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The Mystery of Pipe Acoustics
The mystery of pipe acoustics FRANTIŠEK KUNDRACIK Comenius University in Bratislava, Faculty of Mathematics, Physics and Informatics, Department of Experimental Physics Introduction Students at school are not given a lot of information about sound formation in pipes. Explanation is reduced to the description of the standing sound wave in the pipe and importance of the sharp edge, which is struck by the airflow. The aim of this article is to answer in more detail three fundamental questions about the sound formation in pipes: 1. Why is the area around the edge so important and how exactly does a clear and continuous tone arise? 2. How can we influence a tone height by the force of blowing or by covering the end hole? 3. Why does the fujara have three holes and why are pipes with six holes also popular? 1. Formation of a continuous tone in a pipe Tone in a pipe arises because of the periodic reflection of pressure wave at the ends of the pipe. Unlike the reflection from the covered end, in case of the reflection from the open end (or from the end with a window) the wave reflects in anti-phase and part of it leaves the pipe. To get a continuous tone, we must constantly supply energy to the reflecting wave, just like we supply energy to a swing by pushing it. Unlike the swing where our reflexes are faster than its motion, the sound wave motion is too quick for our reflexes, which means that blowing air into the pipe has to be automated. -
The Acoustics of a Tenor Recorder
The Acoustics of a Tenor Recorder by D. D. McKinnon A thesis submitted to the Faculty of the College of Arts & Sciences of the University of Colorado in partial fulfillment of the requirements for the degree of Bachelor of Arts Department of Physics 2009 This thesis entitled: The Acoustics of a Tenor Recorder written by D. D. McKinnon has been approved for the Department of Physics Prof. John Price Prof. John Cumalat Prof. Peter Kratzke Date iii McKinnon, D. D. (B.A., Physics) The Acoustics of a Tenor Recorder Thesis directed by Prof. John Price The study of acoustics is rooted in the origins of physics, yet the dynamics of flue-type instruments are still only qualitatively understood. Our group has developed a measurement system, the Acoustic VNA, which can precisely determine acoustic wave amplitudes of the lowest mode propagating in a cylindrical waveguide. I used the AVNA to study a musical oscillator, the tenor recorder. The recorder consists of two compo- nents, an air-jet amplifier driven by the player’s breath and a cylindrical waveguide resonator with an effective length that may by varied by covering or uncovering finger holes. Previous research on the recorder has focused on understanding the resonator frequencies in some detail, but has only provided a rough understanding of the air-jet. In particular, there is not yet a quantitative understanding of how the pitch varies with blowing pressure for a given fingering. I designed several experiments to provide a quantitative picture of how the air-jet behaves at different blowing pressures and discov- ered that higher blowing pressures lead to stronger amplification at higher frequencies. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
Fujarôčka Fujarôčka, Fujara
Fujarôčka,Fujarôčka , fujara Fujarôčka , fujara Fujara manual – basic playing handbook Výroba fujár a pastierskych píš ťal Jozef Mikulášek www.fujary.sk Nitrianska 13 920 01 Hlohovec tel.: 00421/33/74 251 27 mobil: 0908 537 007 e-mail: [email protected] 1 Introduction In this manual, I’d like to briefly introduce this unique instrument and try to show you the basics of playing, while offering some helpful advice on how to take care of your “fujara” [fooyara] or sheperd’s overtone flute. It is aimed primarily at beginners, though more advanced fujara-players might find it useful, too . Description of the fujara The “fujara”, or sheperds’ overtone flute, is a unique Slovak folk wind instrument. It is lovingly called queen among folk instruments, not only in Slovakia. It is made mostly from wood of the common elder, or Sambucus negra . This hardy wood type has excellent musical resonancy. It is also filled with a soft resin, making drilling it easier. The fujara evolved from a three-hole bass flute that had been used in smaller form since the 12 th or 13 th century. Fujaras are made in different sizes, ranging from 85 cm to 172 cm, but they can sometimes be both smaller and larger. The tuning of a fujara depends on its size and the circumference of its drill hole, but it is generally so that smaller instruments are tuned higher, and larger instruments are tuned to a lower register. The fujara consists of two main parts – the main flute airpipe and smaller airpipe. They are connected by a leather belt or “švihe ľ”. -
Musical Origins and the Stone Age Evolution of Flutes
Musical Origins and the Stone Age Evolution of Flutes When we, modern humans, emerged from Africa and colonized Europe Jelle Atema 45,000 years ago, did we have flutes in fist and melodies in mind? Email: [email protected] Introduction Music is an intensely emotional subject and the origins of music have fascinated Postal: people for millennia, going back to early historic records. An excellent review can Boston University be found in “Dolmetsch Online” (http://www.dolmetsch.com/musictheory35. Biology Department htm). Intense debates in the late 19th and early 20th century revolved around the 5 Cummington Street origins of speech and music and which came first. Biologist Charles Darwin, befit- Boston, MA 02215 ting his important recognition of evolution by sexual selection, considered that music evolved as a courtship display similar to bird song; he also felt that speech derived from music. Musicologist Spencer posited that music derived from the emotional content of human speech. The Darwin–Spencer debate (Kivy, 1959) continues unresolved. During the same period the eminent physicist Helmholtz- following Aristotle-studied harmonics of sound and felt that music distinguished itself from speech by its “fixed degree in the scale” (Scala = stairs, i.e. discrete steps) as opposed to the sliding pitches (“glissando”) typical of human speech. As we will see, this may not be such a good distinction when analyzing very early musi- cal instruments with our contemporary bias toward scales. More recent symposia include “The origins of music” (Wallin et al., 2000) and “The music of nature and the nature of music” (Gray et al., 2001). -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Some Acoustic Characteristics of the Tin Whistle
Proceedings of the Institute of Acoustics SOME ACOUSTIC CHARACTERISTICS OF THE TIN WHISTLE POAL Davies ISVR, University of Southampton, Southampton, UK J Pinho ISVR, Southampton University, Southampton, UK EJ English ISVR, Southampton University, Southampton, UK 1 INTRODUCTION The sustained excitation of a tuned resonator by shed vorticity in a separating shear layer 1 or the whistling produced by the impingement of thin fluid jets on an edge 2 have both been exploited by the makers of musical instruments from time immemorial. Familiar examples include panpipes, recorders, flutes, organ flue pipes 13 , and so on. Over the centuries, the acquisition of the necessary knowledge and skill for their successful production must have been laboriously accomplished by much trial and error. A more physically explicit understanding of the basic controlling mechanisms began to emerge during the great upsurge in scientific observation and discovery from the mid19th century, as this was also accompanied by the relevant developments in physics, acoustics and fluid mechanics. These mechanisms can take several forms, depending on subtle differences in local and overall geometric detail and its relation to the magnitude, direction and distribution of any flow that is generating sound. One such form includes many examples of reverberant systems, where separating shear layers 3,4 provide the conditions where this coupled flow acoustic behaviour may occur. It is well known 14 that whenever a flow leaves a downstream facing edge it separates, forming a thin shear layer or vortex sheet. Such sheets, which involve high transverse velocity gradients, are very unstable and rapidly develop waves 14 . -
An Exploration of Physiological Responses to the Native American Flute
An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted. -
About More2screen
PRESENTS ABOUT MORE2SCREEN More2Screen is a leading distributor of Event Cinema with an unparalleled reputation for the delivery of great cinema events to audiences around the world. Founded in 2006 by CEO Christine Costello, it has been a global pioneer in the harnessing of digital technology to bring the very best in live music, performance arts and cultural entertainment to local cinema audiences. More2Screen won the Screen Award ‘Event Cinema Campaign of the Year’ category in 2018 for the live broadcast of the musical Everybody’s Talking About Jamie, and recent releases include Kinky Boots The Musical, Gauguin from the National Gallery, London, Matthew Bourne’s FILMED LIVE AT THE 3ARENA, DUBLIN Romeo & Juliet and 42nd Street The Musical. RUNNING TIME: 120 minutes (Part 1 55 minutes / Interval 5 minutes / For more information visit More2Screen.com Interval Feature 8 minutes / Part 2 52 minutes) BBFC: U Share your thoughts after the screening #Riverdance25Cinema @Riverdance / @More2Screen BRINGING MORE CHOICE TO YOUR CINEMA Live and recorded theatre, opera, @more2screen ballet, music & exhibitions CAST PRODUCTION Composer Producer Director Riverdance Mide Ni Bhaoill Riverdance Bill Whelan Moya Doherty John McColgan Irish Dance Troupe Andrew O’Reilly Flamenco Soloist Senior Executive Producer Tomas O’Se Rocio Montoya Julian Erskine Principal Dancers Natasia Petracic Bobby Hodges and Callum Spencer Riverdance Poetry and Music Amy-Mae Dolan Megan Walsh Russian Ensemble Riverdance Poetry - Theo Dorgan Peter Wilson dance captain Spoken by -
The Sound of Oscillating Air Jets: Physics, Modeling and Simulation in Flute-Like Instruments
THE SOUND OF OSCILLATING AIR JETS: PHYSICS, MODELING AND SIMULATION IN FLUTE-LIKE INSTRUMENTS A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Patricio de la Cuadra December 2005 c Copyright by Patricio de la Cuadra 2006 All Rights Reserved ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Chris Chafe Principal Co-Advisor I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Benˆoit Fabre Principal Co-Advisor I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Julius Smith I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Jonathan Berger iii Approved for the University Committee on Graduate Studies. iv Abstract Flute-like instruments share a common mechanism that consists of blowing across one open end of a resonator to produce an air jet that is directed towards a sharp edge. Analysis of its operation involves various research fields including fluid dynamics, aero-acoustics, and physics. An effort has been made in this study to extend this description from instruments with fixed geometry like recorders and organ pipes to flutes played by the lips. -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering. -
The History and Practices of a Native American Flute Circle
REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute.