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Name: Date: Brass Instruments Quiz Class: 1. What do all brass instruments have in common? 6. What do the trumpet, tuba, and French horn have in a. They all have valves or keys common? b. They're all capable of reaching very high notes a. They're all considered natural brass instruments c. They're all made of brass b. They're rarely, if ever, made of brass d. They're all played by vibrating the lips c. They all originated in France d. They all have valves 2. Which of the following is a wind instrument? a. b. 7. How is a concert tuba different from a sousaphone? a. A tuba sits on a musician's lap; a sousaphone wraps around her b. A sousaphone sits on a musician's lap, a tuba wraps around her c. d. c. A sousaphone is played with a slide; a tuba is played with three valves d. A tuba is played with a slide; a sousaphone is played with three valves 3. Why do brass instruments have so many curves and 8. The tuba is considered a "bass instrument." What twists? can you infer about the meaning of this term? a. They allow players to hit different pitches a. It refers to any instrument whose pitch can be b. They make brass instruments easier to handle changed c. They prevent brass instruments from being played too b. It refers to any instrument that plays very low notes loudly c. It refers to any instrument that is very large d. They make brass instruments easier to master d. It refers to any instrument that's considered easy to play 4. Compared to other brass instruments, the French horn is 9. Which brass instrument is least likely to be featured considered: in a band or orchestra? a. Trumpet b. Trombone a. Easier to learn c. Bugle b. Less suited for use in a marching band d. Tuba c. More important d. Harder to play 10. How do valves and slides change the pitch of a brass instrument? 5. Which brass instrument is made from the longest, a. By forcing the musician to alter the position of her lips widest length of tube? b. By forcing air to travel through a longer pathway a. The trumpet c. By allowing a lower set of keys to be struck b. The trombone d. By blocking the flow of air through the instrument c. The tuba d. The French horn © 1999 - 2018 BrainPOP. All rights reserved..

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Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
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A Study of the Effects of Playing a Wind Instrument on the Occlusion
A study of the effects of playing a wind instrument on the occlusion By Mr. Ektor Grammatopoulos BDS, MFDS RCPSG A thesis submitted to the faculty of Medicine and Dentistry of the University of Birmingham for the degree of Master of Philosophy Department of Orthodontics The Dental School St. Chad’s Queensway Birmingham B4 6NN December 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Objectives To investigate the effects of playing a wind instrument on the occlusion. Subjects and method This was a cross-sectional observational study. One hundred and seventy professional musicians were selected from twenty-one classical orchestras and organisations. The subjects were subdivided according to the type of instrument mouthpiece and included thirty-two large cup-shaped mouthpiece brass players (group A.L), forty-two small cup- shaped mouthpiece brass players (group A.S), thirty-seven single reed mouthpiece woodwind players (group B) and fifty-nine string and percussion instrument players (control group). Impressions were taken for each subject and various parameters were assessed from the study casts. Statistical analysis was undertaken for interval variables with one-way analysis of variance and for categorical variables with Chi-square tests.
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The Brass Family
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Tcm 492 Book
Musical Instruments _______________________________________________More About Music The String Family The string family of instruments includes stringed instruments that can make sounds using one of two methods. Method 1: The sound is produced by moving a bow across the strings. The violin, viola, cello, and string bass produce sound in this way. Bowed Strings Method 2: The sound is produced by plucking the strings. The guitar, banjo, and harp are some of the stringed instruments that produce sound in this way. Plucked Strings ©Teacher Created Resources, Inc. 103 #492 Focus on Composers Musical Instruments _______________________________________________More About Music The Keyboard Family Keyboards are instruments mat use a keyboard in some way to make sound. Some keyboard instruments make their sound when a key is pressed down and moves a small device called a plectrum that plucks the string. Harpsichords and spinets produce sound in this way. Electronic organs and electric pianos are widely used in many of the music styles of today. Electronic keyboard instruments produce a wide variety of sounds and special effects. keyboard harpsichord One of the most popular instruments makes its sound when a key is pressed down and a soft “hammer” hits the string or strings. This instrument is the piano. piano #492 Focus on Composers 104 ©Teacher Created Resources, Inc. Musical Instruments _______________________________________________More About Music The Woodwind Family Woodwinds are one of two families of wind instruments. Woodwind instruments were so named because they originally were made out of wood and were played by blowing into them. In modern times, not all woodwinds are made out of wood, but they are still played by blowing.
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The Composer's Guide to the Tuba
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Primary—The Animated Orchestra Study Guide
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Comprehensive Summaries of Uppsala Dissertations from the Faculty of Science and Technology 862 Numerical Techniques for Acoustic Modelling and Design of Brass Wind Instruments BY DANIEL NORELAND ACTA UNIVERSITATIS UPSALIENSIS UPPSALA 2003 Preface. When H. Bouasse published his Instruments àVentin two vol- umes in 1929–30, he set the starting point for what can be regarded as modern research on musical acoustics. Some 40 years later, the stock of published papers could be counted in their hundreds. However, it is only during the last two or three decades that our physical understanding, in combination with the devel- opment of computers, has made it possible to analyse wind instruments with the precision necessary, not only to explain the basic principles of their function, but also to be of practical use for instrument makers. This thesis deals with numerical methods and procedures for the analysis and design of acoustic horns of the kind found in brass instruments. The same models are applicable also to loudspeaker horns, with which one part of the thesis is concerned. Although the properties and merits of different systems for sound reproduc- tion, such as loudspeakers, are sometimes debated lively, it is at least possible to define an ideal system, in the sense that the sound at the position of the listener’s ears should be in as good agreement as possible with the sound at the position of the microphone in the concert hall during the recording. When speaking about optimisation of musical instruments, one has to be much more careful. The instruments of the modern western orchestra are the result of centuries of evolution, where tradition, musical ideals, performance tech- niques, and acoustical considerations have been inextricably intertwined with each other.
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The Noble Trumpet and Other Brass Instruments
OOK WORLD B Boekwêreld • Ilizwe Leencwadi a castle where walking sticks are common), even those who once Fanus often joked that his epitaph should read: ‘Nou is hy dood- were famous. ernstig’ (Now he is dead serious). Like all brilliant humourists, he It happened like this: I was asked to review Tien uit tien: stories seemed to have a need to be taken seriously, even if only once in en sêgoeters van Fanus Rautenbach (Tafelberg, 2010), a collection a while - for instance, Peter Sellers revealed that he wanted to be of stories by Fanus, edited by Danie Botha - which I did. I thought a serious actor. Imagine that! And most humourists suffered from nothing of it, except that he wrote some really good, original stories depression - humour is a ‘laugh with a tear’. But there was never and implemented unusual techniques. any evidence that Fanus Rautenbach was Then Botha asked me to visit the old man, who was pining for at- depressed, ever. Hopefully not too lonely tention. This was just before Christmas 2010. I was busy; could not either. even go out to Fanus maintained that humour Vredenburg to visit my Tiesj is one of two autobiographical is more than just cracking jokes. own mother. An acquaint- works by Rautenbach, the other being ance called. She would Fanus onthou en Sebastian lieg in die It is really about observing, set up a meeting. A coffee mou (met Piet Coetzer, Lapa, 2009). about knowing your subject shop near the ‘kieriekas- material, namely people. The teel’ in Claremont. Two With acknowledgement to Bolander.
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