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Littérature scientifique sur le sujet « Oboe with instrumental ensemble »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 12 février 2022

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Articles de revues sur le sujet "Oboe with instrumental ensemble"

Corall, Georg. « The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a) : A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music ». Royal Musical Association Research Chronicle 49 (2018) : 68–178. http://dx.doi.org/10.1080/14723808.2018.1443618.

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In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.

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Hammond, Matthew. « Huddersfield Contemporary Music Festival : 21–23 November 2014 ». Tempo 69, n^o 272 (avril 2015) : 63–65. http://dx.doi.org/10.1017/s0040298214001077.

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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.

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Martynova, Valeriya. « Concerting oboe : timbre, technique, traditional and latest methods of playing ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, n^o 50 (3 octobre 2018) : 149–65. http://dx.doi.org/10.34064/khnum1-50.11.

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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and playing. The methodology of researching based on the set of such approaches to the phenomenon under study as historical-and-genetic, deductive, system-and-structural. Results. Based on the consideration of the concerting principle in its historical and stylistic dynamics, the article reveals the specifications of timbre-and-technical means characterized the oboe in various genre forms of the concert. The data on the specifics of the oboe effects found in the concert music for this instrument are also systematized. The latest methods of playing are characterized, and a refined classification of multiphonics used in modern oboe practice is proposed. It is noted that the concept of concerting style first appeared in the Baroque era, when instruments and voices in the new homophonic practice began to reach the level of soloing. At the same time, the principles of concerting manner as a dialogue in various forms of its implementation were formed, among which the form of group or collective concerting represented by the genre of concerto grosso was primary in instrumental music. Within this form, the concerting oboe stands out, and for a long time it participated in a trio of soloists who performed in this genre as concertino opposing to grosso – the mass of the rest of the orchestra. The article identifies the main specific features of the timbre and technique associated with the oboe design (double reed) and the performer’s breathing (gradual exhalation). Particular attention is paid to the oboe effects technique, as well as a set of means for sound-producing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments). On this basis, a description of the performing means of expressiveness of the oboe is proposed, including not only the specific (timbre-and-acoustic), but also the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. In particular, among such there is the vibrato technique, which came to the oboe practice from the string instruments, as well as the two main groups of effects – connected (legato and its types), divided (staccato, spiccato, martele) and the special methods of playing adapted “for the oboe”, in particular, pizzicato and “slap”. (For an oboe, the “slap” is a sharp tongue strike on the reed with a simultaneous key strike or without it, as well as a key strike without blowing air in). Among the techniques that have the specific forms of reproduction on the oboe, the article discusses tremolo of different interval volumes, to which a special fingering is adjusted; frullato (the “oral” kind with using of the “r” sound like in a trumpet, and “overtone” kind producing by a performer’s throat); glissando, existing on the oboe in two versions, labial and finger. As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization. These, for example, are bisbigliando, the technique that came from the harp practice, when an oboist gets the same sound in different ways; variety kinds of multiphonics; smorzato (a slow fluctuation of sound volume), oscillato (a similar change in pitch). Also the technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument. Conclusions. The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete. The complex of technique effects as the component of musical expressiveness was especially importance in formation of the cumulative sound image of the “universal” oboe. Thus, the concerting oboe was formed in line with the general processes of the development of musical thinking, which was connected with the practice of concert style, the principle of concerting as a musical and aesthetic category. Reflecting in different genre forms the development of the concert music, collective and solo, the oboe “sound image” has acquired by now the quality of genuine universalism, while retaining its specificity, connected with the features of its performing factor. The prospects for further study of the stated topic are seen, firstly, in the concretization of the stylistics of the concert oboe on examples of works of the concert genre; it will be necessary to build a certain logic of selection of material, which should not only illustrate the historical process, but also contain characteristics of individual creative embodiments of the “image” of the oboe by composers and performers. Secondly, they may be connected with the possibilities of projection in the proposed research methodology onto the concert music for others instruments.

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Terada, Yoshitaka M., Gayathri Rajapur Kassebaum, Vadya Lahari et Bob Haddad. « South Indian Instrumental Ensemble ». Ethnomusicology 38, n^o 3 (1994) : 559. http://dx.doi.org/10.2307/852132.

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Boespflug, George. « Popular Music and the Instrumental Ensemble ». Music Educators Journal 85, n^o 6 (mai 1999) : 33–37. http://dx.doi.org/10.2307/3399519.

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Döbereiner, Luc. « Between the Abstract and the Concrete : A Constraint-Based Approach to Navigating Instrumental Space ». Computer Music Journal 43, n^o 1 (janvier 2020) : 8–20. http://dx.doi.org/10.1162/comj_a_00497.

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This article deals with a way that algorithmic composition systems can be informed by material realities of musical performance. After a general discussion of the relation of abstract algorithms to concrete materiality, the article focuses on the idea of an instrument's space of possibilities. It briefly discusses a number of compositional approaches that seek to derive musical structure from bodily movements and from the physical properties of instruments. The last part describes a new open-source JavaScript library called OboeJS and a Web application based on this library. The system is an experimental exploration of the idea of instrumental space and an attempt to bring together abstract algorithmic processing and the concrete possibilities of a musical instrument. The system implements a flexible constraint-based search algorithm for the generation of oboe fingering sequences. This tool is presented as part of a wider approach to algorithmic composition that aims not to map data output of generative procedures to “sound generators” (e.g., performers, instruments, sound synthesis processes). Instead, I propose to derive structure from the space of possibilities of the instrument itself, which in this case is the oboe.

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Sachs, Joel, Henry Cowell et Yvar Mikhashoff. « A Composition for Piano and Chamber Ensemble (Oboe, Clarinet, Bassoon, Violins, Viola, Cello) ». Notes 46, n^o 4 (juin 1990) : 1072. http://dx.doi.org/10.2307/941286.

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Jiang, Yiqun. « OPTIMISATION OF CHINESE FOLK INSTRUMENTAL ENSEMBLE LESSONS ». Научное мнение, n^o 6 (2021) : 109–16. http://dx.doi.org/10.25807/22224378_2021_6_109.

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Li, Feng, et Hao Chang. « Music Signal Separation Using Supervised Robust Non-Negative Matrix Factorization with β-divergence ». International Journal of Circuits, Systems and Signal Processing 15 (22 février 2021) : 149–54. http://dx.doi.org/10.46300/9106.2021.15.16.

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We propose a supervised method based on robust non-negative matrix factorization (RNMF) for music signal separation with β-divergence called supervised robust non-negative matrix factorization (SRNMF). Although RNMF method is an effective method for separating music signals, its separation performance degrades due to has no prior knowledge. To address this problem, in this paper, we develop SRNMF that unifying the robustness of RNMF and the prior knowledge to improve such separation performance on instrumental sound signals (e.g., piano, oboe and trombone). Application to the observed instrumental sound signals is an effective strategy by extracting the spectral bases of training sequences by using RNMF. In addition, β-divergence based on SRNMF be extended. The results obtained from our experiments on instrumental sound signals are promising for music signal separation. The proposed method achieves better separation performance than the conventional methods.

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Eppelsheim, Jürgen. « Pommern tiefer Lage (Bombardi, Bombardoni, Bomharte) als Bestandteil des Basso-continuo-Instrumentariums ». Die Musikforschung 66, n^o 1 (22 septembre 2021) : 2–11. http://dx.doi.org/10.52412/mf.2013.h1.99.

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Die französischen Holzblasinstrumente Oboe und Fagott hatten im Bereich kirchlicher Figuralmusik eine neue Situation geschaffen: Ihre die Klangnatur wesentlich mitprägende Einstimmung im "Kammerton" war um zwei Halbtöne ("hoher Kammerton") oder sogar drei Halbtöne ("tiefer Kammerton") tiefer als der über Jahrhunderte etablierte (und bis ins mittlere 19. Jahrhundert in Gebrauch bleibende) "Chorton" der Orgel. Als Lösung für ein Zusammenwirken bot sich an, die Komposition insgesamt nach wie vor am Chorton der Orgel auszurichten, Oboen- und Fagottstimmen aber zu transponieren, wie Johann Sebastian Bach es vor seiner Leipziger Zeit tat. Oder (wie in Leipzig von Bachs Vorgänger Kuhnau praktiziert) die Komposition orientierte sich am ("hohen") Kammerton, der für das gesamte Ensemble galt, während die Continuo-Stimme für die Orgel zu transponieren war. Der "Bombardo", der hier näher bestimmt wird, erweist sich durch seine Chortonstimmung als Instrument einer gegenüber Oboe und Fagott älteren Generation, das hier auch unter erheblich veränderten Gegebenheiten des Ensemblemusizierens im Gebrauch bleibt.

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Thèses sur le sujet "Oboe with instrumental ensemble"

Hodges, Glen J. (Glen John). « "Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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Schulze, Lukas Andreas Schulze Lukas Andreas. « Sluggo ; and Elwaseem / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236633.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2006.
First work for 2 flutes, 2 clarinets, violoncello, and piano; 2nd for oboe and violin solo with 2 trumpets, horn, trombone, crotales, vibraphone, and percussion. Vita. With sound recording (1 sound disc : digital ; 4 3/4 in.) containing thesis works.

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吳俊凱 et Chun Hoi Daniel Ng. « Original compositions for young musicians ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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Murray, Lauren Baker. « The Nineteenth Century Oboe Concertino : An Overview of its Structure with Two Performance Guides ». Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.

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Normand, Daniel. « Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.

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Rook, Michael. « Mosaik : für Ensemble / ». Thesis, Connect to this title online ; UW restricted, 2003. http://hdl.handle.net/1773/11282.

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Thesis (D. Mus. Arts)--University of Washington, 2003.
For flute (piccolo), alto flute (bass flute), 2 clarinets, French horn, trumpet, 2 percussionists (desk, rubber stamp, stamp pad, oil barrel, large piece of sheet metal, tam-tam, cymbal, sizzle cymbal, thunder sheet, metal beam (piece of railroad track), amplified accordion, 2 pianos, electric guitar (fretless), violin, violoncello. Vita. Duration: 10 min., 20 sec.

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Ng, King-pan, et 伍敬彬. « Composing for chinese instrumental ensemble : a practitioner's perspective ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/197560.

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This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of traditional instruments, such as music-making conventions, instrumentation preferences, and certain ideology behind timbre, were overshadowed. Also attributed to such nature of Chinese instrumental music is that composers and performers are often in a quandary when juggling Chinese instrumental music conventions with a mindset framed by western classical music. Furthermore, in the current globalized/globalizing culture, Chinese instrumental composition is propelled by manifold musical influences. I intend to share the insight and to document the first-hand information acquired through the composition processes from a composer’s perspective. My sharing and documentation focus on the issues of incorporating idiomatic music materials from various Chinese instruments into original compositions, as well as on several matters concerning rehearsals and performances. Including six chapters, this thesis anthologizes six original works and discusses the composition strategies relevant to the distinctive instrumental combination of each. Chapter 1 presents an adaptation of a western symphonic poem for modern Chinese orchestra. Chapters 2 and 3 illustrate respectively a composition for a large Chinese wind and percussion ensemble and a composition for a large plucked-string ensemble. Chapters 4 and 5 cover two pieces of contrasting instrumentation, namely a mixed ensemble of fourteen instruments and a huqin sextet. Chapter 6 is about a multimedia composition with electronic soundtrack and installation art for seven players.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

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Jones, Lloyd Edward Walls Kimberly C. « Instrumental jazz ensemble programs in Alabama high schools ». Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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Quilling, Michael Lance. « Applying rhythm teaching methods in an instrumental ensemble ». Kansas State University, 2017. http://hdl.handle.net/2097/38162.

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Master of Music
School of Music, Theatre, and Dance
Frederick Burrack
Finding a systematic process for teaching rhythms in the instrumental setting has presented its own set of challenges. Numerous factors such as time constraints, engagement, motivation, and various degrees of proficiency amongst the students can all play a part in the overall success of the group. This video presentation includes a teaching demonstration utilizing techniques acquired from MU680-A (Advanced Rehearsal Techniques). Using rhythm readiness sheets modeled by Dr. Jay Gilbert and specific rehearsal techniques taught by Dr. Frank Tracz, this presentation exhibits a process for teaching rhythms that increases retention of rhythmic patterns in a way that enables all students to engage in the learning process simultaneously. The lesson plan is explained in detail and the routine was repeated daily and eventually implemented into the twelve-minute warmup portion of the rehearsal. After three weeks the students were recorded and asked to reflect on their progression. A noticeable change was observed after the lesson was completed and applied to the piece. In addition, the method also revealed several hidden learning outcomes, such as facilitating independence as musicians, utilizing listening skills to distinguish how various patterns fit within an established pulse, and increasing student motivation by creating positive rehearsals with attainable goals. The result was a performance showcasing the growth of the ensemble’s overall musicianship. The rhythm readiness sheet and concept that was utilized in the teaching demonstration is credited to Dr. Jay Gilbert. The rhythm readiness sheet is not copyrighted or published, however expressed written consent was granted by Dr. Gilbert and can be found in the Appendix.

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Simonson, Eric. « E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.

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Livres sur le sujet "Oboe with instrumental ensemble"

Shapey, Ralph. Psalm I : For soprano, oboe, and piano. Bryn Mawr, PA : T. Presser, 1993.

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Wernick, Richard. Oracle II : For soprano, oboe, and piano. Bryn Mawr, Pa : T. Presser, 1987.

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Muhly, Nico. Hymns for private use : For soprano, oboe (doubling English horn), clarinet, bass clarinet, alto saxophone and bassoon. New York : St. Rose Music, 2012.

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Johnston, Ben. Invocation : For soprano voice, flute, oboe, clarinet in B♭, bassoon, horn in F, trumpet in B♭, trombone, violin, viola, cello, d. bass : 1997. Baltimore, MD : Smith Publications, 1998.

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Gould, Morton. Concerto concertante : Solo violin, woodwind quintet, piano. [New York] : G. Schirmer, 1990.

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Luciano, Berio. Opus number zoo : Children's play for wind quintet (1951, rev. 1970). London : Universal Edition, 1998.

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Torke, Michael. Vanada : For chamber ensemble. [S.l.] : Hendon Music, 1987.

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Lazarof, Henri. Lucerniana : For chamber ensemble. Bryn Mawr, Penn : Merion Music, 1992.

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Bach, Johann Christian. Ensemble-Konzerte. Wiesbaden : Breitkopf & Härtel, 1985.

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Torke, Michael. Adjustable wrench : For chamber ensemble. [United States] : Hendon Music, 1992.

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Chapitres de livres sur le sujet "Oboe with instrumental ensemble"

Colwell, Richard J., Michael P. Hewitt et Mark Fonder. « The Oboe ». Dans The Teaching of Instrumental Music, 221–36. Fifth edition. | New York ; London : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-17.

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Feldman, Evan, et Ari Contzius. « Large Ensemble Set-Up ». Dans Instrumental Music Education, 200–212. Third edition. | New York : Routledge, 2020. : Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-14.

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Colwell, Richard J., Michael P. Hewitt et Mark Fonder. « The Jazz Ensemble ». Dans The Teaching of Instrumental Music, 161–81. Fifth edition. | New York ; London : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-13.

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McCallum, Wendy, et Carolyn Gwyer. « Choral and Instrumental Music Ensemble Participation ». Dans Encyclopedia of Quality of Life and Well-Being Research, 892–96. Dordrecht : Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-0753-5_1896.

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Oludare, Olupemi E. « Yoruba Traditional Instrumental Ensemble and Indigenous Knowledge Systems ». Dans Pathways to Alternative Epistemologies in Africa, 205–19. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-60652-7_12.

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Williams, David A. « The iPad as a Musical Instrument ! » Dans Creative Music Making at Your Fingertips, 83–97. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0007.

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

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« The Oboe ». Dans The Teaching of Instrumental Music, 139–54. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-18.

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« Large Ensemble Set-Up ». Dans Instrumental Music Education, 187–98. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-19.

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« The Jazz Ensemble ». Dans The Teaching of Instrumental Music, 409–30. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-35.

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« Liszt as Instrumental Ensemble Composer ». Dans Franz Liszt, 400–431. Routledge, 2004. http://dx.doi.org/10.4324/9780203644454-15.

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Actes de conférences sur le sujet "Oboe with instrumental ensemble"

González, Yubiry, et Ronaldo Prati. « Characterization of the sonority associated to woodwinds instruments through spectral analysis ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10452.

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The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.

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Samoylova, Nailya. « Instrumental Ensemble in Russian Music - Timbre Innovations ». Dans 2017 International Conference on Art Studies : Science, Experience, Education (ICASSEE 2017). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.27.

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Vyshpinska, Yaryna. « Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education ». Dans ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.

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