements named.Teaching strategies for the selected skills and concepts were constructed by utilizing relevant results of researchers' studies in motor skill acquisition and conceptual learning. These strategies were combined with the skills and concepts of the study to yield empirically-based methodologies to be used in beginning brass instruction.

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16

Dunnigan, Patrick. "Effects of tempo, bass loudness, and tonic chord degree on the perception and performance of intonation by wind instrumentalists /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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17

Stevenson, Samuel D. F. "Experimental investigations of lip motion in brass instrument playing". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4349.

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The precise nature of the motion of the lips of the musician is critically important to the sound of the brass wind instrument. The player must match the oscillation of the lips to the acoustical properties of the instrument and it can take many years of practice to master the techniques involved. Visualisation techniques for capturing the motion of the lips during performance are described and the behaviour of the lips quantitatively analysed using digital image analysis. The concept of an artificial mouth for the sounding of brass wind instruments is discussed and the motion of the artificial lips is compared to that of human musicians. When a brass instrument is played loudly the energy of the higher harmonics increases, creating a distinctive ‘brassy’ timbre. It has been suggested that saturation or constraint of the lips of the musician during extremely loud playing is responsible for this change in sound. Measurements of the motion of the lips of a number of different musicians on different instruments suggest that the lips are not significantly constrained at any playing dynamic, and that it is the phenomena of nonlinear propagation and shockwave generation that is responsible for the increase in energy of the higher harmonics. It is widely accepted that the starting transient of a musical instrument is of great importance to both listener and musician. Previous studies of brass instruments have focused on the steady-state behaviour of the lip-instrument interaction. Measurements of the motion of the lips have been synchronised with the pressure in the mouthpiece of the instrument and the sound radiated from the bell in order to investigate the transient behaviour of the system during both the starting transient and slurs between notes. Thiswork has been extended to include measurements of the pressure in the mouth of the player during the starting transient, and this information used to recreate realistic transients using an artificial mouth. The transient behaviour of the system is clearly affected by the time delay between the start of the note and the acoustical feedback from the instrument beginning. The information obtained can be used to aid in the creation of accurate computational and physical models of brass wind instruments.

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18

Myers, Arnold. "Characterization and taxonomy of historic brass musical instruments from an acoustical standpoint". Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/1824.

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The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined.

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19

Baines, Simon G. "The evolution of orchestral brass in the last hundred years : organology, trends in performance practice and their effects". Thesis, Keele University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297178.

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20

Hendrie, Darren Alexander. "Development of bore reconstruction techniques applied to the study of brass wind instruments". Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2582.

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The acoustic impedance is a valuable parameter in musical acoustics. Information contained within this frequency-domain parameter can be used to determine the acoustical behaviour of a musical wind instrument: the notes at which the instrument will play; the ease with which a particular note can be played; and the timbre of the instrument. The time-domain version of acoustic impedance - the input impulse response - gives us information on how sound waves propagate within an instrument under playing conditions and how sound is radiated from the open end or from other holes in the bore. Acoustic impedance data can also be used to calculate an accurate profile of the internal structure of the instrument - referred to as a bore reconstruction. This is very useful as the main bore is usually coiled and difficult to measure mechanically. An accurate reconstruction, however, is only possible if the impedance is measured over a large range of frequencies, typically of the order of tens of hertz up to many kilohertz. The bulk of this work follows on from research where the impedance of a short, closed, cylindrically-symmetric tube has been measured experimentally at high frequencies - 1 kHz up to 20 kHz - and compared with theory. The technique used is known as the Two-Microphone-Four-Calibration system, or TMFC system: two microphones are used to monitor the air pressure in the system, and measurement of four closed tubes of different length are required for calibration. The TMFC system has been modified so that impedance data far below 1 kHz (down to 10 Hz) can be attained for a full instrument as well as instrument components - for example trombone mouthpieces or French horn crooks. Suitable algorithms have been developed for processing the impedance data. Obtaining large bandwidth impedance data has allowed the possibility of accurate reconstructions of an instrument's internal profile. The results are compared with plane-wave theoretical models, which are derived in detail, and other well-documented methods of bore and impedance analysis: the acoustic pulse reflectometer (APR), and the brass instrument analysis system (BIAS). An in-depth discussion and analysis of the TMFC results for test objects and instruments of various lengths are presented. Simulations, whereby bore profiles are artificially altered, and a post-processing method utilising transmission matrix theory (TMT), are explored. A variety of orchestral French horn crooks dating from as early as the 18th-Century have been measured using APR and TMFC. A comparison is made between the capabilities of the two systems. Conclusions - of interest from a historical and manufacturing perspective - are drawn. The BIAS has been used to investigate how changes to the bore profile affect the behaviour of trumpets. The impedance of the trumpet is measured using a variety of leadpipes and mouthpieces.

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21

Tomlison, Scott. "The effects of recorded models on the performance achievement of beginning brass instrumentalists /". free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9964004.

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22

Mitroulia, Evgenia. "Adolphe Sax's brasswind production with a focus on saxhorns and related instruments". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5490.

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Adolphe Sax developed in Paris in the early 1840s a family of brass instruments, the saxhorns, which gained an immediate popularity in France, Britain and other parts of the world. The originality of saxhorns was challenged at the time through long-lasting litigations, and is still questioned by many researchers. This thesis investigates the development of the saxhorn from an organological standpoint. Saxhorns are examined in comparison to instruments predating them by other makers, along with relevant archival material (patents, lawsuit minutes, daily press, publicity material etc.) so as to reveal whether the allegations against their originality were sound. It is noticed that idiosyncrasies of intellectual property law of the time facilitated a strong interaction between musical instrument makers particularly of France and Britain. Instruments examined are Adolphe Sax saxhorns, saxhorns by other contemporary makers, mainly French and British, but not exclusively, as well as a number of related instruments, made before and after the development of Sax’s saxhorns. The assertions of Sax’s rivals are not fully confirmed based on the analysis of instrument measurements. It is also argued that the saxotromba family, so far considered extinct, is in fact represented by two members in the saxhorn family, the alto and the baritone. A number of related instruments emerged around the middle of the nineteenth century in various wraps and with different names. These are compared to saxhorns and classified according to bore-profile properties. Only certain groups were distinct, whereas most were essentially saxhorns in different forms. Sax’s brasswind production as a whole is reviewed not only as an enumeration of his developments, but also to provide an assessment of the genuine innovation in his work.

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23

López-Carromero, Amaya. "Experimental investigation of acoustic characteristics of radiation and playing gestures for lip-excited musical instruments". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33207.

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The geometrical characteristics of acoustical radiation are of great importance in instrument design and synthesis, and multiple simplified models have been developed in the past to describe them. In this work two experimental methodologies are proposed and carried out, studying the frequency-dependent radiation in a collection of popular brass instruments with different grades of flaring, and making use of the axis-symmetry of these instruments. The first method uses a scanning linear array and is carefully designed to extract the linear properties of the radiation field. The results of this experimental method are a database of impulse responses distributed in space, and effectively covering a bidimensional on-axis section of the radiation field approximately 0.6 m by 0.9 m. These data can then be used for the validation of a number of simplified physical models used to describe the radiation of these types of instruments. The second method aims at visualising radiation for high amplitude excitation, where shock waves are generated inside the instrument due to non-linear propagation of the plane wave. In this case, the experimental methodology used, taking advantage of the strong density and temperature gradients generated in the air, is an on-axis schlieren optical system. General results of this visualisation show a strong increase in focused directivity at high frequencies and loud playing dynamics, due to the spectral enrichment typical of this family of instruments. The second section of this thesis focuses on the study of playing gestures in the trombone, and could also be applicable to other slide instruments. During glissando playing in the trombone the length of the cylindrical slide section within the bore is altered while waves are propagating. Slide velocities of 2 metres per second are not unusual and result in a (small but measurable) Doppler shift in the wave coming from the mouthpiece before it arrives at the bell. An additional effect is observed in terms of the volume of air within the instrument changing telescopically, leading to a localised change in DC pressure and a resulting flow, which generates infrasound components within the bore. The effects of these playing gestures are investigated in two different setups; one with a high frequency sinusoidal excitation generated by a compression driver, and another one using an artificial mouth to play the instrument. In both experiments the pressures at the mouth or mouthpiece, water key and bell were tracked using microphones and the position of the slide was tracked using a laser distance sensor. Both Doppler shifting and infrasound components were detected for both experimental setups, although the effect on a soft termination such as the artificial lips requires further examination.

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24

Wampler, Stephen G. "A brass players' guide to the transcription and performance of J.S. Bach /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11393.

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25

Norkus, Virgilijus. "Grojimo variniais pučiamaisiais instrumentais specifika ir pagrindiniai principai". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140603_152927-89961.

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Šiame magistro darbe nagrinėjama grojimo variniais pučiamaisiais instrumentais specifika ir pagrindiniai principai. Variniai pučiamieji nuo kitų instrumentų grupių visų pirma skiriasi tuo, kad už instrumento skleidžiamą garsą didžiąja dalimi atsakingas atlikėjo kūnas - koordinuota įvairių organų veikla. Atlikėjui tai reiškia, kad sėkmingas grojimas neišvengiamai priklauso nuo atlikėjo grojimo aparato - veido, kaklo, liežuvio raumenų, kvėpavimo organų, rankų pirštų tinkamo parengimo. Šio darbo tikslas yra nustatyti grojimui variniais pučiamaisiais instrumentais reikalingas žmogaus organų grupes ir išsiaiškinti kaip jos turi būti lavinamos, siekiant ugdyti visapusišką ir profesionalų varinių pučiamųjų instrumentų atlikėją. Siekiant išsikelto tikslo buvo atlikta grojimo variniais pučiamaisiais instrumentais metodinių priemonių, kitos teorinės ir mokomosios medžiagos analizė. Tyrime nustatyta, kad esminėmis atlikėjo grojimo aparato dalimis laikytinas taisyklingas kvėpavimas, ambušiūro raumenys, liežuvio artikuliacija ir rankų pirštų veikla. Darbe pateikiami šių dalių lavinimo pratimai ir atskleista, kad sėkmingam ir pasamoningam atlikimui būtina kasdienė praktika ir treniravimasis. Darbe pateikiami šių treniruočių pavyzdžiai.
This masters thesis is focused on specifics and main principles of playing brass instruments. Brass instruments are different from other instrument groups mainly because the main thing that is responsible for the generation of sound is not an instrument itself, but the body of the player - coordinated action of different organs of the player. This means that successful playing is inevitably dependant on the condition an preparedness of 'playing apparatus' of the player - facial, tongue, neck muscles, breathing organs, fingers etc. The aim of the thesis is to identify the main groups of body organs needed to successfully play brass, and to find out how they should be trained to prepare universal and professional brass player. In order to reach the aim, a research of brass teaching literature an other theoretical material, was conducted. Research shows that the main parts of 'playing apparatus' are: correct breathing, embouchure, tongue articulation and actions of the hand and fingers of the player. This thesis contains different training exercises. This thesis also concludes that in order to be successful the player must be subjected to daily training and practicing. The thesis also contains examples of such daily training.

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26

Van, Walstijn Maarten. "Discrete-time modelling of brass and reed woodwind instruments with application to musical sound synthesis". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/27572.

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This work deals with simulation of brass and reed woodwind instruments. The principal objective is to develop discrete-time models that are suitable for application in a musical sound synthesis environment. The main bulk of the thesis describes methods for linear modelling of the instrument air column. Using a travelling-wave based approach, the air column is modelled as a series of modules, each representing a part of the bore. New methods for digital modelling of brass and woodwind mouthpieces, woodwind toneholes, and brass bells are presented. The study also includes new methods for discrete-time modelling of conical bore sections. In addition, the mechanical behaviour of a clarinet reed is studied by means of a distributed model that is formulated numerically using the finite-difference approach. Precise measurements of the reed shape and the mouthpiece lay geometry have been carried out in order to accurately simulate the bending of the reed against the lay during oscillation. An equivalent lumped oscillator model is formulated, and its properties are analysed to a reed-driven pipe simulation. In general, the discrete-time models described in this work are validated via comparison with either measurements or established acoustic theories. The modular approach taken in the derivation of these models allow for dynamic and intuitive control of the musically important simulation parameters.

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27

Bromage, Seona. "Visualisation of the lip motion of brass instrument players, and investigations of an artificial mouth as a tool for comparative studies of instruments". Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/1966.

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When playing a brass instrument the lips of the player fulfil a similar role to the cane reeds of wood-wind instruments. The nature of the motion of this lip-reed determines the ow of air through the lips, between the player's mouth and the instrument. It is a complicated feedback system in which the motion of the lips controls the air ow, which itself affects the behaviour of the lips. In recent years several designs of artificial mouth have been developed; these model the human lips using latex rubber tubes filled with water. These artificial mouths are increasingly used in experiments rather than enlisting the services of a musician as they have many advantages including greater accessibility and the stability of the embouchure. In this thesis factors affecting the reproducibility of the embouchure of one such artificial mouth are investigated with reference to the measured resonances of the lips. Using these results, procedures and practical design improvements are suggested. Two examples of comparative studies of historic instruments are presented. In order to provide detailed information on the behaviour of the lips of brass players high speed digital photography is used to image the self-oscillating lipreed. Variation in the lip opening, over a wide range of notes and different players, is investigated, providing experimental evidence to aid the process of reining physical models of the behaviour of the brass player's lips. Particular attention is paid to the relationship between the area and height of the lip opening. Results suggest that during extremely loud playing the lip motion is qualitatively similar to that in quieter notes and therefore is not the origin of the dramatic increase in the levels of the high harmonics of the radiated sound. Investigation of the behaviour at the start of a note has shown evidence relating the lip motion to the transient in the mouthpiece pressure waveform. Comparison is made between the behaviour of the artificial lips and that of the lips of musicians providing evidence of the suitability of the use of the artificial mouth as a model for real brass players. Results show that although differences exist, particularly when looking at behaviour over a wide range of dynamic levels, the general features of behaviour are reproduced by the artificial mouth.

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28

Bilitski, James A. "Evolutionary Algorithm for Generation of Air Pressure and Lip Pressure Parameters for Automated Performance of Brass Instruments". NSUWorks, 2006. http://nsuworks.nova.edu/gscis_etd/414.

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The artificial mouth is a robotic device that simulates a human mouth. It consists of moveable lips and an adjustable air supply. The uses of an artificial mouth include research for physical modeling of the lips and automatic performance. Automatic performance of a musical instrument is when an instrument is played without the direct interaction of a human. Typically mechanics and robotics are used instead of a human. In this study the use of a genetic algorithm to compute air pressure and lip pressure values so that the artificial mouth can correctly play five notes on a brass instrument is investigated. In order to properly playa brass instrument, a player must apply proper tension between the lips and apply proper airflow so that the lips vibrate at the proper frequency. A player changes the notes on a brass instrument by depressing keys and changing lip pressure and air flow. This study investigated a machine learning approach to finding lip pressure and air pressure parameters so that an artificial mouth could play five notes of a scale on a trumpet. A fast search algorithm was needed because it takes about 4 seconds to measure the frequency produced by each combination of pressure parameters. This measurement is slow because of the slow moving mechanics of the system and a delay produced while the notes are measured for pitch. Two different mouthpieces were used to investigate the ability to adapt to different mouthpieces. The algorithm started with a randomly generated population and evolved the lip pressure and air pressure parameters with an evolutionary algorithm using crossover and mutation designed for the knowledge scheme in this application. The efficiency of this algorithm was compared to an exhaustive search. Experimentation was performed using various combinations of genetic parameters including population size, crossover rate, and mutation rate. The evolutionary search was shown to be about 10 times faster than the exhaustive search because the evolutionary algorithm searches only very small portion of the search space. A recommendation for future research is to conduct further experimentation to determine more optimal crossover and mutation rates.

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29

Smevik, Torunn. "The impedance of brass instruments, with special attention to numerical simulations analyzing the possible influence of wall vibrations". Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2009. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-5705.

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30

Lopes, Nicolas. "Approche passive pour la modélisation, la simulation et l'étude d'un banc de test robotisé pour les instruments de type cuivre". Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066150/document.

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Cette thèse s'inscrit dans le contexte de la robotique, de l'automatique et de l'acoustique musicale. Elle propose une étude d'un banc de test robotisé pour le jeu des cuivres et se décompose selon trois volets: la modélisation passive du système, sa simulation et son développement. La modélisation utilise le formalisme passif des systèmes hamiltoniens à ports. Les principaux éléments du système sont: l'alimentation en air pour le souffle, l'excitateur (composé de deux lèvres et d'un jet d'air) et un résonateur acoustique. Un nouveau modèle de jet d'air généré entre les lèvres est proposé. Ce modèle a pour but de restituer un bilan de puissance plus proche de la réalité physique que les modèles couramment utilisés. Pour la simulation à passivité garantie, la méthode du gradient discret est présentée. Elle ne garantit pas l'existence et l'unicité d'une solution et est limitée au second ordre de consistance numérique. De plus, son exécution nécessite des algorithmes d'optimisations non linéaires. Pour pallier ces limitations, une méthode à plusieurs étapes de type Runge-Kutta double et basée sur un changement de variable est proposée. Des résultats de simulations sont interprétés et comparés à ceux issus d'un modèle classique de la littérature. Le banc de test, ainsi que les développements techniques sont présentés. Ils permettent la mise au point d'expériences de cartographies répétables pouvant être utilisées pour caractériser différents instruments de musique. Enfin, des résultats numériques et expérimentaux sont comparés afin de mettre en avant les défauts et les qualités du modèle proposé
This thesis is to be seen against the robotic, the automatic, and the musical acoustic backgrounds. It provides a study of a robotized test bench for brass instruments and is divided into three parts: the passive modelling of the system, its simulation and its development. The modelling uses a passive formalism, namely, the ports-Hamiltonian systems. The main parts of the complete system are: an air supply for the breath, an acoustic exciter (composed of a couple of artificial lip and an air jet) and an acoustic resonator. A new model for the air jet generated between the lips is proposed. This model aims at providing a power balance, which is closer to the real system than other commonly used models. The discrete gradient method is presented to perform passive simulations. It does not generally guaranty the existence and uniqueness of a solution and is limited to the second order of numerical consistency. Moreover, its execution needs nonlinear optimisation algorithms. To compensate for these limitations, a multi-stage method of double Runge-Kutta type and based on a change of variable is proposed. Results from simulations are interpreted and compared to those coming from a Bernoulli type model. Finally, the test bench and the technical developments are presented. They enable the performance of repeatable cartographies experiments which can be used to characterise music instruments. Finally, experimental and numerical results are compared in order to highlight the defaults and the qualities of the proposed model

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31

Pihl, Linnea. "Brasslärares tankar om, och inställning till, att undervisa på olika instrument". Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1671.

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This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter?

In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student.

A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression.

The main part of the study is seen from a teacher perspective, however some student opinions are also included.

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32

Winter, Denis. "The Use of the Tenorhorn and Baryton in the Brass Chamber Music of Oskar Böhme and Victor Ewald: a Lecture Recital, Together with Three Recitals of Selected Works of J. Boda, J. Brahms, G. Jacobs, G. Mahler, T.R. George, J. Castérède, A. Capuzzi and Others". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332434/.

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The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.

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33

Armendarez, Christina Marie. "The Development of Works for Choir and Brass: A Study of Four Representative Works". Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26528.

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As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influenced the composer’s decision to add brass. Four representative pieces will be studied: In Ecclesiis by Giovanni Gabrieli (c.1554-1612); Herr, unser Herscher by Heinrich Schütz (1585-1672); Ecce Sacerdos by Anton Bruckner (1824- 1896); and Ode a la Musique by Frank Martin (1890-1974).

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34

Daigle, Jennifer B. "An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151003398.

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35

Bacon, Alice Louise. "A technical study of the alloy compositions of 'brass' wind musical instruments (1651-1867) utilizing non-destructive X-ray flourescence". Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1446769/.

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This thesis represents a new interdisciplinary approach to the conservation, care and curatorial study of 'brass' wind musical instruments. It attempts to combine metallurgical, chronological and historical aspects for a selection of instruments. The research consists of the systematic study of seventy-seven musical instruments, by known makers, using standardised non-destructive energy dispersive x-ray fluorescence (XRF). Such compositional data are virtually non-existent for historical 'brass' instruments in Britain and what few technical data that do exist are sporadic in quantity and quality. The development of brass instruments is interwoven with the history of brass making, but because there are a limited number of appropriate examples such links can be difficult to identify. This thesis describes the development of brass production from the cementation process to the commercial production of zinc and modern brass. Its relationship to the musical instrument industry in Britain is linked with historical evidence. It will be shown that innovation and known historical metallurgical achievements are reflected in the compositional changes of the alloys used for musical instruments. This thesis focuses on specific named brass wind musical instrument makers. This thesis sets out to investigate the extent to which a single analytical technique such as non-destructive analysis utilising XRF could be useful in the curatorial and conservation care of musical instruments. The results of the analyses revealed new aspects to the use of metals for making musical instruments. They give new information on approximate alloy compositions and, in particular, the results have shown that in the seventeenth-century in England, a ternary alloy of copper/tin/zinc was used, and that it was, perhaps, only superseded by brass (copper/zinc alloy) in the eighteenth century. It has been possible to arrange the results into a chronology of alloys particularly reflecting the change from the use of cementation brass to the direct method for making brass. By this means it is possible to postulate a date for the composition of a musical instrument of unknown maker and date. The idea for this thesis originated in the Horniman Museum, London, where the author of this thesis is Head of Collections Conservation and Care. However this study is augmented by instruments from other institutions. In this manner it has been possible to construct a chronology from the earliest inscribed and dated instrument by Augustine Dudley in 1651 to the demise of Charles Pace's small craftsman workshop in 1854 and his death in 1867.

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36

COCCO, FEDERICA. "Sustainability in cultural heritage: from diagnosis to the development of innovative systems for monitoring and understanding corrosion inside ancient brass wind instruments". Doctoral thesis, Università degli Studi di Cagliari, 2017. http://hdl.handle.net/11584/249601.

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An interdisciplinary methodology is being developed for the evaluation and monitoring of the corrosion state inside historical brass wind instruments of the 19th and early 20th centuries before and after being played. In a first part the focus is on the development of a non-destructive electrochemical sensor for the in–situ determination of the corrosion state and rate inside historical brass wind instruments, allowing also insight into the degradation mechanism which affects the artifacts. The electrochemical sensor consists of a combined Ag/AgCl solid-state reference electrode and a small platinum grid as counter electrode, both embedded in a thin sponge soaked with a diluted phosphate buffer solution, pH 7, with 10-3 M chlorides. XPS surface analysis has shown that the test solution does not alter the surface composition of the brass alloys during the contact. The electrochemical measurements with the sensor have to be related to surface state, requiring surface analysis of the brass alloys. This is challenging, because for both Cu and Zn the chemical state identification based on the binding energy values of Cu2p and Zn2p photoelectron signals is not possible: the chemical shifts between Zn(II) and Zn(0) and between Cu(I) and Cu(0) in their photoelectron signals are very small. A novel analytical strategy has been proposed for the identification and the quantification of Cu and Zn when different chemical states are simultaneously present. The chemical state identification is based on the Auger signals (XAES) and on the determination of the multicomponent signals of Cu and Zn metal and oxides on reference compounds. The intensities obtained from curve fitting the XAES spectra had to be converted to XPS photoelectron signals. This analytical approach has been tested on the Cu37Zn model brass alloy and it has proven to be successful. As a result it was applied for the identification and characterization of brass model alloys with different surface states. In the third part of the electrochemical and corrosion behavior of brass model alloys after aging in a phosphate buffer solution pH 7 and an artificial saliva solution (pH 7.4), were studied by means of open circuit (OCP), linear polarization (Rp) and Electrochemical Impedance Spectroscopy (EIS) measurements. In the phosphate buffer solution the effect of immersion time was small and the EIS data indicated a charge transfer control. In artificial saliva both the OCP and the Rp increased markedly and the EIS data indicated a resistive control by a surface film. Surface analysis by XPS clearly showed the formation of a thick, protective film composed of CuSCN and Zn3(PO4)2 on brass alloys in artificial saliva. In buffer solution only a very thin Cu(OH)2/CuO/ZnO film was formed. Thus it was possible to correlate the electrochemical and corrosion data with the surface composition of the aged samples. A mechanistic explanation based on the oxygen reduction current that is catalysed in presence of Cu(OH)2/CuO couple on the surface could be given and explain the much higher corrosion rates in the phosphate buffer solution. Finally, the electrochemical sensor was used on samples from ancient brass instruments and inside the tuning slides of brass wind instruments of the 19th century to check the efficiency of the preventive conservation protocol. A plot of log(Rp) vs OCP allowed to compare all the results obtained on the brass model alloys and ancient samples. Knowing the surface state from the surface analysis, the electrochemical results could be correlated to the surface state of the brass samples studied. So, the condensed representation of the electrochemical results showing distinct groups of log(Rp) vs OCP data can be used both for diagnostic purpose and for mechanistic interpretation. The interdisciplinary approach combining electrochemical and surface analytical techniques at the forefront of research allowed reaching successfully the research goal.
An interdisciplinary methodology is being developed for the evaluation and monitoring of the corrosion state inside historical brass wind instruments of the 19th and early 20th centuries before and after being played. In a first part the focus is on the development of a non-destructive electrochemical sensor for the in–situ determination of the corrosion state and rate inside historical brass wind instruments, allowing also insight into the degradation mechanism which affects the artifacts. The electrochemical sensor consists of a combined Ag/AgCl solid-state reference electrode and a small platinum grid as counter electrode, both embedded in a thin sponge soaked with a diluted phosphate buffer solution, pH 7, with 10-3 M chlorides. XPS surface analysis has shown that the test solution does not alter the surface composition of the brass alloys during the contact. The electrochemical measurements with the sensor have to be related to surface state, requiring surface analysis of the brass alloys. This is challenging, because for both Cu and Zn the chemical state identification based on the binding energy values of Cu2p and Zn2p photoelectron signals is not possible: the chemical shifts between Zn(II) and Zn(0) and between Cu(I) and Cu(0) in their photoelectron signals are very small. A novel analytical strategy has been proposed for the identification and the quantification of Cu and Zn when different chemical states are simultaneously present. The chemical state identification is based on the Auger signals (XAES) and on the determination of the multicomponent signals of Cu and Zn metal and oxides on reference compounds. The intensities obtained from curve fitting the XAES spectra had to be converted to XPS photoelectron signals. This analytical approach has been tested on the Cu37Zn model brass alloy and it has proven to be successful. As a result it was applied for the identification and characterization of brass model alloys with different surface states. In the third part of the electrochemical and corrosion behavior of brass model alloys after aging in a phosphate buffer solution pH 7 and an artificial saliva solution (pH 7.4), were studied by means of open circuit (OCP), linear polarization (Rp) and Electrochemical Impedance Spectroscopy (EIS) measurements. In the phosphate buffer solution the effect of immersion time was small and the EIS data indicated a charge transfer control. In artificial saliva both the OCP and the Rp increased markedly and the EIS data indicated a resistive control by a surface film. Surface analysis by XPS clearly showed the formation of a thick, protective film composed of CuSCN and Zn3(PO4)2 on brass alloys in artificial saliva. In buffer solution only a very thin Cu(OH)2/CuO/ZnO film was formed. Thus it was possible to correlate the electrochemical and corrosion data with the surface composition of the aged samples. A mechanistic explanation based on the oxygen reduction current that is catalysed in presence of Cu(OH)2/CuO couple on the surface could be given and explain the much higher corrosion rates in the phosphate buffer solution. Finally, the electrochemical sensor was used on samples from ancient brass instruments and inside the tuning slides of brass wind instruments of the 19th century to check the efficiency of the preventive conservation protocol. A plot of log(Rp) vs OCP allowed to compare all the results obtained on the brass model alloys and ancient samples. Knowing the surface state from the surface analysis, the electrochemical results could be correlated to the surface state of the brass samples studied. So, the condensed representation of the electrochemical results showing distinct groups of log(Rp) vs OCP data can be used both for diagnostic purpose and for mechanistic interpretation. The interdisciplinary approach combining electrochemical and surface analytical techniques at the forefront of research allowed reaching successfully the research goal.

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37

Kleinsteuber, Carl. "An Argument in Favor of the Saxhorn Basse (French Tuba) in the Modern Symphony Orchestra". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984120/.

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The French tuba was a much-needed addition to the brasswind musical instrument family, adding depth, projection and a unique color to French orchestral literature. Its ancestors the serpent and ophicleide both lacked the tonal stability and sonic power to adequately present the bass wind role in a robust orchestra. Through the efforts of its developer and patent-holder Adolphe Sax, the French tuba made converts among players and composers, effectively creating its own niche in music history. Musical tastes change however, and the French tuba has been largely supplanted by tubists using instruments twice its size. Since French composers composed specifically with the distinct timbre of the French tuba in mind, this unique and characteristic musical entity deserves a resurgence in performances of French orchestral repertoire.

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38

Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.

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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

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39

Brown, Philip. "Brass music during the American revolutionary era /". Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11253.

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40

Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. "Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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41

Freour, Vincent. "Acoustic and respiratory pressure control in brass instrument performance". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121361.

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This thesis presents experimental and numerical investigations on the control of aeroacoustic and quasi-static pressures within the air column constituted by the player-instrument system in trombone performance.The core of this work tackles the nature of the interaction between a player's vibrating lips and his/her vocal tract. Firstly, a measurement method was developed in order to assess important characteristics of the acoustical coupling between the lips, the downstream resonator and the upstream airways. Subjects able to play over the full range demonstrated significant upstream influence in the higher register of the instrument. These players were categorized in two groups according to their ability to control the phase of the upstream impedance and their ability to generate powerful downstream acoustic energy. In order to further investigate the influence of the vocal tract on the behaviour of the lips of a trombone player, different conditions of upstream coupling were simulated on an artificial player system. This experiment demonstrated the importance of phase tuning on the behaviour of the lips; results particularly suggest the ability of a vocal-tract resonance to displace the playing frequency close to a lip mechanical resonance, hence producing maximal efficiency of the lip-excitation system. Numerical simulations involving different physical models of the lips and various conditions of upstream coupling lend support to experimental results; an upstream coupling at the fundamental frequency influences the playing frequency and hence the combined effect of the varying total impedance loading the lips and lip mobility at the playing frequency. It then results in different degrees of efficiency of the sound production mechanism with respect tothe acoustic energy produced. Finally, a quantitative analysis of chest-wall dynamics was conducted on a trombone player. Different standard tasks where analyzed with respect to the pressure developed by rib-cage and abdominal muscles, diaphragmatic activity, as well as embouchure and glottal resistance. This study aims to address the characteristics of physiological control and its relation to the management of the quasi-static mouth pressure. It also intends to provide further material to the discussion on physiological factors involved in the acoustical control of the vocal-tract.
Cette thèse présente une étude expérimentale et numérique sur le contrôle des pressions aéroacoustiques et quasi-statiques au sein de la colonne d'air formée par le musicien et son instrument dans le jeu du trombone.L'axe principal de ce travail s'articule autour de l'étude de l'interaction entre les lèvres du musicien et son conduit vocal. En premier lieu, une méthode de mesure est développée dans le but de quantifier les caractéristiques de couplage acoustique entre les lèvres, le résonateur formé par l'instrument, et les voies respiratoires en amont. Chez les sujets pouvant jouer sur le registre complet de l'instrument, le conduit vocal contribue de façon significative à la productiondu son dans le registre aigu. Deux catégories de stratégies sont proposées en fonction des caractéristiques de phase de l'impédance du conduit vocal à la fréquence fondamentale, ainsi que de la capacité à générer un maximum d'énergie acoustique. Afin d'étudier plus précisément l'influence du conduit vocal sur le comportement mécanique des lèvres d'un tromboniste, différentes conditions de couplage en amont sont simulées sur un système de bouche artificielle. Cette expérience permet de démontrer l'importance de l'ajustement de la phase de l'impédance en amont sur le comportement mécanique des lèvres. Les résultats obtenus mettent particulièrement en évidence les capacités d'une résonance de conduit vocal à déplacer la fréquence de jeu afin de potentiellement la rapprocher d'une fréquence de résonance mécanique des lèvres, produisant ainsi une efficacité maximale du système d'excitation. Des simulations numériques utilisant différents modèles physiques de lèvres et différentes conditions de couplage acoustique avec le conduit vocal confirment les hypothèses formulées; un couplage avec le conduit vocal à la fréquence fondamentale influence la fréquence de jeu. En conséquence, ces variations induisent des changements, d'une part de l'impédance acoustique chargeant les lèvres, et d'autre part de leur mobilité mécanique. Il en résulte différents degrés d'efficacité du mécanisme de production sonore en ce qui concerne l'énergie acoustique générée. Pour terminer, une étude quantitative de la dynamique du thorax est conduite sur un tromboniste. Différentes tâches musicales sont analysées en termes de pression développée par les muscles intercostaux et abdominaux, de l'activité du diaphragme, ainsi que de la résistance des lèvres et de la glotte à l'écoulement pendant le jeu. Cette étude a ainsi pour but d'évaluer les caractéristiques physiologiques du contrôle de la production du son et leurs relations à la gestion de la pression quasi-statique dans la cavité buccale. Elle suggère également de nouveaux éléments quant à l'influence du contrôle respiratoire sur l'effet acoustique du conduit vocal.

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42

Andersson, Johanna. "Trombon i blodet? : Vilka faktorer påverkar trombonelevers val av sitt instrument?" Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1664.

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In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator.

I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.

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43

Kenney, Vince. "Practical Considerations for Euphonium Players Doubling on Tuba". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505278/.

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There is currently a great deal of information available to euphonium players who double on trombone, but far less for euphonium players who double on tuba. This dissertation takes information gathered from many top euphonium/tuba doublers, including: Benjamin Pierce, D.M.A., Aaron Tindall, D.M.A., Gail Robertson, D.M.A., Gretchen Renshaw James, D.M.A., Matthew Murchison, D.M.A., Matthew Shipes, D.M.A., Matthew Tropman, D.M.A., and Keith Kile, and presents a synopsis of their thoughts/reflections on tuba doubling. This dissertation is designed to aide euphonium players in the process of learning tuba, enabling them to be as efficient as possible with both their time and money throughout the process. Topics covered include: difficulties unique to the euphonium/tuba double and approaches to overcome them, similarities and differences between euphonium and tuba playing (from the perspective of euphonium/tuba doublers), "reverse" benefits of euphonium/tuba doubling on the primary instrument, literature recommendations for euphonium/tuba doublers, and equipment considerations for euphonium/tuba doublers.

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44

Crow, Derrick Alan. "The effect of instrumental rehearsal on blood glucose levels of five low brass players /". Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203557731&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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45

Skogh, Simon. "Trombonrösten på olika altituder : Registrets påverkan på musikens beståndsdelar". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4051.

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This thesis is about register and how it affects my playing through compositions and improvisation. As a brass musician, the high and low range is something that takes a lot of effort to master. How important is register for my artistic expression and how does register influence my music? My method to test this is by composing with a template where I have three musical components that I arrange in different registers. The first component is melody. The second one is ostinato, which in this thesis means something rhythmical that creates movement through time. The last component is harmony. In the next part of the thesis, I analyze all of my compositions and describe how I have worked with the template. I have also written about what difficulties we encountered as a band when we rehearsed the music. The band consists of me on trombone and bass trombone, Olle Vikström on tenor and baryton saxophone, Sara Karkkonen on piano, Johan Tengholm on bass and Henrik Jäderberg on drums. In the end of this thesis I discuss how register have influenced how the components work together like the clarity of the melody and how the harmony is affected by the melody.I find the instrumentation is of higher influence than the register but this specific constellation of instruments may have influenced how I perceive the components.

Konserten innehöll Fem originalkompositioner av Simon Skogh

Det var följande låtar

Vårflod

Väg 83

Stresspåsag

Reserestriktioner

Lyckligt slut

Medverkande musiker var

Simon Skogh tenortrombon och bastrombon

Olle Vikström tenorsaxofon och barytonsaxofon

Sara Karkkonen piano

Johan Tengholm Bas

Henrik Jäderberg Trummor

På grund av ett tekniskt fel fungerar inte en video som är inlagd i mitt arbete på sida 5 den är därför en egen fil uppladdad här.

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46

Newton, Michael James. "Experimental mechanical and fluid mechanical investigations of the brass instrument lip-reed and the human vocal folds". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3140.

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The mechanical properties of the lips are of crucial importance to the function of a brass instrument. The natural resonance modes must be able to usefully interact with the instrument air column in order to sustain oscillations. Mechanical frequency responses of human and arti cial lips used to play a brass instrument were measured using a high-speed digital video technique in an attempt to classify the true nature of the lipreed. The results revealed the presence of at least two lip modes that exhibited the characteristic outward-inward striking behaviour seen in many in vitro replica lip-reed measurements. The Q-values of the human lip resonances were considerably lower than those seen for the replica lips. Transverse mechanical response measurements were also performed on an in vitro lip-reed to investigate the coupling between the outward and inward striking modes. The two dimensional motion of the lips during full oscillations was investigated. It is shown that a computational four degree-of-freedom model would be required to fully simulate the observed mechanical motion. The uid behaviour downstream from an in vitro vocal fold model was investigated using particle image velocimetry (PIV). A `free jet' con guration with no downstream acoustical coupling was rst investigated. The measurements revealed an unsteady glottal jet ow, consisting of a high velocity jet core, a transitional region of high jet deceleration and a turbulent mixing region. The jet was consistently skewed at angles to the glottal centreline, and appeared to oscillate back and forth across the centreline during the glottal cycle. The behaviour of the jet core was investigated in detail. A temporal asymmetry was observed in the mean velocity across the jet core such that the highest jet velocities were encountered during the closing phase of the vocal folds. The overall jet behaviour also showed a strong turbulent asymmetry between the opening and closing phases. High levels of vorticity and turbulent motion encountered during the closing phase were associated with the deceleration of the jet. Three vocal fold con gurations that included static replicas of the ventricular bands were nally investigated with the aim of characterising the aerodynamic interaction between the ventricular bands and the vocal folds. A marked e ect on the glottal jet was observed for all con gurations. The most physically realistic con guration appeared to stabilise the glottal jet, leading to a reattachment of the jet to the ventricular bands and a subsequent secondary ow separation from the downstream end. The implications of the aerodynamic interaction is discussed, with particular note to its possible relevance to the lip-reed and mouthpiece interaction in brass playing.

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47

Neal, Mark. "A study of the brass instrument lip reed mechanism using artificial lips and lattice Boltzmann flow simulations". Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/12707.

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The lips of a brass player form a complex mechanical oscillator which has a non-harmonic set of resonance frequencies. In order for the lips to create a note when a player starts to play a brass instrument there must be interactions between the mechanical resonances of the lips, the fluid dynamics of the air passing between the lips, and the acoustic pressures which surrounding the lips. In this thesis studies are made of these interactions utilising an artificial lip and mouth to perform experimental measurements and Lattice Boltzmann fluids simulations to study the flow of air between the lips. By taking mechanical response measurements of the artificial lips, the mechanical resonances of the lips has been examined. The effects of both air flow between the lips and the presence of acoustic resonators, both in the form of an instrument on the downstream side of the lips and the mouth cavity on the up-stream side of the lips have been studied. Results of these measurements have shown that the lips of a brass player can behave in either of two lip reed operating regimes (inward or outward striking), depending on the relationship between the resonance frequency of the lips and that of the resonator. The behaviour of the lips during the transition between inward and outward striking regimes has been studied in order that improved models of the lip reed can be constructed. Numerical simulations of the flow in a pipe with a constriction which is based on the shape of a players lips both with and without a mouthpiece downstream of the lips have provided information on how the jet formation by the lips occurs. By using the data from these simulations the size of the forces which lead to the inward and outward striking behaviour of the lips have been estimated and a clearer picture of the physics behind the operation of a brass players lips obtained.

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48

Newsome, Eve. "An Investigation of the Effectiveness of Flow Teaching on Instrumental Practice and Performance". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/413021.

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This study investigated the effectiveness of flow teaching as directed to the practice and performance of instrumental music in the post-secondary context. Its purpose was to determine the effectiveness of a three-lesson educational flow intervention for twelve post-secondary brass and string instrumentalists. Data were collected through measures of subjective experience during practice and performance and the objective assessment of three performances. Flow experiences have been studied extensively in sport since the 1970s, and consequently, training strategies have been developed to increase flow levels in sporting contexts to maximise the possibility of optimal experience. However, in the domain of instrumental music, flow training strategies have not been thoroughly developed, researched, or applied for practice or performance purposes. Therefore, it is not known what potential effects, if any, applied flow theory strategies might have on instrumental practice and performance experiences or performance outcomes. The study employed a mixed method approach using recognised qualitative and quantitative methods suitable for an educational intervention research investigation. The methodology was a quasi-experimental intervention with non-equivalent control using concurrent triangulation comparative mixed method design. This provided the simplest form of baseline design with two groups and allowed each group to act as both an intervention group and a control group maximising the possible data collection for the small sample and short timeframe. The participants in the study were 12 self-selected undergraduate string and brass players from the Bachelor of Music course at the Queensland Conservatorium Griffith University (QCGU), Australia. They were stratified and randomly assigned into two groups of six. During the Intervention phases of the 38-day study, each participant received three one-to-one Flow Music Method (FMM) lessons created by the researcher. The FMM was based on the work of psychologist Mihalyi Csikszentmihalyi and other flow researchers. Across the timeline of the study, participants completed an experience sampling form (ESF) to measure the details of their subjective experience during each practice session and immediately after performances. In addition, a video journal was recorded at the end of each practice session and a post-study interview completed. At the end of the study, an expert panel of two music assessors rated the level of performances of each participant in randomised order using a Performance Assessment Form compiled by the researcher for that purpose. All data were analysed using SPSS and NVivo to ascertain the effects of the FMM Intervention on the participant experience of practice and performance and to examine the rater assessment of performances. An investigation of the relationships between practice and performance experience and rater assessment was subsequently undertaken to determine any relevant findings. Results showed that the experience of participants during instrumental practice became more positive for both groups in terms of Mood, Flow, Last 5 minutes of practice, and Overall experience from Phase 1 to Phase 2 across the timeline of the study with effect sizes ranging from small to very large. Findings also revealed that the experience of participants during instrumental performance became more positive with higher levels of Mood, Flow, Last 5 minutes of performance, and Overall experience found in both groups for the performance immediately after the Intervention when compared with the baseline performance. The greatest increases were found for Group 1 for the scales of Flow and Last 5 where there were statistically significant and very large effects. These findings provided support for the positive effect of the FMM Intervention on the practice and performance experience of both groups.The analysis of the objective ratings of performances by two expert raters showed sufficient correlation of the global scores, however, no conclusions could be made concerning the relationship of the global scores with the practice and performance experience of participants. It is recommended that further studies of a similar nature be conducted to facilitate a deeper understanding of the relationship between the subjective response of the participants and the objective assessment of their performance. In addition, it is proposed that the FMM be adapted to ameliorate any identified challenges and to enable the most effective application to instrumental pedagogic contexts in future.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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49

Cullen, John Stuart. "A study of brass instrument acoustics using an artificial lip reed mechanism, laser Doppler anemometry and other techniques". Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/13512.

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The self-sustained oscillation of a brass wind musical instrument involves a complex aerodynamic coupling between a multimode mechanical vibratory system (the lips of the player) and a multimode acoustical vibratory system (the air column of the instrument). In this thesis the behaviour of the coupled system near the threshold of oscillation is investigated using a simplified model in which a single mechanical lip mode is coupled to a single mode of the acoustical resonator by air flow through the lips. The theoretical threshold behaviour is compared with the measured threshold behaviour of a trombone sounded by an artificial lip reed mechanism. Comparability between theory and experiment is ensured by using model parameter values derived from mechanical response measurements on the artificial lips and input impedance measurements on the trombone. The mechanical response measurement can be used to classify mechanical models of the artificial lips unambiguously as either "inward striking" or "outward striking". Each of the embouchures considered is found to have at least one mechanical mode of each category. The experimentally observed threshold frequencies of the coupled system suggest a behaviour which passes smoothly from "inward striking" to "outward striking" character as the trombone slide is extended or the embouchure parameters changed. It seem unlikely that this type of behaviour can be explained using a lip model with only a single degree of freedom. After a discussion of the theory of laser Doppler anemometry (LDA), the technique is applied to the problem of measuring the instantaneous acoustic particle velocity within a standing wave pipe driven by a loudspeaker. The resulting Doppler signals display quasi-periodic amplitude modulation with a fundamental frequency equal to the frequency of the acoustic field. The phenomenon of amplitude modulation is investigated in some detail. Two different methods of analysing Doppler signals are compared: the digital Hilbert transform and the Disa analogue frequency tracker; the analogue tracker is found to offer the greater signal-to-noise ratio and dynamic range. Experiments are carried out to establish how phase errors introduced by the analogue tracker can be minimised.

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50

Giannella, Gustavo Di Cesare. "A extrafiscalidade como instrumento de política pública no Brasi : análise da tributação de bebidas alcoólicas". reponame:Repositório Institucional da UFABC, 2017.

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Orientador: Prof. Dr. Ivan Filipe de Almeida Lopes Fernandes
Dissertação (mestrado) - Universidade Federal do ABC. Programa de Pós-Graduação em Políticas Públicas, 2017.
O presente trabalho trata da extrafiscalidade como instrumento de política pública na tributação no Brasil, e visa a traçar um panorama da influência das políticas públicas na seara da tributação brasileira. A extrafiscalidade, conceituada como o uso de instrumentos tributários para fins não arrecadatórios, com vistas a outros valores contemplados legalmente e socialmente, vem sendo utilizada pelo Estado de forma indireta para garantir seus interesses, mas também como ferramenta de realização de políticas públicas e sociais. Realizamos estudos de casos envolvendo modificações na tributação das bebidas alcoólicas utilizando, em especial, o modelo de coalizões de defesa para demonstrar o funcionamento da extrafiscalidade como política pública. A dissertação está dividida em quatro capítulos, sendo que no primeiro pretende-se realizar análise do panorama normativo brasileiro da extrafiscalidade, a fim de situar o problema apresentado na realidade do ordenamento jurídico brasileiro. No segundo capítulo, visa-se a discorrer sobre a relação existente entre as políticas públicas e o Fisco, tratando, ainda, da parte metodológica e apresentando o modelo de coalizões de defesa. No terceiro capítulo, pretende-se realizar o estudo da extrafiscaldade a partir do campo das políticas públicas, demonstrando as ligações existentes entre as decisões do corpo do Estado e o manejo de tributos, com foco no IPI (imposto sobre produtos industrializados). No capítulo cinco, por fim, serão identificadas e estudadas com maior profundidade as ações extrafiscais, coalizões e realizados os estudos de casos, a fim de se verificar quais os envolvidos em cada modificação e a sua eventual influência no processo de tomada de decisão.
This study deals with extrafiscality as an instrument of public policy in Brazilian taxation, and aims to draw a view of the influence of public policies in the area of Brazilian taxation. Extrafiscality, considered as the use of tax instruments for non-tax purposes, with a view to other legally and socially contemplated values, has been indirectly used by the State to guarantee its interests, but also as a tool for public and social policies. We have carried out case studies involving changes in the taxation of alcoholic beverages, using in particular the model of advocacy coalitions to demonstrate the functioning of extrafiscality as a public policy. The study is divided into four chapters: the first one is intended to analyze the normative Brazilian panorama of extrafiscality, in order to situate the problem presented in the reality of the Brazilian legal system. The second chapter aims to discuss the relationship between public policies and the Treasury, dealing with the methodological part and presenting the model of advocacy coalitions. In the third chapter, we intend to carry out the study of extrafiscalisty from the field of public policies, demonstrating the links between the decisions of the state body and the management of taxes, with a focus on IPI (tax over industrialized products). In chapter five, finally, extra-fiscal actions, coalitions and case studies will be identified and studied in greater depth in order to verify who is involved in each modification and its possible influence in the decisionmaking process.

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Tesis sobre el tema "Brass instruments"

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