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Physical Modeling Sound Simulations for the Study of the Quality of Wind Instruments Jean-François Petiot, Robin Tournemenne, Joel Gilbert
Physical modeling sound simulations for the study of the quality of wind instruments Jean-François Petiot, Robin Tournemenne, Joel Gilbert To cite this version: Jean-François Petiot, Robin Tournemenne, Joel Gilbert. Physical modeling sound simulations for the study of the quality of wind instruments. ICSV2019 - 26th International Congress on Sound and Vibration, Jul 2019, Montréal, Canada. hal-02466551 HAL Id: hal-02466551 https://hal.archives-ouvertes.fr/hal-02466551 Submitted on 10 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PHYSICAL MODELING SOUND SIMULATIONS FOR THE STUDY OF THE QUALITY OF WIND INSTRUMENTS Jean-François Petiot Ecole Centrale de Nantes, Nantes, France email: [email protected] Robin Tournemenne INRIA, Bordeaux, France e-mail: [email protected] Joël Gilbert LAUM, Le Mans, France e-mail: [email protected] Physical modeling sound simulations can be potentially interesting for instrument design as far as they are representative of the functioning of the real instrument. This work studies to what ex- tent sound simulations of a brass instrument (the trumpet) are predictive of certain playing char- acteristics of the instrument (intonation, timbre). -
Wiener O B O En-Jo Urnal
Gesellschaft der Freunde der Wiener Oboe 66. Ausgabe Juni 2015 50 JAHRE INSTITUT OBERSCHÜTZEN mit Beiträgen von Univ. Prof. Klaus Aringer und Univ. Prof. Herbert Weissberg Neue Fagottistinnen bei den Symphonikern und in der Staatsoper Prima la musica-Wettbewerb 2015 „Wettbewerbe sind was für Pferde...“ (Anselma Veit) Bericht über die Generalversammlung 2015 Alfred Hertel und Ernst Krall zum 80. Geburtstag WIENER OBOEN-JOURNAL Editorial In dieser Ausgabe feiern wir 50 Jahre Exposi- Dass es sich bei den heurigen Preisträgern mit einer tur/Institut Oberschützen: Da ich auch einen Teil Ausnahme um Preisträgerinnen (fünf Studentinnen meines Studiums in Oberschützen absolvierte, und einen Studenten) handelt, spiegelt die allge- gratuliere ich als gleichfalls 50-Jähriger dem meine Situation in der Ausbildung – nicht nur in den Institut herzlich. Diese im Burgenland gelegene Oboenklassen – recht gut wider. Gerade eben haben „Zweigstelle“ der Universität Graz ist für die zwei Fagottistinnen (die Französin Sophie Dartiga- Wiener Oboe eigentlich ein Zentrum von großer longue und die Japanerin Ryo Yoshimura) wichtige Bedeutung, ist sie doch die einzige universitäre Stellen in der Staatsoper und bei den Wiener Sym- Lehranstalt außerhalb der Bundeshauptstadt, in phonikern erspielt und damit erstmalig weibliche der seit ihrem Bestehen Wiener Oboisten als Pro- „Einbrüche“ in bislang ausschließliche Männerbastio- fessoren wirkten und in ländlicher, für Schalmei- nen geschafft, was ja im Sinne angestrebter Gleich- enklänge idealer Umgebung den Wiener Klangstil berechtigung der Geschlechter auch einen Grund zu vermittelten. Wir haben deshalb diesem Jubiläum feiern darstellt. einen Heftschwerpunkt über die dort gepflegte Für aufmerksame Leser mag es scheinen, als hätten Wiener Musiziertradition und die Geschichte der wir inmitten der universalen Feier-, Jubiläen- und Oboen- und Fagottausbildung gewidmet. -
The Legacy of Rubén Islas
VOLUME 46, NO. 3 SPRING 2021 THE LUTIST QUARTERLY The Legacy of Rubén Islas Laryngeal Vibrato Production in Flutists THE OFFICIAL MAGAZINE OF Flute Modification 2021 NFA Convention REINVENTING EXPRESSIVE PERFORMANCE Yamaha 500, 600 and 700 series professional flutes are designed to satisfy the demands of any player seeking that perfect balance between expressive brilliance and warm, rich resonance. The meticulously balanced keys and hand-finished A-cut headjoint offer enhanced tonal control for a more effortless, natural performance. Learn more at Yamaha.io.profluteFQM2 WIND218606_Pro_Flutes_500_600_700_Waves.indd 1 12/7/20 3:41 PM An expert for every f lutist. schmittmusic.com/f lutegallery Free me -Ho In ls! Tria Katie Lowry Dr. Rachel Haug Root Bianca Najera BECOME THE MUSICIAN THE WORLD NEEDS YOU TO BE “We give our students incredible agency over the shape and focus of their education—in a city with one of the country’s most vibrant and diverse music scenes!” —Andy Kozar, Brass and Woodwinds Chair apply today Longy.edu BOSTON, MA 4 THE FLUTIST QUARTERLY SPRING 2021 NFAONLINE.ORG SPRING Table of Contents 2021 The Flutist Quarterly Volume 46, No. 3 DEPARTMENTS 7 From the President 9 From the Executive Director 10 High Notes 11 Across the Miles 13 From the New Music Advisory Committee 20 28 38 42 From the 2021 Convention FEATURES Program Chair 14 The Legacy of Rubén Islas: Mexico’s Flute Teacher 46 NFA News by Jonathan Borja 49 From the Performance Health Diligent and persistent throughout his long life, the soloist, orchestral Care Committee flutist, and teacher is now at the center of Mexico’s musical life. -
Film Presentations Lectures Panel Discussions Workshops
11–15 August 2014 Reichenau an der Rax / Austria Schloss Reichenau Film Presentations Lectures Panel Discussions Workshops FREE ADMISSION © Stephan Polzer www.isa-music.org isamusic.org Preface Dear Ladies and Gentlemen, The development of society, of any cultural community, depends on people reflecting and working on past events. This year‘s edition of isa will not only look back to the events of 1814, 1914 and 1989, but also examine the changes we have been through since and in what way these changes have affected our lives – as a society and as a cultural community. As rector of one of the biggest cultural institutions in the world, I wish you much inspiration and personal development as you explore and visit the wide range of courses, concerts and workshops of isa14. Werner Hasitschka Rector of the mdw – University of Music and Performing Arts Vienna 2 With last year’s first edition, isaScience began developing into a forum for the university’s Preface research departments, working in direct contact with the artists of the isa master classes and their respective communities. But isaScience is also reaching out to a broader public interested in scholarly discourse on music-related matters that tie in to historical, sociological, pedagogical, acoustical and anthropological issues, and it takes place in an atmosphere characterised by relaxed encounters between participants and the staff, who come from a considerable number of different countries and research traditions. This year’s contributions not only cover a more complete range of academic fields, running from acoustics and music pedagogy to music history and ethnomusicology, but are also presented as part of a programme that encourages and facilitates inter- disciplinary communication and exchange in the form of several workshops that are closely related to isa’s master class programme. -
WIND INSTRUMENTS from the Hands of Our Artisans…
WIND INSTRUMENTS From the Hands of our Artisans… You’ll find our instruments in the hands of musicians from all and it makes no difference as to whether the instrument is a custom ages and levels all over the world. Whether we are making a pro level instrument, or a student model for a beginner. Constantly in professional level instrument or a student model, our aim is to contact with the instruments we make, we are concerned with what provide the musician with an instrument that sounds and plays as goes into them since it not only affects their sound and playability, best as possible, is reliable, and is good for both the user and the but the player and the environment as well. That’s why Yamaha environment. instruments are made using lead-free solder. When you pick up a Yamaha instrument, take a moment and think Much like making music, crafting instruments is an art that requires about how this instrument made it into your hands. How it started dedication and a passion for perfection. Through our art, we bring from a sheet of metal or length of seasoned wood, was shaped into the instrument to form, through the musician’s art, that form comes form by the skilled hands of a master craftsman, then assembled and to life. We take great pride in passing our art on to musicians young adjusted, again by hand. Yes, by hand. and old, and watching them mature and bloom with the products we With all of the advanced technologies we have at our disposal, we still make. -
„Distinguishing Marks“ of the Vienna Philharmonic Orchestra M
A new search for acoustic „distinguishing marks“ of the Vienna Philharmonic Orchestra M. Bertsch Institut für Wiener Klangstil, University of Music, Singerstr. 26a, 1010 Vienna, Austria "Vienna is Different" is the slogan you read when you enter the city on the highways. Differences are also associated with the sound of the famous Vienna Philharmonic Orchestra (VPO). This orchestra's individual sound characteristic is caused partly by different musical instruments (oboe, horn or timpani), and partly through a specific playing style. While the individual sound variations of these instruments have been investigated in previous studies at our Institute, this paper presents a more general approach to the "distinguishing mark" of this orchestra. 21 sound-pairs of orchestral CD-recordings were offered to test subjects: one example from the VPO and a second from the Berlin Philharmonic or New York Philharmonic Orchestras. The task was to listen and to identify the Viennese one. Listener test data are statistically analyzed to find who identified the orchestra correctly most often and through which examples (involved instruments in the example, musical background and origin of the listener, etc. are taken into account). The aim of the study is to find out which instruments do establish the typical Vienna orchestra signature. Which instruments give the best clues for identifying the VPO? The members of the audience are invited to make their own decisions. INTRODUCTION examples is between 3 and 35 seconds (15 seconds on What is special about the Viennese orchestra ? This average). While short examples allow the comparison question exists as long as the world famous orchestra of timbre and short time elements, longer examples are itself. -
Untersuchungen Zum Stopfen Bei Hörnern
Untersuchungen zum Stopfen bei Hörnern Diplomarbeit aus musikalischer Akustik durchgeführt von Stefan Wachter Institut für Wiener Klangstil der Universität für Musik und darstellende Kunst Wien Vorstand: Univ.-Prof. Mag. Gregor Widholm und Institut für elektronische Musik und Akustik der Universität für Musik und darstellende Kunst Graz Univ.-Prof. DI Mag. Dr. techn. Robert Höldrich Wien, im Oktober 2008 Diplomarbeit Untersuchungen zum Stopfen bei Hörnern Zusammenfassung Zusammenfassung Die "Stopftechnik" bei Hörnern ist eine seit mehr als 250 Jahren angewandte Spieltechnik, um den Klang und die Intonation zu verändern. Je weiter die rechte Hand in den Schalltrichter eingeführt wird, desto tiefer wird der Ton. Ab einem bestimmten Punkt, wenn die Hand ca. 95% der Schalltrichteröffnung verschließt, springt die Intonation plötzlich um einen Halbton hinauf. Unter den Akustikern tobt aber noch immer der Streit, ob der Ton nun höher oder tiefer wird. In dieser Arbeit wird das offe- ne und gestopfte Horn durch Eingangsimpedanz und Übertragungsfunktionsmessungen akustisch untersucht. Zudem werden die Druckknoten und Bäuche im Instrument mit der Simulationssoftware „Optimierer“ dargestellt. Mit diesen umfassenden Untersu- chungen zum gestopften Horn werden die akustischen Vorgänge geklärt. Abstract Muting techniques have been used for about 250 years to modify a horn’s sound and intonation. The more the right hand is being fed into the bell the more the pitch drops. At a certain point, however, when the hand closes approximately 95 percent of the bell opening, the pitch produced is one semitone sharper than it would be for the open instrument. Acousticians still heavily discuss whether the pitch in fact gets higher or lower. In this thesis the open and stopped horn is acoustically analysed by means of in- put impedance and transfer function measurements. -
Ismra2016-83
Physics of musical instruments and voice: Paper ISMRA2016-83 A new method for high-speed line-scanning of brass players’ vibrating lips using the examples of subcontra G-flat (tuba) and split tones (trombone) (a) (b) Mauersberger Renate , Bergmann-Fischer Gunhild , Massing Thomas(a), Angerstein Wolfgang(a) (a) Duesseldorf University hospital, Germany, [email protected] (b) Medical practice ENT/Phoniatrics Bonn, Germany, [email protected] Abstract This study aims to develop a device for observation of lip vibrations in brass musicians. To avoid motion artefacts, mouthpieces with probe holes for the endoscope were used. A standardised device with fixed coupling between endoscope and camera on the one hand and mouthpiece with instrument on the other hand was constructed. For localisation of the probe hole the endoscope was positioned opposite to the mouthpiece so that the outer rim of the mouthpiece was completely visible through the endoscope. The distance between endoscope tip and outer rim was measured and mirrored on a horizontal axis alongside the outer rim. The optimal position for the probe hole resulted and allowed a frontal view on the lips. Thus, lip vibrations were observed with a kymography camera in real-time. Two examples of high-speed line-scanning illustrate this technique: While playing a subcontra G-flat (approx. 23 Hz), each lip vibration correlates with a video frame (frame rate 25 Hz). Single sinusoidal lip vibrations can be distinguished. Split tones (e.g. “Keren” by Iannis Xenakis) are multiphonic effects on brass instruments. Two pitches with different frequencies are played. The pitches alternate so quickly that the human ear notices them simultaneously. -
Handmade Flutes Handmade Flutes
HANDMADE FLUTES HANDMADE FLUTES The Kanji symbol for flute. THIS PAGE WAS PRINTED ON A SEMI-TRANPARENT FLY SHEET. -DELETE THIS BOX BEFORE PRINTING - FLUTES OF ELEGANT QUALITY & CRAFTSMANSHIP The founder of Altus flutes Mr. Shuichi Tanaka, known as “Speedy” to his friends, is a man of many talents. He is an artist, musician, engineer, businessman, and most notably a master flute maker. As a teenager, Mr. Tanaka studied flute with renowned Japanese teacher and performer Toshio Takahashi. During this time he not only developed into a gifted flutist, but also a sensitive student of flute making with keen insight into the needs of flutists. In 1977, Mr. Tanaka met British flutist William Bennett. The two men had much in common including their respect and admiration for the vintage flutes of Louis Lot. With Bennett’s influence and the inspiration of the finest vintage flutes, Mr. Tanaka designed an innovative modern flute rich in expressive tone colors, with ample capacity for resonance, accurate intonation, and mechanical strength. This was the first Altus flute, built in 1981. Over the next decade, global respect and interest for Mr. Tanaka’s innovative Altus flute increased. In 1990, he designed a beautiful building (pictured left) on a peaceful site in Azumino, at the base of the Japanese Alps to inspire his artistic creations. This breathtaking facility is where Altus flutes are still handcrafted today. The Altus flute is founded on friendships, collaborations, intense research, and a passionate devotion to music as an essential part of life. Altus flute maker Shuichi Tanaka and renowned British flutist William Bennett shared an admiration for Albert Cooper’s vision of updating and modernizing the traditional flute scale. -
Development of the Flute from Pre-History to Modern Days
Center for Open Access in Science ▪ Belgrade - SERBIA 2nd International e-Conference on Studies in Humanities and Social Sciences https://doi.org/10.32591/coas.e-conf.02.01001f 2IeCSHSS ▪ ISBN (Online) 978-86-81294-01-7 ▪ 2018: 1-26 _________________________________________________________________________ Development of the Flute From Pre-history to Modern Days Leah Fader Lakehead University, Department of Music, Thunder Bay Received 24 October 2018 ▪ Revised 30 November 2018 ▪ Accepted 2 December 2018 Abstract A flute is a “keyed woodwind instrument consisting of a cylindrical tube which is stopped at one end, and which has a side hole over which air is blown to produce the tone”, as defined by the Merriam-Webster dictionary. Unfortunately, this definition is only true of modern flutes. The first flutes were simple pieces of bone that had been fashioned with drilled holes. These prehistoric flutes have been discovered as artifacts in many places around the world. However, through time keys were added to expand the note range of the instrument, and to improve the intonation of the notes that were played. These improvements were added slowly, but as interest in the instrument grew, so did new ideas about its technical properties. In this paper I discuss how the flute progresses through time from a simple bone to the metal-keyed instruments of today. Keywords: music, flute, pre-historic, Egypt, Mesoamerica, bone flute, keys, intonation. Merriam-Webster defines a “flute”, as a “keyed woodwind instrument consisting of a cylindrical tube which is stopped at one end, and which has a side hole over which air is blown to produce the tone”1. -
University of Pretoria
THE FLUTIST‟S EMBOUCHURE AND TONE: PERSPECTIVES AND INFLUENCES by PIERRE TOLSMA submitted in partial fulfilment of the requirements for the degree MASTER OF MUSIC (PERFORMING ARTS) in the Faculty of Arts UNIVERSITY OF PRETORIA STUDY LEADER: PROF JOHN HINCH PRETORIA MARCH 2010 © University of Pretoria CONTENTS ABSTRACT ii OPSOMMING iii KEYWORDS/SLEUTELWOORDE iv LIST OF DEFINITIONS v CHAPTER 1 INTRODUCTION 1-1 1.1 Introduction/background and personal motivation 1-1 1.2 Statement of the problem 1-1 1.3 The research question 1-1 1.4 Aim 1-2 1.5 Chapter sub-division and methodology 1-3 CHAPTER 2 EMBOUCHURE 2-1 2.1 Definition 2-1 2.2 Embouchure and tone 2-2 2.3 What is the embouchure for? 2-2 2.4 Lips 2-3 2.4.1 Lip formation 2-3 2.4.2 Size and shape of the lips 2-5 2.5 Jaw 2-5 2.5.1 Direction of the airstream 2-5 2.5.2 Physical attributes of the jaw 2-6 2.6 Tongue 2-6 2.7 Teeth 2-7 2.8 Throat and oral cavity 2-7 2.8.1 Vibrations in the throat and oral cavity 2-7 2.8.2 Size and shape of the throat and oral cavity versus tone quality 2-8 2.8.3 Open throat and „throat tuning‟ 2-9 2.9 Cheeks 2-9 2.10 Dynamics 2-10 2.10.1 The influence of dynamics on the size of the aperture 2-10 2.10.2 Dynamics and registers 2-10 2.10.3 Crescendo 2-12 2.10.4 Decrescendo 2-12 2.11 Embouchure movement versus abdominal support 2-12 CHAPTER 3 ANATOMY OF THE HUMAN BODY IN RELATION TO EMBOUCHURE AND TONE ON THE FLUTE 3-1 3.1 Muscles 3-1 3.1.1 Superficial muscles of the face (head) 3-3 3.1.2 Superficial muscles of the neck and the shoulders 3-10 3.1.3 Superficial muscles -
Flutists' Family Tree : in Search of the American Flute School / by Demetra
FLUTISTS’ FAMILY TREE: IN SEARCH OF THE AMERICAN FLUTE SCHOOL DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Demetra Baferos Fair, M.M. ***** The Ohio State University 2003 Dissertation Committee: Professor Katherine Borst Jones, Adviser Approved by Professor Lois Rosow Professor Christopher Weait Adviser School of Music Copyright by Demetra Baferos Fair 2003 ABSTRACT For decades, American flutists have sought to identify specific traits that define their playing as a whole. While the “French School” has been characterized by a preoccupation with tone, a standard repertoire, and set of teaching materials written by Paris Conservatoire professors, no such definition can yet be set forth for the “American School.” This document provides a clear starting point for research into the what, where, why, and how of the “American Flute School” by first identifying who is associated with that school. By tracing the lineage of transverse flute playing from teacher to student through the past 300 years, we may identify orchestral flutist, soloist, and teacher, Georges Barrère, as a primary influence upon American flute playing. Barrère and his students – and his students’ students – have taught approximately 91% of all living flutists in the United States today. Of that vast number, approximately 87% can trace their heritage (through one or more of their teachers) to Barrère student William Kincaid, renowned flutist of the Philadelphia Orchestra and pedagogue at the Curtis Institute of Music. It is important to note that most modern musicians study with more than one teacher over the course of their career (usually between three and eight).