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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. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Methods of Playing Wind Instruments (Using the Flute As an Example)
The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, September 2018 Special Edition, p.2379-2393 METHODS OF PLAYING WIND INSTRUMENTS (USING THE FLUTE AS AN EXAMPLE) Olesia NESTEROVA Kazakh National Conservatory named after Kurmangazy [email protected] Vitaliy SHAPILOV Kazakh National Conservatory named after Kurmangazy [email protected] Aizhan BEKENOVA Kazakh National Conservatory named after Kurmangazy [email protected] Aizhan JULMUKHAMEDOVA Kazakh National Conservatory named after Kurmangazy [email protected] Zhanat YERMANOV Kazakh National Conservatory named after Kurmangazy [email protected] ABSTRACT In the second half of the XX century, the use of the latest performing techniques for playing woodwind instruments was the results of searching for unusual timbres and non-traditional sounding. Rethinking and interpreting traditional methods of sound producing, searching for a new sounding “color” and non-traditional ways of notation led to tremendous changes in musicians’ performing techniques, and broadened the horizons of ideas about the possibilities of wind instruments. However, professional musical education in a number of countries does not pay due attention to the study of contemporary performing techniques characteristic for the music of the XX and XXI centuries composers. This situation does not cope with present challenges, as the performance of the music of the XX and XXI centuries composers is an obligatory component of the programs of most international competitions, participation in which is impossible without the relevant knowledge and possession of contemporary performing techniques. Possession of contemporary performing techniques is necessary for every professional musician. Nevertheless, unfortunately, the study of the latest techniques and their application is episodic and depending on individual expressive means of each composition. -
The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty. -
Visiting Artist: John Sampen, Saxophone Composer
As one of America's leading concert saxophonists, John Sampen is recognized as a distinguished artist in contemporary literature. He has commissioned and premiered over thirty new works, including compositions by Bolcom, Ussachevsky and Subotnick, and has presented saxophone premieres of music by Stockhausen and Lutoslawski. In 1970, Sampen was recitalist and certificate winner at the prestigious Visiting Artist: International Geneva Concours in Switzerland. He has performed as soloist with ensembles worldwide, including the Nurnberg Symphony Orchestra, the Biel Symphony (Switzerland), the Osaka Municipal Winds (Japan), the Toledo symphony Orchestra, the New Mexico Symphony, John Sampen, saxophone and the Pittsburgh New Music Ensemble. with As a recipient of an NEA Consortium Grant, John Sampen has most iv recently been involved with commissions and premieres of new music Mark Bunce, by Subotnick, Martino and Babbitt. His London premiere of Subotnick's it In Two Words with the Electric Symphony featured him as the first composer/electronics classical performer to solo on Yamaha's new WX7 Wind Controller. The performance inspired one English critic to write of "the excellence, the musicianship and the total involvement of John featuring works by Bolcom, Bunce, ■ Sampen...tremendous passion and eloquence." Freund, Noda, Shrude and Subotnick Mr. Sampen regularly performs traditional French and contemporary literature in recital with pianist/composer Marilyn Shrude. He has recorded with the Belgian and Swiss National Radio, as well as the Saturday, January 29, 1994 at Orion, CRI and Capstone labels. A clinician for the Selmer Company, Sampen has presented many master classes at universities and 8:00 pm conservatories in Europe and the USA. -
The Saxophone in China: Historical Performance and Development
THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China. -
Elementary Music Education in the Era of Remote Teaching – Constraints and Prospects for Development
International Journal of Research in E-learning Vol. 6 (2), 2020, pp. 1–14 https://doi.org/10.31261/IJREL.2020.6.2.03 Mirosław Kisiel University of Silesia in Katowice, Poland https://orcid.org/0000-0003-2002-0116 Elementary Music Education in the Era of Remote Teaching – Constraints and Prospects for Development Abstract In the discourse undertaken, an attempt was made to indicate the limits and perspectives for the development of music education of distance teaching. The specificity of music education based on experience, emotions in action, a creative approach to an artistic creation and expressive action requires special attention in this regard. The teacher is expected to develop a new strategy for action, which in the existing educational situation will result in an increase in students’ interest in music. Obtaining satisfactory results should be seen in the use of teaching methods and forms appropriate for the given situation and means of communication. K e y w o r d s: childhood education, teacher, music, distance learning. At present, as technology evolves, the education in Poland is changing. The slow but systematic presence of e-learning as a new teaching method in our country has become popular and necessary (Hyla, 2012, p. 20). This method has proven to be the only possible effective way for teachers to work during the world pandemic of COVID-19 and the nationwide lockdown. From day to day, schools had to shift to a new teaching and learning technique and use the available electronic media and communication platforms. Music education, which deals with fleeting and IJREL.2020.6.2.03 p. -
Exploring the Duality of Music and Society PROGRAMME NOTES
IN TWO WORLDS - Exploring the duality of music and society PROGRAMME NOTES FOUR 5 (1992) / John Cage John Cage is one of the seminal figures of modern culture, a composer and philosopher who has considered and challenged the basic assumptions and boundaries of the art of music. His early conclusion that the path of modern music lay along the lines of rhythmic innovation rather than pitch structures led him to an interest in percussion music, noise resources, and electro-acoustic music. Cage’s later works sought to remove his own ego and all personal control over sounds through a variety of ingenious “chance” devices. He became the founder and leading exponent of musical indeterminacy, and perhaps the first American “art music composer” to initiate a major musical trend. During John Cage’s guest appearance at the 7th BGSU New Music & Art Festival (1986), John Sampen suggested a new work for saxophones. FOUR 5 was completed in December 1991 and represents one of Cage’s last compositions before his death in August 1992. The work was premiered by Sampen and the BGSU American Saxophone Ensemble at the 10th World Saxophone Congress in Pesaro, Italy (1992). John Cage’s twelve-minute work is scored for soprano, alto, tenor, and baritone saxophones with parts consisting of approximately fifteen pitches (each on a single line). TROPE (2007/2008) / Marilyn Shrude The music of Chicago-born composer Marilyn Shrude is recognized for its “shimmering sounds” and “sensuous beauty.” Her many honors are those from the American Academy and Institute of Arts and Letters and from the Kennedy Center Freidheim Awards. -
3D Modelling and Printing of Microtonal Flutes
3D Modelling and Printing of Microtonal Flutes Matthew Dabin Terumi Narushima Stephen Beirne University of Wollongong The Arts, English and Media Australian Institute for NSW, Australia University of Wollongong Innovative Materials [email protected] NSW, Australia University of Wollongong [email protected] NSW, Australia [email protected] Christian Ritz Kraig Grady Electrical, Computer and University of Wollongong Telecommunications NSW, Australia Engineering [email protected] University of Wollongong NSW, Australia [email protected] ABSTRACT these instruments rely on non-3D printed hardware (such as This project explores the potential for 3D modelling and pickups, bridges, necks and machine heads) for their sound printing to create customised flutes that can play music in production [7]. a variety of microtonal scales. One of the challenges in the In contrast, our project takes advantage of 3D printing's field of microtonality is that conventional musical instru- unique ability to customise designs for the purpose of creat- ments are inadequate for realising the abundance of the- ing flutes that can play microtonal tunings not possible on oretical tunings that musicians wish to investigate. This standard instruments. 3D CAD software is used to gener- paper focuses on the development of two types of flutes, the ate 3D models of the flutes and these are then printed using recorder and transverse flute, with interchangeable mouth- high resolution inkjet based 3D printing technology (Objet pieces. These flutes are designed to play subharmonic mi- Connex 350). Comparisons between the theoretical models crotonal scales. The discussion provides an overview of the and actual 3D printed flutes allow for greater understand- design and implementation process, including calculation ing of the acoustics of microtonal wind instruments. -
Symphonic Woodwinds User Manual Congratulations Welcome
SPITFIRE AUDIO SSW SPITFIRE SYMPHONIC WOODWINDS USER MANUAL CONGRATULATIONS WELCOME Thank you for purchasing Spitfire Symphonic Woodwinds. We are sure they’ll bring you many years of pleasure. Often neglected by modern After a decade of exhaustive sampling, and four years spent contrabass clarinets, alto and bass flutes to enrich your compo- media composers, the Woods are your secret weapon to add real power to your productions. Spitfire Audio has taken its decade of experience capturing our finest woodwind players, Spitfire are proud to sitions with the diverse zeitgeist being created near the shores making virtual woodwind instruments and for this product, has spent the last five years recording the best of the best at one of the most present Symphonic Woodwinds. It is a definitive collection of and mud-banks of the Thames! sought-after locations in the world: The Hall at Air Studios, London for this, a definitive compendium of orchestral woodwinds. orchestral woods recorded and in detail at Air Studios, London. Featuring multiple dynamics, vibrato control, numerous round FEATURES robins and a variety of traditional and more esoteric articula- Quick Specs Table Of Contents tions (clarinet flutter tongue? tick!). Not only does SSW feature • A broad band covering both solo, and a2 sections. Combine the usual suspects, our detailed approach has been extended both and create your a3 sections. • 72504 Samples (48k recorded at 96k) PRECAUTIONS 2 through the extraordinary lesser used areas of the wood choir, • Traditional piccolos, flutes, oboes, clarinets and bassoons • 102.8 GB uncompressed WAV WELCOME 3 alto and bass flutes, contrabass clarinets to name but three! across to modern ‘zeitgeist’ selection of instruments from alto, • 71.7 GB disk space required DOWNLOADING & INSTALLING 4 bass flutes, bass clarinet, contrabass clarinet and a thunderous • 143.4 GB disk space required during install REGISTERING WITH KONTAKT PLAYER 5 Originally released in modules as part of the BML (British Mod- contrabassoon. -
Hybridity in Flute Music of Four Contemporary Composers
HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools. -
UNIVERSITY of OREGON • SCHOOL of MUSIC and Paul Kantor at the University of Michigan, Earning Bachelor’S and Master’S Degrees Respectively
nationally-acclaimed BGSU New Music & Art Festival for 19 years. She served as chair of the theory and composition department at Interlochen Arts Camp and was a visiting faculty member at Indiana University. She is currently Distinguished Research professor and chair of the musicology/composition/theory department at Bowling Green State University. Shrude has performed as collaborative pianist with John Sampen since 1972. Violinist and violist Timothy Christie studied with Andrew Jennings UNIVERSITY OF OREGON • SCHOOL OF MUSIC and Paul Kantor at the University of Michigan, earning bachelor’s and master’s degrees respectively. In addition to his musical studies, Beall Concert Hall Tuesday evening Christie completed a second bachelor’s degree in English literature. 8:00 p.m. March 8, 2005 Following his studies at Michigan, he earned a fellowship with the New World Symphony in Miami Beach, Florida under the baton of Michael Tilson Thomas. He has participated in prominent summer programs such as the Aspen Music Festival, the Banff Centre for the Arts, Musicorda, and the Conductor’s Retreat at Medomak. Today, UNIVERSITY OF OREGON Christie is an active chamber musician and proponent of contemporary music as the violist of the Dexter String Quartet and the solo violist SCHOOL OF MUSIC of the contemporary ensemble Brave New Works. He makes his home in the Pacifi c Northwest where he serves on the violin faculties of the University of Puget Sound in Tacoma, WA, and Lewis and Clark GUEST ARTIST SERIES College in Portland, OR. Christie is a member of the Pacifi c Northwest Ballet Orchestra in Seattle.